Matthias Goerne

He Monday 27 November at 19.30 hours, National Dissemination Center Musical (CNDM) concert series opens with the German baritone Matthias Goerne as "Resident Artist" center for the season 17/18. This first concert, in the Symphony Hall of the National Auditorium, It is co-produced with the Community of Madrid Orchestra (BARREL), and it will star the ORCAM with his homeroom teacher, Victor Pablo Pérez, in front. The program consists of the Ninth Symphony Bruckner and Kindertotenlieder of Gustav Mahler.

Throughout the season Goerne will participate in five concerts more: we can enjoy his art on three occasions in the Lied XXIV of the Teatro de la Zarzuela, where it is already a regular visitor and is possibly one of your favorite artists, because he has acted in 15 occasions. Always with particularly demanding programs, its amazing proposals in a male voice (as schumanniana collection Woman's love and Life) reveal its permanent concern in this genre. This season will address the three major cycles Schubertiads (The Schone miller, Winterrreise Y Schwanengesang) It has already addressed separately, but this time in three recitals that have little more than two months apart and with the same pianist, el excelente Markus Hinterhäuser. He also set foot in the scene Elijah Mendelssohn at the Royal Theater, Granada with Pablo Heras-Casado in front of two great Germanic sets (Rias Chamber Choir Y Freiburger Barockorchester) CNDM in a co-production with the Philharmonic and the Madrid coliseum. And also offer, within the Liceo de Cámara XXI cycling at the National Auditorium, and accompanied by the Quartet Belcea, the melancholic Night, on. 57 of Othmar Schoeck with poems by Lenau.

Matthias Goerne, natural de Weimar (Germany), He studied with Hans-Joachim Beyer, Elisabeth Schwarzkopf y Dietrich Fischer-Dieskau. He collaborates with leading orchestras and conductors in the world in the most important concert halls, opera houses and festivals, as the Royal Opera House, Teatro Real, operas in Paris and Vienna and the Metropolitan in New York. Their roles range from Wolfram, Amfortas, Kurwenal, Wotan and Orest to the main roles of Wozzeck by Alban Berg, Bluebeard's Castle Béla Bartók, and Hindemith's Mathis der Maler. For his recordings have received numerous awards, including four Grammy nominations, one ICMA award and a recently Diapason d'Or. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel just recorded a series of 11 CDs de lieder de Schubert con Christoph Eschenbach y Elisabeth Leonskaja. From 2001 a 2005 fue profesor honorario de canto en la Music Academy Robert Schumann de Dusseldorf, and in 2001 He was named Honorary Member of the Royal Academy of Music in London.

Highlights of last season concerts with major orchestras in the US and Europe as: Boston Symphony, Dallas Symphony, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, San Francisco Symphony, Pittsburgh Symphony, Berlin Philharmonic, Orchestre de Paris y Philharmonia Orchestra London, as well as a series of recitals with Leif Ove Andsnes songs and Markus Hinterhäuser in Dallas, Paris, Brussels, Milan, Madrid, London and the new concert hall in Seoul LOTTE, among many other places. He has made a world tour singing Winterreise with the famous William Kentridge and another with the Freiburg Baroque Orchestra by major European cities. further, Goerne made his debut as Jochanaan (Salomé) at the Vienna State Opera as Wotan (Siegfried) version in concert with the Hong Kong Philharmonic and Jaap van Zweden. In summer 2017, he returned to the prestigious Salzburg Festival, where he sang the title role Wozzeck plus a lieder recital with piano Danii Trifonov.

Bulwark of the vanguard and model of care to Spanish repertoire since its inception in 1987, the Community of Madrid Orchestra (BARREL) It has distinguished itself by presenting some innovative programming, who they have combined the highlights of contemporary design with traditional repertoire. Critics and audiences have unanimously stressed the interest and appeal of the seasons payment of the ORCAM. Cycle of concerts at the National Auditorium has become essential reference in the Spanish musical life and meeting point for a varied audience and dynamic, interested in knowing all the musical currents and frequent premieres including different concert series. The solid guarantee representing subscribers and support the most demanding specialized media expressing relief activity ORCAM, He has extended the scope of its activities beyond the successful season fertilizer Madrid, It is having joined actively in seasons other community settings, like the Canal Theater and the Auditorium Theater San Lorenzo de El Escorial. Their presence has been required in the most prestigious halls and cycles throughout the State, as well as seasons and festivals, Having visited the Teatro Bellas Artes in Mexico D.F. and several venues in Beijing, Shanghai y Hong Kong. In Europe he has performed at famous landmarks such as the Théâtre du Chatelet in Paris, Teatro La Fenice in Venice, Turin Lingotto, Arsenal of Metz and the Konzerthaus Berlin. Italy is a country that frequently hosts performances of ORCAM, signally the Biennale di Venezia and the MITO Festival (Milan and Turin). Similarly it should be noted the performance held at Carnegie Hall New York with Placido Domingo, under the command of Master Miguel Roa.

The close relationship with the lyrical ORCAM is supported by the fact that the orchestra is, Since the year 1998, Titular Orchestra of the Teatro de la Zarzuela in Madrid, which it has placed him as the greatest exponent of the genre, performing in different seasons reruns, replenishments, recoveries, recordings and commissions of various kinds. In the record level, include more than forty recordings made for national and international labels like Emi, German Grammophon, To, Stradivarius, Decca, Naxos, etc. with artists like Placido Domingo, Ainhoa ​​Arteta, Carlos Alvarez and Rolando Villazón, among others. On the podium ORCAM teachers have been invited as prestigious as Fabio Biondi, Harry Christophers, Michel Corboz, Leopold Hager, Jean-Jacques Kantorow, Isaac Karabtchevsky, Lorin Maazel, Paul McCreesh, Shlomo Mintz, Krysztof Penderecki, Alberto Zedda, Libor Pesek and Jose Serebrier. Among the Spanish directors who have worked with include Edmon Colomer ORCAM, Rafael Frühbeck de Burgos, Enrique García Asensio, Miguel Ángel Gómez Martínez, Pablo González, Cristobal Halffter, Jesus Lopez Cobos, Ernest Martinez Izquierdo, Juanjo Mena, Victor Pablo Pérez, Pons and Josep Antoni Ros Marbà.

Javier Camarena

Who was not afternoon 19 November in the Teatro de la Zarzuela, You may have missed one of the lyrical events of the season. It was the first time the Mexican tenor boarded a recital composed entirely of zarzuela. A genre that is historically considered "minor" Javier Camarena was in charge of denying: "I do not understand this tendency to make the zarzuela a minor genre, Does not have it, I can not find it, I don't perceive it like that and I'm not going to project it like that. Singing Red Flower is as important to me as singing A furtive tear ".

Greeted on stage with a standing ovation, started nervous, as he himself recognized, "I have left my comfort zone and I want to do my best". And I already think it did. It was demonstrated in each of the eight romances he performed, that this is a genre for seasoned. It requires a quality instrument, as is without a doubt that of Camarena, domain of dynamics, taste in the interpretation and an appropriate reading of the strength and tradition that this genre contains. His lyrical-light tenor voice offered versions full of originality. Solving the difficulties that these seemingly affordable arias undoubtedly have, giving everything in the interpretation. Going through different registers without losing metal, shining in the treble, with a phrasing loaded with intention and a smooth line of singing.

He began with bravery interpreting "From this peaceful corner of Madrid", by Luisa Fernanda and "You know through the smoke", by Doña Francisquita, to continue with one of your favorite works in this repertoire, "Red flower", by Los gavilanes. Before interpreting it, he warned the audience that he had "something scratchy in his throat". It was noticed at some point, given the difficulty, for the subtlety in the interpretation, that treasures this romance. Hope it rains soon, or many singers will stop coming to Madrid.

The second part began with a "Goodbye Granada" full of feeling and emotion that he dedicated to "Paquita", tenor wife Pedro Lavirgen, recently deceased, since it was the version of Lavirgen in which he was inspired to prepare the romance of the Emigrants.

It ended with “Paxarín, you who fly ”and“ It can't be ”, that ended with an over-treble that led the audience to delirium. At the head of the Orchestra of the Community of Madrid the young man Iván López-Reinoso. He conducted with ease and rhythm the Prelude to La revoltosa and El Drum de Grenadiers, the Interlude of The Wedding of Luis Alonso and the Intermission of The Legend of the Kiss. Brilliant was also the tip of the Mexican teacher Arturo Márquez, Danzón no. 2.

The recital ended with another two tips, a "Granada", from Agustin Lara in which he wasted qualities and treble and the repetition of the “The Trust of the Tenorios”.

Extraordinary evening that ended with a very long standing ovation from an enthusiastic audience that was reluctant to leave the room. We hope to see Javier Camarena soon performing an opera or zarzuela from the Spanish repertoire in this same Theater.

Javier Camarena

He Teatro de la Zarzuela in Madrid again be in luck, this time thanks to the second highlight of his Concert series. What will live on Sunday 19 of November (18h00) This arena will be a absolute milestone and hardly repeatable: he Mexican tenor Javier Camarena, worldwide sensation lyric since some years, will offer for the first time in his career a concert full of zarzuela. On this special occasion it will be accompanied by the BARREL, Theater Orchestra holder, directed by fellow Mexican Ivan Lopez-Reynoso.

Camarena will give the public its fascinating vocal agility, the dazzling beauty of her singing, his irreproachable fraseo, the gifts and talents with which travels the world between riotous cheers and enthusiastic, extensive and unanimous ovations. It is not in vain, with Luciano Pavarotti and Juan Diego Flórez, one of the only three singers whom the public of the Metropolitan Opera House in New York has made an aria repeat in 70 years.

Now, that admirable and subtle voice will travel some of the most celebrated pages of our lyrical genre by excellence. Romances of ‘Luisa Fernanda’, 'Francisquita Dona', 'The hawks', ‘The tenorial trust’, ‘Emigrants’, ‘The last romantic’ or ‘The tavern of the port’, Federico Moreno Torroba, Amadeo Vives, Jacinto Guerrero, José Serrano, Tomás Barrera and Rafael Calleja, Reveriano Soutullo and Juan Vert, Pablo Sorozábal, Gerónimo Giménez, Pablo Luna and, how not, Ruperto Chapí, whose preludes to ‘La revoltosa’ or ‘The Grenadier Drum’ will give a good account of the musical mastery and the solid temperament from Lopez-Reynoso, who with only 23 years was Alberto Zedda elected as the youngest master of the Accademia Rossiniana Pesaro, and that, In addition to pianist and violinist, also it enjoys being a virtuous countertenor.

In the Teatro de la Zarzuela, Magic is served.

Anna Caterina Antonacci

Because a duly substantiated disease soprano Anna Caterina Antonacci the, Lieder recital scheduled for Tuesday 24 October, It is postponed to Monday 9 of July 2018 to 20 hours. They will apply the same locations.

Ann Hallenberg

The XXIV temporada del Ciclo de Lied dará inicio mañana Tuesday, 10 October (20h00), at Teatro de la Zarzuela, con el esperado recital de Ann Hallenberg. Mezzosoprano known primarily for its ability to delineate the complex vocalizations proves true opera seria, we are also shown as a solid lied singer. La intérprete sueca estará acompañada al piano por Mats Widlund.

Tickets for this concert, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de la Zarzuela, INAEM theaters, and using the telephone number 902 22 49 49.

Hallenberg es una liederista capaz de penetrar, con su timbre oscuro y sugerente, en los vericuetos de los Zigeunerlieder from Brahms, de tan peculiar rítmica; en las lúcidas estructuras de las canciones de Clara Schumann; en las sorprendentes sinuosidades de la Suite on. 41 from Medtner; en los sombríos paisajes naturales de los Rückert-Lieder from Mahler Y, como gran hallazgo, in the Canciones del corazón, de aromas tan brahmsianos, de su compatriota De Frumerie.

Ann Hallenberg actúa con regularidad en teatros de ópera y festivales como Teatro alla Scala Milan, Teatro La Fenice Venice, Teatro Real Madrid, Theater an der Wien, Zurich Opera House, Opéra National Paris, Lyon Opera, Théâtre de La Monnaie Brussels, Netherlands Opera Amsterdam, Bayerische Staatsoper München, Berlin State Opera, Semperoper Dresden, Royal Swedish Opera, Salzburg Festival, Verbier Festival y Edinburgh Festival.

Su repertorio operístico incluye un gran número de roles de Rossini, Mozart, Gluck, Massenet, Haendel, Vivaldi Y Monteverdi.

En el formato de concierto se encuentra igualmente cómoda, apareciendo en salas de conciertos y festivales a lo largo de Europa y Norteamérica. Su repertorio comprende música desde el temprano siglo XVII (Monteverdi y Horses), through Mozart, Haydn, Beethoven, Berlioz, Brahms, Mahler Chausson, to the contemporary repertoire of Franz Waxman and Daniel Börtz.

Ann Hallenberg trabaja regularmente con directores como Fabio Biondi, William Christie, Sir John Eliot Gardiner, Emmanuelle Haïm, Philippe Herreweghe, Marc Minkowski, Riccardo Muti, Kent Nagano, Sir Roger Norrington, Sir Antonio Pappano, Christophe Rousset y Alberto Zedda.

He has recorded more than 40 CDs and DVDs with music by Bach, Haendel, Vivaldi, Mozart, Haydn, Gluck, Rossini, Mendelssohn, Brahms y Bruckner, among others. En los International Opera Awards de Londres de mayo de 2016 your CD Agrippina ganó el premio para Best Operatic Recital. Este fue su segundo premio en dicha categoría, habiéndolo ganado también en 2014.


Marina Spanish is one of those reference works that all fans have recorded in its memory. Who does not sometimes hums his conocidísima "A drink, let's drink". It has also always been one of the most scheduled. The last time just four years ago in this same theater. Although previously Twenty years had elapsed, since Alfredo Kraus Jorge played.

Teacher Emilio Arrieta, transformed the Marina zarzuela opera to be premiered at the Teatro Real. Event happened in 1871.

This opera in three acts, directed by Ramón Tebar and stage direction Ignacio García, He has had a young cast and almost unknown. Marina's main role has been interpreted by the Ukrainian, with Romanian passport, Olena Sloia. This young soprano based in Madrid for years, It has a curious history. He sang in various locations and streets of Madrid, until one day, near the Opera Square, It was discovered by the teacher Miguel Ángel Gómez Martínez, present in the room at the premiere. From there, and the invaluable teacher recommendation, has started what we hope will be a brilliant career in the world of opera. Qualities not lacking. It has a pleasant and vigorous high register with which he could not excess volume of the orchestra. He won expressiveness and support in the third inning and got a deserved ovation.

Jorge's character was played by tenor Alejandro del Cerro. He started something intemperate or nervous, which it did not prevent him addressing his complicated arias with courage. In the third act he came up and offered moments of great lyricism.

Damian del Castillo, as Roque, It was too low to. Something past impost and coarseness at times.

scenography, Navy replacement four years ago, This time it is more evocative night thanks to the lighting Paco Ariza. The sea and sailors are very present throughout the play. Also a part of the pier, which he occupied the middle of the stage and the chorus limited movements.

The orchestra, Strongly directed by newcomer in the Zarzuela Ramón Tebar, at times it reached a volume of sound that got in trouble singers. Much tighter in the second half, He highlighted its dynamism.

A good end of season for a Teatro de la Zarzuela in which you begin to notice the deep work of the new team, and projects and the illusion of the immediate future.

The white cat

With particular interest the audience expected for months set assembly 'Free Education', made of Gerónimo Giménez and premiered at the Teatro Eslava in Madrid 1901, Y 'The white cat', created by Giménez and Amadeo Vives, and presented at the Comedy Theater in the capital 1905. He Teatro de la Zarzuela will house both jewelry small forms during 17 functions, of the 6 al 28 of May, in a show conceived as a unique and indivisible proposal. Son Many inducements, and among them stands, undoubtedly, he Tipping scenic and aesthetic this Free version of Enrique Viana, who also signs the stage direction, from the to own theater space.

The six hundred patio chairs have been removed and instead It is installed scenario: a large circumference with mirror floor, what, among many other amazing effects, even it manages to turn the majestic lamp in a protagonist of the work. And where you have then gone public? As well as the boxes of the different floors, respectable occupies no less than the real scenario Theater. For that, in that sacred place where they have acted García Lorca or María Callas, some steps have been installed that will house more than 200 people.

Teacher Manuel Coves will be in charge of the musical direction this, in the words of Viana own, "Comic nonsense lirico in an act". He will lead the Holder Choir Teatro de la Zarzuela and of the Community of Madrid Orchestra (Titular del Teatro), to occupy a pit unconventional located in the area of ​​the room where precisely is the main gateway to public.

He cast is coral and it is composed of great talents of the song, the performance and both at once such as mezzo Cristina Faus, singer Roko, the actress cross Beitia, mezzosoprano María José Suárez, tenor and actor Ángel Ruiz, baritone Axier Sánchez, the actor José Luis Martínez and actors and singers Iñaki Maruri Y fake Santamarina. A body 20 dancers Full cast.

"Crazy" stage

For this "crazy" stage, production also has Daniel Bianco scenery -in which is his first artwork to the coliseum signing since he took charge of his direction, Pepe Corzo wardrobe, Albert Faura lighting Y choreography by Nuria Castejón.

Enrique Viana explains why his version, in which, naturally, They remain in full each and every one of the musical numbers, but whose history ("just one, and not a double program ") It is radically different: "Both (the original) They are peppered with jokes incomprehensible to the public today and some may offend particularly feminine ".

For this reason, the author considered "Both the plot and the text had to change root", and for this he spent 'free education' serving 'White Kitten' and rewrote the first completely leaving the second plot and characters with some scenes from the original judged "sympathetic and harmless". "As a result of these considerations It was this long piece that respects each note Gimenez and each letter of his singable”, explains Viana. Singable written by scriptwriters Guillermo Perrín, Miguel de Palacios, Joseph Jackson Veyán and Jacinto Capella.

Everything is ready for this "nonsense lyrical comic one-act" rebaptized: " 'Free teaching and white cat', or 'Come Nah to spend the afternoon ' ", with which the Teatro de la Zarzuela reinvents.

'Château Margaux'

There are already a few exciting evenings specially the public of Teatro de la Zarzuela has lived along this season 2016-2017, and the party is not over yet. The next Saturday 25 of March It will be a day appointed for this coliseum, to which he returns 'The old woman', work which met this year 120 its world premiere on this stage, Y 'Château Margaux', 130 years after its first performance Variety Theater in Madrid. Lluís Pasqual He has joined in a double feature these two small jewels made by Manuel Fernández Caballero, libretto by Miguel Echegaray Y Joseph Jackson Veyán respectively, and presenting its personal version with which transforms Theater Jovellanos Street in a radio studio Spain in the years 50. They are scheduled eleven functions to Saturday 8 of April.

The assembly is a production Arriaga Theater in Bilbao, in co-production with the Teatro Campoamor of Oviedo and Grec'09 Festival of Barcelona. The staging is signed by Lluís Pasqual himself, while Master Miquel Ortega (who also belong piano arrangements commercials of the time) will assume musical direction in front of the Community of Madrid Orchestra (Titular del Teatro), of the Holder Choir Teatro de la Zarzuela and a Excellent double cast, each of whose members plays various roles throughout the show.

This cast is headed by Actor-singer Jesús Castejón, which will serve as the Newscaster Ricardo Gracián and Don Manuel, by sopranos Ruth Iniesta Y Sara Blanch, Angelita Vargas to be, Dolores Izquierdo and Luisa, each in its respective division, and the Maybe Borja and baritones Panama Ricardo Velásquez, which will act as Commander, Don Francisco de Borja and Carlos Talvez (the young man who will go through the viejecita the title-role in proposing Pasqual is a kind of radio drama in the Saturday program 'La Zarzuela del Sábado'- to achieve the charms of his beloved Luisa). The other characters are the tenor Emilio Sánchez (Captain Esteban Martín, Manuel Farinas and -rival Federico Carlos in the race for the love of sweet Luisa-), he baritone Miguel Sola (Brigadier don Conrado Salvatierra and Sir George), he baritone Antonio Torres (Lieutenant Don Luis Maria Fernandez and Fernando Canedo) and the actor Lander Iglesias (Sargento don Rafael Pontejos, Soundman and Marquis Aguilar).

Paco Azorín, through its scenography, It is responsible for transporting us to that Spain in black and white the years 50 in which, in the words of Iñaki Gabilondo, "Radio was the technicolor". And it has the happy connivance Isidre Prunés, a magician of figurinismo theater and film, also recognized scenographer, died prematurely in 2014. Likewise, the acting and dance movements of the performers have the illustrious support coreógrafa Montse Colomé.

Mounting awarded. Childhood memories

Adapting Château Margaux Y the viejecita by Lluís Pasqual, He won in 2009 he Award for best operatic spectacle it's from the season Every year grant Critics Opera Barcelona.

And it's not surprising that the work is so convincing result, as the stage manager says zarzuela is part of his childhood memories, "As distant and recent as the voices of my parents or sounds coming out of the radio all the time". So much so, in fact it ensures that all these evocations belong "to the same drawer dresser memory". When Emilio Sagi entrusted the direction of this double program at the Arriaga Theater, "Drawer was opened and began only a good smell of flavors known: Had many times heard the waltz Châteux Margaux the voice of my mother ...!”, reveals Pasqual, who also states that the viejecita was the first "drama" that memorized, "From beginning to end, including singable ".

That perfume of yesteryear, suddenly revived, She made him regain a tender world "made of small hopes and vivid dreams" by proxy "through the radio with its contests, their propaganda, its exciting lies, his paintings of actors and their operettas set in luxurious palaces and exotic places ".

In torno a 'Chateau Margaux' y 'The viejecita'

As it is usual, around this premiere Teatro de la Zarzuela has prepared a series of activities:

  • Conferencia offered by the philologist Julio Vélez Sáinz, director of the Theater Institute Madrid Complutense University. In collaboration with the Friends of the Opera of Madrid. Monday 20 March; ambigú Theater.
  • Trial and subsequent meeting with students Lluís Pasqual various disciplines of Performing Arts. Thursday 23 of March; Main Hall Theater.
  • meeting Miquel Ortega teacher with students Conducting and Composition of different specialized centers. Monday 27 of March; ambigú Theater.

Projecting a video tribute to the famous tiple Lucrecia Arana, which it was responsible for brand 'The Little Old Lady' makes 120 years in this scenario, and who also met 150 years of his birth and 90 of his death. The video will be shown before each performance and continuously, on two screens arranged in the main lobby of the Theater.

MAtthias Goerne

The cycle is a coproduction between Teatro de la Zarzuela and the National Broadcasting Music Center. Baritone disciple mythical Dietrich Fischer-Dieskau, Goerne is one of the most significant names in the genre Regular cycle Lied, This time it comes with a program that has Robert Schumann, one of the leading exponents of German song, starring

He XXIII Ciclo the Song You will receive next Monday, 27 February (20:00h), at Teatro de la Zarzuela, one of the great baritones of this genre: Matthias Goerne. The German interpreter, disciple of the legendary baritone Dietrich Fischer-Dieskau and career liederística sublime, He has chosen Schumann as the backbone of its program in Madrid. The piano will accompany Alexander Schmalcz. Tickets for these concerts, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de la Zarzuela, INAEM theaters, and using the telephone number 902 22 49 49.

Matthias Goerne, natural de Weimar (Germany), He studied with Hans-Joachim Beyer, Elisabeth Schwarzkopf y Dietrich Fischer-Dieskau. He collaborates with leading orchestras and conductors in the world in the most important concert halls, opera houses and festivals, as the Royal Opera House, Teatro Real, operas in Paris and Vienna and the Metropolitan in New York. Their roles range from Wolfram, Amfortas, Kurwenal, Wotan and Orest to the main roles of Wozzeck by Alban Berg, Bluebeard's Castle Béla Bartók, and Hindemith's Mathis der Maler. For his recordings have received numerous awards, including four Grammy nominations, one ICMA award and a recently Diapason d'Or. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel just recorded a series of 11 CDs de lieder de Schubert con Christoph Eschenbach y Elisabeth Leonskaja. From 2001 a 2005 fue profesor honorario de canto en la Music Academy Robert Schumann de Dusseldorf, and in 2001 He was named Honorary Member of the Royal Academy of Music in London.

In season 15/16 he starred with the St. Petersburg Philharmonic and Yuri Temirkanov, the Orchester de Paris, la London Philharmonic y Christoph Eschenbach, the Concertgebouw Orchestra of Amsterdam and Manfred Honeck, y la New York Philharmonic Christoph von Dohnányi, la Leipzig Gewandhaus Orchestra, Tonhalle Orchester Zurich's and Lionel Bringuier, the Swedish Radio Symphony and Daniel Harding and the NHK Symphony and Paavo Järvi, and a series of readings with Daniil Trifonov, Markus Hinterhäuser, Alexander Schmalcz and the Ebène Quartet at Lincoln Center in New York, Opera San Francisco, Wigmore Hall in London, Lille Opera, the Philharmonie de Paris, el Fine Arts Bruselas, it Gulbenkian Lisbon, Abu Dhabi, the Schubertiade Hohenems and the Sydney Festival, among other rooms. Orest will sing at the Vienna State Opera debut as Wotan and the concert version of Wagner's Walküre with the Hong Kong Philharmonic and Jaap van Zweden. In August 2016 He has been invited to numerous festivals, including Salzburg and Verbier.

the villainess

Thirty-three years have passed since the last performance of the villainess at Teatro de la Zarzuela. And it not explained very well that much time has elapsed in the case of a work of so much substance in the genre boy. And even less is understood if we take into account that the music belongs to the teacher Amadeo Vives, and that is based on the work Peribáñez and the Commander of Ocaña, from Lope de Vega.

It is therefore a work that has all the elements to undertake a plan more ambitious than a zarzuela. But maestro Vives remained halfway through that Spanish operatic dream. And not for lack of quality in the score, quality has, and a lot.

She is such a villain, beautifully made, contains some moments of delicate lyricism that the master Miguel Ángel Gómez Martínez manages to extract from an Orchestra to which the work is something great. Even so, the orchestra sounded homogeneous and more elaborate than on other occasions.

The difficulty and demands of this work for the main roles are noticed from the first moment. Important voices are necessary to cope with a well-elaborated score with great vocal and dramaturgical demands.. The Theater has counted on this occasion with two castings. Without detracting from the first, maybe it was the second cash who has been most successful in the general reading of the work. the soprano Maite Alberola, with a round and voluminous voice, He knew how to fill the character of Casilda with the Castilian character of this prudent woman. He offered some moments of great beauty interpreting the romance "The brown cloth cape", or his beautiful duet with Peribáñez.

baritone César San Martín played a static, but full of nobility, Peribáñez. He participated with elegance and feeling in the most beautiful duets with Casilda.

The Don Fadrique of Andeka Gorrotxategi it was a big surprise. This young Biscayan tenor has a vigorous instrument, of attractive timbre and taste in interpretation.

The rest of the tablets composed of Rubén Amoretti, Manuel Mas, Javier Tomé, Ricardo Muniz, Carlos Lorenzo, Rodrigo Garcia, Roman Fernández-Cañadas, Daniel Huerta Y Francisco Jose Pardo, maintained a high level that rounded a height cast.

The theater choir, well stamped and pasted, had a relevant performance, becoming a main character.

Also noteworthy is the corps de ballet that completed the simple but beautiful scenography of Natalia Menéndez. With the evocative field of spikes as the protagonist throughout the work. Very successful lighting of Juan Gomez Cornejo, creating different atmospheres with the same scenic elements. And a good direction of actors who made more than seventy people unfold on stage in a coordinated and graceful way.

We must thank the bravery and effort of the Teatro de la Zarzuela offering such a high-level work in this ambitious season. Great evenings of good music are expected.

the villainess

The Teatro de la Zarzuela live a particularly emotional night next Friday 27 from January Thanks to the Recovery zarzuela 'The villainess' Amadeo Vives, which will resound after more than 30 years after his last performance In this stage. A curious data, if one considers that it is one of the most emblematic titles of Teatro de la Zarzuela throughout the twentieth century. the case is also given that this work, with libretto Federico Romero and Guillermo Fernandez-Shaw -based drama 'Peribáñez and the Commander of Ocaña' of Lope de Vega, will meet in October 90 years after its premiere. Now, almost a century after that distant night of extraordinary success, thirteen functions are available from the 27 January to 12 February.

The assembly is a new production Coliseum Street Jovellanos, and in this work of historical reparation it has just two big names in theater and music. A) Yes, the staging is signed by Natalia Menéndez, and Master Miguel Ángel Gómez Martínez will assume musical direction in front of the Community of Madrid Orchestra (Titular del Teatro), of the Holder Choir Teatro de la Zarzuela and a full cast of big names of our lyric.

The cast is headed in the role of Casilda by soprano Nicola Beller Carbone, singer common in best opera houses in the world, and for him tenor Jorge de León, one of our most privileged voices, in the role of Don Fadrique, Comendador. The Canarian singer arrives in the direct Zarzuela Vienna State Opera, where he played Macbeth Macduff, theater will return to star in 'Tosca' in April, and that same month he will fly to New York to get into the role of Radames in 'Aida' in the Metropolitan.

The third player in contention is the recognized baritone Angel Ódena, now adds to its extensive international career this villain Peribáñez, that is manipulated by the Commander Don Fadrique for the favors of his new bride Casilda.

The soprano Maite Alberola and the Andeka tenor Gorrotxategi, also assume the role of Casilda and Don Fadrique, Meanwhile he Baritone César San Martín It will also get into the skin of Peribáñez. The cast is completed by the soprano Milagros Martín, that will Juana Antonia, the mezzo-soprano Sandra Ferrandez, which will act as Blasa, he Ruben Amoretti under which it has the dual role of personifying the Jewish David and King, he baritone Manuel Mas, who will sing Roque, and the tenors Javier Tomé and Ricardo Muñiz, they interpreted to Olmedo and Michelangelo. He actor Carlos Lorenzo He will play the lazarillo Olmedo.

They will develop the drama that because of abuse of the commander were coming over the newlyweds Casilda and Peribáñez, and they sing between wheat fields and skies of Castile.

This magical effect has been commissioned Boni set designer Nicholas with the close complicity Maria Araujo, the costumes, and Juan Gómez-Cornejo (AAI), faithful creator, as Castilian is, the exact light that require these places so often evoked by writers and poets.

Also involved in the production 11 dancers which choreography He has devised Monica Runde.

'The villain' is a clear tribute to Lope de Vega, as recognized Natalia Menéndez, who defines it as "tragicomedy that deals with the abuse of power. A possible challenge against injustice, where vice, violence and tyranny are punished, and virtue, honesty and dignity get their reward ". As for the music that envelops the drama, the stage director says Amadeo Vives "Combines the traditional and popular background with elaborate melody, transits into them without fear, forcefully, own artistic thinking which prevailed in the early twentieth century ", and this adds that Perhaps most remarkable and latent, is "the joy that prevails in its musical composition. Betting on Love ".

Manuel García

The Teatro de la Zarzuela and the Juan March Foundation presents Le Cinesi, ópera de cámara de Manuel García
The Teatro de la Zarzuela and the Juan March Foundation presentan un nuevo título dentro de la serie Teatro Musical de Cámara. The days 9, 11, 14 Y 15 of January of 2017 se representa en la Fundación Juan March Chinese, ópera de salón en un acto compuesta originalmente para piano y cuatro voces por Manuel del Pópulo Vicente García (1775-1832) al final de su intensa y polifacética carrera, around 1831, sobre un popular libreto de Pietro Metastasio fechado en 1735.

En las mañanas de the days 10, 12 Y 16 from January there will be, en la propia sede de la Fundación, three funciones didácticas para alumnos de secundaria (previa petición), como parte del proyecto didáctico del Teatro de la Zarzuela.

La dirección musical está a cargo de Rubén Fernández Aguirre, quien ya ha dirigido tres óperas de salón de Manuel García, and the dirección de escena de Bárbara Lluch, quien debuta con esta producción tras una larga carrera como colaboradora de directores de escena en España y Reino Unido. El elenco está conformado por el tenor José Manuel Zapata, the sopranos Marina Monzó y Cristina Toledo, and the mezzosoprano Marifé Nogales. El equipo artístico, in which claramente predominan las mujeres, está además conformado por la escenógrafa Carmen Castañón, the diseñadora de vestuario Gabriela Salaverri and the bailarín Rafael Rivero.

Esta será la sexta edición del formato Teatro Musical de Cámara, iniciado en 2014 por la Fundación Juan March, una línea de programación centrada en un vasto corpus teatral que por sus características (obras de pequeño formato destinadas a un número reducido de intérpretes) que no suele tener cabida en los teatros de ópera convencionales. El primero de los títulos ofrecidos fue Cinderella de Pauline Viardot. A esta iniciativa se sumó el Teatro de la Zarzuela en 2015, que desde entonces ha cristalizado en cuatro nuevas coproducciones: la recuperación moderna de Fantochines de Conrado del Campo (March 2015), el programa doble Los dos ciegos de Francisco Barbieri y Une éducation manquée de Emmanuel Chabrier (mayo 2015), la representación de una Trilogía de tonadillas de Blas de Laserna hasta entonces inéditas (January 2016) y el programa doble El pelele de Julio Gómez (recuperación moderna) Y Mavra by Igor Stravinsky (April 2016)

Teatro Musical de Cámara tiene, so, la vocación de recuperar para el público del siglo XXI géneros de excepcional importancia para la historia del teatro musical y de la cultura española que, but nevertheless, han quedado marginados por el modo en el que los repertorios teatrales han quedado institucionalizados.

Para desarrollar este proyecto de teatro musical, el habitual salón de actos de la Juan March Foundation se transforma en un pequeño teatro.

Sobre esta producción de Chinese

El arte vocal del Romanticismo tuvo en Manuel (del Pópulo Vicente) García su intérprete más destacado. Reputado profesor de canto, recorrió el mundo hacien­do gala de un estilo virtuosístico indisolublemente asociado a las óperas de Rossini. further, encabezó una larga saga de cantantes, entre los que destacan María Malibrán y Pauline Viardot, (author of Cinderella, primer título de este formato, representada en 2014 para inaugurar esta serie de Teatro Musical de Cámara). Pero el legado más perdurable de su polifacética carrera podemos asociarlo a su fecunda actividad compositiva, vertiente todavía muy desco­nocida excepción hecha de su celebérrima “Aria del contrabandista”. Su extenso catálogo está conformado por unas 150 composiciones e incluye una abundante producción teatral, con un valioso corpus de cinco óperas de salón al parecer compuesto en París en torno a 1830. Este ramillete singular de genuinas óperas de cámara está encontrando, en los últimos tiempos, su lugar en los escenarios, como demuestran las recuperaciones de L’isola disabitata y Un avvertimento ai gelosi. A estos títulos se suma ahora esta nueva producción de Le cinesi, a efectos prácticos olvidada desde su estreno parisino en los espacios domésticos del compositor. Posiblemente compuesta para ser interpretada por sus alumnos como parte de su formación profesional, Le cinesi de García fue la última de las 14 óperas documentadas sobre el libreto exitoso y centenario que escribiera Metastasio en 1735. La pervivencia de este texto no solo confirma la maestría dramatúrgica de este afamado poeta del teatro, sino también la vigencia de una trama que explora la mirada exótica hacia otra cultura y los conflictos de identidades que genera. Un tema, well, de plena actualidad que nos sigue apelando hoy como oyentes en el mundo globalizado del siglo XXI.