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Interview Manuel Busto, director and composer of La Bella Otero Folk Music, flamenco, classical… All these musical genres and different aesthetic currents are those used by Manuel Busto to compose and conduct La Bella Otero., the operatic ballet premiered by the National Dance Company at the Teatro de la Zarzuela. A challenging and ingenious aesthetic and musical proposal by this young Sevillian director, one of the most promising races on the national and international scene.Brío Clásica: La Bella Otero was one of the most influential women of her time and her life was truly exciting, What characteristics of this character have you wanted to convey through your composition?

Manuel Busto: Work as a composer, from the approach of the dramatic ballet by Rubén Olmo and Gregor Acuña's own libretto, leads us to capture the rich characteristics of the intense life of this character in a very strong way in the musical dimension. La Bella Otero was from Valga, Galicia, where the rape she suffered forced her to flee semi-repudiated by society itself together with a group of itinerant gypsies, appearing later in Barcelona where the discovery of the character of Carmen made her become a "false Andalusian". From there he went to the France of the Belle Époque to conquer the world., starting with New York, have the most powerful men of the moment at your feet being one of the stars of the Folie Bergère. got to have it all, went broke and finally hid too young, when the beauty of youth disappeared, and live with his own loneliness in the south of France until the end of his days.

all, all the aesthetics of the places he passed through, but updated and with a personal vision, they should be present without losing sight that it is a single life. Unity as a global concept was essential on a technical and artistic level as a composer.

B.C: It is a work that has musically several registers and in its elaboration they have participated 3 composers. What part have you taken care of and how has the writing process been? Has each one written their part autonomously?

M.B: My part has been the whole, the global and unitary vision as a composer assuming most of the new creations, where there are so many aesthetics present. Example can be the first number, where I use a bagpipe prelude, flamenco percussion, where there is a clear reference to the Muñeira and a base of flamenco tiento, all using contemporary compositional techniques as well as instrumentation and orchestration treatment. All this is enhanced by including songs by great musicians who come from worlds other than mine., for example, Augustine Diassera, that comes from flamenco with forays into other currents, o Alejandro Cruz related to television and theater.

B.C: How do they merge into one, proposals from composers who come from so many styles and that the final result has a coherent musical discourse?, Is this part perhaps the one that has presented the greatest difficulty?

M.B: From them I received a sound proposal, which I respected but made mine to not only treat them with an orchestral sense, as my own, but in which he transformed by adding his own material, or even using part of their proposals at a motivational or rhythmic level in their own parts. I was free to use these approaches as my own, since the main purpose was that the work as a whole was solid on a musical level, which under a giant respect for the freshness that they brought, I have tried extremely to make it cohesive, no edges in the macrostructural or microstructural plane. Perhaps this part has been the most different or challenging, and the one that should be made with more care, I respect, coherence and I must confess, that with greater skill and ingenuity.

B.C: Is there an element in a dance composition that, by rule, make it different from an operatic composition?

M.B: Without a doubt the rhythm, and even more so since it is a ballet like the National Ballet of Spain, only one in the world. As a conductor I come directly from the world of opera, and it is true that both have their own language when making, very close in many ways, but different in terms of priorities. The characteristics of the National Ballet of Spain, and the use of the Spanish school or flamenco gives it a differentiating element that puts the composer before a greater challenge, if it fits, what is it to be able to understand that language first, and then speak through music with the same language in favor of what happens on stage.

My relationship of admiration, study and research with flamenco, makes me feel in my natural habitat by working for this company, where I have it and in fact I have used it in flamenco elements at a musical level, something that I think gives the sheet music of La Bella Otero a unique personality at the timbral level, to which must be added that ballet itself is a great percussion instrument due to its sonic dimension to be taken into account in creation.

B.C: How do you define your compositions, how would you classify them?

M.B: I precisely consider myself a person who avoids cataloging, or cataloging, that is to say, falling under one's own or external yoke on an aesthetic or technical level. For me in art the most important thing is the artistic message, and then the artistic medium at a technical level (here the preparation and the job is essential) with which to ensure that the emotional impact is the greatest possible on the viewer, and therefore in society. It is true that the use of flamenco is important, but only when I think that it is essential that it is present, since for example there is nothing of him in my first chamber opera Monologue to 2: Existence or in the job I just finished for Johan Inger and the Fondazionea Nazionalle della Danza Aterballetto.

B.C: He has just been awarded the prestigious Leonardo grant from the BBVA Foundation in the category of "composition and opera", to compose an opera. Do you already have an idea for this project?, What inspires you when you write, a character, a story…?

M.B: When it comes to aspiring to obtain this recognized award, two fundamental factors are taken into account according to the bases: the trajectory and content of the project presented. The title of my project is very revealing: "Flamenco in opera as a creative need: Blood Wedding, opera on rural tragedy by Federico García Lorca. This project will be a natural step in my own production, where, though not always, flamenco is present because of the enormous capacity to generate emotions that it has, just like opera, or the development of aesthetic currents through history that lead to contemporary aesthetics and techniques. Aspiring to know the latter is relatively natural in the development of the study of any composer, but not flamenco, and maybe because I was born where I was born, Los Palacios and Vfca. in the lower Guadalquivir, I have been forced to have a feeling of guilt well into adolescence for feeling ignorant in this matter. Which led me to discover it and, especially, to perceive your potential. So I decided to thoroughly study all its wealth, so that his language became part of me and my work. I insist, with the interest that his ability to generate emotions became part of me.

The Beautiful Otero

The National Ballet of Spain will premiere The Beautiful Otero of the 7 al 18 July in the Teatro de la Zarzuela in Madrid. This dramatic ballet, created and directed by Ruben Olmo, tells the intense life of one of the most famous and influential dancers of the late 19th century, Carolina Otero. World famous Spanish artist, his name is known all over the world, but whose history remains hidden from many. A woman from a Galician village who invented herself from a tragic event in her childhood. With Carmen de Merimée as a guide, used men to advance her artistic career and was admired by kings across Europe, Although the only love in whose arms he fell was that of the game. The Beautiful Otero is a reflection on abuse, the ambition, the success, the inability to love and loneliness.

The director of the National Ballet of Spain, Ruben Olmo, I had been with the idea of ​​creating a choreography about Bella Otero for many years, attracted by the fact that one of the most famous women of her time outside of a town in Pontevedra. But until he was appointed director in 2019 He did not find the opportunity he was waiting for to be able to do it as he imagined, like a large format show, both for the number of dancers and for the deployment of costumes.

“The spirit of the last two programs that we have premiered was to enjoy Spanish dance in all its styles. Instead, now I have put dance at the service of the plot to achieve the fusion that would allow me to tell the life of a surprising woman, using from folklore to contemporary dance, the stylized and flamenco ", explains Rubén Olmo. "It is a very emotional and also dramatic show, because it tells the story of a woman who reaches the top and ends up alone and forgotten ".

The person in charge of the dramaturgy has been Gregor Acuna-Pohl, regular collaborator of the choreographer Johan Inger. The actor, dance director and playwright has tried to distill the essence of the historical character to the maximum without losing the highlights of his biography, leaving out the anecdotal. “The most important thing for me was to show a person with a lot of magnetism, charisma and strength ", affects. After researching Carolina Otero in books, press clippings, audiovisual material and files, selected the most representative moments of his life that could be expressed through dance.

"By writing an argument about such a complex life, obviously we have to simplify. But we are not making a value judgment on what is right or wrong; we just try to be true to reality, while making it attractive to the viewer. Dance must excite rather than make judgments. I have tried to stick to the historical character and make it an interesting ballet for the public. After, let each one draw their conclusions about the character ", Add.

Two artists for a Bella Otero

The argument of The Beautiful Otero passes through different periods of Carolina Otero's life, so Rubén Olmo chose to play the main character at different ages to Patricia guerrero Y Maribel gallardo. “I invited Patricia Guerrero to the National Ballet of Spain because she is a dancer who gives off great strength on stage. He was part of my company and I directed it at the Andalusian Flamenco Ballet. It has the same magnetism that made Bella Otero great. Today she is one of the most relevant figures of the most avant-garde flamenco and it is a pride to be able to count on her ", explains Rubén Olmo. "As well as the former prima ballerina of the Spanish National Ballet, Maribel gallardo. Besides dancer, she is a wonderful actress, that has brought many characters to the scene, and he always commits himself to the maximum with all the projects that I propose to him ".

According to Patricia Guerrero, Bella Otero is a complex character due to the fact that she lives various conflicts that make her a dramatic hieroglyph. "She was a woman with a lot of character, a lot of self-confidence and a brutal survival instinct. He enhanced his charisma and sensuality like no one else to achieve success ". The Granada-born artist aims to bring every detail to the dance to make the public understand this woman she admires, above all for their safety and their ability to enchant, aspects in which you have clung to get under your skin. "La Bella Otero it is a hard work in its background, but it is dynamic, funny, fresh, and with a color and energy that will make us all enjoy, on and off stage ".

Maribel gallardo, who plays Bella Otero in her maturity, defines the character as a transgressive woman before a macho society, and recognizes that in all women there is something of the Bella Otero. For the repeater teacher and choreographer, who has danced with the National Ballet of Spain roles of prima ballerina as Medea O La Celestina, this character is a great motivation and a great challenge for having to face the language of a choreographer with whom I had not worked as a dancer until now, Ruben Olmo, and to achieve the physical form that every dancer requires to go on stage again.

Music and costumes

In the same way that the choreography fuses different styles of dance, the music of The Beautiful Otero integrates compositions of various forms and composers into the symphonic score. The composer and conductor Manuel Busto has coordinated the creation of the score, in which they have participated Alejandro Cruz Benavides Y Augustine Diassera. further, guitarists have collaborated with flamenco compositions Diego Losada, Victor Marquez, Enrique Bermúdez Y Pau Vallet; and the group Strange people has set the scene that takes place in Galicia with his particular psychedelic Celtic rock. Fragments of the opera have also been inserted in the work Carmen, Bizet, and the zarzuela Last year for water, of Chueca and Valverde.

"My main challenge when developing the arrangements and orchestrations was not to lose an iota of freshness and original personality., but they will be inserted as a natural part of the work ", explains Manuel Busto. The final result "is a music without prejudices in its conception and that does not renounce anything".

The Community of Madrid Orchestra (BARREL) will perform the score live at the Teatro de la Zarzuela under the direction of Manuel Busto. The original music has also been recorded by the students of the Barenboim-Said Foundation to be used in the functions of other theaters where a live orchestra is not available, as well as in rehearsals.

The designer Yaiza Pinillos has drawn the near 200 designs that require scenes from The Beautiful Otero, set in very different places and situations. The Canarian creator has used multiple sources of inspiration and research, from the photographs of José Ortiz Echagüe to the paintings of Zuloaga, Manet, Ramon Casas, Boldini or José Cardona. There is also no shortage of reworkings of Jacques Doucet and Balenciaga models, and even contemporary couturiers like Issey Miyake or Alexander McQueen who, passed through the Belle Époque filter, offer amazing results.

The centerpiece of the protagonist's wardrobe is the Byzantine-style beaded gown that Bella Otero wears in one of her most iconic portraits., signed by Reutlinger. ”I am especially proud of that design because it is a reworking of that well-known image of Otero that I think we have been able to enrich through a look that, more than emulating it, evokes her, adding effects that enrich the staging and that reflect the essence of an era ".

One of the challenges of the designer has been to combine the narrative character of the costumes with the danceability and the ease of switching between scenes., also complicated by the characterization of the characters, who wear wigs, beards, mustaches and hats to faithfully represent the time in which the story unfolds.

Scenography and lighting

The challenge for the set designer Eduardo Moreno In his first job for the National Ballet of Spain, he has been to promote the rhythm in the succession of scenes because the dramaturgy of the work requires great agility when going through many moments in the life of Bella Otero. Its design vertebrates the space through a great architectural element, a dome, that frames the whole show and hosts the different scenes, differentiated by some simple ones that identify the time and place. It also meets the requirement that the production can easily rotate through different theaters., to adapt to the itinerant vocation of the National Ballet of Spain.

Meanwhile, Juan Gómez-Cornejo, National Theater Award, I had the difficult task of wrapping Bella Otero with light. "The light must accompany, clothe, help and, if this would be possible, caress those dancers and dancers so that the story reaches the stalls with the greatest clarity and the same emotion with which it was created ". Lighting travels through the character's story to help recreate the places and situations they lived through, from rural Galicia reminiscent of Goya's black paintings to the Portuguese countryside illuminated by the full moon or the bright lights of theaters and casinos.

After its premiere in Madrid, the National Ballet of Spain will represent The Beautiful Otero the days 26 Y 27 May 2022 at Teatro de la Maestranza in Seville. Before, as the closing of the season 2020/2021, will participate the 7 August at the Santander International Festival, With the program Invocation. This year, in an unusual way, there will be three occasions in which the National Ballet of Spain will perform in Madrid. After the absolute premiere of La Bella Otero, are scheduled Centennial Antonio Ruiz Soler at Teatro Real of the 13 al 16 October, e Invocation, at Teatro de la Zarzuela, of the 10 al 22 from December.

About the National Ballet of Spain

The National Ballet of Spain (BNE) is the benchmark public company of Spanish dance since it was founded in 1978 under the name of Spanish National Ballet, with Antonio Gades as first director. It is part of the production units of the National Institute of Performing Arts and Music (INAEM), under the Ministry of Culture and Sports. The purpose of the BNE is focused on preserving, disseminate and transmit the rich Spanish choreographic heritage, collecting its stylistic plurality and traditions, represented by their different forms: academic, stylized, folklore, bowling and flamenco. Likewise, works to facilitate the approach to new audiences and promote their national and international projection within a framework of full artistic and creative autonomy.

Ruben Olmo, director of the National Ballet of Spain

Ruben Olmo, National Dance Award 2015, has joined the National Ballet of Spain in September 2019 with the intention of working for the preservation, the dissemination and mobility of the traditional repertoire of Spanish Dance, also incorporating new creations and opening the doors to the avant-garde and experimentation. This is his second stage at the BNE, company was part of it as a dancer between 1998 Y 2002.

Since 2011 He served as director of the Andalusian Flamenco Ballet, Institution dependent on the Junta de Andalucía, with which he premiered his own productions such as Cry for Ignacio Sánchez Mejías O The death of a minotaur. Previously, formed his own company, for which he created shows like Once upon a time, Belmonte, Poe's temptations, Hours with you, Naturally flamenco Y Navigator Dialog. He has also collaborated as a choreographer or dancer with leading figures of Spanish Dance such as Aída Gómez, Antonio Najarro, Eva Yerbabuena, Victor Ullate, Antonio Canales, Rafael Amargo, Isabel Bayón and Rafaela Carrasco.

FLORIAN BOESCH & MALCOLM MARTINEAU

Florian Boesch has been during this season resident artist of the Lied cycle performed by the Teatro de la Zarzuela and the National Center for Dissemination of Music. Boesch ha sido, so, the one in charge of opening and closing the cycle. This time, interpreting a work that he knows well and that we could already hear in 2015 at the Juan March Foundation.

Is about Travel book from the Austrian Alps, op.62 (1929) (Austrian Alps travel book) composer Ernst Krenek (1900-1991), work composed in the last blows of romanticism and before Krenek entered twelve-tone.

Krenek was one of the most significant representatives of the call Entartete Musik (degenerate music), that started in 1938 as a clear consequence of the Entartete Kunsy (Degenerate art), which started a year earlier in Düsseldorf. He was strongly linked to the cultural world of Weimar Germany and influenced by the great musicians of his time, becoming one of the enemies of the Nazi regime.

On this peculiar journey through the Alps, Krenek expresses his love for Austria and its cultural and natural heritage. But it is also an advanced critique of what mass tourism will be later and the effects it has on natural spaces.. The texts, written by Krenek himself, are loaded with irony and criticism of manners that are fully topical.

Florian Boesch addresses this repertoire, perfect for your instrument, with freshness and expressiveness. With that way of hers to say and accentuate each phrase. Articulating the sound in a recitative sung which he accompanies with descriptive gestures. His sympathy on stage brought a more casual and appropriate touch to this trip to the Alps.

The piano score described by Krenek is full of originality. Walk parallel to the vocal score, accompanying her with great fluency. What creates a unique and curious atmosphere, with a differentiating pattern within the lied. Its interpretation has been in charge of Malcolm Martineau, Boesch's regular companion who made clear his knowledge of this repertoire and the generous mastery of reading he made of writing.

An excellent end to the XXVII Cycle of Lied in a complicated season but resolved in an extraordinary way by its two organizers. We look forward to immersing ourselves soon in the XXVIII that is, definitely, the best Lied cycle you can attend.

Photograph (c) Rafa Martin

Ángel Ruiz

There are music that from listening to them so much, to accompany us so much, they end up coloring our existence to their liking. Some years, some hours, some moments. They stay, they stayed to live inside us like a vital organ. Essential. This is precisely the essence of the trip that they propose to us the tenor and actor Ángel Ruiz and the pianist César Belda in the recital that they will offer tomorrow Tuesday, 15 of June (20h00), to culminate the Notes from the Ambigú Cycle from the Teatro de la Zarzuela.

Compositions that marked the careers of their authors and performers, and that became essential hymns, in personal belongings of the public's emotional baggage. Songs that fly from Argentina with Caesar Illera, Ariel ramirez, Juan Carlos Cobian, Chestnut Chub O Fito Paez; to Peru with Chabuca Granda; to Venezuela with Simon Diaz; to Cuba with Snowball O Pablo Milanes; to Chile with Violeta Parra O Victor Jara; to Brazil with Vinicius de Moraes.

And so, in full flight of evocation and delight, Notes from Ambigú cycle will be dismissed this season. With the unalterable complicity between audience and performers. With the intimacy that turns music into a sacred heritage.

Florian Boesch

He Monday 14 of June, the Austrian baritone Florian Boesch will offer the last recital of the season of Lied Cycle of the National Center for Musical Diffusion (CNDM) coproduced with Teatro de la Zarzuela. With this concert, Florian Boesch culminates his stage as resident artist in the cycle, which has resulted in 3 concerts throughout the season 20/21. In this his third and last recital, the singer will put his vocal versatility and extensive expressive resources at the service of the post-Romantic cycle of the Austrian composer Ernst Krenek, Travel book from the Austrian Alps (Travel book through the Austrian Alps), a demanding vocal and emotional tour de force for any opera singer. Concert tickets have a general price of 4 a 35 euros, and they are for sale in www.entradasinaem.es, on the phone 91 193 93 21, as well as at the ticket offices of the Teatro de la Zarzuela and the INAEM network of theaters.

Ernst Krenek's "Travel Book" (1900-1991) is one of his most famous works and reflects the composer's love for the landscapes of his native land and its nature. It is also a product of the decade of 1920, when memories of the horror of World War I were still hot and the impending catastrophe of World War II was anticipated. According to the critics, the work offers clear resonances of Schubert, whose work greatly influenced Krenek during his early creative period. He will accompany the piano to Florian Boesch the prestigious Malcolm Martineau.

In his first concert as a resident artist in the cycle of lied the past 28 September and accompanied on piano by Justus Zeyen, Boesch performed a selection of lieder by Franz Schubert and Hugo Wolf alongside the Six monologues from "Jedermann" de Frank Martin. In the second recital, held on 25 from January, and again with Zeyen, Boesch gave life to the essential Winterreise Schubert.

With ten concerts scheduled between September 2020 and June 2021, along the XXVII Cycle of Lied Some of the most important lyrical voices of today have stepped on the stage of the Teatro de la Zarzuela, as the Anna Lucia Richter, Sabine Devieilhe, Matthew Polenzani, Christian Gerhaher, Bejun Mehta, Christoph Prégardien Y Nuria Rial. Different styles, timbres and colors for an edition that has brought together some of the voices that resonate in the best music venues in the world.

Florian Boesch, strength and emotion

Born in Saarbrücken in 1971, Florian Boesch He is one of the most prominent lied performers of our time. He has sung in venues such as London's Wigmore Hall, Musikverein y Konzerthaus de Viena, The Concertgebouw de Ámsterdam, Laeiszhalle de Hamburgo, Philharmonie Cologne, as well as at the Edinburgh and Schwetzingen Festivals, May Festival Wiesbaden, Salzburg Festival, as well as at Carnegie Hall in New York. He was an artist in residence at London's Wigmore Hall in the season 2014-2015 and at the Vienna Konzerthaus in the 2016-2017. He regularly works with the most prestigious orchestras and conductors on the current scene: Vienna and Berlin Philharmonic, Royal Concertgebouw Orchestra de Ámsterdam, Gewandhausorchester de Leipzig, State Chapel of Dresde, London Symphony Orchestra, among other, and directors of the stature of Ivor Bolton, Riccardo Chailly, Gustavo Dudamel, Adam Fischer, Iván Fischer, Valery Gergiev, Stefan Gottfried, Daniel Harding, Philippe Herreweghe, Pablo Heras-Casado, Mariss Jansons, Sir Roger Norrington, Sir Simon Rattle, Robin Ticciati and Franz Welser-Möst. In season 2019/2020 offered a variety of concerts that included War Requiem (Britten) with the Orchester de Paris and Daniel Harding, Monologues from "Jedermann" (Martin) with the Konzerthausorchester Berlin and Juraj Valčuha, Requiem (Mozart) with the National Orchestra of Spain and David Afkham. During the season 2019/2020, Florian Boesch has sung at the Frankfurt Opera, el Festival Liszt en Raiding, the Vienna Musikverein, el Concertgebouw and Ámsterdam, the May Festival in Wiesbaden and the Konzerthaus Berlin with Vikingur Ólafsson. His recordings have been acclaimed by the international press and he has received numerous awards, including the Edison Klassiek Award. the beautiful Miller was nominated for a Grammy 2015 in the category Best Classical Vocal Soloist. Early september 2017, Hyperion released a new recording of Winterreise by Schubert with Roger Vignoles at the piano. In the fall of 2018 made a recording of works by Schubert with Concentus Musicus Vienna under the baton of Stefan Gottfried. Boesch's recordings featuring works by Schumann and Mahler were honored at the BBC Music Magazine Awards.

Teatro de la Zarzuela 21/22

Daniel Bianco, director of Teatro de la Zarzuela: "A new season is a new illusion that promises a future, it is a horizon that offers hope, something we all need now more than ever "

They will be presented 10 musical theater titles, 4 recoveries lyrical heritage, 6 large repertoire productions and 5 new productions

They offer 164 functions, maintaining the average of recent years

One of the main lines of programming is once again the figure of women in Spanish music, expanding and dedicating the cycle Chamber Sundays Women with Ñ in full and for the second consecutive year to Spanish composers, as well as the recital of “Notes from the Ambigú " A Woman in Music –On the occasion of International Women's Day– and the concerts Zarzuela has a woman's name by Rosa Torres-Pardo and Nancy Fabiola Herrera based on romances that have the woman as the protagonist and Women of Music by Sole Giménez

He Zarza project –Strap made by young people for young people– recently awarded the Opera XXI Award for Best Development Initiativeof the Lyric, will again be a fundamental piece of the season, and the didactic projects they will again surpass the 20% programming

He Concerts cycle will offer 8 proposals some of the leading voices of lyric, he flamenco, he pop and popular music

The cycle 'Notes from the ambigu', that continues its incessant public success, offers 10 recitals

The cycle, "About…", hand in hand with the musical director of the Theater, Guillermo García Calvo

They will return, Likewise, he Musical Chamber Theater in co-production with Juan March Foundation and the ciclo de Lied, coproduced with CNDM

Remain the reasonable prices (4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute.

He Teatro de la Zarzuela presents Season 2021/2022 whose 164 functions scheduled, what maintain the average of recent years, will be the embodiment of a new horizon in sight. This is what he points out Daniel Bianco, colosseum director, that labels the new course as "the season of illusion". And the confidence and the good tuning is not for less, since in the season that we are still the fierce threat of the covid has not been able to with this Theater: “We can proudly say that we have not delayed a single performance or canceled a single day due to covid ", points, and indicates that "all the productions of the theater, concerts and recitals have been carried out to this day ".

And he does not want to fail to mention anyone in this arduous task that has involved carrying out an entire program with the hostile circumstances that the entire society still faces.: “It has been an effort of all. Technicians, Choir, Singers, dancers, actresses, Actors and Artists who love and arm the Theater with the mission of raising the curtain every night. And so we did, mission accomplished", affirms with an undisguised satisfaction.

This explains the illusion to which the director alludes as the motto of the season in the headline of the presentation.; illusion because the music, zarzuela, will continue to play on this stage in the next season. "I firmly believe that music and scene are capable of changing the world and together improving it, and that its miracle is present when the public and artists participate in the same rhythm, the same song, the same dream, the same breath ".

And complacency transforms into deep emotion when he alludes to the public. "When we started the season we didn't know how he was going to react, if he would accompany us on this path, if I would be afraid to return ... But the response has been excellent: has once again demonstrated its loyalty by going to all our functions, following our broadcasts by streaming, our conferences and online meetings with artists. Being part of life, of the day to day of this theater ". And with a categorical statement, supports the certainty that there is only room for excitement and gratitude: "Without the audience this theater would not exist".

And Daniel Bianco wants to remember that extreme caution to which at the beginning of the season that now ends, alluded to as the only possible way to function: “As a public theater this is our first responsibility and our commitment: prudence has guided our steps and we have completed the entire season rigorously complying with all the recommendations and regulations that protect us from the coronavirus dictated in the INAEM protocol ".

The season

This that is presented is the sixth season since Daniel Bianco arrived at the Theater (although it could also be presented as the season 162 Since its founding in 1856): "This is one more stage of a long-range project whose objective pursues a specific purpose: that the Teatro de la Zarzuela continue to fulfill the mission with which it was born, which is none other than be the privileged setting of Spanish musical theater, with the inalienable vocation of being a public theater, accessible and affordable, open to anyone who wants to discover and enjoy the Spanish lyrical heritage. These are the reasons why - as our statutes say - we are and will continue to be the National Lyric Theater ".

Thus, and under that maxim, in the next season they will be presented 164 functions, maintaining the average of functions of the last years; 10 musical theater titles, of which 4 They are recoveries of the Spanish lyrical heritage: two of them in concert and two on stage; in addition to 6 lyrical titles of the great Zarzuelistic repertoire. The concert cycle with 8 proposals ranging from lyric, flamenco, pop or popular music and the cycle notes of the ambigu with 10 recitals. further, The Sunday Chamber series dedicated to Spanish female creators is extended he starts walking a new cycle by the musical director of the Theater, Guillermo García Calvo.

Similarly, The already veteran collaborations with the National Dissemination Center Musical (CNDM) in the Lied cycle, and with the Foundation Juan March in the Cycle of Chamber Music Theater.

Regarding the tickets, the reasonable prices (from 4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute. Daniel Bianco states in this regard that this is one of the essential functions of a public theater: be "truly" everyone's theater. Maintaining this price scale ”is a huge effort, a sacrifice that is absolutely necessary ”, indicates.

LYRIC

The statutes that govern the spirit and operation of the Teatro de la Zarzuela say it very clearly: the coliseum erected in 1856 should, without any pretext, safeguard and spread the Spanish lyric genre. Thus, the season will begin with the recovery of one of the capital titles of Spanish opera. We talk about ‘Circe’, work of great significance in the history of Spanish opera because in it Ruperto Chapí develops to its last consequences its own style that the Wagnerian avant-gardes assume and transpose them to the Spanish lyric. Not in vain, ‘Circe’ was (together with ‘Farinelli’ from Bretón and ‘María del Pilar’ from Giménez, both also recently recovered by the Teatro de la Zarzuela) one of the titles of the opening season of the Teatro Lírico de Madrid, Coliseum that was built precisely to give space and opportunities to Spanish opera, in contrast to the Italian and French opera that dominated the city's lyrical billboard. It will be directed by Guillermo García Calvo and will feature the voices of Session Hernández, Alejandro Roy, Rubén Amoretti and Pilar Vázquez. They will 2 functions in concert version the days 10 Y 12 of September.

After 20 years without performing at the Teatro de la Zarzuela, one of the most beloved and celebrated titles by the public faithful to the genre and its theater returns to its stage: ‘Los Gavilanes’. This was precisely the first foray of the Master Jacinto Guerrero in the big zarzuela, and it has remained until today in the repertoire and in the sentimental memory of fans. The play talks about immigration, of the passage of time, of young loves and forgotten loves. This new production of the Teatro de la Zarzuela will have as musical director Jordi Bernàcer and as stage director to Mario Gas. Have been scheduled 13 functions 8 al 24 October, and will have the participation of Juan Jesus Rodriguez, Javier Franco, Maria Jose Montiel, Sandra Ferrández, Marina Monzó, Leonor Bonilla, Ismael Jordi, Alejandro del Cerro,
Lander Iglesias, Esteve Ferrer, Ana Goya,
Trinidad Iglesias, Enrique Baquerizo, Mar Esteve and Raquel del Pin. The scenography will be Ezio Frigerio, your wardrobe Franca Squarciapino and lighting Vinicio Cheli.

Now a year ago, when we were still coming out of confinement, the Teatro de la Zarzuela promised to relocate all the shows that were affected between March and June 2020. During this season, all the concerts and recitals that had to be postponed have been rescheduled., and last January the new production of ‘Luisa Fernanda’ scheduled for May 2020. In November 2021 he will get over ‘La Tabernera del puerto’, a production that was not only affected by the confinement, but also by the strikes of 2018 against the merger of the Teatro Real and the Teatro de la Zarzuela. On that occasion, only five functions could be held. In november of this year, the public can enjoy, between 19 and the 28 of November from 8 functions of this essential title of Pablo Sorozábal, with musical direction by Óliver Díaz, scenic of Mario Gas, scenery Ezio Frigerio, wardrobe Franca Squarciapino and lighting Vinicio Cheli. In the distributions they will participate María José Moreno, Sofia Esparza, Damian del Castillo, Rodrigo Esteves, Antonio Gandia, Antoni Bunk, Rubén Amoretti, Ruth González, Vicky Pena, Pep Molina, Ángel Ruiz, Abel García and Agus Ruiz.

If ‘La Tabernera del puerto’ is one of the most popular works of our genre, he Master Sorozábal has not so well known jewelry, as is the case of ‘Between Seville and Triana’, lyrical sainete in two acts premiered in 1950. Between 26 January 6 February They will be offered 10 functions stories of this work that arrives for the first time on the stage of La Zarzuela. As usually happens in all the works of the San Sebastian composer, no one will be indifferent: this time, the dignity of women is vindicated (in the figure of a single mother) against the customs and morality of a time that fortunately is already history. In it we will be dazzled by the most Andalusian Sorozábal that exists, with melodies full of light and others of deep drama. It is a production of 2012 of the Arriaga Theater in Bilbao, the Maestranza Theater in Seville, the Canal Theaters in Madrid and the Campoamor Theater in Oviedo. The musical director will be Guillermo García Calvo, musical director of the house, and the scene Curro Carreras. The scenography is by Ricardo Sánchez Cuerda, the costumes of Jesús Ruiz and the choreography of Antonio Perea. The two casts will have Carlos Alvarez, Javier Franco, Ainhoa ​​Arteta, Carmen Solis, Andeka Gorrotxategi, Alejandro del Cerro, Anna Goma, Jesus Mendez, cross Beitia, Pedro Bachura, Antonio Martinez, Rocío Galán, Nathan Segado Y Lara chaves.

The days 4 Y 6 of March, and again following the policy of recovery of the Spanish lyrical heritage of the Theater, will be rescued from oblivion ‘Tabaré’, magnificent work like all of Tomas Breton. Premiered in its day by the tenor Francisco Viñas in 1913 at the Theatre Royal, It could only be heard in three unique performances and to this day it has never been performed again.. It is a mature composition that synthesizes the melodic lyricism of the Italian tradition, the harmonic treatment of Wagnerian opera and sounds typical of impressionism. Breton himself considered it his most personal and independent work. And the subject on which the argument is developed could not be more particular: the fight between Charruas Indians (that populated what is now Uruguay in the 16th century) and the spanish. An unconventional theme with a libretto by Tomás Bretón himself based on the homonymous epic poem by Juan Zorrilla de San Martín. It will be directed by the teacher Ramón Tebar in front of the Titular Theater orchestra, Community of Madrid Orchestra, BARREL, and the Titular Choir of the Teatro de la Zarzuela, and a cast that has Andeka Gorrotxategi, Maribel Ortega and Juan Jesús Rodríguez.

Another especially important moment will be lived in the month of April: the stage recovery of the musical comedy of Isaac Albeniz ‘The Magic Opal’. It is the first stage work that Albéniz composed for the English public. Premiered in London, in English, in 1893, was quickly translated into Spanish and presented in 1894 at the Teatro de la Zarzuela.
In that occasion, the public did not understand the work because it was far from the Spanish musical tradition. But nevertheless, it is a colorful work, suggestive and fresh: a different Albéniz. The translation of the libretto of 1894 –Titled then ‘The Ring ’– has not been preserved, and that is the reason why for this representation that recovers the title a new translation into Spanish has been commissioned by Javier L. Ibarz Y Pachi Turmo. The musical direction will Guillermo García Calvo, the stage direction and scenography of Paco Azorín, your wardrobe Juan Sebastian Dominguez, lighting Pedro Yagüe and the audiovisual design of Pedro Chamizo. They will lead the deals Ruth Iniesta, Carmen Romeu, Santiago Ballerini, Leonardo Sánchez, Luis Cansino, Rodrigo Esteves, Damián del Castillo and César San Martín. They are scheduled 8 functions 1 al 10 of April.

The following title is an example of great mastery: with just one orchestra composed of the string sections and two harps, Manuel Penella manages to write one of the most beautiful titles in the repertoire. Speaking of ‘Don Gil de Alcalá’, an opera set in the Viceroyalty of New Spain in the 18th century, which will be presented in a production of the Spanish Lyrical Theater Festival of Oviedo signed by Emilio Sagi in 2017. They offer 14 functions 5 al 22 of May, the musical direction will be Lucas Macías and in the distributions they will intervene Celso Albelo, José Luis Sola, Sabina Puértolas, Irene Palazón, Carlos Cosías, Facundo Munoz, Carol Garcia, Lidia Vineyards-Curtis, Esteve Manel, Eleomar Neck, Stefano Palatchi, Simon Orfila, Mary Jose Suarez, David Sanchez, Ricardo Muñiz and Miguel Sola. The scenery is Daniel Bianco, your wardrobe Pepa Ojanguren, lighting Eduardo Bravo and choreography Nuria Castejohn.

And to top off the lyrical season, one of the unavoidable titles of zarzuela, of those who make the genre great and create fans, The barberillo Lavapies' from Francisco Asenjo Barbieri, who will hit the stage in the coliseum production which premiered with thunderous success in 2019, and that he has traveled with the same luck to Sevilla, Oviedo and Valencia. Signed by Alfredo Sanzol, one of our most prominent playwrights and directors, National Dramatic Literature Award in 2017, in the musical he will direct it again José Miguel Pérez-Sierra; the scenery and costumes are by Alejandro Andújar, lighting Pedro Yagüe and choreography Antonio Ruz. Maybe Borja, David Oller, Cristina Faus, Carol Garcia, María Miró, Cristina Toledo, Javier Tomé, Francisco Corujo, Gerardo Bullón and Abel garcia will make up the casts in the 10 functions to go of the 15 al 26 of June.

With the introduction of these 8 titles the theater will continue to be one more year unique example in conservation, diffusion and exhibition of our lyrics, tan fertile as heterogeneous.

CONCERTS: MAIN ROOM, NOTES Ambigú, Sunday Chamber, LIED

After the success of its first five seasons, he CONCERT SERIES in the main room presents 8 new proposals with some of the leading voices of lyric, the popular song, he flamenco and the pop. This makes the Theater a fundamental space in our theater because there is room for the plurality of Spanish music, without prejudice and with a spirit open to all audiences. The singer will open the cycle Sole Giménez presenting ‘Women of Music’, continuation of the concert that already offered last season as part of a broad project that brings together great songs composed and written by women with the intention of making visible the work of women as authors in the world of music (18 October); soprano Lisette Oropesa, internationally acclaimed, He makes his debut at the Teatro de la Zarzuela and will sing for the first time in his career a recital of Spanish and Cuban zarzuela romances: ‘Zarzuela back and forth’. A very special concert with which the singer wants to pay a heartfelt tribute to Cuba, the land of their fathers, and in which she will be accompanied on the piano by Rubén Fernández Aguirre (13 from December); the traditional Christmas Concert, with the teacher Guillermo García Calvo as musical director, who will the soprano accompany Ainhoa ​​Arteta with the Community of Madrid Orchestra and the Holder Choir Teatro de la Zarzuela (30 from December); Estrella Morente, with his privileged voice, unique sense of rhythm, passion and heritage of his elders, This undisputed benchmark of flamenco and Spanish music returns to his home in Madrid to celebrate 20 years as a unique artist. (31 from January); and from one star of the flamenco firmament to another: Archangel, one of the leading singers in the current flamenco scene with an extensive career characterized by the balance between tradition and the avant-garde, it show us 'Bel cante'. With that tireless search for new paths, will immerse the public in a journey through zarzuela, flamenco and opera next to Quintet Tottem Ensemble (5 of March); then the show will come ‘Zarzuela has a woman’s name’ in which two essential artists, the pianist Rosa Torres-Pardo and mezzosoprano Nancy Fabiola Herrera they meet in a recital in which they will “converse” through different romances that have women as the main character (5 of April); Silvia Pérez Cruz. 'Farce (impossible gender)’. Alone: the renowned artist from Palafrugell returns to this stage, alone, with his guitar, creating an intimate space to present their latest album project. (9 Y 10 of May); Xabier Anduaga. 'Our music'. The San Sebastian tenor, brilliant winner of the International Opera Award and the Opera XXI Award for best young singer and before the Zarzuela Operalia Award and also for the Best Young Singer of the International Opera World Competition, will sing for the first time in this Theater a recital of zarzuela and songs by Spanish composers. further, will seduce the public with romanzas and zarzuela arias (21 of June).

Since its inception, five seasons ago, All concerts CYCLE NOTES Ambigú They have hung the sign of ‘sold out places’ and have left a sweet and different taste to any musical experience due to the proximity of the artist with the public that creates an exciting and happy atmosphere. This time, the protagonists will be the soprano Sabina Puértolas with pianist Rubén Fernández Aguirre, who will offer a recital entirely dedicated to Emilio Arrieta (1821-1894) in commemoration of the bicentennial of his birth (28 October); the singers and actors Nuria Pérez and David Pérez Bayona, that accompanied by the pianist Alvaro Ortega Luna, will present ‘Engaged. From musical theater to zarzuela ’. The story of two young people from musical theater who began their career in the Zarza Project and discovered in zarzuela a genre that, without knowing it, it belonged to them (20 October); the bandoneon player Claudius Constantine and pianist Louiza Hamadi that will commemorate the centenary of the birth of Astor Piazzolla (1921-1992) (2 from December); countertenor Alberto Miguélez Rouco with Pablo Fitzgerald (lute) Y Theodore Chest (viola da gamba) will offer us a program dedicated to Cantadas by Jose de Torres (1670-1738), one of the most important composers of the Spanish Baroque; choirmaster, editor musical, organist and composer of zarzuela (4 from January); the tenor Enrique Viana, accompanied by pianist Ramón Grau, will give the public an hour and a quarter of lyrics, irony and criticism, reflection and surrealism, of absurdity and reality told and sung. A ≪cabaret lirico≫ with music from our zarzuela under the title 'Luisa Fernanda, I already have Instagram’ (7, 8 Y 9 from January); the soprano Carmen Romeu and pianist Borja Mariño will present 'My home ’, a program with which we will discover music by Valencian composers such as Oscar Esplá, Manuel Palau Boix, Miquel Asins Arbó, Angeles Lopez Artiaga Y Matilde Salvador, among others (11 February); on the occasion of International Women's Day, actress-singer cross Beitia will offer the recital ‘A woman in music’ dedicated to women composers of popular music such as Chabuca Granda, Mercedes Sosa, Violeta Parra, Consuelo Velázquez O Cecilia, and with César Belda the piano (8 of March); the tenor David Alegret and pianist Rubén Fernández Aguirre they will offer the recital ‘Catalans around the world’ with works by Catalan composers who also composed in other languages: in Catalan, Eduard Toldrà; in German, Joan Manen; in French, Pau Casals; in Spanish, Jaume Pahissa; or in italian, Isaac Albeniz; among others (18 of April); 'Contemporary Spanish Music'. In order to promote the creation of new works for chamber groups, the Teatro de la Zarzuela, in collaboration with the Real Conservatorio Superior de Música in Madrid, summons a composition contest for young composers. The three winning works will be premiered at this concert by the Ensemble Opus 22 (28 of June); and to close the cycle the guitarist Rafael Aguirre will dedicate his recital 'The last romantics' to the music of Francisco Tárrega e Isaac Albeniz (4 of July).

He CYCLE SUNDAYS OF CAMERA: WOMEN WITH Ñ. Third edition of the cycle of Spanish chamber music that for the second year in a row she will be fully dedicated to the role of women in music in her role as a composer. With this cycle the Theater wants to continue with the dissemination of these works, many unpublished, and discover to the public the excellent quality of the creations of these Spanish composers who rarely had or have due recognition for their creations. In this way, some of our 20th and 21st century composers will be valued as Maria Teresa Prieto, Rachel Garcia-Tomas, Claudia montero, Diana Perez Custodio, Illuminated Perez Frutos, Laura Vega, Maria Jose Arenas, Mercedes Zavala, Dolores Serrano, Marisa Manchado, Sonia Magías, Cruz Lopez de Rego, Zulema de la Cruz, Maria Rosa Ribas, Emma Chacon, Elena Mendoza, Emiliana de Zubeldia, Gabriela Ortiz, Nuria Núñez O Teresa Catalán, among other. And the commitment of the Teatro de la Zarzuela is also with the future of the authors, so that each concert will feature an absolute premiere by young female composers, students of the Royal Conservatory of Music Superior of Madrid. The five appointments of this edition will be: Breton Quartet (7 of November), Cristina Montes, barley (20 February), Sax-Ensemble Quartet (20 of March), trio Arbós (24 of April) Y mario Prisuelos, piano (5 of June). The absolute premieres will be of the students AGarrido sends, Adela Rodríguez Yus, Laura de las Heras, Miriam Sanz Ortega and Nuria M. Sanchez Sanchez.

On the other hand, he CICLO THE SONG, in co-production with National Dissemination Center Musical (CNDM), will celebrate its XXVIII edition with 10 recitals: the mezzosoprano Ekaterina Semenchuck (4 October), soprano Marlis Petersen (23 of November), soprano Eva-Maria Westbroek (20 from December), baritone Matthias Goerne (7 February), baritone Josep Ramon Olive (21 of March), soprano Katharina Konradi (4 of April), baritone Andre Schuen (17 of May), the tenor Mark Padmore (20 of June), soprano Julia Kleiter with the baritone Christian Gerhaher (11 of July) and mezzosoprano Anna Lucia Richter also next to the baritone Christian Gerhaher (18 of July) and again the baritone Florian Boesch (14 of June), complete the proposal for the new season.

TEACHING PROJECTS. ZARZA PROJECT. MASTERCLASSES

The Teatro de la Zarzuela continues to give special importance to the training and information to the wider public young which will correspond to fill the room of this theater in the future and that, at the same time, must train the generation that takes over. "We have an obligation seduce and make them affordable zarzuela in this century in which we”, asserts Daniel Bianco, who puts into practice its intention as evidenced by the fact that more than 20% Theater programming is dedicated to young audiences, and to such an extent that the response is positive the average age of viewers has fallen Theater in the last five seasons in a decade.

In the new Season a total of 30 functions between the shows that make the didactic project.

Zarza PROJECT, zarzuela made by youth for youth, a project that has just received the Opera XXI Award for the Best Lyric Promotion Initiative, is a resounding success every season. In the five that it has been running, have passed through the seats of the Theater more than 35.000 spectators -of which more than 21.000 they have been school from among 12 Y 18 years- who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma', 'Water, Azucarillos y Aguardiente ’and‘ Amores en Zarza ’, and close to 100.000 who have been able to enjoy it online. How could it be otherwise, In the season 2021/2022 the project is back with force and with a record number of nominations for the Auditions: more of 800 young artists have appeared at the same. This year the project will present a new production of the musical by maestro Jacinto Guerrero 'The green envelope' the original libretto of Enrique Paradas and Joaquín Jiménez will be reviewed by the playwright Álvaro Tato. With stage director Nuria Castejón, musical of Cecilia Bercovich, scenery Ricardo Sánchez Cuerda and wardrobe Gabriela Salaverri, the cast will be formed as usual, by a group young singers and actors from among 18 Y 30 years elected after a audition process and accompanied by a chamber music ensemble. The 12 functions They will be offered of the 21 al 26 February 2022.

And the didactic projects stand out one more year because, thanks to them, he Ambigú del Teatro once again has the function of a show space for the fifth consecutive year. After two exciting deliveries 'Lost in Bosco' and those of the overwhelming success of 'The incredible story of Juan Latino', The puppet theater with live music will return to Ambigú. The proposal will be on this occasion the premiere of the work ‘The sky of Sepharad’, co-produced by the Claroscvro Theater and Company. Will be others 18 functions between 25 May and 3 June 2022.

Also framed in educational projects, soprano Nicola Beller Carbone, distinguished by a peculiar artistic profile, in which he takes care of the interpretive aspects as well as the musical ones, and what in 2019 founded LIBERAinCANTO to teach master classes for lyrical singers in which he works acting and singing from imagination and creativity, will offer of the 21 al 27 March master classes for young artists.

DANCE

In the next season, dance will also be the protagonist through the two national companies, Theater residents: He National Ballet of Spain arrives with the program 'Invocation', expressly designed for the company by its director, Ruben Olmo, offers a global vision of Spanish dance, encompassing most of their styles, from bowling school to stylized dance and stylized flamenco. It also includes a special tribute to the dancer and choreographer Mario maya (1937-2008), one of the great masters of our dance. They will eleven functions 10 al 22 from December. Meanwhile, the National Dance Company directed by Joaquin de Luz will present a triple program made up of the choreographies'Polyphonia’ from Christopher Wheeldon with music György Ligeti, ‘Big gap' from Hans van Manen with music by Ludwig van Beethoven and 'DSCH concert ' from Alexei Ratmansky with music Dmitri Shostakovich. They will ten functions of the 7 al 17 of July.

CHAMBER MUSICAL THEATER

Another cycle that prevails each year renewed in energy and intent is the one dedicated to Musical Chamber Theater in collaboration with the Juan March Foundation. Of the 26 September to 4 October They will be presented the seven functions 'The Three Gobbi' (‘The Three Hunchbacks’) from Manuel García, what could not premiere in its day because of the pandemic. With libretto by the Sevillian musician himself from the 18th century, based on the intermediate of Carlo Goldoni, It is a New coproduction between the two institutions, which again shows that the combined efforts It lets go further. The musical direction of this chamber opera will Rubén Fernández Aguirre, one of the most prominent experts in the work of Manuel García, who will also perform music on the piano. The stage direction is José Luis Arellano, the scenery of this and Pablo Menor Palomo, your wardrobe Ikerne Giménez, lighting David Picazo, the choreography of Andoni Larrabeiti and the cast make it up Cristina Toledo, David Alegret, David Oller, Javier words Y Andoni Larrabeiti. As usual, The representations will be at the Fundación Juan March.

GREAT VOICES FOR ZARZUELA

One of the achievements that distinguishes the Teatro de la Zarzuela is that of bringing together the great lyrical voices that sing in Spanish each season. A) Yes, in the next we will have the opportunity to enjoy the art of singers such as CARLOS ÁLVAREZ, AINHOA ARTETA, SESSION HERNÁNDEZ, LISETTE OROPESA, NANCY FABIOLA HERRERA, ISMAEL JORDI, María José Montiel, JUAN JESÚS RODRÍGUEZ, SABINA PUÉRTOLAS, XABIER ANDUAGA, ANDEKA GORROTXATEGI, CELSO ALBELO, RUTH INIESTA, SIMÓN ORFILA, CARMEN ROMEU, JOSÉ LUIS SOLA, CAROL GARCIA, MARINA MONZÓ, BORJA MAYBE, CRISTINA FAUS…, and so many and so many others that only their names make the season a truly unique experience.

The King who Rabbi-1

The King who Rabbi-2

The King who Rabbi-3

The King who Rabbi-4

The King who Rabbi-5

 

The King who raged
Zarzuela in three acts
Music by Ruperto Chapí
Libretto by Miguel Ramos Carrión and Vital Aza
D. musical: Ivan Lopez Reinoso
D. scene: Barbara Lluch
Scenography: Juan Guillermo Nova
Locker room: Clara Peluffo Valentini
Lighting: Vinivio Cheli
Orchestra and Choir of the Community of Madrid
Distribution: Enrique Ferrer, Rocío Ignacio, Maria Jose Suerez, Rubén Amoretti, José Manuel Zapata, Carlos Cosías, Igor Peral, Jose Julian Frontal, Alberto Frias, Sandro Lamb, Pep Molina, Ruht González and Antonio Buendía El Teatro de la Zarzuela wanted to end this special season, with an essential title of Spanish lyric, "The King who raged", of the teacher Ruperto Chapí, 130 years after its premiere on 20 April 1891 in this same theater.

At that time, Queen María Cristina was regent, waiting for the coming of age of Alfonso XIII. But it is not this king that the play alludes to, but to Alfonso XII and other politicians and soldiers of the time.

The libretto is by two of the best playwrights and comedians of the moment, Miguel Ramos Carrión and Vital Aza, who created a script full of timeless situations and characters, of entanglements and comic situations in the Spain of the Restoration. A critical script with all levels of power, highlighting with much humor the most theatrical part of the politics developed in a court that could well belong at the time of its premiere or, like never before, to the present most current, with the deception of the rulers as the main protagonist.

This new production of the Teatro de la Zarzuela del "Rey que rabió" has been in charge, scenic, of the already acclaimed in this Theater for "La Casa de Bernarda Alba" in 2018, Barbara Lluch. This time, the scenery, enhanced by Clara Peluffo Valentini's wardrobe, give the work the appearance of a school function, the one that is done at the end of the course. The costumes are very colorful and cheerful, but together with the rest of the scenic elements, create an exaggeratedly childish outfit. Like the dramatization of the characters, almost all too histrionic, especially the Captain of Alberto Frías, who sinned from over acting buff. María José Suárez and Sandro Cordero, like Maria and Juan, they were a little more balanced in their comic part, although equally exaggerated.

The most prominent were Ruth González Mesa, as the King's Servant Page, Rubén Amoretti, as El General, that showed his vocal quality when the humor allowed him and a Manuel Zapata like Jeremías, something happened too, but that he knew how to maintain the theatrical balance and not drag the character.

The main characters did not know how to measure up. The soprano Rocío Ignacio, as Rosa, she did not look like a peasant at any time. Rather, she continued playing her role as Luisa Fernanda this season.. It cost him the odd boo from the public.

The other protagonist was Enrique Ferrer, the king, we don't know if it raged or not, but he didn't have his night either. Little grace in the interpretation and little vocal consistency. The choice of a tenor for this role was not successful, when Chapí's score indicates that it is for soprano.

Only the well-known Choir of Doctors took us to the wonderful music of the composer, with a brilliant choir performance, as usual. Vinicio Cheli's lighting contributed to make this scene the best of the representation.

It was not the night of the musical director Iván López Reinoso either. Slow to exhaustion, with a burst sound and without taking advantage of an orchestra that demonstrates, as soon as you have the chance, the quality it treasures.

A shame to end such a special season and that has been at such a high level. But, the best clerk takes a blur and we look forward to the next season.

Text: Paloma Sanz
pictures: Javier de Real

Sunday Chamber

Fully dedicated this season to the music composed by women, he cycle ‘Chamber Sundays’ of the Teatro de la Zarzuela will put the golden closure this next Sunday 6 June at 12:00 with the recital ‘Make the americas’.

The reason for the title ‘Make the Americas’ is geographic, cultural, historical and even sentimental. Result of that important and magical back and forth flow that permeates everything on both sides of the Atlantic and that makes it grow on each shore before starting back. This Sunday's concert will be portrait of this endless tide that combines values ​​and tradition. Two of the composers are Ibero-American: Macarena Rosmanich, From Chile, Y Ana Lara, from Mexico, and another, Diana Pérez Custodio, Cadiz (Cádiz, crucial port on the route of the Americas). By last, as in the rest of the concerts of the cycle, the recital includes an absolute premiere by a student from the Conservatorio Superior de Música de Madrid, and in this case it will be Sofia Sainz with his work ´Yugen, for harp, cello and double bass.

The soloists of the Community of Madrid Orchestra (BARREL), Head of the Theater, who will participate in Sunday's concert will be Amaya barrachina (fiddle), Eva Martin (viola), Angel Garcia Jermann (cello), Luis Christmas (double bass) Y Ana Maria Reyes (barley).

This second edition of the ‘Chamber Sundays‘ cycle, that with this concert comes to an end, has meant an exciting journey through a unknown Spanish musical heritage. From the hand of soloists from ORCAM, each concert has highlighted the extraordinary value of Spanish composers of the 20th and 21st centuries as Maria Rodrigo, Maria Teresa Prieto, Pilar Jurado, Teresa Catalán, Mercedes Zavala, Zulema de la Cruz, Marisa Manchado, Rosa Alarcó O Diana Pérez Custodio among many others.

The cycle has welcomed four absolute premieres of students of the Royal Conservatory of Music of Madrid: Amanda garrido, Miriam Sanz Ortega, Laura de las Heras and Sofia Sainz.

Zarza project

He Zarza Project of the Zarzuela Theater He has been awarded the Opera XXI Award for Best Development Initiative of the Lyric in the third edition of these awards, considered the National Lyric Awards, whose ruling was made public today.

Zarza is one of the star initiatives of the Teatro de la Zarzuela. It is an artistic and informative project created by the director of the Coliseum, Daniel Bianco, that under the motto "Zarzuela made by young people and for young people" has the objective that the young generations know the Spanish lyrical heritage, to approach new audiences and to open the door to new generations of artists.

In the words of Oriol Aguilà, President of ÓPERA XXI and the jury of its Awards, as well as director of Peralada Festival, The award has been granted because the Zarza Project "is a benchmark from which we all must learn a lot, for his intelligence, courage, communication skills and knowing how to reinvent and explain the Zarzuela, Opera and music to new audiences and especially young people”.

Till the date, in their five editions, has adapted four classics of our boy genre: 'The revoltosa', ‘The duo of the African’, ‘La Verbena de la Paloma’, and water, sugars and brandy ', and has submitted an original title, the recent ‘Amores en zarza’, whose story unfolds through a selection of musical numbers from different zarzuelas. Starring artists from between 18 Y 30 years, the works of ‘Zarza’ adapt the texts and the scene to the contemporaneity of the new public. To the last call for auditions (the one that will nourish the proposal of artists 2021/2022) more than 800 candidates.

Honors, III OPERA XXI AWARDS

CARLOS ÁLVAREZ. Best Singer Award for his portrayal of the role of Rodrigo from the opera ‘Don Carlo’, Verdi, at the Teatro Colón, September 2019, within the lyrical program organized by the Friends of the Opera of A Coruña.

CARLOS CHAUSSON. Special mention for his performance of the leading role in the opera ‘Don Pasquale’ at the Teatro de la Maestranza in Seville in October 2019.

XABIER ANDUAGA. Best Young Singer Award for his brilliant path of success, what, their 26 years, has already established him as one of the best interpreters of today with a outstanding national and international career.

RICCARDO FRIZZA. Best Musical Director Award for his work leading the functions of ‘Lucia di Lammermoor’, Donizetti, at ABAO Bilbao Opera (Euskalduna) in October 2019.

ROBERT CARSEN. Best Stage Direction Awardfor his proposals for the opera ‘Elektra’, Richard Strauss, at Palau de les Arts from Valencia in January 2020, and for his work in the Teatro Real for the functions of ‘The Valkyrie’, Wagner, on February 2020.

TURANDOT, Gran Teatre del Liceu. Award to Best New Production is for the Turandot, Puccini, programmed by the Gran Teatre del Liceu in October 2019. Video artist Franc Aleu debuted as stage director, with Susana Gómez as co-director, filling the stage with visual metaphors, colors and textures, making use of the latest technologies.

ZARZA PROJECT, THEATER OF THE ZARZUELA. Award for the Best Lyric Promotion Initiative.

MY OPERA PLAYER (Teatro Real) / PERALADA LIVESTREAM FESTIVAL. Equally, Best Digital Initiative Award during confinement.

OLA AWARD, in collaboration with Ópera Latinoamérica. Award to Best New Latin American Production fell on the production of ‘The Italian in Algiers’, Rossini, that could be seen in the Municipal Theater of Santiago de Chile in October 2019, with stage direction by Rodrigo Navarrete and musical by José Miguel Pérez-Sierra.

HONORARY AWARDS

EMILIO SAGI. Lifetime Achievement Award, Honorary Award to the Person, after celebrating forty years of career as a cultural manager and stage director.

TELEPHONE COMPANY. Award to Best Patronage Initiative, for their commitment to support the seasons of different theaters, festivals, educational and dissemination programs and an approach to opera, especially highlighting his sensitivity in the work of audiovisual and digitization projects.

FRIENDS OF THE BRICK WORK. He Honorary Award this time distinguishes the Maó Opera Season, organized by the Menorcan association of Friends of the Maó Opera, for its important task of promoting, promotion and diffusion of the opera during 50 uninterrupted seasons.

Opera XXI brings together 25 theaters, opera seasons and festivals stable of our country and has two honorary member theaters of enormous relevance. It is formed by:

ABAO BILBAO OPERA

CANARIAN FRIENDS OF THE OPERA

FRIENDS OF THE LA CORUÑA OPERA

FRIENDS OF THE OPERA OF MAHÓN

GAYARRE ASSOCIATION OF FRIENDS OF THE OPERA

OPERA VIGO FRIENDS ASSOCIATION

TENERIFE AUDITORIUM

PERALADA CASTLE FESTIVAL

BALUARTE FOUNDATION OF PAMPLONA

FUNDACIÓ ÒPERA DE CATALUNYA

OPERA DE OVIEDO FOUNDATION

Gran Teatre del Liceu

GREAT THEATER OF CÓRDOBA

PALACE OF THE ARTS OF VALENCIA

ARRIAGA THEATER OF BILBAO

CALDERÓN DE VALLADOLID THEATER

CAMPOAMOR THEATER OF OVIEDO

CERVANTES THEATER OF MÁLAGA

ALBACETE CIRCUS THEATER

TEATRO DE LA MAESTRANZA DE SEVILLE

MAIN MENORCA THEATER

MAIN THEATER OF PALMA DE MALLORCA

REAL THEATER OF MADRID

VILLAMARTA DE JEREZ THEATER

THEATER OF THE ZARZUELA OF MADRID

 

Honorary members:

COLÓN THEATER OF BUENOS AIRES

SAN CARLOS DE LISBOA THEATER

The King who raged

Sometimes the freshness and the present are not at odds with the passage of time. 130 years, It was exactly a century and three decades ago that ‘El rey que rabió’ was premiered at the Teatro de la Zarzuela -to whose stage it has not been on in 12-, and the public continues to await it with enthusiasm and enjoy it with the same implication as if it were a new creation. That is one of the most memorable secrets that make the theater a magical experience, a unique and universal manifestation. Fortunately we will be able to check it again, to savor that valuable badge, during the 14 functions what of the new production of the work Ruperto Chapí, Ramos Carrión and Vital Aza They will be offered of the 3 al 20 of June in the same theater that, amid unanimous applause and fabulous criticism, saw her born at the end of the convulsive 19th century.

‘The King who raged’, real big zarzuela, was created by Carrión, Aza and Chapí in 1891, and today is a lyrical theater milestone Y, Of course, of the unique and particular history of the Theater where he was born with the Alicante teacher himself on the podium. Because few kings, nor the most popular in history, nor the most beloved of their peoples, will have been more acclaimed, applauded and cheered that our King in this exclusive kingdom that is the Teatro de la Zarzuela.

And if this title is already a masterpiece, checking the artistic team and the casts responsible for putting it back together makes the interest of this June premiere that will close the lyrical season 2020/2021 Coliseum.

Music & Performance. Excellence and luminosity

The musical direction will be the responsibility of the teacher Ivan Lopez Reynoso, one of the most important young batons in Mexico, newly appointed artistic director of the Orquesta del Teatro de Bellas Artes and partner tenor musical Javier Camarena in so many concerts –including the one offered at the Teatro de la Zarzuela several seasons ago–. Also violinist, successful pianist and countertenor, as a conductor he is a specialist in very diverse disciplines - opera, ballet, modern dance, early music and contemporary music–, will occupy the pit in front of the Community of Madrid Orchestra, ORCAM –The Theater Owner–, of the Titular Choir of the Teatro de la Zarzuela –Which this time has as a challenge the interpretation of some of the most emblematic choral numbers of the genre– and two splendid and more than balanced deals.

The scenic proposal of this new production of ‘El rey que rabió’ it's really surprising. The dynamic and intelligent director Barbara Lluch –Responsible for resounding successes such as the award-winning Zarzuela opera ‘La casa de Bernarda Alba’ by Miquel Ortega- has launched a bright approach very much in keeping with the original spirit of the work: "Is about give the public as much freedom as possible”, explains the film director, whose intention is “that each viewer feels, empathize and interpret the characters, the place and the relationships between them from their own point of view. From his own unique perspective. " And he warns in this regard that it is for that reason that the librettists did not even name the King, nor the General, nor the Governor, nor the admiral, nor to the Mayor ... "Because there could be so many kings, general, admirals, different governors and mayors as spectators there are in the room ", reflects Lluch.

Custom deliveries

And at this point we come to those who will have to fill those with intentions and a good voice. crazy prototypes born of intellectual talent, ironic and funny of the playwright, journalist and humorist Miguel Ramos Carrión –creator also of the librettos for ‘The nephews of Captain Grant’, 'The Tempest', ‘The witch’ or ‘Water, sugar and brandy'–, and the poet, Comedy writer and comedian Vital Aza, what, as an interesting fact, it was with Chapí himself one of the founders of the Society of Authors and its first president.

This hilarious story of a king to whom the deep boredom in which he is plunged leads him to undertake an incognito trip through the country; of his powerful and closest advisers who unsuccessfully try to prevent it so that the sovereign does not discover the sad reality in which his subjects inhabit, and thus be able to continue bossing him around as you like; of all the bizarre characters that the monarch meets on the way; this funny story (a lot of) in which also love, how not, plays its crucial role, will be defended by two casts that will undoubtedly lift the public literally from their seats. They will fill the room with the best music, laughs (when not laughs) And joy.

The tenors Enrique Ferrer and Jorge Rodríguez- Norton will give life to the King - a role that was originally female, played by a mezzo-soprano or a central soprano; and it is that being the young monarch he was presented in the form of a transvestite paper, something that, how would i remember Luis Gracia Iberni, one of the most recognized experts in the work of Ruperto Chapí, beyond the historical tradition of this resource in musical theater, at that time it was mandatory due to the lack of lyrical tenors dedicated to zarzuela. Rosa's role, the young woman with whom the King by surprise falls in love with the luck of being reciprocated, the sopranos will interpret it Rocío Ignacio Y Sofia Esparza; Maria's, the labrador's wife, it will María José Suárez, and the General will be the bass Rubén Amoretti and bass-baritone Miguel Sola; Jeremiah, that nephew of the mayor in love without a prize with his cousin Rosa and to whom all imaginable adventures happen, will embody it José Manuel Zapata; Carlos Cosías, Igor Peral and José Julián Frontal they will in turn get into the Admiral's skin, the Mayor and the Governor, respectively; Alberto Frias - emerged from that fruitful pool of singer-actors that is the Zarza project of the Teatro de la Zarzuela - will recreate the sparkling comings and goings of the Captain; Y Sandro Lamb, Pep Molina, Ruth González Y Antonio Buendia, they will act as the Labrador, Mayor, the Page and the Bugle. And to all of them we will have to add three actors and three extras.

Regarding the artistic team, it's made of Juan Guillermo Nova, responsible for the dreamlike and especially beautiful scenery, the designer of the fantastic and great costumes Clara Peluffo Valentini and the master of enlightenment Vinicio Cheli.

Masterpiece of the repertoire. Theatrical music

Teacher Lopez Reynoso considers that the score of ‘El rey que rabió’ “is undoubtedly one of the masterpieces of the Spanish lyrical repertoire. Agile, expressive, refined and full of colors ", to which must be added "the wise use of theatricality in musical writing that makes the dramatic action correspond in a remarkable way with the musical discourse ". Therefore, the director believes that it is "a round work, complete, contrasting and fun what, thanks to all the above features, it always manages to become a success that is much loved by the public. "

And it is precisely in this conciliation between music and the word that the media musicologist influences Eva Sandoval, who remembers that Chapí and his librettists were key figures in the development of the musical and dramatic style of zarzuela since the decade of 1880. Sandoval also rescues a statement contained in the chronicle that the critic of the time wrote on the occasion of the premiere Joaquin Arimon who comes to emphasize this crucial characteristic: “The music is perfectly suited to the conditions of the poem and all of it is beautiful and inspired ".

Eva Sandoval argues in this regard that this adaptation and interrelation of both codes, the linguistic and the musical, can be seen throughout the nineteen numbers of which the work consists. "The brevity of all of them also helps to ensure dynamism and agility and favors the dramaturgy, so that music accompanies the action: nor the force, nor does it force her, nor does it condition it”. The author, according to the expert's words, “manages to impregnate each passage with the musical color and atmosphere that the plot requires, as, for example, in the simple but effective prelude. Written in the form of a military court march, it could perfectly serve as the national anthem of the imaginary country in which the action is set. "

It is also especially noteworthy for the musicologist the fact that ‘El rey que rabió’ uses "the same theatrical and pedagogical tactic as the operetta: that of the "world upside down", incorporating resources and languages ​​of the Central European operetta into our lyrics.

Undying King and online

As it is usual, one of the functions of ‘The King Who Raged’ will be broadcast live on streaming through from YouTube channel, the Facebook profile and the Theater's website. The date chosen this time is Thursday 17 June at 20h00 (Spanish CET).

Likewise, can already be enjoyed in YouTube y Facebook the conference given by Eva Sandoval and a new chapter of the series ‘Trip through the zarzuela’, with the teacher López Reynoso and Bárbara Lluch as protagonists.

‘The King Who Raged’ has been on stage uninterruptedly from the 20 April 1891, when premiered at the Teatro de la Zarzuela in Madrid with Chapí himself at the helm, until the 15 June of that same year. further, was revived in this same scenario in December of that year and January of 1892, and shortly after it would appear in other capital and provincial theaters. Special mention deserves his premiere in Mexico with the Spanish Zarzuela Company in mid-July of the same 1891, just a few months after its premiere in Spain. The echo that Chapí's work obtained in the media of the time was extraordinary, to the point that the composer from Villena established himself as the author of zarzuela grande.

And is that our King came to stay with us, from generation to generation, and so on for 130 years. The chronicler already noticed this after attending the premiere - in an article that after the enigmatic signature of K. it is very possible that the notorious journalist was there Jose Gutierrez Abascal–: "'The King who raged' is assured for a long time on his throne in La Zarzuela". And it was added with a certain tinkle: "There is no danger of him being dethroned." (The Herald of Madrid, 21 April 1891).

Alfredo Kraus Contest

He VIII Alfredo Kraus International Singing Competition, on this occasion will have among its many attractions the historic Italian baritone Leo Nucci what will exercise as president of the jury. Summoned by the Cabildo de Gran Canaria and the Alfredo Kraus International Foundation, This eighth edition of the contest - third of the second stage - coincides with the 65 anniversary of the professional debut of Alfredo Kraus and will take place in The Gran Canarian palms of the 20 al 25 of September.

True to the conception that the great tenor imagined in 1989, the objective of the contest is support young lyrical singers and allow their access to the international labor circuit. Such were the purposes of Alfredo Kraus when he inaugurated his first contest in 1990, organizing it up to edit 1999, year of his disappearance. Keeping these principles, Rosa Kraus Ley –Daughter of the tenor and president of the Foundation that guards his artistic legacy– and Antonio Morales Mendez –President of the Cabildo de Gran Canaria– decide to resume the contest from the edition of 2017, eighteen years after the closing of that first stage.

The postulates of the contest remained unchanged: the participation of young national and foreign singers, an artistically competent jury and based in the tenor's hometown.

To enable this ambitious project, the sponsorship of the Cabildo de Gran Canaria has been fundamental. To this, the collaboration of the City Hall of Las Palmas de Gran Canaria, of the Canary Islands Auditorium Foundation Y Theater of Las Palmas de Gran Canaria, of the Gran Canaria Philharmonic Orchestra Foundation and that of the national and european theaters who have collaborated with this contest to date.

Of course, this new edition of CICAK is conditioned by the health pandemic that affects the whole world. That has required a exceptional effort to coordinate the performances that take place in the different international theaters. Thus, both organizers and participants have been required to comply with some sanitary guidelines according to the institutional requirements of each country. The any case, faithful to the appropriate COVID protocols, the organization of VIII CICAK continues working to make this meeting a reality, convinced that there are possibilities to celebrate this cultural event in complete safety.

The judge

Will be chaired by the Italian baritone Leo Nucci, a leading figure in international poetry. As colleague by profession, friend and admirer of Kraus -Of whom he himself highlights the art, the technical-musical intelligence and the ethics of the Gran Canaria tenor–, Leo Nucci has agreed to preside over this jury, a position that you do not assume frequently. Alfredo Kraus and Leo Nucci shared the stage in theaters such as the Vienna Staatsoper, the Regio of Parma, the Lyceum of Barcelona or the Scala of Milan.

As vowels, The representatives of the collaborating theaters will intervene: Daniel Bianco, director Teatro de la Zarzuela from Madrid; Anton Gradsack, casting director of Teatro del Maggio Musicale Fiorentino from Florence and Elisabete Matos, artistic director of São Carlos Theater from lisbon. They are added Alessandro Galoppini, casting director of Teatro alla Scala in Milan; Celestino Varela, general and artistic director of the Opera Oviedo; Ulises Jaen, general and artistic director of the Opera of Las Palmas de Gran Canaria / ACO and two vowels of honor, Guillermo García-Mayor Y Jerónimo Saavedra Acevedo.

As in the last two editions, the presidency of the contest will be assumed by Rosa Kraus Ley –President of FIAK and CICAK– and the artistic direction and secretariat will be in charge of Mario Pontiggia –Artistic director of FIAK and CICAK–.

Registration and tests

The VIII CICAK 2021 is open to singers without distinction of nationality, with ages included between the 18 Y 32 years –For soprano voices, countertenor and tenor–, Y between the 18 Y 35 years –For mezzo-soprano voices, contralto, baritone, bass – baritone and bass–. Interested parties must formalize their registration using a digital form to download on the contest website (www.fiak.es).

Last 15 May has closed Madrid inscription -Where have they arrived 25 nominations- and the day 19, of Florence –That you have received 30 nominations–. There are still the closings of Lisboa (5 of June) and The Gran Canarian palms (28 of June), although for these last two tests more than 20 enrollment requests.

The preliminary tests of the VIII CICAK will be held in the Teatro de la Zarzuela from Madrid (26 Y 27 of May), at Theater of the Maggio Musicale Fiorentino de Florencia (30 Y 31 of May), at Theater of São Carlos de Lisboa (16 Y 17 of June) and the Alfredo Kraus Auditorium in Las Palmas de Gran Canaria (17 Y 18 of September). Candidates will be evaluated by a panel made up of the president and the artistic director of FIAK and CICAK., and representatives of the collaborating institutions that host each test.

The semifinal tests (20 Y 21 of September) and finally (25 of September) will take place in the Alfredo Kraus Auditorium, iconic building inaugurated by the tenor himself in 1997. In these two cases, the contestants will be evaluated by the jury. The Final test that precedes the award ceremony, will take place within the framework of a public gala, which will feature the performance of the Philharmonic Orchestra of Gran Canaria –Official training since the first contest in 1990– directed on this occasion by the teacher Oliver Diaz.

Awards

The contestants of the VIII CICAK will be able to opt for attractive prizes. The three Official Awards –of 14.000, 12.000 Y 10.000 euros respectively, more medal and diploma-, just like him Audience Award –of 2.500 euros more diploma- are part of the important financial endowment provided by the patronage of the Cabildo de Gran Canaria.

To these awards, they add up two special awards: the Las Palmas de Gran Canaria City Council –with 3.000 euros more diploma, destined for the best singer of Spanish nationality-, and that of the Martín Chirino Foundation of Las Palmas de Gran Canaria –with 2.500 euros more medal and diploma- destined for the best Canarian interpreter. The finalists will also have the possibility of being invited to auditions and / or productions, concerts or recitals by the members of the jury and the theaters they represent.

VI and VII CICAK

The recovery of the Contest, in this "second stage" it was a complete success, and the candidatures far exceeded the registration record of the five previous editions.

The VI CICAK had 105 registered of 22 nationalities. The project to retake this Gran Canaria contest had a great impact on the local media, National and international, increasing its diffusion through social networks.

After the preliminary tests - carried out at the Escuela Superior de Canto de Madrid, the Maggio Musicale Fiorentino Theater in Florence and the Alfredo Kraus Auditorium in Las Palmas de Gran Canaria-, the Final took place on 29 September 2017 in the Symphonic Hall of the Alfredo Kraus Auditorium. The 10 Finalists of the VI CICAK performed with the Gran Canaria Philharmonic Orchestra, directed by maestro José Miguel Pérez-Sierra. The judge, chaired by the Spanish tenor Jaume Aragall, gave his accolades to the baritone Carles Pachón (Spain / 1º Prize and Prize to the best singer of Spanish nationality), to the tenor Galeano Salas (Mexico - USA / 2Th award) and the soprano Leonor Bonilla (Spain / 3º Prize and Audience Award). The event was broadcast twice by the RTVC. The VII CICAK took place in 2019, and carried out his preliminary tests at the Teatro de la Zarzuela in Madrid, and the Teatro del Maggio Musicale Fiorentino de Florencia, the Teatro di San Carlo in Naples and the Alfredo Kraus Auditorium in Las Palmas de Gran Canaria.

This time, the jury was chaired by the Italian soprano Mariella Devia, having enrolled 110 candidates of 31 nationalities. At the Final Gala with an audience, carried out in the Symphonic Hall of the Alfredo Kraus Auditorium, they participated 9 finalists and the Gran Canaria Philharmonic Orchestra under the direction of maestro Oliver Díaz. After deliberation, the jury awarded the prizes to the bass-baritone Manuel Fuentes Figueira (Spain / 1º Prize, Award for the best singer of Spanish nationality and Audience Award), to the countertenor Rodrigo Sosa dal Pozo (Venezuela - Italy / 2º Prize) and the soprano Maria Caballero (Mexico / 3º Prize).

Preservation and promotion of the legacy of Alfredo Kraus

CICAK is one of the most ambitious projects of the Alfredo Kraus International Foundation and the Cabildo de Gran Canaria to preserve and promote the artistic legacy of Alfredo Kraus.

further, the Cabildo de Gran Canaria is working on another auspicious project that will value and adapt part of the former island boarding school of San Antonio, located in the Vegueta neighborhood, tenor's hometown. There the headquarters of its Foundation to house a museum, archives and a training center, research and dissemination of his artistic and educational legacy.

During 2021, the FIAK continues, just as it does since 2017, with the conference cycles that spread the artistic figure of Alfredo Kraus and the musical culture of Gran Canaria and with the educational activities for young performers, purposes these overturned by Alfredo Kraus himself in the original minutes of his Foundation.

Lucero Tena

If there is someone who deserves everything, in the artistic and the personal, that is Lucero Tena. This is how his fellow artists know, like the immense harpist Xavier de Maistre who will accompany her at the next concert Sunday 23 of May (18h00), and also the public, who adores her without conditions. Tickets for this long-awaited recital of the Cycle of Concerts of the Teatro de la Zarzuela is it so sold out for days.

The appointment will do, as for years are all his public appearances, from exciting tribute to a unique life and career, difficult to emulate even from afar.

Lucero Tena and Xavier de Maistre will offer some of the most beautiful pages of Spanish music. The passionate and bizarre ringing of her castanets, accompanied by the sweet and evocative sound of his harp, they will revive in the Coliseum of the Plazuela de Jovellanos essential works of the Father Soler, Mateo Pérez de Albéniz, Francisco Tárrega, Isaac Albeniz, Enrique Granados, Manuel de Falla or Jesús Guridi.

Nuria Rial

The Catalan soprano Nuria Rial and the prestigious German pianist Andreas Staier will be presented next Monday 17 May at 20h00 at Lied co-produced by National Dissemination Center Musical (CNDM) and the Teatro de la Zarzuela.

Nuria Rial, one of our most requested singers in the international arena, will put his crystal clear voice at the service of eight Mozart songs in addition to the five compositions that make up the cycle The Mermaid’s Song and the beautiful cantata Arianna a Naxos, works both of Joseph Haydn.

With Andreas Staier on the fortepiano, the evening acquires a special relevance when the historicist musical criterion at the service of some of the most beautiful pages of classicism.

The singer debuts in the lied cycle after reaping great worldwide successes in the field of baroque music, in his operatic appearances and in his recordings. In this last aspect it is relevant to mention his recent award as Best Vocal Album Soloist at the Opus Klassics Awards for his work with the Academy of Pleasure from Fahmi Alqhai at disc ‘Die Cupid’.

The recital tickets have a General price 8 a 35 euros and they are for sale at ticketsinaem.es, on the phone 91 193 93 21, as well as at the ticket offices of the Teatro de la Zarzuela and the INAEM network of theaters.

Biographies

Nuria Rial, vocal purity and luminosity

Frequently noted for her vocal purity and brightness, the naturalness and emotionality of his singing, and the elegance of his phrasing, Núria Rial is one of the paradigmatic voices of the baroque and classical repertoire of recent years. With an activity that has its epicenter in the concert and recording field, with more than thirty albums published, Núria's broad artistic interests also include the music of Romanticism and the 20th and 21st centuries, fusion with styles such as jazz or flamenco, dialogue with other disciplines, or musical expressions like the Lied and the opera, having acted hand in hand with directors such as René Jacobs or Iván Fischer and stage directors such as Peter Sellars, en teatros como la Monnaie, State Opera Unter den Linden, Champs Elysées Theater, Grand Théâtre de Genève, Teatro Carlo Felice de Genova or Teatro Real de Madrid, playing roles of such a broad spectrum as Monteverdi's Euridice, Pamina de Mozart, o Nuria in Ainadamar by Osvaldo Golijov.

Trained in Basel with Kurt Widmar, performs regularly in major European concert halls and festivals, como el Salzburg Festival, el Lucerne Festival o el Bachfest Leipzig, with directors like Antonini, Bonizzoni, Capuano, Cummings, Currentzis, Fischer, Goodwin, Hengelbrock, Jacobs, Leonhardt, Marriner, Minkowski o Pinnock, and is regularly requested by groups such as Akademie für Alte Musik Berlin, Bach Foundation St. Gallen, Balthassar Neumann Ensemble, Bavarian Broadcasting Munich, Budapest Festival Orchestra, Café Zimmermann, Camerata Cologne, Concerto Köln, Il Giardino Armonico, Tomato, Basel Chamber Orchestra, The Arpeggio, Les Musiciens du Louvre, Orchestra of the Eighteenth Century, Stuttgart Chamber Orchestra and The English Concert.

His vast discography has been awarded with awards such as the Orphée d'Or in 2010, for his work on Handel's German arias with Michael Oman and the Austrian Baroque Company, as well as with various awards at the Echo Classical Music Awards (currently Opus Klassik Awards) in different categories, like the “female artist of the year” in 2009 or the award for the best opera album for his CD on Telemann together with the Kammerorchester Basel in 2012.

Andreas Staier, indisputable musicianship

One of the most outstanding performers in the world, Andreas Staier has left his mark on the performance of the Baroque repertoire, classic and romantic for vintage instruments.

Born in Göttingen, studied piano and harpsichord in Hannover and Amsterdam. For three years he was a harpsichordist for Musica Antiqua Köln, with whom he made numerous tours and recordings. as a soloist, Andreas Staier performs throughout Europe, United States and Asia with orchestras such as Concerto Köln, Freiburger Barockorchester, Academy for Early Music Berlin y Orchester des Champs – Elysees Paris.

Has recorded extensively for BMG, Teldec Classics, with whom he had an exclusive contract for seven years, and harmonia mundi France. Its catalog has numerous awards, including a Diapason d'or, el Prize of the German Record Critics de 2002 and the Baroque Instrumental Gramophone Award from 2011. Among his latest releases is a highly anticipated harpsichord concert CD by J.S. Bach with the Freiburger Baroque Orchestra, Schubert's music for four hands together with Alexander Melnikov, and a collection of music inspired by the Iberian Peninsula with the Casa da Música Baroque Orchestra.

He has been an Associate Artist of the Dijon Opera since September 2011 and was a resident of the Wissenschaftskolleg zu Berlin two seasons ago.

joaquÍn-achÚcarro

By obviousness of our own nature, few are the occasions when an artist has the opportunity to celebrate 75 year career, and even less to do it in active and full of light. This is the case, but nevertheless, of one of the most flamboyant interpreters that our music has given and beyond: universal music. He pianist Joaquín Achúcarro, that fulfills his wedding of brilliants with the stage, will commemorate it in style next Saturday 8 of May (20h00) with a recital in the Cycle of Concerts of the Teatro de la Zarzuela.

Since his debut as a concert performer being just a child of 13 years, Achúcarro's career has always been characterized by great and continuous successes, as well as for the high recognitions received together with the leading figures of each moment, but above all for his special and intimate way of understanding music and the instrument. The artist, with the curiosity of that child of extraordinary precocity, poses numerous questions to the piano itself, talk with him and also transfer to the works all the questions that they raise in him through the keys and intelligence; and it does, keep doing it, determined to know the mysteries that both entail, instrument and composition, both reunited in a single and exciting enigma. She does it to share her answer with everyone willing to listen to her..

The trip planned for such a special occasion is presumed deeply pleasant: Debussy, Mompou, Albéniz, Ravel, Godowski…, all of them life companions through their lavish creations.

Therefore, Joaquín Achúcarro returns to the Teatro de la Zarzuela, where so many successes has lived, and he does it to write this new and necessary point and followed by joy. To share with the public the celebration of an intense life shaped by music.

sonya-yoncheva

When one enters a field that is not his and does not know perfectly, it can be for two reasons, either he is reckless or he is very brave. And to be brave you have to have, Besides, other qualities.

The recital of Sonya Yoncheva at Teatro de la Zarzuela this past 29 of April, is a clear example of courage, among other things. You have to be brave to appear in the Theater of the genre with a zarzuela recital and you have to be even more so, to do it without knowing much about this genre.

Despite having to use the scores and having a somewhat insecure start, Sonya Yoncheva ha demostrado, not only have an instrument of indisputable quality, a bright voice, sunny, that filled the harmonics room, with a powerful central register and remarkable Spanish phrasing, but he also showed tremendous courage when interpreting with extraordinary success a repertoire of romances that made the audience vibrate. An audience that always knows how to thank and reward those who approach this genre with respect and dedication.

Yoncheva began the recital with the romance "Beautiful Night", de Katiuska de Sorozábal, as I say, something cold. But it was warming up as the recital progressed. He continued with "Three hours before the day", of the Machenera of the teacher Moreno Torroba, his favorite piece, as she herself indicated, and that he also offered as a first tip. He continued with three other romances, "My tears, where are you?", of the Iron Ring of Miquel Marqués, "The evening light is leaving", del Pájaro azul by Rafael Millán and ended this first part with "I saw myself in the world forsaken", from The Oath, Joaquín Gaztambide.

The second part began with the duet “What a beautiful night!”Of the wild cat, Manuel Penella. Here she was accompanied in the replica by an energetic Alejandro del Cerro. With a ravishing voice and a beautiful metallic timbre, put his two cents, next to the vibrant direction of Miquel Ortega, so that the public would definitely indulge in enjoyment.

He continued with "I did not cut more than a rose", by La with the bunch of roses by P. Sorozábal and “From Spain I Come” from the Jewish Child by Pablo Luna, already delivered from the stage and full of voice. He ended with "When I think about the duel of my loves", from La hija del cebedeo, by Ruperto Chapí and “I am Cecilia!”, by Cecilia Valdés de Gonzalo Roig, where he wasted great sympathy and ability to enjoy on stage. The second encore he offered, after the repetition of the Machenera, It was Carmen's habanera. Going all over the stage, including director's podium, who accompanied her to the piano. At that time the theater was surrendered to his bare feet.

Very outstanding was the work of the teacher Miquel Ortega leading the Orchestra of the Community of Madrid. Not only always attentive to Yoncheva's needs, giving you security, his direction at all times was especially outstanding and the interventions of the orchestral works raised the audience that at that time had been abandoned to the good work of the orchestra. They began with the prelude to La joy de la huerta, of Chueca, to later offer the Intermission of Los Burladores, of P. Sorozábal, The Prelude to Los Borrachos, by Gregorio Giménez and end with a masterful and electrifying interpretation of the Intermission of La Leyenda del beso by Reveriano Soutullo and Juan Vert.

A night to remember, next to the recital in this same room by Elyna Garanca, of those who come to our lyrical genre to know it, spread it out and make it even bigger.

Argentina

Argentina, one of the most respected and admired cante figures by the public, critics and colleagues - not just flamenco, but of any musical genre–, will present the next Tuesday 20 of April (20h00) his fifth album in which, under the title ‘The artist's life’, vindicates art and the real artist in the especially hard times that we have to live.

And he does it from his very personal conception of flamenco and the possibilities that this art allows Intangible Cultural Heritage of Humanity by UNESCO since 2010; It does it from the purest joy to the painful and deep melancholy, transiting between one and another very different states of infinite depth.

For that, in ‘The life of the artist’ Argentina sister flamenco with song, Fado, the tango, theater, the painting, literature or classical music.

At his concert of The Zarzuela, the cantaora from Huelva will be surrounded by a group of portentous musicians. Starting with the guitarists José Quevedo ‘Bolita’ and Jesús Guerrero, passing through the choirs and palms of the already usual brothers Antonio and Manuel Montes, better known as Los Mellis, or the irresistible cello of Jose Carlos Roca, and ending with the versatile and always surprising pianist mario Prisuelos.

Argentina lives by and for flamenco, for art, for the artist in every dimension of the word. On Tuesday, at the Teatro de la Zarzuela, that's how those who have the fortune to attend the concert will feel it.

Maria Antunez, Rubén Fernández

Every place has its own culture. That intrinsic value, the deep roots that make them different from the rest. But the nature of a land is the sum of the riches that throughout history it has kept as its own.. He Notes cycle Ambigú of the Teatro de la Zarzuela will present the next Monday, 19 of April, at 20h00, a recital by the soprano Maria Antunez dedicated to Uruguayan song -that of its origins-, that will make us understand that despite the ocean that limits us, those and these shores are much closer than we thought. She will be accompanied on the piano by Rubén Fernández Aguirre.

During the hour that the concert will last, will perform works by Luis Cluzeau Mortet, Alfonso Broqua, Eduardo Fabini, Jauré Lamarque Pons, Hector Tosar, Eduardo Gilardoni and Beatriz Lockhart, essential classics, Each and every one of them, of the music of those parts.

They will also take advantage of Antúnez and Fernández Aguirre, because the heart and the memory ask for it, to perform tribute to the teacher Antón García Abril, who died last 17 of March. They will offer some of their compositions such as the ‘Three Spanish songs’ with texts by Federico Garcia Lorca.

The Ambigus that come

The concert of María Antúnez and Rubén Fernández Aguirre will be followed by that of the soprano Rocío Pérez and pianist Ramón Grau with the Integral of the cycle ‘Spanish classical songs’ by Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will close the loop with ‘Tribute to Iberoamerica’ (15 of June).

Pregardian & Vignoles (c) Rafa Martin

XXVII Lied Cycle of the CNDM and the Teatro de la Zarzuela 12 April 2021

Christoph Prégardien, tenor

Roger Vignoles, piano

the beautiful Miller, Franz Schubert (1797-1828)

The comic opera had been premiered with great success in Germany. La Molinera, that is, the thwarted love, by Giovanni Paisiello. This event was a stimulus for some poets of the moment, who began to write about this bucolic topic. Goethe himself wrote four romances and four ballads of the miller.

Inspired by his admiration for Goethe's work, a young Müller sets out to create, with a group of friends, a dramatic development chaining Lieder in which, through its characters, a story is told. To the end result, fruit of a party game, put music by Ludwig Berger.

Years later, Schubert discovered Müller's poems and began a collaboration from which the definitive texts emerged.. Schubert found in these poems the perfect narrative description that he needed at that time, adapting the poems to your purposes and music.

The cycle was unveiled in early 1824. In 1830, publisher Anton Diabelli acquired the rights and published a revised second edition. His first known performance was in May 1856, by the baritone Julius Stockhausen in Vienna.

the beautiful Miller, initially written for tenor, is usually approached by baritones. This time, the person in charge of giving voice to Müller's poems in the Lied Cycle of the Teatro de la Zarzuela and the National Center for the Diffusion of Music has been the light lyrical tenor Christoph Prégardien, demonstrating, once again, his mastery of the Liederistic genre at the service of Schubert's work.

Prégardien has shown his virtuosity in acting. No need ornaments, the restrained form of his expression shows the elegance of his mastery of the genre. Clarity in diction, giving more importance to the text, and in his nuanced way of "saying", is above any excess in the expression.

Accompanied on piano by Roger Vignoles, they formed a perfect team that walked in unison, in a fluid and crystalline way, like the main water in some of the works they performed.

A perfect night, intense and culminated with two tips also from Schubert, equally well delineated by both interpreters and that finished off the good taste in the mouth that their performance left in the public.

Pregardian & Vignoles (c) Rafa Martin

Christoph Prégardien

The veteran German tenor Christoph Prégardien will put his vocal and expressive resources at the service of one of the best known and most emblematic cycles of Franz Schubert: the beautiful Miller, composed on poems by Wilhelm Müller. The appointment will be Monday 12 of April (20h00) at Teatro de la Zarzuela as part of XXVII Cycle of Lied co-produced by National Dissemination Center Musical (CNDM) and the Coliseum on Jovellanos Street.

it "Emotional journey" it will be the ideal vehicle for Christoph Prégardien to deploy the qualities of your voice, an instrument that over the years has only gained in nuances, subtlety and musicality. To the tenor, who occupies a prominent place among the most important lyrical singers on the international scene, the British pianist will accompany you Roger Vignoles, a musician with a long career and accompanist to some of the greatest figures in lyric.

Tickets for this concert have a general price of 4 a 35 euros, and they are for sale in www.entradasinaem.es and on the phone 91 193 93 21, as well as at the ticket offices of the Teatro de la Zarzuela and the INAEM network of theaters.

Christoph Prégardien: vocal preciosism

Perfect vocal control, clear diction, Intelligent musicality and the ability to reach the heart with everything he sings ensure Christoph Prégardien a place among the most important lyrical tenors in the world.. He performs regularly with orchestras around the world, as the Vienna and Berlin Philharmonics, the Bavarian Radio Symphony Orchestra, the Orchestra of the Concertgebouw of Amsterdam, la Staatskapelle Dresden o la de Leipzig Gewandhaus Orchestra. His broad orchestral repertoire includes the great oratorios baroque, classical and romantic, as well as works of the seventeenth century (Claudio Monteverdi, Henry Purcell, Heinrich Schütz) and XX (Benjamin Britten, Killmayer, Wolfgang Rihm, Igor Stravinsky). His engagements last season included a US tour and recitals at Temple Church., el Wigmore Hall, the Concertgebouw, the Schubertiade Schwarzenberg and the Schubertíade de Vilabertran. It has an extensive discography of more than 150 discos, with some of the most prestigious awards, among these the Orphée d’Or, the Cannes Classical Award and the Diapason d’Or. After many years at the Hochschule für Musik und Theater in Zurich, gives master classes for young singers from all over the world and from 2004 is a professor at the Cologne Academy of Music. Christoph Prégardien has performed in previous editions of the Lied Cycle, the last of them in the previous season 19/20, accompanied on piano by Julius Drake.

Roger Vignoles: the perfect musical context

Internationally recognized as one of the most outstanding piano accompanists in the world, Over the course of his career he has collaborated with such important singers as Sir Thomas Allen, Barbara Bonney, Kathleen Battle, Christine Brewer, Brigitte Fassbaender, Bernarda Fink, Susan Graham, Thomas Hampson, Kiri Te Kanawa, Felicity Lott y Sarah Walker. Performs regularly in major venues around the world such as Wigmore Hall, Philharmonie Cologne, Konzerthaus de One, Musikverein de Viena, Royal Concertgebouw, Musee d’Orsay, Carnegie Hall, Frick Collection in New York, La Scala, Oper Frankfurt, Champs-Élysées Theater, Schubertiade Schwarzenberg, Bonn Beethovenfest, Baden-Baden Festival and Zarzuela Theater in Madrid. In season 2017-2018 played recitals with Nicky Spence, Mary Bevan, Johannes Kammler, Marie-Nicole Lemieux, Joanne Lunn, Thomas Oliemans, Roderick Williams, Louise Alder, Anne Schwanewilms, Florian Boesch y Christoph Pregardien. His multiple recordings have been acclaimed, case of the recognized Strauss: The Complete Songs (Hyperion), The hiker (Schubert) Y Songs & Ballads (Loewe) with Florian Boesch or Before Life and After (Britten) with Mark Padmore (Harmonia Mundi) who received the Diapason d'Or and Prix Caecilia awards 2009. Roger Vignoles accompanied Ainhoa ​​Arteta in the CNDM Lied Cycle in December 2018.

Benamor

‘Benamor’ by Pablo Luna premiered at the Teatro de la Zarzuela Saturday 12 May 1923. The next month, so, they will become true 98 years since that event (that it really was, and big) with the joy of having seen her return it, almost a century later, and in the same setting where she was born and to which she had never returned until now. If we stick to the chronicles of the time, The success at that Madrid premiere was such that none of those present at these memorable performances could foreshadow the unfortunate future that awaited this composition. with which the teacher from Alhama de Aragón completed the ‘Trilogy of the East’ after ‘The amazement of Damascus’ and The Jewish boy '; a set of titles this, that now, with the 10 representations that between 14 and the 25 of April will rehabilitate ‘Benamor’ in the Teatro de la Zarzuela, catches up for today's audience.

Enrique Viana, that in addition to assuming the stage direction and the adaptation of the delirious libretto by Antonio Paso and Ricardo González del Toro, He has kept for himself three papers full of surprise and sarcasm - much in the way of his intelligent and intelligible way of elaborating humor., remember that the newspapers of the time describe ‘Benamor’ - "unknown title with the precedent of great triumph" - as the greatest success of master Luna. So, suggests, you have to listen to it and feel it "like in a happy dream", thus resembling it to the most valuable of therapies by stating that "a happy dream is the best medicine for the times of nightmare that we are living and that this, "our music", heals like the best of remedies. "

And the teacher is no less expressive José Miguel Pérez-Sierra, seasoned director, exciting, personal and solid international career, when referring to a work that places “between the more complex and inspired by the prolific production of Pablo Luna”. His incomprehensible disappearance from the repertoire leads him to consider “almost like a world premiere”These new performances of the Teatro de la Zarzuela.

Crazy misunderstandings

Pérez-Sierra will be in charge of the Titular Orchestra of the Teatro de la Zarzuela –Orchestra of the Community of Madrid–, of the Titular Choir of the Teatro de La Zarzuela and two magnificent casts who will stage a play with a surprising starting point that will cause absurd and hilarious misunderstandings: The story is set in the 16th century in Isfahan, ancient capital of Persia - today Iran -, in a luck of "One Thousand and One Nights". The law determines that the first child of the betrothed must be male and the second female. If it doesn't happen this way, newborns must die in sacrifice. As well, this is exactly what happens to the sultan's wife, who, in order not to have to sacrifice his two little ones, makes his daughter pass as a boy - giving him the name of Darío -, and for a girl to her son - calling her Benamor -. Deception persists over the years, but the day comes when the so-called "princess" (the boy that) must marry. Y that's when the cards of the mock house of cards fly everywhere.

The two casts they combine irresistible musicality and precision with that difficult talent that tragicomedy inevitably demands. The singers that make them up are the sopranos Vanessa Goikoetxea Y Miren Urbieta-Vega (Benamor), the mezzosopranos Carol Garcia Y Cristina Faus (Darío), soprano Irene Palazón (the odalisca Nitetis), the comic soprano Amelia Font (Pantea, mother of the princess and the sultan), baritones Damian del Castillo Y César San Martín (the Spanish gentleman Juan de León), the baritone also Gerardo Bullón (Rajah-Tabla, prince of kabul), the tenor Gerardo López (Prince of Florelia / Servant / Priest), the tenor-actor Francisco J. Sánchez (guard), the tenor Emilio Sánchez (the drug dealer Babilón) and the actress-dancer Esther ruiz (Kashmir the odalisque), in addition to Enrique Viana who plays the roles of the grand vizier Birch, the confectioner and his wife the pastry chef. Rounding out the cast 4 actors-extras Y 9 dancers.

Regarding the artistic team, it's made of Daniel Bianco, responsible for the scenography, costume designer Gabriela Salaverri, the illuminator Albert Faura and the choreographer Nuria Castejón.

A desire: our crazy years 20

Teacher Pérez-Sierra defines the music of ‘Benamor’ as “extraordinarily theatrical”, in whose score reigns "that melodic vein so characteristic of the author”, who, to set us in the plot, it mixes with refined orientalizing exotic elements with fox-trots and other typical rhythms of the years 20. “All this has its culmination in the ‘Dance of fire’, the best known number of the work, with a marked Spanish flavor but reminiscent of some European composers that Pablo Luna admired, as Edvard Grieg”. So speaks the director, that does not hesitate to air a wish: "After all the bad we are experiencing, I wish this ‘Benamor’ was the starting gun for our crazy years 20. It's a breath of fresh air."

Recovering Pablo Luna

In a single month (ridden between March and April) the Teatro de la Zarzuela has done justice to Pablo Luna, one of our greatest and most prolific composers who history has not treated precisely in the way that his talent and genius deserve.

This long-awaited ‘Benamor’ was preceded by concerts that the days 12 Y 14 March served to rehabilitate ‘Las Calatravas’, last zarzuela of the composer who, after a resounding success with the public and, obtained in its premieres in Madrid and Barcelona, fell almost immediately into a intolerable and from every point incomprehensible oblivion. Not a trace of the prodigy remained. Nor was it re-enacted, nor was it recorded. Next September will be fulfilled already 80 years since that premiere of ‘Las Calatravas’ at the Alcázar Theater in Madrid, and it is now that part of this has been amended unheard, unforgivable and, Regrettably, abandonment.

‘Benamor’ online

As it is usual, one of the functions of ‘Benamor’ will be broadcast live by streaming through from YouTube channel, the Facebook profile and the Theater's website. The date chosen this time is Thursday 22 April at 20h00 (Spanish CET).

Also in the next few days you will be able to enjoy YouTube y Facebook of the conference taught by the musicologist Ignacio Jassa Haro and a new chapter of the series ‘Trip through the zarzuela’, with the teacher Pérez-Sierra and Enrique Viana as protagonists abstracted in a conversation and some interpretations that have no waste.

Saioa Hernández and Francesco Pio Galasso

He Cycle of Concerts of the Teatro de la Zarzuela will live this next Sunday, 28 of March (18h00) one of its highlights with the long-awaited recital of the soprano Session Hernández and tenor Francesco Pio Galasso. With a program full of surprises and romances that augur moments of special rapture and also deeply movings –one of those that turn a musical evening into a sublime event– the two interpreters will extol the unique greatness of our lyrical heritage accompanied on the piano by Vincenzo Scalera, one of the most acclaimed repertoire pianists who in turn was the teacher of both.

 

With works of Barbieri, Serrano, Soutullo and Vert, Vives, Moreno Torroba, Chapí, Sorozábal, Penella, Breton, Marqués or Calleja and Barrera, the recital will review some surprising oddities along with inescapable zarzuela compositions, and it will be registered by RTVE Classic Radio what will issue it in the near future.

 

Student of no less than Renata Scotto Y Montserrat Caballé, who baptized her as "the diva of the XXI century", and with an infallible career, Saioa Hernández has distinguished herself on the international circuit as a new and desired star -embodying the leading opera figures in the most relevant theaters in the world and even more since its debut, several seasons ago, at the opening of the course Teatro alla Scala in Milan, one of the largest and most historical events, if not the most, of the world lyric. It was with an ‘Attila’ directed by Riccardo Chailly Y Davide Livermore.

 

Meanwhile, Francesco Pio Galasso, also a student of Caballé, have a wide repertoire, admirably heterogeneous and demanding what about Bellini, Bizet, Cilea, Giordano, Gounod O Mozart, a Puccini, Spontini, Verdi O Zandonai, and what's up, how not, by Spanish music, especially the zarzuela, which has always been one of the singer's great weaknesses.

 

Saioa Hernández debuted on stage at the Teatro de la Zarzuela with ‘The Wild Cat’ in 2012, and later interpreted ‘Curro Vargas’ in 2014. Meanwhile, Francesco Pio Galasso we have been able to enjoy it in that intense ‘The short life’ that along with ‘La Tempranica’ was part of the show ‘Granada’ which opened the colosseum season.

Guillermo García Calvo

He Teatro de la Zarzuela counts among its activities and achievements the recovery of the national musical heritage. And this year it has fulfilled that task through "Las Calatravas", lyrical comedy in three acts and last composition by the teacher Pablo Luna what, besides being a prolific composer, had a great business vision. He always knew how to correctly pick up the tastes of the public and the theatrical trends of the moment. the libretto, that delighted the bourgeoisie of the time, was commissioned by Luna to the prestigious Federico Romero and José Tellaeche, a great success at a time when censorship was working at full throttle.

The premiere at the Alcázar Theater in Madrid on 12 September 1941 it was a total success. The chronicles say that all the numbers of the work were repeated, the 15, something unusual. Despite the sweet moment that zarzuela was going through, was about to start its decline, when entering competition with the cinema. On the other hand, Pablo Luna complained about the demands of an audience that asked for a premiere every week. What forced him to compose without rest. This may be one of the reasons why Las Calatravas, among other, not re-enact.

For this staged version, the now traditional adaptation of the text has been used, this time by Paco Gámez, who has done an extraordinary job to perfectly narrate the plot to the public using very few interventions. For this he has used one of the characters in the work, Mrs. Aldonza, the poor aunt of the two protagonist and only character who does not sing.

Doña Aldonza has been interpreted by a masterful Emma Suarez. He has presented us with all the characters and scenes with humor and the naturalness and ingenuity of the great ladies of the interpretation.

Through Doña Aldonza it has also been tried to value all those comic and secondary actresses who always remained in the background with respect to the divas and protagonists.

Maestro Luna's music is of extraordinary quality. He uses music from different genres in Las Calatravas and matches them with the characters. European music, how much I admired, accompany the younger generation of characters, like Cristina or Carlos Alberto. And the fandangos accompany the banker José Mariani.

The voices live up to the score, closer to verismo than zarzuela. Miren Urbieta, with his powerful lyrical soprano voice, she played Cristina Calatrava without great theatrical features, but with a great sound and beautiful timbre.

the tenor Andeka Gorrochategui gave life to the libertine Carlos Alberto. He perfectly accompanied Cristina Calatrava in timbral power and seemed less exerted in the broadcast than on other occasions, which is appreciated.

Lola Casariego played the widow Calatrava, with his usual elegance, but covered on numerous occasions by the orchestra and the rest of the voices. Javier Franco, like José Mariani, dealt with the most complex paper and did it with solvency and elegance. It only lacked volume.

The rest the cast was at great height. The Isabel of Cordoba Lucia Tavira, the Pepe Hallelujah of Emmanuel Faraldo and Rodrigo del tenor Houari R. Lopez Aldama.

Teacher García Calvo has done a very good job leading the orchestra. You can see his rigor and love for the genre, who is a good connoisseur. Loudness and exquisiteness in the direction of an important score. The chorus, although far away and with a mask, rang with the same spirit.

music-encounter

The new proposal of Notes cycle Ambigú of the Teatro de la Zarzuela will present the next Monday 22 of March (20h00) a concert of the formation Music Encounter in which we can listen unknown works of the Spanish baroque, and more specifically of the Valencian school of sacred music. Under the name of "Lamentation", the recital will deal with the lamentations of the prophet Jeremías composed by the prolific master of the chapel of the Cathedral of Valencia, Pasqual Fuentes and Alcàsser (1721-1768) whose are the 300 years of his birth.

Music Encounter, which since its founding in 2009 has positioned itself as a research platform, recovery and dissemination of old and baroque music –Mainly from the Hispanic and Valencian musical heritage–, It has the address from the key of Francesc Valldecabres.

Likewise, in 'Lamentatio' they will complete the set, that has a flexible staff according to the programs addressed, las sopranos Moral Pillar Y Aurora Peña, mezzosoprano Marina Rodriguez-Cusi, as well as the violinists Enric Llorens and Víctor Yusà and the cellist Regina Fuentes.

Al justified interest that has prompted the presentation of this ‘Lamentatio’ of Música Trobada at the Teatro de la Zarzuela, the one who has originated the presentation in these days of the record version of the project.

The Ambigus that come

To the concert from Music found, those of the mezzo-soprano will follow Maria Antunez, accompanied by Rubén Fernández Aguirre the piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April); soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will present ‘Tribute to Iberoamerica’ (15 of June).

Bejun Mehta

He Monday 15 of March to 20 hours, he National Dissemination Center Musical (CNDM), in co-production with Teatro de la Zarzuela, presents in the XXVII Cycle of Lied a Bejun Mehta, one of the most recognized countertenors, acclaimed and requested worldwide. The American singer will show his impressive mastery of coloratura and sense of musicality at the service of an ambitious program, encompassing works signed by four giants over three centuries. A) Yes, Bejun Mehta will show off its versatility by undertaking a very diverse repertoire -from classicism to the 20th century, going through romanticism-, including parts from W.A. Mozart (Happy shadow! I leave you), Joseph Haydn (Arianna a Naxos, Hob XXVIb:2), L. van Beethoven (To the Distant Beloved) and Benjamin Britten (Canticle – ‘My beloved is mine’). He will be accompanied on the piano by Jonathan Ware, for the first time in this cycle. tickets, with a general price 8 a 35 euros, They are for sale at the box office of the Teatro de la Zarzuela, INAEM network of theaters, www.entradasinaem.es and on the phones 91 193 93 21 Y 902 22 49 49.

Bejun Mehta, a fascinating performer

According to Opera News "perhaps the most sophisticated and musically satisfying of today's countertenors", Bejun Mehta fascinates with an incredible vocal expression, great musicality and passionate strength as a performer. He is a regular guest in the main opera houses of the world, as the Royal Opera House, La Scala in Milan, Theater in Vienna, the Berlin State Opera, the Bavarian State Opera in Munich, el Theater Royal de La Monnaie, la Dutch Opera, Gran Teatre del Liceu in Barcelona, the Teatro Real in Madrid, the Zurich Opera, Paris National Opera, the Metropolitan Opera, the Chicago Lyric Opera, the Los Angeles Opera, as well as the Salzburg Festivals, Glyndebourne, Aix-en-Provence and the Wiener Festwochen. Concerts with major orchestras and solo recitals have taken Bejun Mehta to the main concert halls, where he goes through his award-winning record works and performs repertoires ranging from baroque to contemporary music. He is a frequent guest at the Amsterdam Concertgebouw, Wigmore Hall in London, the Konzerthaus and the Wiener Musikverein in Vienna, Carnegie and Zankel Hall in New York, Bruselas Palace of Fine Arts, Palace of the Arts in Valencia, Teatro de la Zarzuela in Madrid, City of Music in París, Prinzregententheater in Munich, Konzerthaus Berlin, Rudolfinum in Prague and Edinburgh festivals, Saint Sebastian, Verbier, Schleswig-Holstein y BBC Proms en Londres. In recent years, Bejun Mehta has made a name for himself as a conductor, working with the hr-Sinfonieorchester, la Philharmonie de Dresden, the Bochum Symphony Orchestra, así como the Potsdam Chamber Academy y the Württemberg Chamber Orchestra Heilbronn. In addition to his interest in working the repertoire of the baroque and classical periods with modern orchestras, his particular emphasis is on the combination of orchestra and voice, either with guest soloists or on specially developed shows featuring you as a singer and director. A) Yes, we can highlight the replacement of Rodelinda of Claus Guth (a production originally made for Bejun Mehta at the Teatro Real in Madrid) at the Dutch National Opera, Mozart Arias with the Vienna Philharmonic at the Musikverein, The dream of the song George Benjamin, a cantata composed specifically for him - with the Concertgebouw Orchestra Amsterdam, and representations of Written on the skin Benjamin in the role of Angel I / Child, also composed specifically for him - with the Mahler Chamber Orchestra. As a singer and director, Bejun Mehta has toured Germany and Austria with the Württembergisches Kammerorchester and their Mozart-The Dramatist program at venues such as the Musikverein in Vienna and the Herkulessaal Munich.. A is, has been followed by other singing and conducting programs with Hessischer Rundfunk, Bochum Symphony Orchestra y Chamber Academy Potsdam. In the fall of 2019, Bejun Mehta played the lead role in a new production of Julius Caesar by Robert Carsen at La Scala in Milan, the first countertenor to play that role at La Scala.

Jonathan Ware, solid run up

Born in texas, pianist Jonathan Ware trained at the Eastman School of Music in Rochester, at the Juilliard School in New York and at the Hochschule für Musik “Hanns Eisler” of Berlin. Ware has won major awards, including first prize in the lied contest 2014 de la International Hugo Wolf Academy in Stuttgart con el barítono Ludwig Mittelhammer, as well as the prize in the category of accompanying pianist in the Wigmore Hall International Song Contest and the "Das Lied" Contest. His career has taken him to venues such as Alice Tully Hall and the Weill Recital Hall within the iconic Carnegie Hall in New York., at Wigmore Hall in London, al Festival de Ravinia y al Berliner Festspiele, among others. For several years he has been the accompanying pianist at the Heidelberger Frühling Akademie Lied Festival, as well as coordinator of the Piano Academy at the Verbier Festival. In 2020 Jonathan Ware made his debut at La Scala in Milan alongside Bejun Mehta. Ware has performed on other European stages such as the Munich Philharmonic, the Cologne Philharmonic, the Konzerthaus Berlin, the Festival "Dialogues" at the Mozarteum in Salzburg. His musical collaborators include artists such as Dame Felicity Lott, Christiane Oelze, Golda Schultz, Robin Tritschler, Elsa Dreisig, Ludwig Mittelhammer el Vogler Quartet y Bejun Mehta. Jonathan's profesor de la College of Music “Hanns Eisler” from Berlin and is a faculty member of the Barenboim-Said Akademie.

Bejun Mehta © Marco Borggreve

Tribute to Arrieta

the soprano Sabina Puértolas, mezzosoprano Maite Beaumont, the tenor Jose Luis Sola and pianist Ruben Fernandez Aguirre will be the protagonists of the concert ‘Navarra is music’ to be held in the Teatro de la Zarzuela the next Saturday 13 of March to 20h00. It is a unique musical gathering that takes advantage of a emotional tribute to the famous Navarrese composer Emilio Arrieta - with absolute premieres included and when they are fulfilled 200 years of his birth– for review more than a century of music hand in hand with other great composers of that land who have contributed so much genius to Spanish and universal music.

In the first part, a beautiful sample of songs by three outstanding Navarrese musicians of the 19th and 20th centuries: Felipe Gorriti, Jesus Garcia Leoz Y Felix lavilla, that have poems by Lope de Vega, Miguel de Fuenllana, Bilintx, Felipe Gorriti (atrib.), Juan Paredes, Federico Garcia Lorca, as well as texts arising from popular tradition.

The second stage of the concert will focus entirely on the work of Arrieta, with a meticulous selection of fragments of operas, a prayer and the premiere of two songs —One in Italian and one in Spanish—. Four important lyrical titles make up the program: ‘San Franco de Sena’ with libretto by Jose Estremera, ‘Marina’ of Francisco Camprodon Y Miguel Ramos Carrión, as well as 'El Capitan Negrero' or 'Dos Coronas', both with book of Antonio García Gutiérrez. The block is completed with a romantic ‘Religious Meditation’ with text by Adelardo López de Ayala, that the universal Navarrese interpreted for the first time Julian Gayarre.

Included in the present Cycle of Concerts of the Teatro de la Zarzuela, performers and pianist have known how to draw an ambitious but clever musical proposal what turns out simply unique.

Teatro de la Zarzuela

the soprano Cristina Toledo, accompanied on piano by Aurelio Viribay, they will give visibility to women who dedicated themselves to the composition of zarzuelas and Spanish music despite the difficulties.

Especially emotional will be the recital that the next Monday 8 of March (20h00) they will offer the soprano Cristina Toledo and pianist Aurelio Viribay at Teatro de la Zarzuela inside of the Notes cycle Ambigú. Under the explicit title of ‘Zarzuela in feminine’, will be given visibility to women what, despite the difficulties to do it and the ingratitude of I forget, they dedicated themselves to composition of zarzuelas and Spanish music.

In the concert, works by authors such as Maria Rodrigo, to whose compositions a good part of the program will be dedicated. From a couplet for solo piano (‘The intrusive couplet’), to a selection of his comic zarzuela ‘Diana the huntress or Death penalty to love’, with libretto of the Alvarez Quintero, going through the trio of verses ‘Ayes’ with text by Maria Lejárraga, or ‘Seeing this land of my loves’ from ‘His last song’ with a libretto by Carmen de Cantó, among other compositions.

This will be the second part of the recital. Before, we will hear romances of zarzuelas composed by Selva and Torres Remedies O Carmen de Cantó (Carmen Climent) –Authors also of the librettos of their works–, by Blanca Lozano, Maria de Pablos, María Teresa Prieto - also responsible for its texts -, Elena Romero or Adela Anaya Ruiz.

It will certainly be a night of magical revelations and esperanza. The one that oblivion does not return to be the inevitable destiny of these and many others sacrificed music fighters.

The Ambigus that come

A concert Cristina Toledo Y Aurelio virivay, will follow that of Shiggaion. Music found with unknown works of the Spanish baroque, more specifically from the Valencian school of sacred music (22 of March), the one with the mezzo-soprano Maria Antunez with Rubén Fernández Aguirre to the piano dedicated to ‘Uruguayan music’ (19 of April), the soprano Rocío Pérez and pianist Ramón Grau with the Integral of the cycle ‘Spanish classical songs’ by Fernando Obradors (10 of May) and the artist's Ángel Ruiz, accompanied by pianist César Belda, what will present ‘Tribute to Iberoamerica’ (15 of June).

Loves in Bramble

With ‘Loves in bush’ the fifth season of the Project Zarza del Teatro de la Zarzuela, zarzuela made by young people and for young people, that was born from the hand of its director, Daniel Bianco, with the purpose of popularize the genre among the new generations, those of the XXI century. He young audience has a decisive relevance in the current colosseum project, that in this way he intends that he approaches without fear and without prejudice to the zarzuela, thereby continuing gender and strengthen its future.

That is why the Zarza Project is one of the star initiatives of the Theater. Aimed at an audience between 12 Y 18 years, the title chosen in this Fifth edition is ‘Loves at Zarza’, with original text by the playwright and novelist Nando Lopez, youth literature specialist, among whose audience is a true star. It is a history coral that describes different ways of living love without prejudice, written around compositions of various zarzuelas by Federico Chueca, Joaquín Valverde, Jose Serrano, Pablo Serial, Ruperto Chapí and Gerónimo Giménez. And as usual, will be performed by young singers from among 18 Y 30 years chosen through a rigorous audition process in which they have participated more of 250 artists. It can be said that these singer-actors today form the young company Zarza Project, and that they also fulfill the mission of serving as a quarry for the great productions of the Theater. And is that, from your participation in the Project, a good number of them have already participated in some title of the lyrical seasons.

In this new production of Teatro de la Zarzuela, the musical and stage direction will be in charge, respectively, of the teacher Miquel Ortega (from the piano) and Rita Cosentino, and the seventeen actors-singers They will be accompanied by a chamber orchestra composed of eight young musicians. The programmed functions will be presented in the main hall of the Teatro de la Zarzuela in the 26 February to 5 of March, Y school will alternate passes (for students of secondary and high schools) and functions for the general public (26, 27 Y 28 February and 4 Y 5 of March) with a total of 9 sessions. As has been done in the previous four editions, after the show will be held one colloquy between the public and artists.

The role of the school Tuesday 2 of March (11h00) will be issued live through Facebook, YouTube and the website of the Theater.

Zarza Project, zarzuela made by youth for youth, is a resounding success every season. Since it started four years ago, they have occupied the seats of the Theater 26.000 viewers who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma' Y 'Water, Azucarillos and Aguardiente ’, and others tens of thousands who have been able to enjoy them online.

Love and magic

These ‘Loves in the bush’ are conceived in accordance with the spirit, the philosophy and intention that move this admirable Zarza Project from the beginning: bring the zarzuela genre closer to new generations, "And what better way to do it than through their own concerns ", Nando López points out. For that, this story that begins in the evening of a 15 August any of the 21st century, with a group of young people who meet in a park on the outskirts of the city ready to get on a Cercanías to La Latina to celebrate the festivities of La Paloma. From there many things happen, unexpected hopes are woven with pending dreams Y, as the author himself says, "Perhaps chance is not the real culprit of what happens in this particular - and somewhat Shakespearean - summer night in which the lives of all will end up…”. Magic is crucial in this particular tale. Real as life itself.

This new dramaturgy plays and is recreated with compositions of zarzuelas like the Pasacalle of ‘Last year for water’ Chueca and Valverde, "To a gypsy precious”From‘ The joy of the battalion ’by Serrano, What departed have you lost, kid!”And“ La petenera ”by‘ Don Manolito ’by Sorozábal, “Hágame Nah the favor of hearing me two words ”from‘ Last year for water ’by Chueca and Valverde, "I am Spanish" from ‘La patria chica’ by Chapí, "Chinochilla de mi charniqué" and "Who is it Nah?” from ‘The one with the bunch of roses’ from Sorozábal, “Also I suffocate ”of Luis Alonso's wedding ”by Giménez, the Fandango of ‘The Tricksters’, "I am Spanish" from ‘La patria chica’ by Chapí, ‘Dance at last we can now’ from ‘El baile de Luis Alonso’ by Giménez or the Parade of ‘La joy de la huerta’ by Chueca.

Suggestive, dynamic, fresh and powerful bet that once again celebrates the Theater's commitment to young artists and young spectators.

Friday 26 February 7:00 p.m. (open function)

Saturday 27 February 7:00 p.m. (open function)

Sunday 28 February 12h00 (open function)

Monday 1 March 12h00 (school function)

Tuesday 2 March 11h00 (school function) live on STREAMING

Wednesday 3 March 11h00 (school function)

Thursday 4 March 12:30 (school function) and 7:00 p.m. (open function)

Friday 5 March 11h00 (school function) and 7:00 p.m. (open function)

Geronimo Chapel

He Notes cycle Ambigú 20/21 of the Teatro de la Zarzuela proposes in his new bet a surprising journey from the Renaissance to the Spanish Baroque through the influences profane and sacred music exerted on each other in times when theatrical performances, formerly attached to the liturgical field, they began to take on a more profane character for, little by little, leave the temple to the theater. Hence the title of this recital of the Chapel Jerome Carrion, leadered by Alicia Lazaro. ‘From the temple to the theater. Two centuries of sacred and profane music ’, will be presented on Thursday 15 February at 7:00 p.m..

On this occasion they will accompany Alicia Lázaro -direction, baroque lute and guitar–, soprano Delia Agúndez, the tenor Ariel Hernández, the harpist Sara Águeda Y Maria Alejandra Saturn to the viola da gamba.

With an integrated program with music from Juan de Urrede, Francisco Guerrero, Juan Hidalgo O Sebastian Duron, among others composers, the interpreters will tour in their hypnotic journey two centuries of sacred and profane music.

And is that, as Alicia Lázaro remembers, in our peninsula and with the Christianization, temples replaced Roman theaters as meeting places. "The liturgy is the new form of representation: a set of rites through which the Church expresses its devotion ", Explain, and remember that "It is in the Catholic churches where the first theater shows will appear, tropes and sequences, the first dramatic signs in the Christian West”.

With this antecedents, no wonder temples and theaters soon shared their music.

The Ambigus that come

To the concert of the Chapel Jerome Carrion from Alicia Lazaro, will follow the one that the soprano Cristina Toledo, accompanied by the pianist Aurelio virivay, will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women's Day (8 of March); Shiggaion. Music found, unknown works of the Spanish baroque, more specifically from the Valencian school of sacred music (22 of March); mezzosoprano Maria Antunez, accompanied by Rubén Fernández Aguirre the piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April); soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will present ‘Tribute to Iberoamerica’ (15 of June).

CHRISTIAN GERHAHER. GEROLD HUBER

I was returning to Teatro de la Zarzuela, al Lied cycle co-produced with the CNDM, one of our favorite baritones, Christian Gerhaher, accompanied on the piano by his inseparable Gerold Huber, in what will be a short national tour. After this recital they arrive at the Palau Les Arts in Valencia on 10 February and at the Arriaga Theater in Bilbao on 12 February. All three with this same program.

On this occasion Gerhaher addresses a typically romantic repertoire with the presence of two authors, Robert Schumann y Claude Debussy. Two authors of different characters and textures that have been inserted in the programming. This requires great interpretive solvency to maintain the personality of both composers and that our baritone and his companion perform with extraordinary ease.. Another thing is to think about the success and coherence of this stylistic combination.

The 20 Schumann songs belonging to Six chants, Songs and singing Y Three chants, can be considered as of its later stage. A more relaxed Schubet, less interested in politics, unlike Wagner, that never left her, and more concerned with reaching a wider audience. This was noticed in his music that, although it preserved the quality, ceased to have the initial originality and focused on topical romantic descriptions. For this he used texts by somewhat minor poets, with which he could give prominence to simpler themes.

The nature of these songs showed, as, in the interpretation. Gerhaher outlines them masterfully and with the uniformity they express. So we miss the intensity of works with more depth load. Its emission in these repertoires requires great vocal agility, something Gerhaher owns, and a less baritonal timbre, who also knows how to drive. The result is a flatter recital than others to which the German baritone has us accustomed.

The variety of hues and colors came with Debussy's songs. Six total, Three songs from France Y Trais poemes by Stéphane Mallamé. Small musical delicacies with which Gerhaher demonstrated his vocal versatility and which Huber accompanied masterfully. Here the piano surpassed the voice. Gerhaher knows how to be accompanied by a Huber who knows him perfectly and always enhances the work of the voice.

The applause of an always enthusiastic audience led them to offer two tips. The first a lied of the protagonist of the night, Schumann, and another from Mendelssohn, to conclude this recital of one of the most notable couples in the Lied Cycle.

Photograph (c) Rafa Martin

Christian Gerhaher

He National Dissemination Center Musical (CNDM), in co-production with Teatro de la Zarzuela, will present the next Monday 8 February at 19:00h, Christian Gerhaher at XXVII Cycle of Lied. The German baritone will be accompanied on piano by his regular collaborator Gerold Huber.

After its successful passage through this same cycle in numerous previous editions, the last of them last season, Gerhaher will once again demonstrate to the Madrid public why his voice is one of the most requested in lied recitals around the world. According to the critics, Gerhaher owns "a lyrical baritone voice, velvety, and a commendable ability to concentrate in the interpretation to express to the maximum the beauty that poetry and music contain ".

This evening, and in perfect symbiosis with his head pianist, will face a program in which lieder of Robert Schumann (Six songs on. 107, Songs and chants op. 96 Y Songs and chants op. 83) along with chansons of Claude Debussy (Three songs from France Y Three poems by Stéphane Mallarmé).

Tickets for this concert, with a General price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, ticketsinaem.es and 902 22 49 49 | 91 193 93 21.

An upward vocal career

Christian Gerhaher studied with Paul Kuen and Raimund Grumbach at the Opera Academy of the Musikhochsule in Munich, and together with his regular companion Gerold Huber he studied lied with Friedemann Berger. While completing his medical studies he perfected his vocal technique in master classes with Fischer-Dieskau, Elisabeth Schwarzkopf e Inge Borkh. He is currently an honorary professor at the Musikhochsule in Munich.. He has received the Maximilian Order of Sciences and Arts, and title Bayerischer Kammersänger. In 2016 He was awarded the Heidelberger Spring Prize. Performs frequently on international stages, and New York, the Concertgebouw in Amsterdam, the Philharmonie in Cologne and Berlin, the Konzerthaus and Musikverein in Vienna and the Wigmore Hall in London. He is also a regular guest at festivals such as the Rheingau Music, London Proms, Festivals Edinburgh and Lucerne and Salzburg Festival. For two seasons he has focused particularly on lied recitals, with five different programs with Gerold Huber in Salzburg, Milan, Munich, Berlin, Leipzig, Vienna, Baden-Baden, Geneva, Paris, London, Madrid and Schwarzenberg, as well as a tour of the United States. The season ended with performances by Magelone the Brahms and Heidelberg, London and Munich, of which an album was recorded in the spring of 2019. In addition to its activity in concert and recital, has received several operatic awards such as the Laurence Olivier and the Der Faust. A milestone in his career was his debut in the title role of Wozzeck the mountains 2015 at the Zurich Opera House, with scenery by Andreas Homoki and direction by Fabio Luisi. In 2016/17 sang in two productions at the Bavarian Opera, as Posa in Don Carlo y como Wolfram von Eschenbach en Tannhäuser with Kirill Petrenko. In 2017/18 performed at the Munich Festival as Amfortas in Parsifal and in Zurich as Nikolaus Lenau at the premiere of Lunea, Heinz Holliger. He has acted alongside directors like Harnoncourt, Rattle, Blomstedt, Nagano, Jansons, Harding, Haitink and Thielemann in the main halls of the world. As a Sony Music exclusive artist, he has recorded with Gerold Huber several Schumann cycles and all Schubert cycles., among others. He has also recorded with orchestras such as the Berliner Philharmoniker, the Cleveland, the Bavarian Radio Symphony and the Concentus Musicus Wien.

Gerold Huber, piano rigor

Gerold Huber studied piano with Friedemann Berger at the Musikhochschule in Munich and attended lied master classes with Dietrich Fischer-Dieskau in Berlin. In 1998 was awarded the Prix International Pro Musicis with Christian Gerhaher. Gerold Huber gives master classes and, since 2013, is lied accompaniment teacher at the Hochschule für Musik in Würzburg. Gerold Huber has performed at renowned festivals and major concert halls such as: Concert Society Viena, Wigmore Hall London and Bavarian State Opera in Munich, accompanying Christian Gerhaher, Christina Landshamer, Franz-Josef Selig, Mojca Erdmann, Diana Damrau, Ruth Ziesak, Maximillian Schmitt, Christiane Karg y Rolando Villazon, among others. Gerold Huber's el director artístico de Pollinger Days of Old and New Music. All of Gerold Huber's recordings with Christian Gerhaher have been released by the Sony Classical label and have received various awards.. The CD “Schubert - Nachtviolen” won the Gramophone Award in 2015.

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Luisa Fernanda, or the indomitable desire to fight for beauty
Luisa Fernanda
Federico Moreno Torroba
record: Federico Romero and Guillermo Fernandez-Shaw
Yeatro de la Zarzuela, Madrid, 28 of January of 2021
D. musical: Karel Mark Chichon
D. scene: Davide Livermore
Scenography: Giò Forma
Locker room: Mariana Fracasso
Lighting: Antonio Castro
Choreography: Nuria Castejón
audiovisual design: Pedro Chamizo
D. choir: Antonio Fauró
Titular Orchestra and Choir of the Teatro de la Zarzuela
interpreters: Yolanda Auyanet, Juan Jesus Rodriguez, Rocío Ignacio, Jorge de León, María José Suárez, Nuria García-Arrés, Emilio Sánchez, Antonio Torres, Didier Otaola, Rafael Delgado, Cesar Dieguez, Julia Barbosa and Román Fernández-Cañadas.
He 30 April 2020 the premiere was scheduled at the Teatro de la Zarzuela by Luisa Fernanda. But like so many things in those days, Luisa Fernanda was postponed, that not suspended. Now it comes back to a Madrid whipped, but brave, in that "indomitable desire to fight for beauty". Released in Madrid in 1932, It is one of the most popular and widely accepted zarzuelas. One of those works that could be represented in any theater in the world and that is at the level of any work in the Italian repertoire.

This time, the Teatro de la Zarzuela, following his desire to internationalize the genre, wanted to have as musical and stage directors the British Karel Mark Chichon and the Italian Davide Livermore, respectively. It is one more way of approaching the zarzuela without prejudice and showing other visions of seeing and feeling our lyrics.
It is the first complete zarzuela that Chichon faces, a deep connoisseur of our lyrical repertoire who, with his wife, the mezzo-soprano Elina Garança, show their affection for this genre by playing it around the world.

Davide Livermore's knowledge of the zarzuela is more recent, dates back to his time as mayor at the Palau de Les Arts. Approaches the genre with deep respect for its principles, but with little success when choosing the elements that star in the scene. I don't know why many set designers insist on making everything turn, even, too. Apart from almost projecting poor Luisa Fernanda in one of the scenic turns, It is dizzy and distracts from the scene.
A Livermore, who likes good-sized stage elements, he got a bit out of hand with the good reproduction he has made of the façade of the Cine Doré. Luckily the corps de ballet, the choir and the singers, they had a good direction of actors and well learned the staging. It wasn't easy at all, especially in some moments, move around a stage full of traps and in constant movement.
The idea of ​​the cinematograph and the projection was very romantic, like a movie, of different scenes of the protagonists and others of the time. And, Besides, the projections would have been consistent with each other, the result would have been brilliant. More successful was the scene of the vareadores, with a well-drawn meadow of Extremadura.
Definitely, an exaggerated scenography that looked like a collection of elements from different works, all of them from different times. What comes to be a scenography of use.

The Orchestra of the Theater, at the command of Chichon, rang with great dignity, somewhat slow at times, but with chasticism and color. Very meritorious for a pit formed by barely 23 teachers for pandemic issues.
The same occurs with a choir reduced to five male voices and five female voices.. The mask did not prevent a magnificent performance, with some small initial mismatch, and the recognition of the efforts of all these professionals who are part of the Teatro de la Zarzuela.

The work of the musical and stage director was always supported by the theatrical capacity of a good cast of actors / singers on stage..

The character of Vidal was played by Juan Jesús Rodríguez. Before the beginning of the work, it was reported that his vocal loss caused by laryngitis. His performance was very commendable, but their difficulties were noticeable, especially in renouncing the higher registers.

Luisa Fernanda was in charge of Yolanda Auyanet, that a good recitative was marked out, prior to their musical numbers. As Livermore says, "Recitatives are not a break while waiting for the musical number, they have to be well supported by a good actress ". This is the case of Auyanet, that shone in the interpretation supported by a good declamation. His voice has lost some agility, but retains a powerful center and exquisite taste in phrasing.

We are going to end up catching a mania for Jorge de León for the villainy of many of his characters. It must be by nailing them in the interpretation. Start with the romance "From this peaceful corner of Madrid", without having barely entered the matter, may be a hamdicap. De León started something out of temper to get in tune with the progress of the work. Its emission is clean and powerful, but their singing is unnatural and with engolado sounds.

The Countess Carolina was well interpreted by Rocío Ignacio. He knew how to give the point of frivolity and sophistication that this character requires. He has a powerful voice and good highs, but its excessive vibrato prevents good diction.

Maria Jose Suarez, in the role of Marisa, it's always a guarantee on stage. His stage presence and acting capacity always put that necessary histrionic point in each representation.
The rest of comprimarios were at a good level. Highlight especially the revolutionary Luis Nogales, by Antonio Torres and veteran Emilio Sánchez, as Don Florito.

A night of zarzuela that rescues us from reality. Always in fear of a last minute suspension, but always maintaining this exercise of resistance in the face of reality. But beware!, that this theater is as real as everything else.

It is always a good time to hear the winter trip who composed Schubert in his last stage as a composer. And it's now, when sensitivity exceeds normal levels, when we are more exposed to the musical and dramatic intensity of a composition like this.

Schubert had decided not to associate with the aristocracy that would have recognized and valued his works. I had 31 years, he was sick with syphilis, no family and no success. He lived on the charity and hospitality of the few friends he had left. It is in that moment of absolute helplessness, when he is forced to write Winterreise. 24 lugubrious and desperate songs, as the Schubert of those moments should be.

Winterreise is an extraordinary and homogeneous set of songs that tells a continuous story with a single character as the protagonist. Not for this reason it should be thought that they cannot be interpreted independently, as it happens with Good night O The linden tree. The poems of Wilhelm Müler, the shoemaker's son, were chosen by the composer to put the music that most accurately described loneliness and hopelessness. That which he himself felt. Some poems that were always the greatest stimulus and source of inspiration for Schubert.

This has been the second of the three recitals of the Cycle that Florian Boesch will offer this year as a resident artist. In their interpretations, the german baritone always puts all the depth charge in the speech, in the word. Leaving all the interpretative force in the texts. Declaims naturally, no frills or hype. The result is only a product of the emotions of a Boesch contained a few times, and shaken to anger at other times.

However, it was not a recital in which magic and trance took over the theater, as on other occasions. There were routine moments, maybe the connection between singer and accompanist were not always full. Justus Zeyen he has us accustomed to extraordinary moments in his already numerous interventions in this theater. But this time I lacked balance in that binomial in some moments. In the next recital of the 14 of June, we will listen to Boesch again, this time accompanied on piano by Malcolm Martineau, who analyzes and accompanies the interpretive sensitivity of German like nobody else and who should have accompanied him on this occasion.

moment, and even if time changes or new adaptations have to be made due to the pandemic, We will continue to attend and celebrate these pleasures that project us to the reality that we want and that will come.

Photograph: (c) Rafa Martin

Teatro de la Zarzuela

In accordance with the guidelines of the Order of the Community of Madrid that in view of the situation of the pandemic establishes the curfew at 10:00 p.m., between 25 January 6 February he start of functions programmed in the Teatro de la Zarzuela will go ahead at 7:00 p.m..

Functions Sundays do not suffer any alteration and their start is held at 6:00 p.m..

THE SHOWS THAT ARE AFFECTED ARE THE FOLLOWING:

Monday 25 from January

CICLO THE SONG, FLORIAN BOESCH

Thursday 28, Friday 29, Saturday 30 January and Wednesday 3, Thursday 4, Friday 5 and saturday 6 February

LUISA FERNANDA

Tuesday 2 February

CONCERT SERIES, AMANCIO PRADA

Luisa Fernanda

With 'Luisa Fernanda' come back to Teatro de la Zarzuela a classic of Spanish and American lyrical stages. And this time it does unique and special. The genre of zarzuela should not aspire to be locked in the golden cage of "the Spanish", as an exotic lure for the public and foreign artists, but for quality, by relevance and by mere common sense, must aspire to "the universal". For this reason it is a unique occasion that at the helm of this new ship driven by the Teatro de la Zarzuela, be nothing less than the Italian Davide Livermore –Now one of the most sought-after and acclaimed directors in the most important opera houses in the world and responsible for the opening of the Teatro alla Scala in Milan in the last two seasons–, and the British Master Karel Mark Chichon, great connoisseur, lover and tireless diffuser of Spanish music. Both make the composer's masterpiece Federico Moreno Torroba and librettists Federico Romero Y Guillermo Fernández-Shaw in a surprising and exciting theater show through its intrinsic theatrical and musical language, presented to the public as a compact whole.

He Teatro de la Zarzuela will offer 14 functions, between 28 January 14 February, this total musical show around one of the greatest creations in the repertoire, defined by Livermore as “a work of art of Spanish culture and universal culture”. He film director Turinés affirms that ‘Luisa Fernanda’ “has a score that always reaches the heart of the public, and both before and now and in fifty or a hundred years, the musical beauty of this work has had, it has and will have a special attraction for all of us who come to it. "

Meanwhile, he Maestro Karel Mark Chichon, who for the first time directs a zarzuela production on this stage, maintains that ‘Luisa Fernanda’ is “the last great romantic zarzuela, and it owes much to the masterpieces of the zarzuela grande and the small genre that preceded it. " To this he adds that musically it is one of the best examples of the traditionalism with which Moreno Torroba identified so much., "Combining the grace and color of Spanish music with the elegant Viennese comedy and the verismo of Italian opera." What turns the work into a zarzuela “by memorable melodies with unerring theatrical flair.”

Chichon, which will be in front of the Titular Orchestra of the Teatro de la Zarzuela -Orchestra of the Community of Madrid-, of the Titular Choir of the Theater of La Zarzuela and of two extraordinary distributions, will alternate on the podium of the pit with the Master David Gomez Ramirez who will direct the functions of the days 3, 4 Y 5 February.

The value of the deals

The two distributions that participate in this new and long-awaited presentation of ‘Luisa Fernanda’ -that was going to premiere on 30 April 2020 and that had to be postponed due to the pandemic and the consequent confinement- they are made up of especially skilled singers, energetic, effective, demanding, intense and balanced. Qualifiers that are only a small part of its virtues.

Luisa Fernanda, the daughter of a retired civil servant who keeps Javier Moreno absent, that young military man, former innkeeper and now promoted to colonel, will be performed by the sopranos Yolanda Auyanet (Luisa Fernanda par excellence) Y Maite Alberola. On the other hand, is Vidal Hernando, a rich Extremaduran farmer who disputes Luisa Fernanda's love with Javier, to whom the baritones will give life Juan Jesus Rodriguez (Vidal par excellence) Y Javier Franco. Duchess Carolina, that beautiful and persuasive young woman, will be embodied by the sopranos Rocío Ignacio Y Leonor Bonilla. And the role of Javier Moreno, that since he rose in rank he has neglected his girlfriend Luisa, the tenors will assume it Jorge de León Y Alejandro del Cerro.

Rounding out the cast María José Suárez Y Nuria García-Arrés as Mariana and Rosita, Emilio Sánchez Y Antonio Torres, like don Florito and Luis Nogales, Didier Otaola as Aníbal; actors Rafael Delgado, Cesar Dieguez Y Julia Barbosa, the members of the Titular Choir of the Theater, Roman Fernández-Cañadas, Francisco Jose Pardo, Graciela Moncloa, Daniel Huerta, Rodrigo Alvarez, Ricardo Rubio, Antonio González Y Quique Bustos; in addition to 4 extras Y 12 dancers.

Regarding the artistic team, it is completed by the study GI Shape, responsible for the scenography, costume designer Mariana Fracasso, the illuminator Antonio Castro, the choreographer Nuria Castejón and the audiovisual designer Pedro CHamizo.

Love, cinema and revolution

The stage is a recognizable architectural space in Madrid in which the feelings of love, pain and anguish, "a figurative or disfigured world that evolves into 360 degrees before our very eyes…”, as Davide Livermore himself explains, that for this he uses techniques and resources of cinematographic language inspired by works of the seventh art.

Historical facts around the Glorious (o Revolution of 1868 which culminated in the exile of Elizabeth II), that appear or are mentioned in this zarzuela, are the background of what their characters live. So, like now, the story of the young Luisa and Javier will surprise and excite the public, because this episode is combined with the life of the spectators in a movie theater - like a plaza, of meeting place and of life - in the also young Republic (the plot unfolds as it was written, but moved to the date of its happy premiere at the Calderón Theater in Madrid in 1932); and that modernist room is none other than the Cine Doré, so one of the best known in Madrid and currently the oldest active cinema in Spain.

And above political plots and revolutions, of gallantry and fancies, what in the end really matters is wanting and being loved. Love: that wheel that moves the world.

Online and on the air

As it is usual, one of the functions will be broadcast live by streaming through from YouTube channel, the Facebook profile and the Theater's website. The date chosen this time is Wednesday 10 February at 8:00 p.m. (Spanish CET).

Likewise, one of the functions will be recorded by Classical Radio by Radio Televisión Española to broadcast in the near future.

Also on these days you can enjoy YouTube y Facebook of the conference taught by the musicologist Mª Luz González Peña and a new chapter of the series ‘Trip through the zarzuela’, this time focused on ‘Luisa Fernanda’ with Yolanda Auyanet, Juan Jesús Rodríguez and Davide Livermore as protagonists, Y, as usual, with surprise included.

The incredible story of Juan Latino

It was one of the great successes of last season, and not only for the smallest spectators - who live with enthusiasm each set of the function -, but became from day one a happy discovery for all audiences.

'The incredible story of Juan Latino', who returns these days to Ambigú Coliseum, is a bright music production, puppets and masks of the Claroscvro company and the Teatro de la Zarzuela to which no one can be indifferent. It is a true story, little known, of that fraternal friendship that we all must know and remember to understand what they are like (as we are) humans. Recommended from the 6 years, dhe 8 al 17 January are offered 9 functions open to the general public, in addition to numerous passes for schools throughout the next week.

It is a small zarzuela, with Renaissance and Baroque repertoire, about a 16th century Spanish writer and humanist. Juan Latino, that that was his name, was the first black person who obtained a degree and issued a professorship at the University of Granada. Discover in this way a true story of racial and social overcoming of a black slave in 16th century Spain is quite a surprise for the viewer.

Therefore, in this music and theater festival, which it is a sincere invitation to tolerance and respect, we want to show how miscegenation has been for centuries a constant and crucial element in the coexistence of our society. The music and the arts, as people and ideas, They have been combined in different ways in the works anonymous composers or the well known and admired Duron, Arrow, Gutierrez de Padilla, Hidalgo, Romero and Sanz.

After the also acclaimed 'Lost in Bosco' (2017 Y 2019), This is the second co-production with the Teatro de la Zarzuela that presents the Spanish-Canadian company Claroscvro theater, one of the world references puppetry directed by Julie Vachon Y Francisco de Paula Sánchez. Claroscvro Teatro employs recreation in historicist aestheticism in order to reinforce the educational values ​​of their works, and with the conviction that beauty is the perfect vehicle to love art.

Matthew Polenzani

This season is the one of premieres in the Lied who organize the CNDM and the Teatro de la Zarzuela. On this occasion the debutant has been the American tenor Matthew Polenzani, who has been accompanied on the piano by Julius Drake, considered one of the best instrumentalists in his field in the world. East end that he again demonstrated on this occasion accompanying Polenzani. An always safe value, Drake.

Polenzani did not arrive at the Teatro de la Zarzuela with an easy repertoire, neither for him nor for the public, especially in its second part. He began by performing five of the best known songs from Schubert, In the spring, Belief in spring, The lonely, Serenade y in the sunset. Perhaps this composer is not the most suitable for Polenzani's vocal characteristics, but his refined technique facilitated his accommodation at all times. Much better was in the selection of song cycle from Schumann (in this case, all nine Songs del Op. 24 from 1840), where he demonstrated his greatest interpretive abilities, its stylistic delicacy, an excellent phrasing and an extraordinary fiato which he recorded on several occasions. Even so, his voice sounds much more bel canto than liederistic to us.

In the third set of songs he surprised everyone with works by Francis Poulenc, specifically the "mélodies" of "Engagement for laughs” ("Laughter betrothal"). In this point, Polenzani, that went from less to more, it was where he was most inspired. Especially in the most theatrical and dramatic part, that in this French repertoire, it is an important question.

It ended with three works by the little-known American composer Charles Ives. Note the beautiful and delicate Field loneliness, for whose interpretation I had reserved Polenzani its greatest refinement and sensitivity. Or the funniest The World’s Highway.

After two tips and thanks to the Theater for being able to be with the public that night, concluded this fourth recital of lied that, as usual, and much more this year, It is one of the great musical events in Madrid.

Photograph: Rafa Martín

Matthew Polenzani

He National Dissemination Center Musical (CNDM), in co-production with Teatro de la Zarzuela, will present on monday 14 from December (20h00) at XXVII Lied, to the North American tenor Matthew Polenzani. He will be accompanied on the piano by the renowned Julius Drake, collaborator of some of the most important interpreters in the world, both in recital and in record works.

This is an exceptional opportunity to hear for the first time in this cycle one of the most important tenors of today, gifted, according to the critics, a voice of exceptional musicality and a great technical mastery.

Polenzani is and has been a figure essential in the deliveries of the Metropolitan of New York in the last 15 years and a regular both in the main opera houses, as in concerts and recitals around the world.

The singer will address a program on Monday away from the usual operatic repertoire, composed of five lieder of Franz Schubert, the famous song cycle from Robert Schumann, Engagement for laughs from Francis Poulenc, and works of Charles Ives Field loneliness, The world’s highway Y When stars are in the quiet skies.

Tickets for this concert, with a general price 8 a 35 euros, They are for sale at the box office of the Teatro de la Zarzuela, INAEM network of theaters, www.entradasinaem.es and on the phones 985 67 96 68 Y 902 22 49 49.

Matthew Polenzani, style and control

The musical mastery and stylistic sense of Matthew Polenzani has allowed his continued presence in the main opera houses, concerts and recitals from all over the world. Highlights from Matthew Polenzani's recent career at the Metropolitan Opera include premieres of Bartlett Sher's production of L'Elisir d'Amore, that opened the season of 2012, Sir David McVicar's production of Maria Stuarda, as well as McVicar's new production of Roberto Devereux Donizetti. Other highlights include his role debut as Vaudémont in Iolanta de Chaikovski, Penny Woolcock's production of The Pearl Fishers, Willy Decker's production of La Traviata, Robert Carsen's production of Der Rosenkavalier, The Magic Flute, The Tales of Hoffmann, Rigoletto, Don Pasquale, among many others. Till the date, has starred in more than 300 performances at the Met. After his debut as Gérald in Lakmé by Delibes at the Opéra National de Bordeaux in France in 1998, has performed in major European theaters in productions of Don Pasquale Y La Traviata at the Teatro Comunale in Florence, in Aix-en-Provence and on a tour of Japan; La Traviata en the Zurich Opera House; Don Giovanni e I Capuleti e i Montecchi in the Paris Opera; to Favorites, Werther, L'Elisir d'Amore, Bohemian Y The Magic Flute in the Bavarian State Opera, as well as in the Wiener Staatsoper, the San Carlo Theater, and the Teatro dell 'Opera in Rome or Covent Garden, among many others. Polenzani is a highly sought after singer at concerts with the world's most influential conductors, como James Conlon, Sir Colin Davis, Riccardo Frizza, Rafael Frühbeck de Burgos, Louis Langrée, Jesus López-Cobos, Riccardo Muti, Sir Antonio Pappano, Sir Simon Rattle, Wolfgang Sawallisch, Leonard Slatkin, Sir Jeffrey Tate, Michael Tilson Thomas, Franz Welser-Möst, David Zinman, Riccardo Chailly y Daniel Harding. He has sung with orchestras such as the Berliner Philharmoniker, Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Cleveland Orchestra, the Los Angeles Philharmonic, New York Philharmonic, the San Francisco Symphony, the Cincinnati Symphony, the Minnesota Orchestra, St. Louis Symphony, Orchestra of Santa Cecilia, French National Orchestra and Münchner Philharmonic. In season 2019/20, Polenzani starred in three productions at the Metropolitan Opera, also singing for the Met's New Year's Eve gala the first act of Bohemian with Anna Netrebko. He also returned to the Bayerische Staatsoper to sing Don José in Carmen. In July 2020, Polenzani starred in a semi-staged version of La Traviata Verdi at the Teatro Real in Madrid.

Julius Drake, a solid track record

Julius Drake enjoys an international reputation as one of the best instrumentalists in his field, collaborating with many of the world's leading artists, both in recital and in record works. Appears regularly in major venues and music festivals: Aldeburgh, Edinburgh International Festival, Munich, Schubertiade, Salzburg, Carnegie Hall and Lincoln Center (NY), el Royal Concertgebouw (Amsterdam), the Wigmore Hall and the BBC Proms (London). Among the many recordings of Julius Drake, highlights those made with the acclaimed Gerald Finley for the Hyperion label, of which Barber Songs, Schumann Heine songs Y Britten Songs and Proverbs won the Gramophone Awards 2007, 2009 Y 2011. He has also made award-winning recordings with Ian Bostridge for EMI., several recitals for the Wigmore Live label, among them, with Alice Coote, Joyce DiDonato, Lorraine Hunt Lieberson, Christopher Maltman y Matthew Polenzani; as well as recordings of the Sonatas by Kodály and Schoeck with cellists Natalie Clein and Christian Poltéra for Hyperion and Bis; He has recorded, Likewise, works by Tchaikovsky and Mahler with Christianne Stotijn for Onyx; English Songs with Bejun Mehta for Harmonia Mundi and Poetic diary of Schubert with Christoph Prégardien, que ganó el annual German Record Critics' Prize 2016. Concerts in the coming seasons include a series to celebrate Beethoven's anniversary at the 92nd Y in New York and a Mahler series at the Concertgebouw in Amsterdam; recitals at La Scala, Milan with Aleksandra Kurzak, en Wigmore Hall with Alice Coote, en Barcelona con Sarah Connolly, in Berlin with Angelika Kirchschlager, en Schubertiade, Austria with Christoph Prégardien, Ian Bostridge y Gerald Finley, and tours of Europe with Anna Prohaska and Eva-Maria Westbroek.

Teatro de la Zarzuela

He Teatro de la Zarzuela is, day by day, one of the few lyrical theaters in Europe that has not suspended functions because of the pandemic season 2020/2021. Since this began at the end of September, are already 329 the artists that between stage productions and concerts have passed through the Coliseum in the Plazuela de Jovellanos.

And not only the programmed functions have been maintained –many of them with sold-out seats–, but among these There is also a good part of those that last season had to be postponed (not canceled) because of the general confinement of last spring.

One of the priority objectives of this measure is protect our artists with the intention that no one is left behind, thus complying with one of the basic principles that a public theater must attend.

Among the main reasons for this happy circumstance, undoubtedly highlights the fact that the Teatro de la Zarzuela, production unit of the INAEM - National Institute of Performing Arts and Music -, strictly complies with the safety standards required by health authorities and performs periodic tests To all staff, in collusion with the #CulturaSegura campaign promoted by the Ministry of Culture and Sports. What is intended, and it is being achieved, is guarantee the security of the public, artists and theater workers.

Rodrigo Cuevas

Spearhead of the "electrocouple ”, sex symbol of the couplet, total artist Y popular music scholar: a performing arts phenomenon.

With music by Chapí, Alonso, Guerrero, Soutullo y Vert, Sorozábal, Chueca, Giménez, Vives o Penella.

Spearhead of the "electrocouple", sex symbol of the couplet and total artist, so is Rodrigo Cuevas: a performing arts phenomenon and popular music scholar that he Monday 30 of November (20h00) will present his show ‘Barbián’ at Teatro de la Zarzuela. With dramaturgy and artistic direction by Fernando Carmena and arrangements and live music by Frank Merfort Y Richard Veenstrav, the function is built around compositions of Chapí, Alonso, Guerrero, Soutullo y Vert, Sorozábal, Chueca, Giménez, Vives O Penella.

As Fernando Carmena explains, the word barbián comes from the caló "barbán", which means "air", and in Spanish it is said of someone outgoing, gallardo, dared. “When I heard Rodrigo Cuevas for the first time - he affirms - I knew immediately that he would be a perfect zarzuela barbián. He is dark and rugged like Mari Pepa de Chapí or Don Homobono de Parada, but is above all a complete artist and scholar of popular music”.

Singer, composer, multi instrumentalist and folk shaker, your voice transits easily between tradition and underground. As Carmena says: "Discover links where others insist on creating divisions".

Merfort Y Veenstrav -composers and sound designers based in Berlin– sand related to the music of Chapí, Chueca, Giménez, Vives, Sorozábal…, with "liberating contemporary sensibility, although without losing sight of the stem cells of the starting compositions”. This is how Carmena describes the musical challenge of ‘Barbián’, and assures that “the syncretism of the zarzuela embraced the jota, el chotis, the cuplé ... and permeates both our musical commitment and the fabulous costumes designed by Constantino Menéndez (Made by Kös)”.

Between Madrid and Berlin, the orchard and cabaret, between the traditional and the cosmopolitan, 'Barbián' proposes "a heterodox journey through a genre no less heterodox ", concludes the playwright and artistic director of the show.

Ismael Jordi

Will be dedicated in memory of Alfredo Kraus –That he was a teacher of the Jerez tenor and that this week he would have fulfilled 93 years - to whom the colosseum will dedicate box number 6 from the plateau.

Accompanied on piano by Ruben Fernandez Arribas, will perform works by Manuel García, Joaquin Turina, Francis Poulenc, Francis Lopez, Jacinto Guerrero, Federico Moreno Torroba, Amadeo Vives Y Soutullo and Vert, among other authors.

the tenor Ismael Jordi meets 20 year career, and will celebrate the next Saturday 28 of November (20h00) with a "very personal" concert at Teatro de la Zarzuela. the recital, in which he will accompany you on the piano Rubén Fernández Aguirre, It will be offered in memory of Alfredo Kraus, who this past Tuesday would have met 93 years, and that along with Teresa Berganza He was his singing teacher at the Reina Sofía School of Music in Madrid. The Theater of the Plazuela de Jovellanos will take advantage of such a special circumstance to dedicate to Kraus from that moment box number 6 from the plateau with a name plate.

With a repertoire composed mostly of Spanish music, Jordi will go to the music of Manuel García O Joaquin Turina, to that of Francis Poulenc Y Francis Lopez, to cross the musical Pyrenees again with Jacinto Guerrero, Federico Moreno Torroba, Amadeo Vives O Soutullo and Vert, among other authors. Compositions and high-flying composers, so, those who on this day of celebration bring in their traveling luggage this Jerez man who points out universal ways.

Ismael Jordi is a complete singer. A total artist. Not only does he possess one of the most internationally acclaimed lyrical voices, but his stage presence and his intrinsic charisma make him one of the most desired stars of the lyric that today tread the stages.

 

Marianela

The preservation, the Recovery, the revision and the diffusion of our operatic heritage, are essential and obligatory tasks of the Teatro de la Zarzuela. This is required by its statutes and the Coliseum complies with it every season. That is why the programming of ‘Marianela’, opera in three acts of Jaime Pahissa, be one of the most musically seductive bets of the season 2020/2021, and more if you take into account that there is no recording of the composition. With libretto of two heavyweights, the Álvarez Quintero brothers –Serafín and Joaquín–, that throughout his life they came to write more than 200 works of different genres, and that on this occasion they adapt their own play on the homonymous novel by Benito Pérez Galdós, the Theater also celebrates, in this way, he Galdós Year that commemorates the centenary of the death of the Canarian writer in 1920.

‘Marianela’ premiered on 31 March 1923 the Gran Teatre del Liceu in Barcelona with Pahissa himself as director. The, not in vain, and as the illustrious musicologist indicates Emilio Casares, “He is one of the most prominent personalities in Spanish musical creation in the first half of the 20th century, and one of the most relevant opera composers ". His seven titles, almost all successful, they place it "at the peak of our lyrical history", and with ‘Marianela’ Pahissa achieves a work where “there are no ups and downs, and in each act he improves on the previous one. " Professor of aesthetics and composition at the Liceu Conservatory and director of the Municipal School of Music of Barcelona, con the arrival of the Civil War he had to go into exile. He went to Argentina, that ended up becoming his definitive homeland. As well, most likely, is this one of the keys to his forgetfulness.

For this reason, and the above mentioned, on Friday 27 (20h00) Y on Sunday 29 of November (18h00) will be holidays for our lyrics. Will be heard again ‘Marianela’, to which after its Argentine premiere of 1946 promoted by the colossal Teatro Colón in Buenos Aires he lost track. Brand new music, well, like all restitutions of the colosseum, to our ears the XXI century.

The two concerts that now do justice to the composer and the work, will be led by Oliver Diaz, who at the head of the Titular Orchestra of the Theater, the BARREL, will have to face a complex score in which the melody and the song are protagonists. The orchestra, as Casares points out, it must be bright and luminous, vigorous and expressive. And he sing, demanding for interpreters, "Especially because of the importance given to the treble", this aspect "highly valued by critics and the public."

Will be, so, a good opportunity for the showcasing of the Holder Choir Teatro de la Zarzuela under the direction of Antonio Fauró, and for the show of talent of the singers of the cast led by the Guatemalan soprano Adriana González, who will play the role of Marianela, Pablo's guide, blind from birth with whom he is deeply in love, who plays the tenor Alejandro Roy; the Colombian mezzo-soprano Paola Leguizamón will be Florentine, Pablo's cousin, whose beauty is, when regaining sight, stays on. Both fall in love and Marianela is left at the expense of a painful and cruel fate; the role of doctor Teodoro Golfín, that achieves the healing of Pablo, will be embodied by the baritone Luis Cansino. The bass Simon Orfila will give life to the Patriarch of Aldeacorba, Pablo's father; the Puerto Rican baritone César Méndez Silvagnoli to Florentina's father, and mezzosoprano María José Suárez and Mariuca, one of the daughters of the family that welcomes the unfortunate Marianela.

baritone Mario Villoria, tenors Javier Alonso and Enrique Bustos, and the baritone too José Ricardo Sánchez, members all of them of the Titular Choir of the Theater, They play the characters of Gasparuco, Pedrillo, Ramón and Pachín respectively.

Emilio Casares defines with two brushstrokes the musical significance of ‘Marianela’: "It is composed by a symphonist who never detaches himself from this condition; who has studied Debussy, to the veristas already Strauss, who works with an orchestra of the postromanticism and who believes that pure music, the instrumental, is superior to the rest of the music. Left it written several times. ‘Marianela’ pivots between what happens in the scene and what happens in the pit, and there are many moments in which the dramatic interest moves from the singers to the orchestra. "

Pahissa and Galdós

In a manuscript dated in Buenos Aires in 1946, Pahissa himself tells us about his encounter with Galdós: “I met Pérez Galdós when this great novelist had more than 80 years. It was on stage at the Teatro Novedades, during the season in which the admired Margarita Xirgu premiered in Barcelona ‘Marianela’, in the stage adaptation of this novel, one of the most beautiful in Galdós, did the Álvarez Quintero brothers. I had a desire to do a Marianela opera ". The Álvarez Quintero add: “He deeply felt the Galdosian novel long before we dramatized it. When he saw the comedy, the idea arose in him that we turn it into an opera, and it's almost done ».

Tribute to Padilla

 

 

 

 

 

 

 

The music of Jose Padilla (1889-1960), one of our composers who arouse the most admiration in the world, will be heard again in the Teatro de la Zarzuela, and will do it as a tribute in the 60 anniversary of his death. It will be tomorrow Tuesday 24 of November (20h00) within the cycle Notes from the Ambigú, in a concert in which Cecilia Bercovich (fiddle), Sergio Menem (cello and guitar) Y Claudius Constantine (piano and bandoneon) will offer a surprising repertoire of the Almeria maestro.

From the Shepherdess Follies and the Olympia Theater in Paris, until the tibet monasteries, Padilla was conquering unstoppably and irresistibly all the corners where their records were reaching, whose echoes still resonate today thanks, among other prodigies, to whom of Federico Fellini, Yasujiro Ozu, Woody Allen o Ridley Scott.

But nevertheless, the master's work goes much further of the famous 'El relicario' or 'La violetera', or its well-known pasodoble ‘Valencia’, or of that ‘Portuguese Studentina’ that put music to the Carnation Revolution of 1974. Much of its production, as inexhaustible as the episodes of his hectic life, is still unknown in our country.

The trio formed by Bercovich, Menem and Constantini will travel through one of these jewels among which the songs will sound 'Look at me' (1920), ‘The moon swaying in the rainbow ' (1931), ‘Dance on the garden’ (1927) or the essential ‘La violetera’ (1918); romances like ‘Little princess’ zarzuela ‘The court of love’ (1916) O ‘Song of“ The Spanish guitar ”’ zarzuela ‘Sun of Seville’ (1924); movie music like Un One evening prayer ’ of the film The last ride ’ (1947); musical pieces like 'Serenade' from the musical ‘Rome’, and even one prodigious collection of tangos.

The Ambigus that come

To the concert in honor of the teacher Jose Padilla, they will follow that of the soprano Berna Beads Y Rubén Fernández Aguirre, that will in turn honor the sublime music of Joaquin Turina (3 from December), the Chapel Jerome Carrion directed by Alicia Lazaro, with whom we will undertake a journey from the Renaissance to the Spanish Baroque through the influences of secular and sacred music in ‘From the temple to the theater’ (15 February), soprano Cristina Toledo accompanied by the pianist Aurelio virivay, will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women's Day (8 of March), Shiggaion. Music found, unknown works of the Spanish baroque, more specifically from the Valencian school of sacred music (22 of March), mezzosoprano Maria Antunez, accompanied by Rubén Fernández Aguirre on piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April), soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will present ‘Tribute to Iberoamerica’ (15 of June).

Sabine Devieilhe

It was presented in the Lied cycle of CNDM and Zarzuela theater, the french Sabine Devieilhe. He did it with a varied repertoire of Debussy, Poulenc, Fauré and Ravel. With an intelligent distribution interleaving each of the authors, which requires a greater demand on the part of both interpreters. The continuous change of atmospheres and registers requires a lot of attention and adds a dynamism to the extraordinary set.

Sabine Devieilhe is a coloratura soprano who in this recital has shown that this tessitura can be explored, notably, a chamber music repertoire like the one at hand. With great expressiveness in interpretation, elegance in diction and melodic line, Devieilhe was successfully and sensitively reeling off each of the qualities of the composers, from the most romantic tints of Fauré to the contemporaneity of Poulenc.

The ease that Devieilhe demonstrates in his sophisticated way of interpreting, was perfectly accompanied by one of the best piano performers of the moment, Alexandre Tharaud, who became the protagonist in some moments, thanks to its ability to create atmospheres and the absolute elegance with which it travels the keyboard.

Generous in tips, after going out to say hello on several occasions, they offered the "Aria of fire", from The child and incantations, Ravel, where Devieilhe demonstrated her mastery of coloratura. A baroque work by Rameau, where he demonstrated the versatility of his voice and the beautiful Youkali, Kurt Weill, masterfully performed and left the audience fully satisfied.

An extraordinary night that Devieilhe appreciated being able to offer, given the circumstances and the special impact of the pandemic on the world of culture. Do not forget that Madrid is the only European city where artistic shows are being offered. It was demonstrated in this recital, where the freshness of its two interpreters provided the audience with a breath of fresh air, so thankful right now.

Photograph: Rafa Martín

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The one with the bunch of roses
Pablo Sorozabal
Libreto by Francisco Ramos de Castro and Anselmo Cuadrado Carreño
Premiered at the Fuencarral Theater in Madrid, he 13 November 1934
Production of the Teatro de la Zarzuela
D. musical: Guillermo García Calvo
D. scene: Emilo Sagi
Scenography: Gerardo Trotti
Locker room: Pepa Ojanguren
Lighting: Eduardo Bravo
Choreography: Goyo Montero
Choreographic replacement: Nuria Castejón
Orchestra of the Community of Madrid Owner of the Teatro de la Zarzuela
Holder Choir Teatro de la Zarzuela
Director Antonio Fauró
Distribution: Ruth Iniesta, Carlos Alvarez, Stephen Vincent, David Pérez Bayona, Sylvia Parejo, Ángel Ruiz, Milagros Martin, Enrique Baquerizo, Cesar Sanchez, Eduardo Carranza, Joseba Pinela, Daniel Huerta, Alberto Rios, Francisco Jose Pardo, Rodrigo Alvarez, Alberto Camon, Roman Fernández-Cañadas, Francisco Jose Rivero.
Dancers-extras: Begoña Alvarez, Cristina Arias, Ariel carmona, Lara chaves, Emmanuel Chita, Sarah Croft, Maria Angeles Fernandez, Alberto Ferrero, Antonio Gomez, Rafael Lobeto, Maria Lopez, Helena Martin, Xavi Montesinos, Daniel Morillo, Luis Romero, Esther ruiz, Lara Sagastizabal, Nathan Segado, Rosa Zaragoza, premiered at the Fuencarral Theater 86 years, The bunch of roses reflects the modern Madrid of the thirties, with the most characteristic and novel modes and fashions of the time. The presence and importance of the role of women, represented by the characters of Asunción and Clarita, and a hilarious social critique that has not lost its relevance since then. This production by Emilio Sagi, that premiered in this theater three decades ago, It is also, the most traveled and represented in Spain. Has even arrived, and with great success, to the stages of Paris and Rome. But he has always had a special bond with him Teatro de la Zarzuela.The director of the Theater, Daniel Bianco, thinks that this production of Sagi marked a before and after in the scenography of the genre. It is certainly full of topicality, It is elegant and functional and represents that authentic and timeless Madrid that reflects any time and place in the city. An ordinary and real street in Madrid, as commissioned by Sagi from his set designer Gerardo Trotti, represents and welcomes all its characters, perfectly reflected and described by an ingenious and brilliant Pablo Sorozabal, great connoisseur of social reality and how to represent it through the character of its characters.

On stage everything flows with great naturalness and success. It is an entertaining and dynamic work. The numbers are interspersed like in a musical. Dances, dialogues, Duets and romances follow each other with a freshness that makes the two hours without a break short.

The musical director Guillermo García Calvo works miracles with the 23 teachers who may be in the pit. A pity not to be able to enjoy the whole orchestration, but the rigor of García Calvo at the head of the Orchestra knows how to generate the atmospheres that the work contains, which they are numerous, and fill the most intense moments experienced by the protagonists with lyricism.

The baritone Carlos Álvarez, that debuted with this production in 1990 with this same Joaquín character, he was the real dominator of the scene all night. You could tell that for him it was being a special moment, deep and evocative, that he managed to transmit to the public. The nobility of his song, his perfect diction and phrasing, his beautiful timbre and his mastery of drama made him the protagonist of the brightest moments. His interpretation of the romance "Madrileña bonita", led the public to insistently request an encore that refused, but what would have been justice. Got the biggest applause of the night, deservedly.

The Aragonese soprano Ruth Iniesta debuted the role of Ascensión, after having been Clarita in this same theater. The evolution of his voice is undoubted. Has gained in volume and musicality and, although it lacks a bit of naturalness in the interpretation, his Ascension rose to the occasion.

La Clarita by Sylvia Parejo was full of freshness and self-confidence. His time in the musical theater is noted for his good acting skills. He made a good couple with David Pérez Bayona, a correct hood, something less loose on stage. They both come from the Zarza Project, how good results is it giving.

The most endearing character and that, although sometimes it seems, it's not over-acted, but adjusted, It is the Espasa of Ángel Ruíz. His extraordinary diction, necessary to understand his string of absurd words, and his tables on stage, make this character one of the most original ones.

The rest of the tablets were at great height. The experienced and well-versed Enrique Baquerizo, as Don Daniel and Milagros Martín, as Doña Mariana, They have a professionalism and good work that are a guarantee for this theater and for the genre. Very good also Ricardo de Vicenç Esteve, the other suitor of Ascension, who preferred to dedicate himself to aviation.

A special night at the Teatro de la Zarzuela, one more. With some singers and an audience with feelings on the surface, for the special moment that we are living and why is Madrid the only European city where you can have this type of emotions. Lucky we are.
Text: Paloma Sanz
pictures: Javier del Real

Sabine Devieilhe

He Teatro de la Zarzuela in co-production with National Dissemination Center Musical (CNDM), will present the next Monday 16 of November (20h00) the long-awaited debut in the XXVII Cycle of Lied of the French soprano Sabine Devieilhe, one of the most sought-after female voices in international concert halls and opera houses. Not in vain is it considered the successor of the indispensable Natalie Dessay. The public will enjoy a distinctly French evening, in which the Norman singer will give voice to a repertoire composed of the best musical pages of the twentieth century of the Gallic country. She will be accompanied on the piano by Alexandre Tharaud, a figure in the world of classical music and a key exponent of today's French piano.

Critically esteemed as the current highest representative in the long tradition of French coloratura sopranos, Sabine Devieilhe will address a program that brings together cycles and songs signed by some of the most celebrated French composers: Claude Debussy (Starry Night, Ariettes forgotten…), Francis Poulenc (Two poems by Louis Aragon), Maurice Ravel (Five popular Greek melodies) Y Gabriel Fauré (After a dream, The craddles) forming an exquisite musical selection, that will reach the maximum levels of expressiveness in the voice of the French singer.

tickets, with a general price 8 a 35 euros, They are for sale at the box office of the Teatro de la Zarzuela, INAEM network of theaters, www.entradasinaem.es and on the phones 985 67 96 68 Y 902 22 49 49.

Sabine Devieilhe, intense race towards lyrical excellence

Native to Normandy, Sabine Devieilhe studied cello and musicology before devoting herself entirely to her vocal studies at the National Superior Conservatory of Music and Dance in Paris.. Even as a student, Devieilhe was already collaborating with groups such as the Ensemble Pygmalion. & Raphaël Pichon y con Les Cris de Paris & Geoffroy Jourdain, also appearing in concert with the Orchester de Paris, Les Arts Florissants, Les Musicians du Louvre con Marc Minkowski y Le Concert Spirituel con Hervé Niquet. The season 2011-12 saw Devieilhe debut in bel canto as Amina in La Sonnambula con Jean-Claude Malgoire, who also cast her for the role of La Folie in Plataea Rameau. Shortly after graduation she was invited to the Aix-en-Provence Festival to sing Serpetta in La Finta Giardiniera Mozart, to Montpellier to play the lead role in Lakmé de Léo Delibes and Lyon for her debut as Queen of the Night in The magic Flute Mozart. It was named "Révélation Artiste Lyrique" in the twentieth edition of Victoires de la Musique in 2013. She has played the role of Soeur Constance in Dialogues of the Carmelites from Poulenc in Lyon, Paris and Amsterdam. At the National Opera in Paris, played the Queen of the Night and the Hero in Beatrice and Bénédict Berlioz. Eurydice followed him in Orfeo ed Euridice by Gluck en La Monnaie en Bruselas, Adele and The bat by Johann Strauss in the Opéra Comique, Mélisande in Pelleas and Mélisande de Debussy y Nannetta and Falstaff by Verdi at the Marseille Opera. Her Glyndebourne Festival debut as Fire / Princess / Nightingale in The child and the spells Ravel's was acclaimed with success. He has achieved great success with the interpretation of the role of Ismene in a new production of Mitridate by Mozart en el Théâtre des Champs Elysées, as well as Amina in La Sonnambula by Bellini in concert version. In 2016 sang in new production of The triumph of time and disappointment by Handel at the Aix-en-Provence Festival, where he took on the role of Belezza. She was acclaimed by audiences and critics alike for her debut as Blonde in The abduction from the Seraglio by Mozart at La Scala in Milan, as Queen of the Night in The Magic Flute by Mozart at the Royal Opera House Covent Garden and as Marie in Daughter of the Regiment by Donizetti at the Zurich Opera House and at the Vienna State Opera. Other highlights include her role debut as Zerbinetta in a new production of Ariadne auf Naxos en el Festival of Aix-en-Provence, as well as his acclaimed debut at the Salzburg Festival with a program of Mozart arias. Consummate performer of French lieder and mélodies, Devieilhe performs with pianist Anne Le Bozec at the Lyon National Opera and at the Auvers-Sur-Oise Festival, among other recitals. His first solo album Rameau: the Grand Théâtre de l'Amour con The Ambassadors (November 2013) the valió a Diapason d'Or y el Grand Prix of the Charles Cros Academy. In November 2020 its debut takes place in the XXVII Lied Cycle of the National Center for Musical Diffusion (CNDM), held at the Teatro de la Zarzuela in Madrid.

Alexandre Tharaud, an essential pianist

In a career that encompasses 25 years, this musician has become a unique figure in the world of classical music and a key exponent of the French piano. His extraordinary discography with more than 25 solo records, most of which have received major awards from the music press, present a repertoire ranging from Couperin, Bach y Scarlatti, through Mozart, Beethoven, Schubert, Chopin, Brahms and Rachmaninov to the leading French composers of the 20th century. The breadth of his artistic endeavors is also reflected in collaborations with theater creators., dancers, choreographers, writers and filmmakers, as well as with singer-songwriters and musicians outside the scope of classical music. Alexandre is a highly sought after soloist, performs with some of the world's leading orchestras. Upcoming highlights include performances with the Bavarian Radio Symphony Orchestra, Orchester de Paris, Orchester National de France, Netherlands Philharmonic Orchestra, Orchestra of the National Academy of Santa Cecilia, Tokyo Metropolitan Symphony, the São Paulo State Symphony Orchestra and the Cincinnati Symphony. Recent concerts include collaborations with the Orquesta Real del Concertgebouw, the Cleveland and Philadelphia Orchestras, the London Philharmonic and the Frankfurt hr-Sinfonieorchester. Regarding recitals, Alexandre Tharaud is a regular guest on the most prestigious stages in the world. Highlights of this and next season include recitals at the Philharmonie de Paris, Wigmore Hall, Music Building the Ámsterdam, Old Opera de Frankfurt, Colon Theater Buenos Aires, Sao Paulo Room, as well as extensive tours of Japan, China and Korea. In November 2019, released his latest solo album, Versailles, that pays homage to composers linked to the courts of the French kings Louis XIV, XV and XVI.

The one with the bunch of roses

It was guessed from the first bars that this would once again be a glorious night in the Teatro de la Zarzuela. So it was. Already in the two preceding functions a goblin had visited the Coliseum in the Plaza de Jovellanos. And in this third, the public, ecstatic by the wonder that had just happened on stage, awarded the baritone Carlos Alvarez with long applause and cheers. The reason: his imposing interpretation of ‘Madrileña bonita’ in the zarzuela ‘La del manojo de rosas’ by Pablo Sorozábal. And the interpreter, who celebrates these days his 30 years of solo career, started precisely with this historic production of Emilio Sagi, finally yielded to encore requests to address another masterful version of the popular romance. And from that moment on, delirium.

Miles of spectators they could follow the magical moment live through the channel YouTube and the account of Facebook of the Theater, where is it available for anyone who wants to get excited again.

They accompanied the singer in the cast Ruth Iniesta, Stephen Vincent, Ángel Ruiz, Milagros Martin, David Pérez Bayona, Sylvia Parejo, Enrique Baquerizo Y Cesar Sanchez among other singers and actors among which are seven members of the Holder Choir Teatro de la Zarzuela.

this production, the most emblematic, traveled and applauded from the Theater de la Zarzuela has the set designer in his artistic team Gerardo Trotti, the long-awaited costume designer Pepa Ojanguren, the illuminator Eduardo Bravo and the choreography, whose replacement is responsible Nuria Castejón, is from also disappeared and admired Goyo Montero.

He Master Guillermo García Calvo, musical director of the house, occupies the podium of the pit in these functions at the head of the Titular Orchestra of the Teatro de la Zarzuela -Orchestra of the Community of Madrid-.

‘The one with the bunch of roses’ it will be playing until Sunday 22 of November. And how many special nights ahead!

Sunday Chamber

He cycle ‘Chamber Sundays’ of the Teatro de la Zarzuela, dedicated entirely to the woman, presents his second concert this next Sunday, 15 of November (12h00). With the title ‘Contemporary images’, will include music by the composers Angeles Lopez Artiga, Helga Arias, Nuria Núñez Hierro, María de Alvear and Miriam Sanz Ortega, student of the Conservatorio Superior de Música de Madrid from whom a premiere. He only price of all the concerts of the cycle is 6 euros.

The soloists of the Community of Madrid Orchestra (BARREL), Head of the Theater, who will participate in Sunday's concert will be Victor Arriola (fiddle), Rafael Dominguez (cello), Maria Teresa Raga (flute), Ana Maria Ruiz (oboe), Salvador Salvador (clarinet) Y Duncan Gifford (piano).

This second edition of ‘Domingos de Cámara‘ is about a journey through a unknown Spanish musical heritage, from the hand of soloists of the ORCAM that highlights some of our composers of the 20th and 21st centuries as Maria Rodrigo, Maria Teresa Prieto, Pilar Jurado, Teresa Catalán, Zulema de la Cruz, Marisa Manchado, Rosa Alarcó O Diana Pérez Custodio among many others.

The cycle will host four absolute premieres of students of the Royal Conservatory of Music of Madrid: the mentioned Miriam Sanz Ortega, Laura de las Heras, Amanda Garrido and Sofia Sainz.

The next appointments of the cycle will be: ‘Christmas with Ñ’ (20 from December), ‘Modern and classic’ (14 of March) Y ‘Make the Americas’ (6 of June).

The one with the bunch of roses

He Teatro de la Zarzuela will issue live and open through “streaming” the function of ‘The one with the bunch of roses’ of the Thursday 12 of November. The transmission can be followed from 20h00 (Spanish CET) in the channel YouTube, the account of Facebook and the page Theater website.

This revival of the well-known zarzuela of Pablo Sorozábal, genre masterpiece, It is not only the most iconic and acclaimed production of the colosseum from Madrid's Plazuela de Jovellanos, but also these days commemorate the 30 years of the assembly of Emilio Sagi, who in turn complies 40 as stage director.

On the podium of the pit will be Guillermo García Calvo, musical director of the Theater, who will be in charge of the Community of Madrid Orchestra -Owner of the house-, to singers of Holder Choir Teatro de la Zarzuela and a cast of bells led by the soprano Ruth Iniesta in the role of Asunción, baritone Carlos Alvarez, that also celebrates her solo debut three decades ago in the premiere of this same production in the role of Joaquín who now takes over again, the tenor Stephen Vincent as Ricardo, or the young performers Sylvia Parejo Y David Pérez Bayona in the roles of Clarita and Capó respectively.

Teatro de la Zarzuela:

YOUTUBE

https://www.youtube.com/c/TZARZUELA

FACEBOOK

https://m.facebook.com/TeatroZarzuela/?locale2 = es_ES

WEB

http://teatrodelazarzuela.mcu.es/es/

Emilio Sagi

‘The one with the bunch of roses’, the most emblematic and popular production of the Teatro de la Zarzuela, meets 30 years. At its premiere it was very well received by the public and critics, and so it has remained for the three decades since. It is not easy to guess the fate that awaits a theatrical montage in the future. You can guess if it will work. Whether it will be approved by the public. But not knowing for sure if over the years (of many years) will continue to raise curtains and passions. The latter is precisely what happens to the production that the stage director Emilio Sagi presented in September 1990. The composition of Pablo Sorozábal libretto by Francisco Ramos de Castro Y Anselmo Cuadrado Carreño is in itself irresistible, and Sagi's scenic proposal came to make a difference: a before and after in the theatrical approaches of the genre. A gift for the public that continues to preserve freshness and joy.

He Teatro de la Zarzuela will relive these hits with twelve features between 10 and the 22 of November, that will serve to celebrate the 30 years of his most applauded montage, of the production that has traveled the most. Several generations of singers, artists, technicians and the public have participated or enjoyed what is now the best-known title of Pablo Sorozábal and the one that he himself has linked in a special way with the Jovellanos street venue.

The event of this new replacement will also serve to evoke the 40 years of career that the stage director also celebrates this year.

And since there are no two without three, with these presentations we will live another extraordinary commemoration: that of 30 years of career as a soloist of the baritone Carlos Álvarez, one of our great lyrical interpreters of the last decades, which began precisely with the premiere of this production. And to celebrate, What better way to get back into the shoes of the character with whom it all began: Joaquin, that fake mechanic.

The ingredients are many so that this new presentation of ‘La del manojo de rosas’ is a party that is hard to forget. But there is still more: he Master Guillermo García Calvo, musical director of the house, will occupy the podium of the pit in front of the Titular Orchestra of the Teatro de la Zarzuela -Orchestra of the Community of Madrid-, of the Titular Choir of the Theater of La Zarzuela and of two extraordinary distributions.

The most emotional and exciting

Emilio Sagi is no stranger to emotion. He feels it deeply and knows that these days they have something new, different: “For me each replacement has been like the first time. It is tremendously exciting to see how the characters come to life. And now - despite the bad times that we have to live - seeing them reborn makes me think, leads me to feel that this time it is not just another replacement, but the most emotional and exciting of reruns upon completion 30 years from that first time ... "

Not in vain, ‘The one with the bunch of roses’ has, for many reasons, a very special meaning for him. It was his first zarzuela work in Spain —He had already mounted ‘La Revoltosa’ and ‘La verbena de La Paloma’, but curiously it had been in Havana and Buenos Aires—. Although it was commissioned by the then superintendent of this theater, Jose Antonio Campos, with this montage it was closer, if it fits, to the figure of his uncle Luis Sagi Vela, for whom Sorozábal, Ramos de Castro and Cuadrado Carreño, they expressly created the character of Joaquín.

And like everything in these days are emotions on the surface, Guillermo García Calvo does not lag behind Sagi. For the conductor ‘The one with the bunch of roses’ is a work "full of poetry. Of simple melodies and harmonies capable of expressing the most varied emotions ". The teacher maintains that Sorozábal “has the rare talent that any note he writes sounds 'charismatic' to him.. Musical inspiration, the spark of the libretto and how perfectly portrayed the characters are… All this is transmitted to the public from the first measure –he adds– and makes the work endearing and close. After coming to see her we will be more in love with life ".

Shaft distributions

The two distributions involved in this sixth presentation of the show at the Teatro de la Zarzuela (where it has been possible to enjoy in 1990, 1991, 1999, 2004, 2013 and now in 2020) they are loaded with shaft artists.

On the skin of Ascension, dreamy modern florist, proud of her working-class origin who does not want to hear about love more than with a man of her class, this time the sopranos will get in Ruth Iniesta (that in the replacement of 2013 in La Zarzuela she assumed the role of Clarita) Y Raquel Lojendio. Joaquín's character, that young man who pretends to be a mechanic and who pretends to, will be interpreted by Carlos Alvarez (that as has been seen, he returns to the role that saw him born as the first singer and that gave him his first hits) and for the baritone too Gabriel Bermúdez. Stephen Vincent will play Ricardo, aviator who also drinks the winds for the girl from ‘The bunch of roses’, and that is why he is in constant dispute with Joaquín. In contrast to this three-way love conflict, another arises between Clarita - a flirtatious and "super cult" manicure, Capó –a mechanic's apprentice– and Espasa –bartender at the square bar–. Although girlfriend of the first, she lets herself be loved for the second in order to test Capó's affection. David Pérez Bayona Y Adan Lopez Y Sylvia Parejo Y Nuria Pérez, they will give life to Capó and Clarita; It is the case that the four interpreters are regular participants in that valuable initiative of the Theater that is Proyecto Zarza, and some of them have already made their radiant first steps in great productions of past seasons. Meanwhile, the pompous and funny Espasa will be in charge of the versatile singer and actor Ángel Ruiz.

And at this point, you have to make a deserved paragraph, since Joaquín's mother, Mrs. Mariana, will be interpreted by Milagros Martin, one of the artists who in the last three decades has stepped on the stage of the Teatro de la Zarzuela. In the first rerun of Sagi's montage, in 1991, she was Asunción (role played for years) and Carlos Álvarez her suitor. Now, in the presentation of 2020, they are mother and son.

Rounding out the cast Enrique Baquerizo Y Cesar Sanchez as Don Daniel and Don Pedro, parents of Ascensión and Joaquín respectively; actors Eduardo Carranza Y Joseba Pinela, the members of the Titular Choir of the Theater, Daniel Huerta, Alberto Rios, Francisco Jose Pardo, Rodrigo Alvarez, Alberto Camon, Roman Fernández-Cañadas Y Francisco Jose Rivero; in addition to 19 dancers-extras.

Regarding the artistic team, The set designer finishes it off Gerardo Trotti, the long-awaited costume designer Pepa Ojanguren, the illuminator Eduardo Bravo and the choreography, whose replacement is responsible Nuria Castejón, is from also disappeared and admired Goyo Montero.

Long life traveler

Nobody is aware that with ‘The one with the bunch of roses’ Emilio Sagi, He conducted one of the best jobs of his long and highly productive career. In all these years has brought production to others twelve scenarios of the country —Valencia, Málaga, Oviedo, Bilbao, Santander, Barcelona, Sevilla, Jerez de la Frontera, Saint Sebastian, Valladolid, Santiago de Compostela, Pamplona—, as well as two other European capitals - Rome and Paris., and has always been successful with audiences and critics alike. Why, as the authors explained in its premiere in 1934, "The farce should be like a sentimental and funny reflection of popular life", clarifying that the external changes: attire, dialogue, place of action, "Although the feelings of the people do not vary".

'The one with the Bunch of Roses', that already has more than 85 years (premiered at the Fuencarral Theater in Madrid on 13 November 1934), It is the title that best reflects the modern Madrid of those years. After all, that was the Sorozábal's intention, «Make a music, simple, spontaneous, conceited, that had salt shaker and feeling, with popular flavor ». It is the moment when that women had the freedom to learn and decide, This is how Ascensión and Clarita show it on stage, two girls taken from one of those female athenaeums of the moment, either the Lyceum Club O The Civic, because they talk about their dreams and desires without sentimentality, and say clearly what they know and what they think.

La Zarzuela is, definitely, like all arts, something alive that evolves with the authors who live in the Society; this is reflected in the adaptation of his works to each time and place. In that sense, ‘The one with the Bunch of Roses’ serves as a model of an era, the Republic, in which musical genres and ideologies merge in a changing and modern Madrid. And this production of “only 30 years ”has already become the best legacy of the stage of the Teatro de la Zarzuela to the Madrid of then and now.

And all with the most extreme security measures.

trio Arbós

The pianist Juan Carlos Garvayo, violinist Cecilia Bercovich and cellist José Miguel Gómez They founded in 1966 in Madrid trio Arbós, formation with which among a collection of awards, They were recognized with the National Music Prize 2013. With this attractive name, the group took the celebrated director, Spanish violinist and composer Enrique Fernandez Arbós, returns to cycle Notes from the Ambigu Teatro de la Zarzuela to continue the journey that began several seasons ago with a proposal that passes through the genialities Chamber Music with Spanish seal –Which in this case extends to the Iberian world thanks to fado– and that the next Monday 9 of November (20h00) will make a new stop with a program that flies from zarzuela to fado.

In the concert you will be able to listen to compositions as recognizable as the prelude to ‘La Revoltosa’ by Ruperto Chapí, ‘The Gran Vía’ of Federico Chueca and Joaquín Valverde or ‘La verbena de La Paloma’ by Tomas Breton, in all three cases free version of Ricard Miralles. There will also be space and desire for the elegant and personal fado of Alexandre Rey Colaço, in transcription by Juan Carlos Garvayo, and for the chamber music of Joaquin Turina with his ‘Trio nº 1 in D major ', on. 35

For years the trio Arbós is one of the most prestigious chamber groups of the international horizon, and his work ranges from masterpieces of classicism and romanticism (Mozart integrals, Beethoven, Schubert, Mendelssohn, Schumann, etc.) to music of our time. One of its main objectives has been, precisely, the contribution to the enrichment of literature for piano trio through the commissioning of new works.

The Trio Arbós It performs regularly in major concert halls and festivals throughout more than 30 countries, get over her twenty recordings and for four seasons, It was established as residence set in Museo Nacional Centro de Arte Reina Sofía in Madrid.

The Ambigus that come

To the concert of trio Arbós will follow his violinist Cecilia Bercovich, that together with the bandoneon player Claudius Constantine and the cellist and guitarist Sergio Menem, will offer a concert dedicated to the pulsating and timeless music of the maestro Jose Padilla (24 of November); soprano Berna Beads and Rubén Fernández Aguirre, which in turn honor the sublime music of Joaquin Turina (3 from December), the Chapel Jerome Carrion directed by Alicia Lazaro, with whom we will undertake a journey from the Renaissance to the Spanish Baroque through the influences of secular and sacred music in ‘From the temple to the theater’ (15 February), soprano Cristina Toledo accompanied by the pianist Aurelio virivay, will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women's Day (8 of March), Shiggaion. Music found, unknown works of the Spanish baroque, more specifically from the Valencian school of sacred music (22 of March), mezzosoprano Maria Antunez, accompanied by Rubén Fernández Aguirre on piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April), soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will present ‘Tribute to Iberoamerica’ (15 of June).

josetxu-obregÓn

the Retreat, grouping created and directed by the cellist Josetxu Obregón, will present the next Sunday 1 of November (18h00) at Ambigu of the Teatro de la Zarzuela 'The Spiritillo Brando', a collection of dances composed for the entertainment of the 17th century Spanish and Italian nobility. In this suggestive way continues the Notes cycle Ambigú Coliseum.

La Ritirata recorded this music in 2013 and since then he has traveled with her for numerous Latin American countries, in addition to China, Japan or Israel, and prestigious festivals in Spain and Europe.

In this Sunday's concert they will accompany Obregón Josep Maria Marti to the baroque guitar and theorbo and Tamar Lalo with the recorder.

This approach to the Spanish and Italian music of that time –transition between Renaissance and Baroque–, has as its starting point the work of Andrea Falconieri, to one of whose compositions the title of the recital belongs, 'The Spiritillo Brando', which refers to the frisky goblins who supposedly roamed the streets in the Naples of the Spanish viceroyalty to justify human frailties.

Next to that of Falconieri, The Ritirata will review a collection of energetic and welcoming works at the same time, signed by Giovanni Antonio Pandolfi Mealli, Domenico Gabrielli, Giuseppe Maria Jacchini, Santiago de Murcia, Diego Ortiz, Bartolomé de Selma y Salaverde and Gaspar Sanz.

The reason for being of La Ritirata is his intense dedication to historical interpretation with the intention of rediscover repertoires of the Baroque, Classicism and early Romanticism, from the appearance of the cello until the line between its historical and modern interpretation is narrowed at the end of Romanticism.

Notes Ambigú 20/21

In this season the Theater continues to offer more than double of recitals that at the beginning of the cycle. 11 inescapable appointments of the 20 October to 15 of June.

The cycle began with a heartfelt tribute to Lorenzo Palomo from Raquel Lojendio Y Ruben Fernandez Aguirre, and to the concert of the Retreat will follow the trio Arbós with the third installment of 'Chamber music' (9 of November), the violinist and violist Cecilia Bercovich, the pianist and bandoneon player Claudius Constantine and the cellist and guitarist Sergio Menem, that offer a concert dedicated to the pulsating and imperishable music of the maestro Jose Padilla (24 of November), soprano Berna Beads and Rubén Fernández Aguirre, which in turn honor the sublime music of Joaquin Turina (3 from December), the Chapel Jerome Carrion directed by Alicia Lazaro, with whom we will undertake a journey from the Renaissance to the Spanish Baroque through the influences of secular and sacred music in ‘From the temple to the theater’ (15 February), soprano Cristina Toledo accompanied by the pianist Aurelio virivay, will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women's Day (8 of March), Shiggaion. Music found, unknown works of the Spanish baroque, more specifically from the Valencian school of sacred music (22 of March), mezzosoprano Maria Antunez, accompanied by Rubén Fernández Aguirre on piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April), soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will present ‘Tribute to Iberoamerica’ (15 of June).

Opera XXI

The next Sunday, 25 October, at 7pm., and coinciding with the celebration of World Opera Day, Opera XXI, the association that brings together the main theaters, festivals and lyrical seasons of our country, will deliver, through a ceremony to be broadcast by streaming, of the II Opera XXI Awards, the Spanish lyrical awards, that reward the best of the scenarios in our country during the season 18/19.

The ceremony, which was scheduled for March 2020 the Gran Teatre del Liceu, was postponed due to the restrictions of the current health situation and Ópera XXI has reformulated it in virtual format to guarantee the participation and safety of all the winners and artists involved. It will be issued through the web www.operaxxi.com, from https://operavision.eu/en the association's platform that brings together the main European theaters and seasons, Opera Europa, and of the cultural platform Arte.tv, on his channel dedicated to opera seasons in Europe. He Teatro de la Zarzuela will also join this broadcast, broadcasting the ceremony through YouTube, Facebook and its Web page.

The main objective of these awards is give visibility to the essential contribution of opera to Spanish society and vindicate the role of culture in our lives. And this time wants to be more than ever a great tribute to all artists, to the infinity of professionals who work and make possible that the curtains of the theaters and seasons are being raised in these extremely complex circumstances, and a special thanks to all those who support the lyric in our country, especially to the public.

The virtual ceremony, conducted by Daniel Bianco, director of the La Zarzuela Theater, and by the stage director Barbara Lluch, will count, among other great moments, with the performance of two of the awarded artists, Sondra Radvanovsky and Leonor Bonilla, and the pianist Rubén Fernández Aguirre. All awardees will connect and participate in the delivery virtually, and to them will be added the interventions of some of the great Spanish singers on the international lyrical scene, as Ainhoa ​​Arteta, Carlos Alvarez, Ruth Iniesta, Session Hernández, Ismael Jordi, Xavier Sabata, Jorge de León, Nancy Fabiola Herrera and Sabina Puértolas. They will be joined by the words of the Minister of Culture, Jose Manuel Rodriguez Uribes, and president of the association, Oriol Aguilà, director of the Castell de Peralada International Festival.

Opera XXI Awards, awarded

The awards recognize the work of interpretation (best singer and best young singer), musical direction (best director), operatic production (best stage director, best new production, best Latin American production) and the initiative to promote lyric. Likewise, include the awarding of three honorary awards: to personal trajectory, to the cultural institution and the drive for patronage.

The Award for Best singer he will recieve Sondra Radvanovsky, for his leading role in the Luisa Miller in Verdi, at Gran Teatre del Liceu in july 2019, as well as the recital-tribute to Montserrat Caballé at the Castell de Peralada Festival. With almost three decades of professional experience behind him, Sondra Radvanovsky (Chicago, 1969), She is one of the great international sopranos of our days. Trained in opera in New York, en el Lindemann Young Artists Development Program, it did not take long to open the doors of the main opera houses in the world, like the Royal Opera House in London, Teatro alla Scala in Milan, Opernhaus in Zurich and Metropolitan Opera in New York, among others. Especially admired playing roles for Verdiana soprano, She is also recognized for her interpretation of Italian bel canto titles.

Leonor Bonilla has been awarded the prize for Best Young Singer, for his outstanding performances in an intense season 2018/2019 for the Sevillian soprano: Lucia of Lamermoor in Maestranza, The trip to Reims in Tenerife, Orfeo y Euridice in Villamarta and Capriccio at the Teatro Real they have made her the winner of this award. An outstanding Lucia di Lammermoor, Donizetti, title that opened the season of the Teatro de la Maestranza in 2018, with Renato Balsadonna in the musical direction and Filippo Sanjust in the stage. In December of that year, she played the role of Contessa di Folleville de The trip to Reims, Rossini, commanded by directors Yi-Chen Lin, in the musical section, and Stefania Bonfadelli on the scene. In January 2019 Euridice was an outstanding in the work of Gluck that tackled the Villamarta de Jerez, with scene signed by Rafael Rodríguez Villalobos and Carlos Aragón in the musical section. And during the months of May and June 2019 I participate in Capriccio (R. Strauss) in her debut at the Teatro Real playing the role of Italian singer.

Leonor Bonilla began training as a bailaora and an injury changed her professional course towards singing. His first major role came in 2014 at the Calderón Theater in Valladolid, in the role of Servilia de La clemenza di Tito. In her short career as a singer, she already has a large list of international awards and recognitions..

The Award for Best Musical Director is for Nicola Luisotti (Viareggio, Italy, 1961), by the direction of Turandot at the Teatro Real in November and December 2018 with great success of critics and audiences. He has been a music director since 2009 of the San Francisco Opera and held the musical direction of the San Carlo theater in Naples between 2012 Y 2014. He has been directing on the podiums of the best theaters in the world since his debut in 2005. Upcoming engagements await you, among others, at the National Opera in Paris, The force of Destiny, at the Theatre Royal, Don Carlo Y La traviata, or at the Teatro alla Scala in Milan, The Troubadour.

The Award for Best Stage Director will be delivered to Cristof Loy (Essen, Germany, 1962), by your address of Capriccio at the Teatro Real in Madrid in May and June 2019. Loy is one of the most demanded and awarded directors of his generation. He has worked in the main European operatic coliseums, including the Bayerische Staatsoper in Munich, the Opernhaus in Zurich, the Salzburg Festival, the Royal Opera House in Stockholm or the Royal Opera House in London. Elected director of the year on several occasions by Opernwelt magazine and at the International Opera Awards in 2017, received the Lawrence Olivier Award for Tristan und Isolde at the Royal Opera House, London in 2010 and the award for the best production of the International Opera Awards of 2016 by Peter Grimes at the Theater an der Wien.

The award for Best New Production it's for him Teatro de la Zarzuela for Spanish opera Bernarda Alba's house Miquel Ortega, which it was shown in Madrid coliseum in eight performances in November 2018. With a libretto by Julio Ramos based on the original work by Federico García Lorca, The stage direction of this new production was in charge of Bárbara Lluch, with Miquel Ortega himself at the helm of the musical direction. The cast included names like Nancy Fabiola Herrera, Carmen Romeu, Luis Cansino, Carol Garcia Marifé the Nogales, in addition to veteran actress Julieta Serrano. The scenography is signed by Ezio Frigerio and the costumes are by Franca Squarciapino.

The award Best Lyric Promotion Initiative is for Pocket Opera and New Creation (OBNC), you just celebrated your 25 years in the cultural scene. The jury of the awards has recognized his work in the absolute premiere, in March 2019, Opera I'm narcissistic, with music Raquel Garcia-Thomas (that received last week the National Music Award) and libretto by Helena Tornero, a mounting Marta Pazos with musical direction by Vinicius Kattah, in co-production with the Teatro Real de Madrid, the Spanish Theater and the Teatre Lliure. In addition to his work for the promotion of the new creation, with the premiere of the young composer's chamber opera Joan Magrané, Pulling dialogues and Crimson, which premiered in July 2019 at the Peralada Festival, in co-production with the Gran Teatre del Liceu, in a proposal signed by Frances Prat in the musical and by Marc Rosich in the stage direction, with Jaume Plensa as manager of the scenic space. The main objective of OBNC is to promote new operatic creation, promote the emergence of new composers, librettists and playwrights, as well as musicians and singers who frame their works in contemporary creation. It also presents small-format works by international authors in Catalonia.

The Best New Latin American Production it's for him Gran Teatro de Lima by Alzira, in Verdi, co-produced by the Ministry of Culture of Peru with ABAO (Bilbao Association of Friends of the Opera) y the Royal Opera of Wallonia (Liège, Belgium). The Verdian title, with libretto by Salvatore Cammarano and inspired by the novel Alzira and the Americans by Voltaire, premiered in Lima in November 2018, under the stage direction of the Peruvian Jean Pierre Gamarra and the musical direction of the Asturian Óliver Díaz. The main roles were played by the Argentine soprano Jaquelina Livieri (Alzira), the tenor Juan Antonio de Dompablo (Zamoro) and the Lima baritone Jorge Tello (Gusmano). It is the first co-production of the Gran Teatro de Lima with European institutions.

He jury of the second edition of the Opera XXI Awards was composed of journalists and specialized critics: Eva Sandoval, Jesus Ruiz Mantilla, Maricel Chavarría, Gonzalo Alonso, José Luis Jiménez, Alejandro Martínez, Without Fernando River, Richard Martet and Victoria Stapells, in addition to Andrés Rodríguez (Vice President of OLA, opera Latin America). They are experts of recognized national and international prestige and a deep knowledge of the current national lyrical activity. Also present in the discussions Oriol Aguilà, Opera XXI president and director of the Festival Castell de Peralada; José Monforte, Association secretary and general manager of the Palau de les Arts Reina Sofía (Valencia), and Nieves Pascual, Coordinator awards.

honorary awards

The XXI Opera Assembly, at their biannual meeting held in November 2019, elected honorary awards for this second edition of the ceremony.

The award for Best Patronage Initiative went to the ”la Caixa” Foundation, that maintains a commitment to support the seasons of different Spanish theaters and festivals, as well as educational initiatives and outreach programs and approach to opera.

The Honorary Award for Trajectory is a recognition of the trajectory of Jose Antonio Campos Borrego, one of the personalities dedicated to cultural management most outstanding of our country. Among other charges, He was director of the INAEM and director of the Teatro de la Zarzuela in Madrid.

The honorary award to Cultural Institution fell on the Canary Friends of the Opera of Las Palmas de Gran Canaria, for its important task of promoting, promotion and dissemination of the opera during his 53 seasons uninterrupted path.

Theaters, festivals and seasons that are part of Ópera XXI

Friends of the Sabadell Opera, Canary Friends of the Opera / Las Palmas de Gran Canaria Opera Season, Friends of the Opera of A Coruña, Friends of the Mahón Opera, ABAO Bilbao Opera, Friends of the Opera of Navarra, Chamber Opera of Navarra, Peralada Castle International Music Festival, Baluarte Foundation, Oviedo Opera Foundation, Gran Teatre del Liceu, Great Theater of Córdoba, Tenerife Opera, Palau de les Arts Reina Sofia in Valencia, Main Theater of Maò, Teatre Principal de Palma, Arriaga Theater in Bilbao, Teatro Calderón de Valladolid, Teatro Campoamor of Oviedo, Teatro Cervantes de Málaga, Circo Albacete Theater, Teatro de la Maestranza, Teatro de la Zarzuela in Madrid, Teatro Real in Madrid, Teatro Villamarta of Jerez, Teatro Colon in Buenos Aires (honorary member).

Granada-1

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Granada
La vida breve and La Tempranica La Tempranica
Music: Gerónimo Giménez
dialogues: Alberto Cronejo
Sung: Julian Romea
Musical adaptation: Miguel Ortega
D. musical: Miguel Ángel Gómez Martínez
D. scene: Giancarlo del Monaco
Scenography: William Orlandi
Locker room: Jesus Ruiz
Lighting: Vinivio Cheli
Lighting: Vinivio Cheli
D. choir: Antonio Faur
Ana Ibarra, Javier Franco, Ruth González, Gustavo Peña, Gerardo Bullón, Miguel Sola, Ricardo Muniz, Andres Merino, Maria Luisa Corbacho, Jesus Mendez, Alicia Martinez, Felipe Nieto, Thais Martin of War, Jesus Castejon, Carlos Hipólito and Juan Matute
Orchestra and Choir of the Community of Madrid

La vida breve
Music: Manuel de Falla
record: Carlos Fernández Shaw
D. musical: Miguel Ángel Gómez Martínez
D. scene and scenery: Giancarlo del Monaco
Lighting: Vinivio Cheli
Lighting: Vinivio Cheli
Text version: Alberto cornejo
Ainhoa ​​Arteta, Jorge de León, Maria Luisa Corbacho, Rubén Amoretti, Anna Gomá, Gerardo Bullón, Jesus Mendez, Gustavo Peña, Rafael Aguirre, Milagros Poblador, Paula alonso, PAtricia Illera, Francisco Diaz

Granada is a show that arises from the union of two works, short life, by Manuel de Falla and La Tempranica, Geronimo Gimenez. Two plays that share the setting of the city of Granada and the love dramas of its protagonists. Two teachers who admired each other and who did not know each other. But the magic of theater and Alberto Cornejo have brought the two composers together on stage, represented by Jesús Castejón and Carlos Hipólito.

The covid, that occupies everything, has been responsible for the Teatro de la Zarzuela having to separate the two works that make up Granada, The short life and La Tempranica, and offer them on alternate days to avoid intermission and shorten the time spent in the theater.

This has also involved an adaptation effort. The short life requires an orchestra of 96 teachers. Something impossible in the small pit of the Teatro de la Zarzuela right now, Well, the distances between musicians could not be maintained. In June, a solution to the situation that arose began to be sought. They spoke to the president of the Falla Foundation, Elena Garcia de Paredes, who showed his doubts about the possibility of representing the work with just 24 teachers. He agreed with three conditions, that it be done as it was originally written, that the adaptation was made by maestro Gómez Martínez and that it could only be premiered in this theater and under these circumstances.

The teacher Gómez Martínez got down to work. Rewrote the entire score, by hand, in record time. The templates that the Falla itself used for its representations in small places have been respected. And the end result is magnificent, taking into account the drastic reduction of personnel, Falla's music hardly loses spectacularity and the orchestra, although reduced, knows how to extract, by the hand of Gómez Martínez, all the musicality of the original score.

When Daniel Bianco got in touch with Giancarlo Del Monaco, he did not know La Tempranica. It was found, Besides, that there were no recordings of this work. Which explains a certain disconnection of La Tempranica with its scenography. Not so with La vida breve, to which the pomegranate color suits her very well. As much as the lighting of Vinicio Cheli. Both sets share simplicity of elements, just a few panels that move, But they are, like almost everything in Del Monaco, elegant and suggestive. Scenographies focused on the psychological aspects of the two protagonists, in their suffering and love disappointments. But it is La vida breve the one that comes out the best in Del Monaco's stylistic cast.

The spectacular cast of voices of La vida breve does not disappoint. Ainhoa ​​Arteta is in good shape, both vocally and in the interpretive part. He resolved with skill and ease the high tessitura in which the character of Salud develops. It maintains its beautiful timbre and a stage presence that captivated an audience that gave it a long standing ovation..

Jorge de León was the ungrateful, briefly, Paco's role. He hardly intervenes in the work, but he composed a perfectly despicable character, as it should be, and left some notes on the quality of his voice.

María Luisa Corbacho wore a voice volume that allowed her to be heard from the back of the stage as if she were wearing a tie. With a powerful central zone and a dramatization in the phrasing that saved his stillness on stage.

More expressive on stage was Rubén Amoretti. It is always a guarantee in any role and circumstance and it excelled in both roles, both in Don Luis de La Teampranica and in the more dramatic one of Uncle Salvador, from The Short Life.

The first consequence of having to separate the two representations is the lack of continuity of the show. That, together with the fact of having eliminated many of the most traditional texts and passages of La Tempranica, They have managed to make this piece in solitude a bit helpless. I guess this reduction is also due to its adaptation to the moment, but I'm afraid they have mutilated her too much. It was noticeable even in the interpreters. Although the good trade is to be praised, not only from the singers Ana Ibarra, Javier Franco, Ruth González, Gustavo Peña, Gerardo Bullón or Miguel Solá, among others, but of the actors Jesús Castejón, Carlos Hipólito and Juan Matute, that served as a common thread through Alberto Cornejo's dialogues.

Text: Paloma Sanz
pictures: Javier del Real

Raquel Lojendio

He Teatro de la Zarzuela will open next Tuesday, 20 October (20h00) a new edition of which is one of its most popular and successful cycles: Notes Ambigú. the soprano Raquel Lojendio and pianist Rubén Fernández Aguirre will render a moving tribute to Lorenzo Palomo (Real city, 1938), one of the Spanish composers with the greatest international projection, whose works have been premiered and performed by top-level artists and orchestras, in the most prestigious concert halls in the world.

the recital, of undoubted beauty and attractiveness, will start with An Andalusian spring (1992) composed on poems by Juan Ramon Jimenez, and they will follow Song of Dulcinea (2006), a selection of the pieces that make up magical path (2018), the 5 compositions that integrate From dusk to dawn or Memories of youth (1987) O Tientos, with verses from Antonio Gala.

Notes Ambigú 20/21

In this season the Theater continues to offer more than double of recitals that at the beginning of the cycle. 11 inescapable appointments of the 20 October to 15 of June.

At Lojendio Y Fernandez Aguirre will follow that of the baroque ensemble the Retreat directed by cellist Josetxu Obregón with 'The Spiritillo Brando' (1 of November), he trio Arbós with the third installment of 'Chamber music' (9 of November), the violinist and violist Cecilia Bercovich, the pianist and bandoneon player Claudius Constantine and the cellist and guitarist Sergio Menem, that offer a concert dedicated to the pulsating and imperishable music of the maestro Jose Padilla (24 of November), soprano Berna Beads and Rubén Fernández Aguirre, which in turn honor the sublime music of Joaquin Turina (3 from December), the Chapel Jerome Carrion directed by Alicia Lazaro, with whom we will undertake a journey from the Renaissance to the Spanish Baroque through the influences of secular and sacred music in ‘From the temple to the theater’ (15 February), soprano Cristina Toledo accompanied by the pianist Aurelio virivay, will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women's Day (8 of March), Shiggaion. Music found, unknown works of the Spanish baroque, more specifically from the Valencian school of sacred music (22 of March), mezzosoprano Maria Antunez, accompanied by Rubén Fernández Aguirre on piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April), soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will present ‘Tribute to Iberoamerica’ (15 of June).

Sunday Chamber

The second edition of cycle ‘Chamber Sundays’ of the Teatro de la Zarzuela will be dedicated entirely to the woman, and it will start this next Sunday, 18 October (12h00), in the Ambigú of the Coliseum with a concert that under the title 'Crossed looks' will include music by the composers Marisa Manchado, Zulema de la Cruz, Pilar Jurado and Laura de las Heras, student of the Conservatorio Superior de Música de Madrid from whom a premiere. He only price of all the concerts is from 6 euros.

For the Teatro de la Zarzuela it is important give visibility to female composers who rarely gained deserved recognition for their musical work and whose works have remained in the ingratitude of oblivion. It is about, well, of a journey through a unknown Spanish musical heritage, Hand soloists of the Community of Madrid Orchestra (BARREL), Head of the Theater.

The ORCAM soloists who will participate in Sunday's concert will be Ema Alexeeva (fiddle), Nuria Majuelo (cello) Y Karina Azizova (piano).

This second edition of ‘Domingos de Cámara‘ will value some of our composers of the 20th and 21st centuries as Maria Rodrigo, Maria Teresa Prieto, Pilar Jurado, Teresa Catalán, Zulema de la Cruz, Marisa Manchado, Rosa Alarcó O Diana Pérez Custodio among many others.

This repair should not only focus on history, but also in today and even tomorrow, and that is why the cycle will host four absolute premieres of students of the Royal Conservatory of Music of Madrid: the mentioned Laura de las Heras, Miriam Sanz Ortega, Amanda Garrido and Sofia Sainz.

The four other appointments will cycle: ‘Contemporary images’ (15 of November), ‘Christmas with Ñ’ (20 from December), ‘Modern and classic’ (14 of March) Y ‘Make the Americas’ (6 of June).

Anna Lucia Richter

It was the first time that the mezzo-soprano Anna Lucia Richter arrived in Madrid to participate in the Lied Cycle of the National Center for the Diffusion of Music and the Zarzuela Theater. She is one of the standard bearers of the new generation of liederistas and has shown in Madrid, that comes to stay.

Richter presented us with a program not without difficulty. Although his technique and the ease with which he addressed his entire repertoire, could appear otherwise. It started with Gustav Mahler (1860-1911), a selection of Des knaben wunderhorn, "The Magic Tale of Youth" that Mahler made of German folk songs.

Continued with Hugo Wolf (860-1903), with evening pictures y obras de De Möroke songs y De Goethe songs.

It ended with works by Schubert (1797-1828), where Richter's finesse reached its finest. He showed a powerful and vigorous center. He also knew how to fill the most subtle pieces with stylistic nuances. Attractive timbre, Richter showed great expressiveness and intention when it came to "saying" the texts. Something fundamental in the style of a liederista.

Accompanied very well on the piano by the Israeli Ammiel Bushakevitz, who was always attentive to Richter, demonstrating between both a great complicity and understanding.

A very promising premiere in this Lied Cycle in which we will surely hear again one of the most consolidated new voices in this repertoire.

Anna Lucia Richter

He Tuesday 13 October at 20 hours, he National Dissemination Center Musical (CNDM), in co-production with Teatro de la Zarzuela, presents in the XXVII Cycle of Lied to the german mezzo-soprano Anna Lucia Richter, one of the most requested voices of the new generation of performers in the world of lied. In his presentation in the cycle, this young singer will put her sunny and expressive timbre at the service of works by Gustav Mahler, Hugo Wolf y Franz Schubert, accompanied by renowned pianist Ammiel Bushakevitz.

Anna Lucia Richter's performance is part of the XXVII Lied Cycle that, along the 10 recitals until June 2021, will present at the Teatro de la Zarzuela some of the most important lyrical voices of today, as Florian Boesch - artist in residence of the cycle, with three concerts on his agenda-, Sabine Devieilhe, Matthew Polenzani, Christian Gerhaher, Bejun Mehta, Christoph Prégardien and the Spanish Núria Rial. A cycle that offers the viewer a unique opportunity to listen to some of the best voices on the world scene venturing into the most intense pages of the lied and also enjoy songs from other signs. Tickets for all recitals, with a general price 4 a 35 euros, are already on sale in www.entradasinaem.es Y 902 22 49 49, as well as at the ticket offices of the Teatro de la Zarzuela and theaters of the INAEM.

Anna Lucia Richter

Born into a great family of musicians, Anna Lucia Richter received singing lessons from her mother Regina Dohmen since she was nine. She was part of the girls' choir at the Cologne Cathedral. He then studied with Kurt Widmer in Basel and completed his vocal studies with Klesie Kelly-Moog at the Cologne Academy of Music.. He has received classes from Margreet Honig, Edda Moser, Christoph Prégardien y Edith Wiens. He has also won numerous international awards, the latest Borletti-Buitoni is the Trust (2016). Richter has performed with the Lucerne Festival Orchestra and Riccardo Chailly, with the Paris Orchestra and Thomas Hengelbrock, the Orchestra of the National Academy of Santa Cecilia and Daniel Harding, the London Symphony Orchestra and Bernard Haitink, the HR Symphony Orchestra and Paavo Järvi, the Budapest Festival Orchestra and Ivan Fischer, the Baroque Orchestra of Freiburg and Jérémie Rhorer, o Arcangelo y Jonathan Cohen. His operatic repertoire includes roles such as Ilia (Idomeneo), Zerlina (Don Giovanni) and the roles of Eurydice / La Música in L'Orfeo by Monteverdi in the acclaimed production of Sasha Waltz. In 2017 had great success at the Theater an der Wien in Keith Warner's new production of the title role of Elegy for young lovers the Henze. In the field of lied, Richter performs a great repertoire on major stages such as the Schubertiade Schwarzenberg, el Rheingau Music Festival, el Heidelberg Spring o el Wigmore Hall de Londres. He made his US debut with three recitals at the Park Avenue Armory in New York, accompanied by Gerold Huber, and gave another recital at Carnegie Hall accompanied by Michael Gees. The repertoire of his latest album Homesickness was first introduced in January 2019 with Gerold Huber at the Philharmonie Luxembourg and at the Konzerthaus Dortmund.

Celso Albelo

The limited capacity in theaters, in this case, at Teatro de la Zarzuela, has turned out to be an ally for the Canarian tenor Celso Albelo, that has managed to create an atmosphere of intimacy and familiarity from the stage that eliminated any trace of coldness caused by the low influx of public.

Albelo offered a special recital, with traditional Canarian works recovered and adapted by Francisco Corujo Y Fernando Briones placeholder image. Works that, as Albelo himself explained, have been elevated to the category of lied.

Celso Albelo immersed himself in his land from the beginning, in your culture, its corners, with that characteristic and recognizable canary accent and vocal color. The tenor made a show of delicacy and subtlety by tightening, phrasing with elegance and filming with deep feeling.

It started with "Seven roses", work of Antonio González Santamaría which was his exposition of motives and marked the path of a very personal recital, in which he was found increasingly comfortable and complicit with an audience that adores him. His voice has gained solidity and security, especially when it goes through the highest notes. He was reeling off each of the songs while chatting animatedly with the audience.

The second part of the recital was dedicated to romances, as "The island of pearls", of the teacher Sorozabal, "The farmhouse", from Guridi o “Phear the smoke you know where the fire is" from "Francisquita" by Amadeo Vives. To end with "Faithful triumphant sword" of "Sevillano's guest" from Guerrero.

He ended up offering some original encores, also of Canarian song, accompanied by a guitar. Albelo got emotional in some moments.

Juan Francisco Parra accompanied the piano. There was great complicity between the two. He also offered two works, with their corresponding explanations, some tanguillos, from Teobaldo Power and a transcription of the Oviedo Anselmo González del Valle, from 1905 of the duo of “The diamonds in the crown" from Barbieri.

A great lyrical night, one more, in a Teatro de la Zarzuela that has started the season with strength and determination and with an absolute sense of security, with exhaustive compliance with all health protocols. Where safer than in the theater?.

First recital of the XXVII Lied Cycle of the Teatro de la Zarzuela and the CNDM, in charge of the baritone Florian Boesch, that this year is the resident artist of the Theater, accompanied by piano Justus Zeyen, with works Schubert, Wolf Y Martin.

Five Songs de Schubert have been chosen to start this first recital. This has undoubtedly been the most romantic and delicate part that the Austrian baritone has offered., that has been gaining in expressiveness over the years, becoming a perfect "interpreter". Use unusual resources to nuance a slight vocal line, which is more of a declamation, an almost whispery way of saying that adds theatricality. All with extreme sensitivity.

The second part of the recital was dedicated to a selection of the Italian songbook by Hugo Wolf (1860-1903). Wolf alternated moments of great creativity with others of absolute drought. This work is the product of creativity. They are short songs that speak of daily scenes of love, and does it with thoroughness. Boesch reels off these scenes with delicacy and showing off more baritonal colors, with powerful bass and, again, their declaimed whispers.

To end the recite, works by Frank Martin (1890-1974), a composer who searched for a long time for his own musical language, and thus be able to move away from the powerful counterpoint influences of Bach. The twelve-tone devised by Schoenberg provided him with a universe to explore. Six monologues out "Anyone" (1943), written in octosyllables and on which Martin projected an opera, is a kind of auto-da-fe that expresses, with extraordinary drama, the acceptance of death. It is in this part of the recital that Florian Boesch deploys, in apparent trance, all his dramaturgical and expressive capacity. The intensity with which Boesch approaches Martin's work is overwhelming.

Justus Zeyen's piano accompaniment was impeccable. Always attentive and at the service of Boesch's purpose, adding delicacy and sensitivity and without giving an iota of prominence.

A high-level start to a season full of quirks. A certain melancholic feeling hung in the air. The hubbub of other occasions and, what a milestone in this theater, there were no coughs at any time. Perfect health in times of pandemic.

Photograph: Rafa Martín

Granada

He Teatro de la Zarzuela will live next Thursday 1 October a night that is not an exaggeration to consider historical. After eight months without raising the curtain, bound by the disastrous ravages of an infinite pandemic, this unique setting will once again be the world center of the genre that gives it its name and containing many of the most brilliant pages of our lyrical heritage. And for such an extremely special moment, the scheduled show and who will raise it each day, it couldn't be less.

‘Granada’ is the generic title chosen to bring together two crucial compositions in the work of their authors. Granada is ‘La Tempranica’ by Gerónimo Giménez, and Granada is also ‘The short life of Manuel de Falla of which that is a direct musical and scenic reference. Historical will be the 14 functions (7 by title), also due to the prolonged absence of these tables: The train ‘La Tempranica’ has not stopped at this station for a whopping 36 years. ‘The short life’, eight.

And although, Due once again to the restrictions of the crisis, the montage will look different from how it was originally conceived. (both plays staged in the same function), the bet preserves the scenic and musical force of the original idea. Not in vain, heavyweights of music and theater are those who confront the genius of these two Andalusian composers: On the one hand it will be the Master Miguel Ángel Gómez-Martínez who assumes the musical direction from the podium of the pit (a Grenadian directing ‘Granada’), which will be in front of the Titular Orchestra of the Teatro de la Zarzuela -Orchestra of the Community of Madrid-, of the Titular Choir of the Theater of La Zarzuela and of some extraordinary casts.

And on the other hand, the venetian stage manager Giancarlo from Monaco will take over, as it is the norm, to remove the hidden feelings, hidden emotions, the unexpected passions; will squeeze the wounded soul of the characters, interpreters, of the public in search of truths on unknown and unhappy occasions, that none of us are alien.

A Spanish trilogy

With this production of ‘Granada’ Del Monaco concludes at the Teatro de la Zarzuela what he himself considers to be a spanish trilogy which includes ‘Las golondrinas’ -with which the season opened 2016/2017 of this coliseum-, and 'La Tempranica' and 'La vida breve' (the latter premiered in 2010 at Palau de les Arts Reina Sofia in Valencia, who owns the production). Focusing on the latter two, the first reflection of the Italian director revolves around what is the nexus that unites the works of Giménez and Falla, and "irremediably" comes to the conclusion that "both are linked by an atmosphere, a dramaturgy, a theatrical composition of the psychology of abandoned women”.

Gomez-Martinez, meanwhile, plunges into the emotions of the two composers and executes them with great fidelity so that they are through two gypsy women and grenadines -María and Salud- who move the public.

On stage you suffer, and a lot. And he also enjoys. That without a doubt. And there are artists to whom these dichotomous occasions make them grow, rise, transform into what the emotion demands at all times. As extreme as this is. Of that nature are the interpreters that these days, in these functions, they stop at the Jovellanos square. Of a moving scenic integrity, of a contagious drama and a different musical talent. Nancy Fabiola Herrera and Ainhoa ​​Arteta they will be respectively María in ‘La Tempranica’ and Salud in ‘La vida breve’, like Ana Ibarra y Virginia Tola. Jorge de León It will be that contradictory Paco from Falla's work, and will accompany you on paper Francesco Pio Galasso. Rubén Amoretti will play Don Luis in a, that will alternate with Javier Franco, and Tío Sarvaó in the other. Y Ruth González It will be Grabrié in Giménez's, Y Maria Luisa Corbacho He will also do double playing Salú in one and the grandmother in the other. And we don't stop counting. They will also make these montages an epic and always moving experience., voices and attitudes like those of Gustavo Peña, Gerardo Bullón, Ricardo Muniz, Miguel Sola, Anna Goma, Andres Merino Y Jesus Mendez.

And in ‘La Tempranica’, the wink is perfect. The National Prize for Dramatic Literature 2019, Alberto Conejero, has devised a dream. A fantasy that comes true in the prodigious meeting on stage of Gerónimo Giménez themselves, which will play Jesus Castejon, and Manuel de Falla, who will give life Carlos Hipolito. And the composers will have a replica in Julián Romea, author of the original bookcase of ‘La Tempranica’, what will the actor also play Juan Matute.

The musicologist Dácil González Mesa notes in his notes to the program that “certainly the two works that concern us here constitute different genres within stage music, but Falla's debt to Giménez's ‘La Tempranica’ is evident. A good example of this is that both have in common, in addition to its theme -set in the gypsy Granada-, types of characters, musical forms and resources ".

Live streaming

As has been customary at the Teatro de la Zarzuela for several seasons, both productions will be broadcast live on YouTube, Facebook and website Coliseum: ‘La Tempranica’ on Friday 16 October at 8:00 p.m., and 'La vida breve' a day later, Saturday 17 at the same time.

And all with the most extreme security measures.

Florian Boesch

He Monday 28 of September, he National Dissemination Center Musical (CNDM) opens its XXVII Lied Cycle at the Teatro de la Zarzuela with the performance of the Austrian baritone Florian Boesch in a concert that is, Besides, the first in Madrid of the new season of the CNDM. The singer, as Resident Artist of the Lied Cycle in this new season, will offer three recitals throughout it, highlighting the levels of maturity and expressiveness that his voice has reached. In this first concert, accompanied by Justus Zeyen on piano, Boesch will perform a wide selection of lieders by Franz Schubert and Hugo Wolf alongside the Six monologues from "Jedermann" de Frank Martin. In successive recitals, Florian Boesch will immerse us in the eternal Winterreise of Schubert and in the important group of lieders that make up the Travel book from the Austrian Alps by Ernst Krenek.

With ten concerts scheduled between September 2020 and June 2021, Throughout the XXVII Lied Cycle we will be visited by some of the most important lyrical voices of today, as Anna Lucia Richter, Sabine Devieilhe, Matthew Polenzani, Christian Gerhaher, Bejun Mehta, Christoph Prégardien and the Spanish Núria Rial. Different characters, styles, timbres and colors that will address vocal programs of excellence, always loaded with interest, either with lieder or songs of other signs. Tickets for all concerts, with a general price 4 a 35 euros, are already on sale in www.entradasinaem.es Y 902 22 49 49, as well as at the ticket offices of the Teatro de la Zarzuela and theaters of the INAEM.
Florian Boesch: expressiveness and maturity
Florian Boesch (Saarbrücken, 1971), He is one of the most prominent lied performers of our time. He has sung in venues such as London's Wigmore Hall, Musikverein y Konzerthaus de Viena, The Concertgebouw de Ámsterdam, Laeiszhalle de Hamburgo, Philharmonie Cologne, as well as at the Edinburgh and Schwetzingen Festivals, May Festival Wiesbaden, Salzburg Festival, as well as at Carnegie Hall in New York. He was an artist in residence at London's Wigmore Hall in the season 2014-2015 and at the Vienna Konzerthaus in the 2016-2017. He regularly works with the most prestigious orchestras and conductors on the current scene: Vienna and Berlin Philharmonic, Royal Concertgebouw Orchestra de Ámsterdam, Gewandhausorchester de Leipzig, Staatskapielle de Dresden, London Symphony Orchestra, among other, and directors of the stature of Ivor Bolton, Riccardo Chailly, Gustavo Dudamel, Adam Fischer, Iván Fischer, Valery Gergiev, Stefan Gottfried, Daniel Harding, Philippe Herreweghe, Pablo Heras-Casado, Mariss Jansons, Sir Roger Norrington, Sir Simon Rattle, Robin Ticciati and Franz Welser-Möst. In season 2019/2020 offered a variety of concerts that included War Requiem (Britten) with the Orchester de Paris and Daniel Harding, Monologues by Jedermann (Martin) with the Konzerthausorchester Berlin and Juraj Valčuha, Requiem (Mozart) with the National Orchestra of Spain and David Afkham. During the season 2019/2020, Florian Boesch has sung at the Frankfurt Opera, el Festival Liszt en Raiding, the Vienna Musikverein, el Concertgebouw and Ámsterdam, the May Festival in Wiesbaden and the Konzerthaus Berlin with Vikingur Ólafsson. His recordings have been acclaimed by the international press and he has received numerous awards, including the Edison Klassiek Award. the beautiful Miller was nominated for a Grammy 2015 in the category Best Classical Vocal Soloist. Early september 2017, Hyperion released a new recording of Winterreise by Schubert with Roger Vignoles at the piano. In the fall of 2018 made a recording of works by Schubert with Concentus Musicus Vienna under the baton of Stefan Gottfried. Boesch's recordings featuring works by Schumann and Mahler were honored at the BBC Music Magazine Awards.

Maria Bayo

He Teatro de la Zarzuela de Madrid reopens its doors with a baroque party in style. The occasion deserves it, and this next Sunday, 27 of September (18h00) the curtain will rise at last with joy for the soprano Maria Bayo, accompanied by the harpsichord player Daniel Espasa at the head of his group Arnadì Vespers, undertake with the concert ‘Baroque echoes’ a journey through the great and irresistible musical recreations of some of the most talented and prolific composers of the world Italian baroque, español, English and German.

With this presentation the central theater of the Plazuela de Jovellanos starts its season concert cycle 2020/2021. further, It so happens that this by María Bayo is the first of the shows that failed last season due to the health crisis, and recovered by the Teatro de la Zarzuela so that no one (nor artists, nor public) be left behind in this difficult time of pandemic.

The Navarrese interpreter will offer a collection of compositions ranging from Giacomo Antonio Perti, Antonio Lotti, Giovanni Battista Pergolesi, Francesco Durante, Giacomo Facco, Antonio Vivaldi O Alessandro Scarlatti, a Emanuele Rincon de Astorga, Sebastian Duron Y José de Nebra, going through the mastery of Georg Friderich Händel Y Johann Adolph Hasse.

Zarzueal Theater

Maria Bayo

Maria Bayo

The great Spanish soprano Maria Bayo​, presents his next album Reflexes dedicated to Latin American and French songs, plus unreleased music by Belgian artist Max Moreau. The new album brings together composers like Bizet, Guastavino, Lecuone, and Moreau, that converge in a mastery of melody and in its ability to transport landscapes of great diversity.

Reflejos will be available on all digital platforms in mid-October. The singer from Navarra is one of the most admired and respected performers in the lyrical world and for this project she was accompanied on piano by Rubén Fernández Aguirre​. Both artists worked closely for the final selection of works and the historical recovery of Moreau's music.

But nevertheless, it is also the most intimate album of Bayo's career, who is currently in a mature period, with vast interpretive experience and exceptional mastery of technique. This new album includes seven songs by composer Georges Bizet, performed by the soprano, expert in the French repertoire. In addition to the unreleased music of Max Moreau, Belgian painter who lived for three decades in the city of Granada, it was there that he created a large number of works, including a collection of lyric poems. Six songs are appreciated for the first time recorded.

By Ernesto Lecuona, one of the most recognized Cuban composers around the world, Balada songs are included, Sad love song, Mr. Gardener, Mrs. Moon and If I were a man. The works of Carlos Guastavino -one of the exponents of Argentine musical nationalism- are also performed., like the song The dove was wrong inspired by Rafael Alberti's poem.

María Bayo opens the season 2020/21 the Teatro de la Zarzuela, The next sunday 27 of September, to 18.00 hours, with a program entitled Ecos Barrocos with the Vespres d’Arnadì group, under the musical direction of Daniel Espasa and staging by Pedro Chamizo.

TRACKLIST
Georges Bizet (1838-1835)
1 April song.
2 Old song.
3 ladybug.
4 My life has its secret.
5 Adieu.
6 Open your heart.
7 Guitar.
Max Moreau (1902-1992)
8 Sérénade.
9 The swallows.
10 Sadness.
11 Oriental songs.
12 Andalusian palace.
13 Boat.
Ernesto Lecuona (1895-1930)
14 Ballad.
15 Sad love song.
16 Mr. Gardener.
17 Mrs. Moon.
18 If i were a man
Carlos Guastavino (1912-2000)
19 The NAP.
20 Violets.
21 Piececitos.
22 The dove was wrong.

http://mariabayo.com/

Photograph: David ruano

Doña Francisquita

The production of Zarzuela Theater ‘Doña Francisquita’ directed and adapted by Lluís Pasqual, has been awarded today with the Max Award for Performing Arts for the best Musical or Lyric show, in the XXIII edition of the contest promoted by the SGAE Foundation that has been held in the Teatro Cervantes de Málaga.

This montage of the work of Amadeo Vives, considered one of the brightest scores in our musical heritage, It was premiered at the Coliseum in Plazuela de Jovellanos in May 2019 and co-produced with the Gran Teatre del Liceu y the Lausanne Opera. the libretto, from Federico Romero Y Guillermo Fernández-Shaw, is inspired by ‘La discreta enamorada’ by Lope de Vega and has been adapted for this version by Pasqual himself.

The stage manager states that the zarzuela is in itself a happy episode: the audience goes to the theater with good humor, and usually leaves the room with a generous smile. Hence, its principle and purpose is to anoint every detail of that spirit of joy Y happy emotions, leaving also, as usual in their jobs, a useful space for reflection.

At its premiere in Madrid, teacher Oliver Diaz was in charge of the Musical direction in front of the Community of Madrid Orchestra (Titular del Teatro). The cast, who shared the scene with him Holder Choir Teatro de la Zarzuela, had two special collaborations of height: that of the immense mistress of castanets Lucero Tena and the actor's Gonzalo de castro. The casts were integrated, mostly, by common voices in the most important lyrical venues such as sopranos Sabina Puértolas Y Sonia de Munck, tenors Ismael Jordi Y José Luis Sola, the mezzosopranos Ana Ibarra Y Maria Rodriguez, tenors Stephen Vincent Y Jorge Rodríguez-Norton, mezzosoprano María José Suárez or the baritones Santos Ariño Y Antonio Torres. They also participated 12 dancers Y 12 actors, completing the cast of this lyrical comedy in three acts and five-way love.

The scenery and costumes are signed by Alejandro Andújar, lighting by Pascal Mera, the choreography is by Nuria Castejón and the audiovisual design of Celeste Carrasco. Likewise, the functions intervened Rondalla Lírica de Madrid «Manuel Gil».

Those who have not yet been able to enjoy this ‘Doña Francisquita’, have the opportunity to do so in the accounts of YouTube Y Facebook of the theater.

A great Classic

What ‘Doña Francisquita’ is one of our great lyrical classics there is no one who doubts it. A about to turn one hundred (will do it in 2023), To date, great productions have been seen on the stage of the Teatro de la Zarzuela where he arrived for the first time in 1924, with the same production of the premiere four months earlier at the neighboring Apolo Theater, signed by Manuel Fontanals, and with almost identical cast. Since then, the work of Amadeo Vives has been represented on numerous occasions in this venue.

In 1934, ‘Doña Francisquita’ had already become a lyric comedy in three acts on the stage of the Monte Carlo Opera, and shortly after in a grand spectacle operetta in the Royal Theater of the Currency of Brussels, stop in 1954 become a Game from Spain at the Volksoper in Vienna. The international Francisquita!

That was precisely the reason why in 1956 was the title selected for the gala to reopen the theater of the Zarzuela Theater with stage director Jose Tamayo. In 1972 I would go back up to these tables again by the hand of Tamayo, although with a new scenic proposal aimed at the public of Madrid. But 1985 it was really an exceptional year for ‘Doña Francisquita’ at the Teatro de la Zarzuela: the stage version of José Luis Alonso traveled to the Belgian cities of Antwerp and Ghent —In the framework of the Europalia Cultural Festival 85: Spain— and returned to this same scene in the Plazuela de Jovellanos with the National Ballet of Spain that premiered it as a dance show, with Vives music, arrangements by Antón García Abril and choreography by Alberto Lorca.

In 1998 ‘Doña Francisquita’ was in Buenos Aires and Washington DC with a spectacular new co-production of the Teatro de la Zarzuela directed by Emilio Sagi. And in 2019 returned to Madrid with this new scenic proposal directed by Lluís Pasqual, who then successfully traveled to Barcelona and Lausanne, montage co-producers.

Spanish Cinema and Film Library

He Teatro de la Zarzuela and the Spanish Film Library signed on the occasion of this production a collaboration agreement for the restoration of the film ‘Doña Francisquita’ by Hans Behrendt (1934). It is the first time that both institutions come together to tackle a joint project of recovery of Spanish cultural heritage, in this case cinematographic and musical. Some of the fragments of said feature film are part of the award-winning production today.

In 1992 The Spanish Film Library found at the bottom of the Cinémathèque Française in Paris an image and sound negative of a movie so far gone; it was about Doña Francisquita (1934), by German director Hans Behrendt, produced by the Iberian Films company at the CEA Studios in Madrid. In 1993 is achieved, as an exchange between both organizations, That send the copy to Madrid for restoration. It was first physically restored and then, between 1995 Y 1996, they were made new jobs with the Polisitem Laboratory in Barcelona: duplicate image negative, the sound negative and a standard copy. Y in 2018 the Teatro de la Zarzuela collaborates with the Spanish Film Library in the production of a new digital copy.

The movie, shot entirely in Madrid in the year 34 with Raquel Rodrigo (Francisquita), Fernando Cortes (Fernando), Matilde Vazquez (Aurora) Y Antonio Palacios (Cardona) in the cast, is a important example of the talkies of the republican period in Spain. He promoter of the original project was the son of Amadeo Vives, Jose Vives Giner, who served as artistic supervisor of this adaptation of the popular zarzuela.

For your second film version ‘Doña Francisquita’ will dress in colors and fantasy —With the new Cinefotocolor- from the hand of another exiled director, hungarian Ladislao Vajda, in 1952. The cast is made up Mirtha Legrand (Francisquita), Armando Calvo (Fernando), Emma Penella (Aurora) Y Antonio Casal (Cardona). This time the film will reach the screens of the Cannes film festival as Masquerade of Love in 1953.

https://teatrodelazarzuela.mcu.es/es/

Photograph: Javier del Real

Teatro de la Zarzuela

Of shows included between 27 September and 30 from December

In this period Subscriptions cannot be reneweds, as the capacity will be reduced to 75%

Ticket sales for the Season 2020/2021 of the Teatro de la Zarzuela will begin at 12h00 Tuesday morning, 21 of July, through the usual sales channels: Internet (entradasinaem.es), ticket office Y telephone sales (902 224 949).

By prudence to be had before the Possible changes that health crisis can cause, in principle, only those will go on sale shows between the 27 September and 30 from December.

In this first period of sale renewal of subscriptions will not be possible, because the capacity will be reduced to 75% in compliance with the regulations of the Community of Madrid.

The priority of the Theater is guarantee the safety of the public and artists. Thus, in addition to reducing the capacity it will be The use of a mask is mandatory inside the building and during performances.

Teatro de la Zarzuela

The Theater's wish is that this new season be a long-awaited reunion: a great collective hug from the public with the artists.

They will be presented 9 musical theater titles, 4 recoveries lyrical heritage, 5 large repertoire productions and 6 new productions

They offer 173 functions, a 50% more since the arrival of Daniel Bianco to the direction

All shows canceled by the pandemic have been rescheduled

  • One of the main lines of programming is the figure of women in Spanish music, dedicating entirely to the Spanish composers the cycle Chamber Sundays Women with Ñ, the recital of "Notes of the Ambigú" Zarzuela in feminine and the concert of Women of Music, by Sole Giménez
  • He Strengthened Zarza Project -zarzuela made by young people for young people will again be one of the jewels of the season, and the didactic projects suppose already more than 20% programming
  • He Concerts cycle increases its offer with 13 proposals of some of the most outstanding voices and instrumentalists of the lyric, he flamenco, he pop or popular music
  • Recitals cycle 'Notes ambigú', which continues to sell all entries, offers 12 recitals, one more than last season and more than double which in its first edition
  • They will return, Likewise, he Musical Chamber Theater in co-production with Juan March Foundation and the ciclo de Lied, coproduced with CNDM
  • Remain the reasonable prices (4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute.

 

 

He Teatro de la Zarzuela presents Season 2020/2021 whose 173 functions suppose a increased 50% since what Daniel Bianco He would stop at the Coliseum on Madrid's Jovellanos street in 2015. Regarding the new reality that inevitably stems from the health crisis, the theater director is optimistic, confident in the future and says "yes, son very difficult times, but here we are to present a season that makes them brighter”. A season that, in his words, "He pretends to be a big hug to offer us that warmth in the heart that always ignites Spanish music ”.

And despite the optimism, the manager does not stop being cautious, because this is imposed by the complex circumstances that we must face: "Beyond our illusion and our desire, we have chosen the path of prudence, that she is a better counselor than haste ”. In this sense, stresses that he sincerely believes that “facing a future with optimism, illusion and prudence paves the way and somehow dissipates their difficulties no matter how great they are. ”

White, who has always been a staunch defender of public theater, Maintains that, as such, "This is our first responsibility and our priority commitment: that prudence is what the theater opens the day 1 October with the start of this new season, thus guaranteeing the strict compliance with all the recommendations and standards that protect us from the coronavirus. ” And it is categorical when insisting that "we must have all guarantees not only to be able to offer shows of the highest excellence, but also the protection for our artists, to our workers and our public at any risk ”.

Rescheduled shows

Another of the great concerns of the director of La Zarzuela is recover all those shows that could not be held due to the pandemic. Thus, from the zarzuela theater, "In order to mitigate the enormous impact of this mandatory stoppage", and following the guidelines of INAEM and its general director, Miguel's Amaya, all canceled shows have been rescheduled. Some can be enjoyed in the season presented today, and others will resume in future seasons already committed.

"The objective is protect our artists and offer them a horizon of hope why no one can be left behind”, explica Daniel White, who adds that "we are very happy to have achieved it, and all thanks to the fact that we are a public theater. ”

Online theater

In reference to the intense online activity from the world of culture in general and theaters in particular, say what "this terrible virus has attacked in its very essence the theatrical event. It has hurt its root, his reason for being ”, and in consequence, think, "The theater has sought a resource, a crack to break through the online broadcasts ". According to your opinion, “is grateful for this possibility that technology gives us, but the theater is much more, it is an unrepeatable act, it is that fleeting moment in which the artist's life is combined with that of the public. The music and the scene –Continues– only flourish with human contact and its miracle is present when the public and artists share the same rhythm, the same song, the same dream and the same breath. ”

And that the numbers registered in the social networks of the Teatro de la Zarzuela in the period of confinement are not negligible: in Facebook It has been a growth of 17,85% in the number of followers with a total of 1.800.000 impressions and 485.883 video views. In Twitter the rise has been 8,87% and the scope of 784.500 impressions; in YouTube impressions have been 965.440 and the rise in subscribers of the 110% (the main consumption of the channel was the complete zarzuelas available, as well as previously broadcast live concerts). By last, through Instagram the Theater has reached 422.870 users.

The season

The season 2020/2021, whose first lyric title will be presented on 1 October and will run until 18 of July, presents 9 musical theater titles, 4 lyrical heritage recoveries –‘Marianela ’, ‘Las calatravas’, ‘Benamor’ and ‘The Three Gobbi’–, 5 productions of great repertoire -‘La tempranica’, ‘The short life’, ‘The one with the bunch of roses’, ‘Luisa Fernanda’ and ‘The King Who Raged’Y 6 new productions -‘La tempranica’, 'Luisa Fernanda', ‘Loves at Zarza’, ‘Benamor’, ‘The King Who Raged’ and ‘I Tre Gobbi’–.

Likewise, the concert cycle grows so much (with 13 proposals) like the Notes from the Ambigu (with 12 recitals) and the Chamber Sundays cycle starring musicians from the Titular Theater orchestra, BARREL. Similarly, The already veteran collaborations with the National Dissemination Center Musical (CNDM) in the Lied cycle, and with the Foundation Juan March in the Cycle of Chamber Music Theater.

Regarding the tickets, the reasonable prices (from 4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute. Daniel Bianco states in this regard that this is one of the essential functions of a public theater: be "truly" everyone's theater. Maintaining this price scale ”is a huge effort, a sacrifice that is absolutely necessary ”, indicates.

LYRIC

He will start the season with 14 show functions ‘Granada’, that gathers and unites two titles especially representative of our lyrics: On the one hand ‘La tempranica’, zarzuela in an act of Gerónimo Giménez in a new production of the Teatro de la Zarzuela, and on the other, that lyrical drama that is ‘The Brief Life’ from Manuel de Falla in a production Palau de les Arts Reina Sofia in Valencia. The two titles have a lot in common: A love story, Granada as a landscape and that ‘La vida breve’ looked at itself in the mirror of temp La tempranica ’because of the admiration that Falla professed for Giménez. The playwright's text Alberto Conejero tells the story of La Tempranica through three imaginary encounters of the two composers throughout their lives. Both stage proposals are signed by Giancarlo del Monaco, and they will have Miguel Angel Gómez-Martínez in musical direction, scenery William Orlandi, wardrobe Jesus Ruiz and a elencos headed Nancy Fabiola Herrera, Ainhoa ​​Arteta, Ana Ibarra, Virginia Tola, Rubén Amoretti, Javier Franco, Jorge de León O Francesco Pio Galasso; ‘Granada’ it will be playing of the 1 al 18 October.

After this singular start, it will be the turn for the replacement of one of the most successful productions in the contemporary history of the Teatro de la plazuela de Jovellanos: the production of ‘The one with the bunch of Roses’ devised by Emilio Sagi in 1990, what supposed (among many other joys) the stellar debut and discovery of that unique singer who is Carlos Alvarez. For commemorate 30 years gone by since then, the Malaga baritone himself will play the character of Joaquín in 6 of the 12 functions of the incontestable lyrical sainete of Pablo Sorozábal, scheduled of the 10 al 22 of November; with the musical director of the Theater, Guillermo García Calvo on the podium of the pit, the cast, as well as with arlos Álvarez, It will have, among others, Ruth Iniesta, Raquel Lojendio, Gabriel Bermúdez, Stephen Vincent, Enrique Baquerizo O Ángel Ruiz. The scenery is Gerardo Trotti and costumes Pepa Ojanguren.

The days 27 Y 29 of November the public can enjoy ‘Marianela’, the opera in three acts of Jaime Pahissa premiered at the Gran Teatre del Liceu in 1923, whose script is an adaptation of the play written by Serafín and Joaquín Álvarez Quintero based on the famous novel of the same name by Benito Pérez Galdós, precisely in this year in which the centenary of the death of the canarian and universal writer occurred in Madrid when he was counting 76 years. Today's fan will face for the first time this more than interesting title that, like so many others, fell into the most unfair of forgetfulness and that comes in concert version. Jaime Pahissa, belongs to that generation of musicians who, despite its quality, have been practically forgotten. Like so many others, had to leave Spain during the Civil War, and in his case the destination was Argentina. Oliver Diaz assume the musical direction, and the cast will be composed of Adriana González, Paola Leguizamón, Alejandro Roy, Luis Cansino, Simon Orfila, Luis Méndez Silvagnoli Y María José Suárez.

Then, the stage will revive Madrid in the mid-19th century (also that Extremadura that closes the story) to welcome the comings and goings of one of the undisputed masterpieces of our lyrics: 'Luisa Fernanda' from Federico Moreno Torroba, with a script by one of the most prolific couples, successful and enlightened genre, as they are Federico Romero Y Guillermo Fernández-Shaw. Initially scheduled for the Season 2019/2020, finally had to be postponed due to health crisis. The premiere of this new production promises to be quite an event, and more if one takes into account that the Teatro de la Zarzuela and this play have been closely linked since 1934, two years after its premiere at the Teatro Calderón in Madrid. Musically directed by Karel Mark Chichon Y David Gomez-Ramirez, Another of the many attractions of this project is the vision that the Turin stage director will give of this popular and beloved play. Davide Livermore. The scenery is Giò Forma and costumes Mariana Fracasso. Yolanda Auyanet, Maite Alberola, Jorge de León, Alejandro del Cerro, Juan Jesus Rodriguez, Javier Franco, Rocío Ignacio or Leonor Bonilla are some of the voices that make up a double cast of absolute bells. The 14 scheduled functions will go of the 28 January to 14 February.

The statutes that govern the spirit and operation of the Teatro de la Zarzuela say it very clearly: the coliseum erected in 1856 should, without any pretext, safeguard and spread the Spanish lyric genre. Thus, as it happened in the previous season, a second title will be recovered in concert version. In this new time will be ‘Las calatravas’, lyrical comedy in three acts of Pablo Luna. It will be directed musically by Guillermo García Calvo, with a cast made up Miren Urbieta-Vega, Lola Casariego, Lucia Tavira, David Menendez, Andeka Gorrotxategi or Carlos Cosías and with the young playwright and actor Paco Gamez adapting the libretto by Federico Romero and José Tellaeche in narrative form. two passes will be offered, he 12 and the 14 of March.

The opportunity to see and hear will be cause for celebration ‘Benamor’. The Recovery of this operetta in three acts of Pablo Luna (whose masterful music is one of the indisputable protagonists of the season), complete what is known as the "oriental trilogy" next to ‘The Amazement of Damascus’ and ‘The Jewish Child’. Libretto by Antonio Paso Y Ricardo González del Toro, this time in a version of Enrique Viana which also assumes the stage direction, the play that premiered at the same Teatro de la Zarzuela now 97 years will have among the many values ​​of this new production the baton of José Miguel Pérez-Sierra, the scenery of Daniel Bianco, your wardrobe Gabriela Salaverri or the choreography of Nuria Castejón, in addition to a bright double cast with Vanessa Goikoetxea, Susana Cordón, Carol Garcia, Cristina Faus, Damian del Castillo, César San Marín, Gerardo Bullón, Irene Palazón, Amelia Font, Gerardo López, Francisco Javier Sánchez, Emilio Sánchez and himself Enrique Viana. They will ten functions of the 14 al 25 of April.

If it is necessary to highlight the best and most influential composers of the zarzuela genre, in all the lists without exception the name of Ruperto Chapí. The stage of the Teatro de la Zarzuela will once again host a new production of 'The king who raged' 130 years after its premiere on these same tables. Emotion is served, pure Chapí (that dominating monster equal parts of the theatrical and musical to the point of turning his creations into an explosive all-stage) and a satirical script of Miguel Ramos Carrión and Vital Aza with veiled allusions and not so much to the Spain of the moment, that exposes the reasons why the zarzuela audience so often leaves the room with a bright smile. It will be hard to wait a whole year to have the opportunity to enjoy the leftover charms of this title, and more if the artistic team is made up of names such as that of the maestro Ivan Lopez Reynoso –Who several seasons ago conducted the Zarzuela concert of Javier Camarena–, Barbara Lluch, the stage director who made the operatic miracle of ‘La casa de Bernarda Alba’ possible - with music and direction by Miquel Ortega and winner of the Opera XXI Award for best opera production of the season 2018/2019–, that of the set designer Juan Guillermo Nova, that of the figurine maker Clara Peluffo or that of the master of enlightening masters Vinicio Cheli. The double cast also has no waste: Enrique Ferrer, Jorge Rodríguez-Norton, Rocío Ignacio, Sofia Esparza, María José Suárez, Carlos Chausson, Miguel Sola, José Manuel Zapara, Carlos Cosías, Igor Peral O José Julián Frontal. They will 14 functions of the 3 al 20 of June.

With the introduction of these 8 theater titles will remain unique example in conservation, diffusion and exhibition of our lyrics, tan fertile as heterogeneous.

CONCERTS: MAIN ROOM, NOTES Ambigú, Sunday Chamber, LIED

After the success obtained in its first four seasons (the latter irreparably diminished by the pandemic), he CONCERT SERIES in the main hall increases its offer, and proposes 13 concerts with some of the leading voices of lyric, the popular song, he flamenco and the pop. Among the proposals, It includes the concerts that in this course could not be held due to the health crisis: this is precisely the case of the Maria Bayo. ‘Baroque echoes’, in which the always surprising and charismatic Navarrese soprano will present a program that goes from José de Nebra, Sebastian Duron Emanuele Ricón Astorga, hasta Alessandro Scarlatti, Antonio Lotti, Handel o Vivaldi, accompanied by the baroque orchestra On the eve Arnado (27 of September); Celso Albelo, Tenor of poignant highs and admirable projection, in this concert the public will be able to discover, Besides, one of its most unknown facets. And is that this Tenerife born and convinced, will alternate a program of immortal zarzuela romances with traditional songs from his venerated land (5 October); singer Sole Giménez presents ‘Women of Music’, project that brings together great songs composed and written by women with the intention of making women's work in the world of music visible (6 October); the tenor Ismael Jordi, one of our most international singers, guest in the most important opera houses in Europe, will celebrate with this concert their 20 year career reviewing some of the great titles of our lyrical heritage and will be accompanied on the piano by Rubén Fernández Aguirre (28 of November); Rodrigo Cuevas is one of the artists with the greatest impact in recent years in the field of popular music that, with its groundbreaking and cutting-edge concept of folklore, combines the popular of yesterday and today, rural and urban. This time, his show ‘Barbián’ will change folklore for zarzuela (30 of November); the traditional Christmas Concert, with the teacher Victor Pablo Pérez as musical director, who will accompany the soprano Yolanda Auyanet and mezzosoprano Nancy Fabiola Herrera (30 from December); Amancio Prada. ‘Voices and footprints’, an anthological recital that shows the wide and varied horizon of Spanish poetry of all time. Encounter and revelation of the traces and voices that beat in their own song and that according to the interpreter have braided the thread of their artist life (2 February); In 'Navarra is music ’, soprano Sabina Puértolas, mezzosoprano Maite Beaumont and tenor José Luis Sola, accompanied by the pianist Rubén Fernández Aguirre, They will lead the audience on an intense and profound journey through the music of that prolific land. (13 of March); Saioa Hernández and Francesco Pio Galasso, accompanied by pianist Vincenzo Scalera: the soprano baptized by her teacher Montserra Caballé as "the diva of the XXI century", He returns with the Italian tenor to the Teatro de la Zarzuela after his debut on this stage with ‘El Gato Montés’ in 2012 and the resounding success of ‘Curro Vargas’ in 2014, and it does so after having carved out a high-rise international career embodying the leading figures of opera in the most relevant theaters in the world (28 of March); Argentina. ‘The artist's life’: from his conception of flamenco and the possibilities that this art allows, from joy to melancholy, going through other states of infinite depth, Argentina vindicates art and the true artist in a hard time. In this project sister flamenco, the song, Fado, the tango, theater, the painting, the literature, classical music and in this concert, Besides, also the zarzuela (20 of April); Sonya Yoncheva, with musical direction Miquel Ortega: the bulgarian soprano, one of the most acclaimed voices currently by international critics and audiences from the most famous opera venues in the world, has developed an intrepid and successful artistic itinerary embodying the main and riskiest opera characters, from Baroque to Verism. With this concert, Yoncheva debuta en este teatro, only one in the world, Y adds the Zarzuela Grande to its exquisite repertoire thus highlighting the growing attraction and recognition that our lyrical genre arouses outside our borders (29 of April); Joaquín Achúcarro: the universal pianist celebrates at the Teatro de la Zarzuela the 75 year career elapsed since his debut as a soloist as a child of 13 years (8 of May); Lucero Tena and Xavier de Maistre: two masters come together in this concert to delight us with some of the most beautiful pearls of Spanish music. With the passionate and bizarre sound of castanets, in irresistible conversation with the sweet and evocative sound of the harp (23 of May).

Since its inception, four seasons ago, All concerts CYCLE NOTES Ambigú They have hung the sign 'sold out'. That is one of the reasons why in the next season continue offering more than double of recitals that at the beginning of the cycle: this time the protagonists will be the guitarist Ricardo Gallén with 'Romantic Guitar' (12 October), soprano Raquel Lojendio and pianist Rubén Fernández Aguirre that pay tribute to Lorenzo Palomo, one of our most international composers (20 October), baroque set the Retreat directed by cellist Josetxu Obregón with 'The Spiritillo Brando' (1 of November), he trio Arbós with the third installment of 'Chamber music' (9 of November), the violinist and violist Cecilia Bercovich, the pianist and bandoneon player Claudius Constantine and the cellist and guitarist Sergio Menem, that offer a concert dedicated to the pulsating and imperishable music of the maestro Jose Padilla (24 of November), soprano Berna Beads and Rubén Fernández Aguirre, which in turn honor the sublime music of Joaquin Turina (3 from December), the Chapel Jerome Carrion directed by Alicia Lazaro, with whom we will undertake a journey from the Renaissance to the Spanish Baroque through the influences that profane and sacred music exerted on each other in times when theatrical performances, formerly attached to the liturgical field, they began to take on a more profane character for, little by little, leave ‘From the temple to the theater’ (15 February), soprano Cristina Toledo accompanied by the pianist Aurelio virivay, will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women's Day. The Teatro de la Zarzuela wants to give visibility to the women who, despite the difficulties in doing so and the ingratitude of oblivion, they dedicated themselves to the composition of

zarzuelas and spanish music (8 of March), Shiggaion. Music found, unknown works representative of the Spanish baroque, more specifically from the Valencian school of sacred music. This is the lamentations of the Prophet Jeremías composed by the prolific chapel master of the Cathedral of Valencia, Pasqual Fuentes and Alcàsser (22 of March), mezzosoprano Maria Antunez, accompanied by Rubén Fernández Aguirre on piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April), soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will honor those artists, musicians and lyricists who, from across the Atlantic, they seduced and inspired him as part of his life and his artistic baggage in ‘Tribute to Iberoamerica’ (15 of June).

He CYCLE SUNDAYS OF CAMERA: WOMEN WITH Ñ with soloists from the Community of Madrid Orchestra, Theater Titular Orchestra, and dedicated exclusively Spanish music, bursts forth with strength and personality into his second season. The cycle is dedicated this time to music composed by women. For the Teatro de la Zarzuela, it is important to give visibility to women composers who rarely obtained the deserved recognition for their musical work and whose works have remained ingratitude of oblivion.. With this, the Theater wants to value some of our composers of the XX and XXI centuries as Maria Rodrigo, Maria Teresa Prieto, Pilar Jurado, Teresa Catalán, Zulema de la Cruz, Marisa Manchado, Rosa Alarcó O Diana Pérez Custodio among many others. The five appointments of this edition will be: 'Crossed looks' (18 October), ‘Contemporary images’ (15 of November), ‘Christmas with Ñ’ (20 from December), ‘Modern and classic’ (14 of March) Y ‘Make the Americas’ (6 of June). As the Theater understands that this repair should not only focus on history, but also today, the cycle will host four absolute premieres of students of the Royal Conservatory of Music of Madrid: Laura de las Heras, Miriam Sanz Ortega, Amanda Garrido and Sofia Sainz.

On the other hand, he CICLO THE SONG, in co-production with National Dissemination Center Musical (CNDM), will celebrate its XXVII edition with 10 recitals: baritone Florian Boesch (28 of September), soprano Juliane Banse (13 October), soprano Sabine Devieilhe (16 of November), the tenor Matthew Polenzani (14 from December), baritone Florian Boesch (25 from January) baritone Christian Gerhaher (8 February), countertenor Bejun Mehta (15 of March), the tenor Christoph Prégardien (12 of April), soprano Nuria Rial (17 of May) and again the barirono Florian Boesch (14 of June), complete the proposal for the new season.

TEACHING PROJECTS. ZARZA PROJECT. MASTERCLASSES

The Teatro de la Zarzuela continues to give special importance to the training and information to the wider public young which will correspond to fill the room of this theater in the future and that, at the same time, must train the generation that takes over. "We have an obligation seduce and make them affordable zarzuela in this century in which we”, asserts Daniel Bianco, who puts into practice its intention as evidenced by the fact that more than 20% Theater programming is dedicated to young audiences, and to such an extent that the response is positive the average age of viewers has fallen Theater in the last four seasons in ten years: from 69 a 59 years.

In the new Season a total of 36 functions between the three shows that make the didactic project.

Zarza PROJECT, zarzuela made by youth for youth, is a resounding success every season. Since it started four years ago, they have occupied the seats of the Theater 26.000 spectators between 12 Y 18 years, who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma' Y 'Water, Azucarillos and Aguardiente ’, and others 90.000 that they were able to see them through ‘streaming’. How could it be otherwise, In the season 2020/2021 the project returns strongly and renewed: It will present the new production of the Theater ‘Loves at Zarza’, with music Pablo Sorozábal, Gerónimo Giménez, Federico Chueca, Ruperto Chapí O José Serrano, among other great composers of our genre. The text will be by the novelist and playwright Nando Lopez, that this season he signed the version of 'Water, Sugar and brandy ’. With stage director Rita Cosentino, musical of Miquel Ortega, scenery and costumes of Elisa Sanz, lighting Juanjo Llorens and choreography Nuria Castejón, the cast will be formed, as it happened with the previous titles, by a group young singers and actors from among 18 Y 30 years elected after a audition process and accompanied by a chamber music ensemble. The 13 functions, four of them open to the general public, They will be offered of the 26 February to 5 March 2021.

In the season 2020/2021 will be presented, Likewise, a participatory didactic show "intergenerational and interactive" that under the title ‘From Z to A’ It has been devised to bring the Zarzuela closer to an audience not accustomed to the genre, from the connection between the musical memory of the grandparents and the audiovisual languages ​​and aesthetics of the grandchildren. This production of Diabolus in Musica It is a show in which each function will be unique, unlike any other for its participatory nature, in which the involvement and interaction of the public will determine its development.

And the educational projects stand out once again because, thanks to them, he Ambigú del Teatro has for the fourth consecutive year the function of a show space. After two exciting deliveries 'Lost in Bosco' and the overwhelming success of 'The incredible story of Juan Latino', will return to our Ambigú puppetry with live music. The proposal will be the replacement of this last title, co-produced by the Claroscvro Theater and Company, after the 1.800 children between 6 Y 10 years that last January they filled day after day their 18 functions. This time they will be others 18 functions (four of them open to the public) of the 9 al 19 of January of 2021.

Also framed in educational projects, stage director José Carlos Plaza, which name, synonymous with theater capitals, it is so important for this Teatro de la Zarzuela, will offer master classes this generation of Spanish singers who need a master of the scene to complete their training. Of the 6 al 13 October 2020. The last session will be held open to the public in the main hall of the Theater.

DANCE

Next season will be starring dance through the two national companies: The National Dance Company will present a new production of ‘Giselle’ choreographed and directed by its artistic director Joaquin de Luz from the original of Jules Perrot and Jean Coralli about the music of Adolphe-Charles Adam. It will have the musical direction of Oliver Diaz, dramaturgy of Borja Ortiz Gondra, scenery Ana Garay, wardrobe Rosa García Andújar and lighting and audiovisuals of Pedro Chamizo. They will twelve functions 9 al 22 from December. Meanwhile, he National Ballet of Spain arrives with the ABSOLUTE PREMIERE from ‘The beautiful Otero’, with music Manuel Busto, Alejandro Cruz, Ruben Diaz Y Augustine Diassera, choreography and stage direction of the director of the Company, Ruben Olmo, own musical direction Manuel Busto, dramaturgy of Gregor Acuna-Pohl, scenery Eduardo Moreno, wardrobe Yaiza Pinillos and lighting Juan Gómez-Cornejo. They will ten functions of the 7 al 18 of July.

CHAMBER MUSICAL THEATER

Another cycle that prevails each year renewed in energy and intent is the one dedicated to Musical Chamber Theater in collaboration with the Juan March Foundation. Of the 10 al 18 of January of 2021 the seven functions will be presented (three of them schoolchildren) from 'The Three Gobbi' (‘The Three Hunchbacks’) from Manuel García, with a libretto by the Sevillian musician of the 18th century based on the intermission of Carlo Goldoni. It is a New coproduction between the two institutions, which again shows that the combined efforts It lets go further. The musical direction of this chamber opera will Rubén Fernández Aguirre, one of the most prominent experts in the work of Manuel García, who will also perform music on the piano. The stage direction is José Luis Arellano, the scenery of this and Paul Minor, your wardrobe Ikerne Giménez and the cast make it up Serena Saenz, David Alegret, David Oller Y Javier words. As usual, The representations will be at the Fundación Juan March.

INAEM

The National Institute of Performing Arts and Music (INAEM) prepare "We return to the stage", extraordinary programming without an audience, that will be broadcast in streaming from the precincts of the organization to celebrate the return of the artistic collectives to these spaces and thus dismiss the season of subscription 2019/2020. The initiative, which will start next 20 June with the celebration of the European Music Day - an anniversary that is celebrated each year coinciding with the arrival of the summer solstice-, consists of a series of new artistic proposals, training and pedagogical in which stage formulas will be used following the measures established by the health authorities.

This alternative programming, to be detailed in the coming days, will be transmitted through their digital channels, Continuing with the campaign for the promotion and dissemination of online cultural resources promoted by the Ministry of Culture and Sports during these months of confinement under the hashtag #laculturaentucasa.

“We return to the stage” aims to keep open a creative channel for professionals in the performing arts and music that in turn allows them to continue connecting with viewers, offering new content until the INAEM stage venues are reopened to the public in September, coinciding with the start of the season 20/21 and there is a reunion of artists and fans.

This initiative was also born as a programmatic alternative in the face of the impossibility of complying with the sanitary requirements in the artistic formats originally planned. For this reason, INAEM also announces the cancellation of the functions and concerts scheduled in all its scenic venues that were pending for the season 19/20. This measure affects shows scheduled until next July at the National Music Auditorium (OCNE, CNDM, JONDE), the Teatro de la Zarzuela (including the performances of the National Ballet of Spain), the María Guerrero and Valle-Inclán theaters of the National Dramatic Center and the Comedy Theater of the National Classical Theater Company.

The artistic creation units of the INAEM will reprogram in a preferential way in the next season those proposals that could not be made this year as a consequence of the Covid-19 and the closure of the scenic spaces.

On the other hand, the National Theater Museum will open to the public in the second half of June.

INAEM units at summer festivals
The physical reunion with the public of some of INAEM's artistic units will take place over the next few months with their participation in summer festivals and in their usual collaboration circuits.. Such is the case of the National Orchestra of Spain, present at the Granada International Music and Dance Festival; the National Classical Theater Company, at the Almagro International Classical Theater Festival; National Dance Company, in the Summers of the Villa de Madrid and the National Center for Musical Diffusion at the Círculo de Bellas Artes. Likewise, the Young National Orchestra of Spain (JONDE) is planning a small-format meeting for the month of July.

Ticket return policy
The return of the tickets between now and the end of the season has already started and will be carried out gradually. The amounts of the localities acquired through our portal entradasinaem.es or from the sales phones 902 22 49 49 Y 985 67 96 68 will be returned to the purchase card automatically and progressively throughout the month of June, without waiting for the day after the date of the show as it had been done until now for purchases made online.

On the other hand, to avoid traveling to our scenic venues, the body has designed a telematic return device for tickets purchased at our ticket offices. Tickets paid by card and transfer will be progressively reimbursed from June to July. Those purchased at cash box offices may be claimed digitally through a form that will be available on the web entradasinaem.es from 15 of June. Likewise, a post office box will be enabled to which a copy of the tickets can be sent together with the account number (Bank IBAN) and the name of the owner of the same. However, from 15 July will also open the ticket offices of our scenic spaces for those who prefer to make these returns in person.

The maximum term to request the refund of the tickets will be the next 30 November 2020.

Photography: Hugh Turvery oara CNDM

Behind the scenes

Given the prolonged situation of confinement, he Teatro de la Zarzuela has promoted its offer and activity on its social networks to maintain continuous contact with fans and artists, and to contribute to the dissemination of culture in these times when it becomes even more necessary. Under the name ‘Behind the scenes at the Teatro de la Zarzuela’, from tomorrow Tuesday, 5 of May (19h00), the Jovellanos square coliseum will start a series of meetings between its director, Daniel Bianco, and different music and theater professionals. The first guest behind the scenes of the historic Theater: stage director Emilio Sagi.

In this first week the choreographer Nuria Castejón will also talk to Bianco (Wednesday 6), the baritone Luis Cansino (Thursday 7) -recent creator of the ALE Union of Lyrical Artists for the defense of the sector- and the conductor Guillermo García Calvo (Friday 8), musical director of the theater from the past 1 from January.

Among the attractions of the network proposal of the Teatro de la Zarzuela is the possibility of enjoying it on its YouTube and Facebook channels, in open and in high definition, of the productions released in the theater since June 2018. Added to this are the dozens of Theater titles included in the Theater Library of the Documentation Center for Performing Arts and Music (CDAEM).

Both institutions belong to the National Institute of Performing Arts and Music, INAEM, of the Ministry of Culture, that under the hashtag #LaCulturaEnTuCasa these days promotes the dissemination of numerous and very diverse proposals for their enjoyment in homes.

Instagram @teatrodelazarzuela

YouTube https://www.youtube.com/playlist?list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-

Facebook https://m.facebook.com / TeatroZarzuela /?locale2=es_ES

Theater http://theater.teatro.es/opac/#indice

He World Theater Day, so long awaited by amateur and professional performing arts, It has this year to look new forms of celebration. We must inescapably stay at home, but still, no longer Friday. This can be, so, more appropriate day to sit back and indulge in enjoy the productions that the Teatro de la Zarzuela in Madrid offers open through your YouTube channel and your Facebook account.

From ‘Katiuska’ from Pablo Sorozábal with Ainhoa ​​Arteta, Carlos Alvarez and Jorge de León, a 'Bernarda Alba's house' from Miquel Ortega, awarded the Opera XXI Award for best opera production of the season 2018/2019; the successful 'Cecilia Valdés' from Gonzalo Roig, first Cuban zarzuela It presented in the coliseum of plazuela de Jovellanos in their 163 years of history, unanimously praised the The barberillo Lavapies' from Barbieri with the dazzling staging of the National Prize Alfredo Sanzol, or homage to a large group of our most celebrated singers They surrendered to Montserrat Caballé to open the season. The day, definitely, It will become much more bearable.

This is the Full list of titles (ranging June 2018 to present) and links:

– 24 HOURS LYING of Francisco Alonso (July 2018)

https://www.youtube.com/watch?v = QwL50X68YkQ&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=11&t=703s

– Katiuska de Pablo Sorozábal (October of 2018)

https://www.youtube.com/watch?= the uOybl5IJLa8&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=10&t = 0s

– The House of Bernarda Alba Miquel Ortega (November 2018)

https://www.youtube.com/watch?v = z0MWgv-CNcc&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=9&t=5249s

– A Midsummer Night's Dream Joaquin Gaztambide (February of 2019)

https://www.youtube.com/watch?v = FsjBueP1uyE&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=7&t=2509s

– La verbena de la Paloma Thomas Breton (March of 2019). Zarza project - Zarzuela made by and for young people

https://www.youtube.com/watch?v = VhwDGRh6NBQ&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=8&t = 0s

– THE Barberillo Asenjo Barbieri LAVAPIÉS Francisco (April 2019)

https://www.youtube.com/watch?v = 9K-Jfx0HNfE&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=6&t=1272s

– DONA FRANCISQUITA Amadeo Vives (May of 2019)

https://www.youtube.com/watch?= the MZ9hgW6mIL4&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=5&t=6712s

– TRIBUTE TO MONTSERRAT CABALLE, Lyrical Gala (September 2019)

https://www.youtube.com/watch?= the iDVjcKhJmMU&list=PLGLWpLsLZlD0DY_me_u3zPxXi5DD3eeZB&index=2&t=2741s

– The village of Jesus Guridi (October of 2019)

https://www.youtube.com/watch?v = Go_5nLTSLyY&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=3

– Three hats of Ricardo Llorca (November 2019)

https://www.youtube.com/watch?v = KJL2dERkd3M&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=2

– CECILIA VALDES of Gonzalo Roig (February of 2020)

https://www.youtube.com/watch?v = QYRARfeHTH0&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=1

– WATER, Sugar and brandy Federico Chueca (March of 2020). Zarza project - Zarzuela made by and for young people

https://www.youtube.com/watch?v = OqArGDPoswE&t=2564s

He Zarza project of the Teatro de la Zarzuela now he born four seasons ago with a clear and necessary intent: in the XXI century popularize the genre that gives name. Within this firm objective, young audiences has a decisive relevance. Get this approaching without fear and free from prejudices to the zarzuela, thereby continuing gender and strengthen its future, It is eager and happy purpose of the initiative.

For this reason the Teatro de la Plazuela de Jovellanos launched Zarza Project, one of its flagship initiatives, aimed at a young audience from 12 Y 18 years. The title chosen in this fourth edition is 'Water, sugars and brandy ' from Federico Chueca, And it will be played by young singers from 18 Y 30 years were chosen through a rigorous audition process in which participated more of 300 boys and girls. It can be said that these singers and actors are today the young company Zarza Project.

'Water, sugars and brandy ', in this new production of the Teatro de la Zarzuela, It is a free version of the work of Chueca signed by the playwright and novelist Nando Lopez from libretto Miguel Ramos Carrión write late nineteenth. Musical direction and scenic borne, respectively, from Oliver Diaz (from the piano) and Amelia Ochandiano, and the seventeen actors-singers They will be accompanied by a chamber orchestra composed of eight young musicians. All functions will be in the main hall of the Teatro de la Zarzuela in the 2 al 7 of March, Y school will alternate passes (for students of secondary and high schools) and functions for the general public (6 Y 7 of March) with a total of 11 sessions. In school appointments, after the show will be held one colloquy between the public and artists.

The role of the school Friday 6 of March (11h00) will be issued live through Facebook, YouTube and the website of the Theater.

A poetic journey through time

This "corridor summer in an act" is made, so, by and for young people, priority following the philosophy of the project: bring the genre to new generations; and what better way to do that using their own language. Ochandiano holds the respect "is now, in the XXI century, when we face the challenge of offering this little piece of history of our brightest musical theater to new generations. " And he says "The real fondness for the theater or in this case the love for musical theater or operetta, born from attending shows, live theater experiences made from the rigor, excellence and contemporary language that requires doing theater; because doing theater -points- this implies, is a commitment to our time and our vision of men and women today. "

This new version maintains all musical numbers, but not change the texts sung, adapting the original characters to the XXI century and making Federico Chueca is a character. The proposal stage makes the work a poetic journey through time, where present and past are mixed in the story a magical night in Madrid what, as noted Nando López, "Becomes hallway". A tribute to Madrid reference meeting place, crossroads and destinations, search space and hopes deposit, "a place to dream", as he stated in the own stage director, which brings us to a key work of our lyrical through this suggestive, dynamic and fresh bet once again celebrates commitment to the theater with young artists and young audiences.

Monday 2 March 10h00 and 12h30 (school functions)

Tuesday 3 March 10h00 and 12h30 (school functions)

Wednesday 4 March 10h00 and 12h30 (school functions)

Thursday 5 March 10h00 and 12h30 (school functions)

Friday 6 March 11h00 (school function)

Friday 6 March 19h00 (open function)

Saturday 7 March 19h00 (open function)

Carmen Linares

With Luz Casal as guest artist, It will go over much of the repertoire that has exalted as a undisputed legend of flamenco

He concert series of the Teatro de la Zarzuela Madrid has an exciting appointment next Sunday, 16 February, at 18h00. Carmen Linares, undisputed lady of flamenco, will hold its 40 year career in the coliseum of the Plazuela de Jovellanos. It will certainly be an especially intense moments later, like that in which the singer will share the stage with another woman, Luz Casal, voice that is dear companion of our lives.

Carmen Linares He began his solo career in 1980 accompanied by Juan and Pepe Habichuela. In the Andalusian festivals learned and starred singing figures as the flamenco Island Shrimp, Enrique Morente Y Jose Merce. From then until today, He has conquered his own right one privileged place in contemporary Spanish culture. Not in vain, It belongs to the best generation of flamenco with Shrimp, Paco de Lucía, Dying, Manolo Sanlúcar, Thanks to Tomatito.

"Carmen Linares: 40 years of flamenco " It is a concert with much of that essential repertoire which he has soared to the jaenera artist to be recognized as a undisputed legend of flamenco. A program that emphasizes his anthology Women sing, songbook Federico Garcia Lorca and tributes to Paco de Lucia, Mercedes Sosa and Enrique Morente.

A very special night in which he will sing, as claim, the musical identity of Andalusia Y the dramatic essence of the verses of our universal poets. Memorable as "Legend time”, “Andalusians of Jaén" O "you Jaleo”.

Guillermo García Calvo

He Teatro de la Zarzuela meets one essential work in the preservation, Recovery, revision Y diffusion of our operatic heritage, so they require their statutes and strict compliance by the Coliseum season to season. Hence the programming of ‘Farinelli’, opera Tomas Breton in a prologue and three acts, be one of the titles of 2019/2020 expected with singular and nervous expectation. With libretto by the precocious Sevillian writer, Academic of the Language (also politician and great speaker) Juan Antonio Cavestany, the score of who in the words of the illustrious professor Emilio Casares, "He is probably the best opera composer in our history" is a "kind of fusion" in which wagnerism coexist, “verismo”, French opera and historicism. It premiered on 14 May 1902 in the gigantic new Teatro Lírico in Madrid (the biggest the city has ever had), capable 2.900 spectators and "almost perfect" visibility, erected on Marqués de la Ensenada street and directed by Ruperto Chapí, in what was intended to be a major project in defense and promotion of Spanish opera in clear dispute with other theaters that showed their open rejection of the lyric composed behind closed doors. For this reason, Saturday 15 Y Monday 17 February (both at 20:00) will be two necessarily important dates for our lyrics. The play, of which there is no recording, hence the relevance of the record to be carried out by Radio Clásica for broadcast in the near future, will be heard again more than a century after your last audition. Will be on concert version and with free adaptation of the renowned playwright María Velasco. Brand new music, well, to our ears the XXI century.

‘Farinelli’ was the victim of the same apathy as others near 700 operas composed in Spain and condemned to the deepest of oblivions. And it's funny, as Casares remembers, that dozens of them were "applauded by the demanding public of the eight hundred". The effervescence of opera as one of the favorite genres in Spain, culminate in both first decades of the new century (the XX) with the premiere, in that period, of over 100 Spanish operas. Nothing less.

The two concerts that now do justice to 'Farinelli' (one of the eight great operas composed by Breton among the more than 140 works that make up its catalog, some as universal as 'Verbena Paloma' O ‘La Dolores’) will be led by Guillermo García Calvo, musical director of the Teatro de la Zarzuela from the past 1 from January, and musical director general of the century German Opera of Chemnitz and his orchestra -the Robert Schumann Philharmonie- since 2017 Y one of the most outstanding Spanish masters and sought after in Europe. García Calvo, to the front of the Titular Orchestra of the Teatro, the ORCAM, must undertake the melodic inspiration, the demanding vocal writing and the solvent orchestral and choral speech which build stately structure 'Farinelli, and it is no wonder if you consider that, plus a portentous violinist, Breton was a Grand conductor.

The numerous and intense choral passages is another of the peculiarities of this opera. "It is not excessive to point out that we have a choral work", warns Emilio Casares, arguing it with an incontestable fact: "Of the twenty-six scenes that make up, only six missing the choir. " It is this, so, a good opportunity for the showcasing of the Holder Choir Teatro de la Zarzuela under the direction of Antonio Fauró.

Likewise, to mitigate these difficulties, the orchestra and the chorus must necessarily involve voices first row. And that's what Theater Zarzuela met for this new and historical coming-out 'Farinelli'.

the mezzosoprano Maite Beaumont will play the role of Farinelli (Carlo Broschi) who falls to despair Beatrice (alter ego in the work of the singer in the mid-eighteenth Elena Pieri), Also sung by mezzo Nancy Fabiola Herrera, who deserves in this infatuation. Both must be separated. Farinelli travels to Spain while Beatriz remains in Italy. both suffer, first separation and then the difficult reunion, in whose outcome is of particular prominence Jorge, Father de Farinelli, baritone whose skin gets Hispanic-Brazilian Rodrigo Esteves. This Beatrice reveals the real reason for the rejection that since arriving in Spain suffers from the tormented Farinelli: She is also his daughter, and therefore, sister Farinelli. And as dejection and entangling, several of the nicest moments of the plot starring the character of Dr., who gives life baritone David Menendez.

Support for young singers

At this point, we must refer to two of the surprises in store for the public, and highlights the strong commitment of the Teatro de la Zarzuela in discovering and supporting young performers: From one side, Mexican tenor Leonardo Sánchez, the youngest artist of the International Opernstudio of the Zurich Opera House and won three different awards ('First place', 'Youth Revelation' and 'Special') in the 34th edition of the Carlo Morelli Singing Competition, the lyrical song contest important in Mexico; Alberto Sánchez plays, Farinelli friend who brings Beatriz to Spain and ending with her espousing anguish of the singer. On the other hand, the surprise will come riding the deep voice Manuel Fuentes, which recently was tricampeón of the VII International Singing Competition Alfredo Kraus (first prize, award and the public award for the best singer of Spanish nationality), besides being won two major awards in the first edition of the International Competition Lyrical Alicante. Sources assume the role of bandleader.

The story flows like a river in the literature of Maria Velasco, and will be the veteran actor Emilio Gutiérrez Caba who among the musical numbers exercised narrator of events; definitely an added incentive this happy recovery.

photo by © david Bohmann photography

CNDM 19-20. LIED. SIMON KEENLYSIDE

Today we are going to start this chronicle by the end. The end of the recital of Lied which jointly organizes the Teatro de la Zarzuela and the CNational Center for the Diffusion of Music (CNDM). Simon Keenlyside, the British baritone who had just performed a meritorious repertoire of romantic works, german and french, modestly asked the audience to wait ten more minutes, after, they could go home.

Keenlyside reminded us then, that those days commemorated the 75th anniversary of the liberation of the Auschwitz-Birkenau concentration camp. He wanted to pay tribute and remember the suffering of the Jewish people by interpreting the song that his grandfather, the great violinist Leonard Hirsch, played the violin when he was little, el Kadish de las Two Hebrew melodies by Maurice Ravel. The deep intention in the interpretation of this work, the sensitivity and feeling with which Keenlyside evoked its origins, left the entire audience excited and awed, barely able to react with applause. This moment of momentous communication, that hits and shakes us inside, should not go unnoticed, nor be wasted. Auschwitz didn't just appear out of nowhere. Until you get to him, millions of, apparently, small events were happening throughout Europe. Auschwitz can start over each day before our disinterest or dissimulation.

But as i say, this was the end of a recital, even if it was the beginning of another. Before Keenlyside had already excited us with a first part interpreting the Schwanengesang D 657 (1828) from Franz Schubert. A repertoire dominated by the experienced British baritone but before which, this time, seemed not too comfortable at first. It was with the progress of the works that he gained in the dramatic intensity of works such as Der Atlas (The atlas) o The Doppelganger (The double), to be abandoned later in the romanticism of Am Meer (By the sea).

The second part was much more fluid. The French romantic repertoire with works by Maurice Ravel, Francis Poulenc, Claude Debussy Y Gabriel Fauré, fits like a glove to an athletic Keenlyside, also vocally, that allows you great expressiveness in your performance. His refined technique and flexibility give him good projection and extraordinary phrasing.

The South African Piano Accompaniment Caroline Dowdle it was correct. Better in the second part, where the weight and absolute prominence was the voice of a Simon Keenlyside who at that point in the recital had already deployed all his magic, that is not little.

One more success of this Lied Cycle before an audience grateful to a Simon Keenlyside who did not save anything in his performance and who generated a beautiful consternation and deep emotion.

Photograph: (c) CNDM_Rafa Martín

Andrea Jimenez, Basque song

In this season of the Teatro de la Zarzuela the Basque music is undisputed star. Since its opening in October, the happy intention was guessed with 'The village' of Jesus Guridi. Then came the 'Cuartetos Basque' in one of the concerts of the cycle 'Chamber Sundays with Ñ' that lead groups made up of teachers from the Titular Orchestra of the Theater, BARREL, and after them ‘Mirentxu’, also Guridi, on the first occasion that the Coliseum was sung Plazuela de Jovellanos in Basque. Now it's the turn of the young Navarrese soprano Andrea Jimenez, who will submerge us tomorrow Tuesday 4 February (20h00) and within the Notes cycle Ambigú, at beautiful and electrifying world of the Basque songbook. The interpreter will be accompanied on the piano by Ramón Grau.

In the recital there will be five protagonists indispensable composers of our music: Jesus Guridi (How can we not!), of whom Jiménez will sing the ‘Six children's songs’ with texts by Jesus Maria de Arozamena; Pablo Sorozábal, who, said passage is, and the thread of the aforementioned considerations, He will take over this constellation of Basque music closing the opera season with 'The proprietress of the port'; José María Usandizaga, who will interpret ‘Vascongada Rhapsody’ and the pages for piano solo ‘Jota’; Emiliana de Zubeldia, with the 'Six Spanish folk songs'; Y Emilio Arrieta, who may hear 'The waif', 'The Shadow' or 'loving birds trill', this last romanza of the zarzuela ‘The planet Venus’ with texts by Ventura de la Vega.

He Teatro de la Zarzuela it will be like that again different place where live concerts also as a unique experience. Public and artists sharing music in communion. Coming in the same plane, wrapped by the privacy of that warm living room which is the Ambigú.

A concert Andrea Jimenez, fifth cycle, the tenor and actor will follow Ángel Ruiz dedicated to the Cuplé, soprano Ruth González 'Three passions of women', Baroque training The retreat led by cellist Josetxu Obregón 'The Spiritillo Brando', guitarist Ricardo Gallén 'Romantic Guitar', he trio Arbós with its new delivery 'Chamber Music' and soprano Berna Beads Joaquín Turina.

Cecilia Valdés, Teatro de la Zarzuela

 

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, it's never too late…
Cecilia Valdés
Gonzalo Roig (1890-1970)
Libretto by Agustín Rodríguez and José Sanches-Clay,
based on the novel Cecilia Valdés or Loma of the Angel
D. musical: Oliver Diaz
D. scene: Carlos Wagner
Scenography: Rifail Ajdarpasic
Locker room: Christophe Ouvrard
Lighting: Fabrice Kebour
Choreography: Nuria Castejón
Distribution: Elizabeth Knight, Martin Nusspaumer,
Homer Perez-Miranda, Linda Mirabal, Cristina Faus, Yusniel Estrada
In this fortunate line of the Teatro de la Zarzuela to recover our operatic heritage, It has been released these days the Cuban zarzuela, "Cecilia Valdés". the composer, Gonzalo Roig (Havana, 1890 – 1970) Cuban zarzuela redefined and made it a lyrical reference América.La traveler zarzuela was born with spirit and Cecilia Valdes is one of the clearest examples. Spaniards in the late nineteenth century and first half of the twentieth came to America, they did it, as, bringing their culture and music. were also determining orchestras and zarzuela companies who moved to act there to give coverage to the many musical emigrantes.Cecilia Valdés has the peculiarities of Caribbean and African sones, as good zarzuela, costumbristas the most recognizable and popular episodes at the time of its composition. The score is an extraordinary rhythmic richness. Bembé, guaracha, contradanza or Bolero, africanizantes combined with sounds and afrocubanos, Linda numbers as Mariscal, fully Cuban. But also they appear in the score and lyrical moments full of romance, as duets between Cecilia and Leonardo. The result is the perfect combination of popular music and lyricism, in a mixture of genres that complement each other and make "Cecilia Valdés" the most important work of Cuban music.

The scenery of Carlos Wagner, good knowledge of Caribbean culture, where big challenge was to acclimate the work, and he has done so in pre-revolutionary Cuba.

The main scenario remains fixed while flowing within it the elements that put each of the scenes. Get transform, factly, a sugar plantation in a ballroom where the protagonists celebrate their festivals. The speed and fluidity of change does not stop at all the pace of work. The colors, lighting and textures, you move to Cuba and the Caribbean atmosphere of high temperatures.
The libretto by Agustín Rodríguez and José Sánchez Arcilla, based on the novel Cecilia Valdés or Loma of the Angel, Cirilo Villaverde, It presents the problems of coexistence between slaves and mestizos, criticism of slavery and the consequences of sexism and racism. It also shows that mixture of religion and paganism which appears in an end of the play something strange that surprised the public.

The theatrical part of the work is very important and is brilliantly covered by Paloma Córdoba, Alberto Vazquez, Eduardo Carranza, Ileana Wilson, Moisés Giraldo Cardenas, Isabel and Juan Matute House. Cuban dance body as a whole was a protagonist of this zarzuela and the most applauded of the night.
Cubans are also some of the protagonists, soprano Elizabeth Caballero as, He defended its leading role of Cecilia Valdés so more solvent. It was not very well accompanied vocally by Martin Nusspaumer that, but nevertheless, If you built a good Leonardo in the interpretive part.

Baritone Homero Perez-Miranda, as José Dolores, Cristina Faus and mezzosoprano, in the role of Isabel Ilincheta, They were high in their respective interpretations. You can say the same for the rest of the cast. It should be noted the extraordinary participation of Linda Mariscal, who he played the freed slave Dolores Santa Cruz.

historical representation, although late, the first and most important Cuban zarzuela rising to the stage of the Teatro de la Zarzuela. Hopefully come after Cecilia Valdés some more.

Text: Paloma Sanz
pictures: Javier del Real

Simon Keenlyside

He Monday 3 February at 20h, National Dissemination Center Musical (CNDM) in co-production with Teatro de La Zarzuela, British baritone presented at the XXVI Cycle of Lied Simon Keenlyside with pianist Caroline Dowdle. Both artists address a program with the best of German and French Romantic musical tradition through Schubert pages, Ravel, Fauré, Poulenc y Debussy. tickets, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, entradasinaem.es Y 902 22 49 49.

Simon Keenlyside was born in London. He made his operatic debut at the Hamburg State Opera as Count Almaviva in The Marriage of Figaro. Keenlyside sang in the great opera houses of the world and has a particularly close association with the Metropolitan Opera House in New York, the Royal Opera House in London, Bavarian State Opera and the Vienna State Opera, where he has played Prospero (The Tempest), Rodrigo (Don Carlo), Giorgio Germont (La traviata), Papageno (The Magic Flute), Count Almaviva and key roles in Don Giovanni, Eugene Onegin, Pelléas et Mélisande, Wozzeck, Billy Budd, Hamlet, Macbeth Y Rigoletto. Recently, Rigoletto has played in Luxembourg, Paris, Bratislava and Munich, Giorgio Germont and Ford at the Vienna State Opera, Count Almaviva at the Royal Opera House, Wolfram in German Opera Berlin, and his Don Giovanni at the Bavarian State Opera. In concert, Simon Keenlyside sang Sibelius songs with the Cleveland Orchestra, under the direction of Franz Welser-Möst, and the Radio Symphony Orchestra Vienna Konzerthaus ORF in with Ryan Wigglesworth. It is a renowned recitalist who sings in the main scenes of the world. Last season offered some recitals in Vancouver, Quebec, Washington D. C., Atlanta, Schenectady, Philadelphia, Cleveland, Strasbourg, Amsterdam, Vienna and London, accompanied by Malcolm Martineau piano, Emanuel Ax, Natalia The tyukova the Julius Drake. He has recorded an album of Schumann Lieder with Graham Johnson and four with Malcolm Martineau with works by Schubert, Strauss y Brahms, and more recently, one of song, Songs of War, which he won the Gramophone Award 2012. She has sung under the direction of the main directors of the world with the Chamber Orchestra of Europe, the City of Birmingham Symphony Orchestra, London Symphony Orchestra, the Czech Philharmonic Orchestra, as well as Cleveland, Vienna and Berlin. He has also recorded Britten's War Requiem with the London Symphony Orchestra under the direction of Noseda, Mendelssohn's Elijah with McCreesh, Des Knaben Wunderhorn con Simon Rattle, as well as Don Giovanni with Abbado, Carmina Burana con Thielemann, Bohemian Chailly, Billy Budd, Die Zaruberflöte con Mackerras, The Marriage of Figaro with Jacobs and The Tempest with Adès, who won in the category of best opera recording (Grammy 2014) music recording and DVD Year (echo Klassik 2014). In 2006, he was awarded the Olivier Award; in 2007, Echo Klassik in the category of male singer of the year and, in 2011, el Musical America’s Vocalist of the Year. Y, in 2017, was appointed Kammersänger the Vienna State Opera. Simon Keenlyside has participated in three editions of the Lied: XIII (06-07), XV (08-09), XXI (14-15).

Photograph: © Robert Workman

Borja perhaps in the Teatro de la Zarzuela

Boja Maybe a journey through the Galician song accompanied by piano teacher Rubén Fernández Aguirre, They will perform works by José Castro "Chane", John Montes, Jose Fernandez Empty, Ernesto Lecuona, Gonzalo Roig, Isolina Carrillo, Horacio Pettorossi, Andrés Gaos, Carlos Gardel, Consuelo Velazquez and Chucho Monge.

baritone Maybe Borja will present the next Monday 20 from January (20h00) at Notes cycle Ambigú of the Teatro de la Zarzuela, a beautiful, developer and sense journey through some of the songs back and forth most significant that emerged from the Galician emigration to America. The interpreter, He born in the parish of Barking, Ortigueira, A Coruña, He will be accompanied to the piano by the teacher Rubén Fernández Aguirre.

Need not infrequently becomes under, and in this particular case that virtue served (and still serves) for hermanar two cultures separated by an ocean sometimes it is infinite. The program can be understood travel mode; is a map with points of departure and arrival whose passage is marked by music. The itinerary begins logically Galicia, with compositions José Castro "Chane", John Montes Y Jose Fernandez Empty, with texts by Manuel Enriquez Curros, Rosalia de Castro Y Eduardo Blanco Amor, then saturating in Cuba of Ernesto Lecuona, Gonzalo Roig Y Isolina Carrillo, or own Castro "Chane" ('Violet') and Fernandez Vide ('Likeness') Air captivated islander. There they mix, and each location reached, sharing in many cases mutual influences.

The next stop will be Argentina with music Horacio Pettorossi ('Galleguita'), Andrés Gaos (‘Vidalita’) Y Carlos Gardel ('Return'), to finish Mexico with the company that ubiquitous bolero 'Bésame mucho' of Consuelo Velázquez, Fortunately unavoidable with ranchera 'Mexico lindo y querido', and some other surprises.

songs that They crossed the Atlantic in both directions, what treasures collected and planted on both sides.

He Teatro de la Zarzuela it will be like that again different place where live concerts also as a unique experience. Public and artists sharing music in communion. Coming in the same plane, wrapped by the privacy of that warm living room which is the Ambigú.

A concert Maybe Borja, quarter of the cycle, They will follow the soprano Andrea Jimenez 'Song Basque', tenor and actor Ángel Ruiz dedicated to the Cuplé, soprano Ruth González 'Three passions of women', Baroque training The retreat led by cellist Josetxu Obregón 'The Spiritillo Brando', guitarist Ricardo Gallén 'Romantic Guitar', he trio Arbós with its new delivery 'Chamber Music' and soprano Berna Beads Joaquín Turina.

The incredible story of Juan Latino

'The incredible story of Juan Latino', new production Claroscvro company and Teatro de la Zarzuela, is a bright music production, puppets and masks before which someone can not remain indifferent. It is a true story, little known, of that fraternal friendship we should all know and remember to understand how they are (as we are) humans. They offered 20 works to public from 6 years, and representations of the Saturday 18 and Sunday 19 from January (both at 13h00) will be open to the public.

'The incredible story of Juan Latino' is a small zarzuela, with Renaissance and Baroque repertoire, about a writer and authentic Spanish humanist of the sixteenth century; This is Juan Latino, the first black person who obtained a degree and issued a professorship at the University of Granada. He was famous and all praised her knowledge. Thus discovering a true story of racial and social improvement of a black slave in the Spain of the sixteenth century is a surprise for the viewer.

Therefore, in this music and theater festival, which it is a sincere invitation to tolerance and respect, you want to show how miscegenation has been a constant element in coexistence for centuries in our society. The music and the arts, as people and ideas, They have been combined in different ways in the works anonymous composers or the well known and admired Duron, Arrow, Gutierrez de Padilla, Hidalgo, Romero and Sanz.

The Spanish-Canadian company Claroscvro theater, one of the world references puppetry directed by Julie Vachon Y Francisco de Paula Sánchez, presents its second co-production with the Teatro de la Zarzuela after acclaimed 'Lost in Bosco' (2017 Y 2019). Claroscvro Theater employs recreation in the historicist aestheticism, with the purpose of reinforce the educational values ​​of their works, with the conviction that beauty is the perfect vehicle to love art. The work will 18 school functions (double day program 13, 14, 15, 16, 17, 20, 21, 22 Y 23 from January) to be attended by a total of 1570 children between 6 Y 10 years, and 2 family functions (18 Y 19 from January, to 13:00 h).

Christmas Concert Teatro de la Zarzuela

The Teatro de la Zarzuela closed the year with its traditional Christmas Concert. Directed by Oliver Diaz, and with the participation of soprano Rocío Ignacio and tenor Jorge de León, the Tickets carried out since last summer

They will perform works by Luna, Vives, Fernández Caballero, Guerrero O Penella, with compositions Gershwin, Lloyd Webber, Lehár, Bernstein O Schönberg

The Community of Madrid Orchestra (Titular del Teatro) and the Holder Choir Theater de la Zarzuela They will join the celebration.

He Teatro de la Zarzuela will close next Saturday 28 December at 20h00 a fruitful 2019, And it will do with its already Traditional and expected Christmas Concert whose tickets were sold out within hours of going on sale last summer. As is usual, the appointment will serve to celebrate in style Spanish music, our lyrical, this time can be enjoyed along with works by some of the International Grandmasters of musical theater.

The concert will be conducted by maestro Oliver Diaz and will feature two of the most valued Spanish voices today: the soprano Rocío Ignacio and tenor Jorge de León. During the gala also intervene Coro del Teatro de la Zarzuela, which together with the Community of Madrid Orchestra (Holder Coliseum), It will be added each year as the party.

The program works visit Pablo Luna, Amadeo Vives, Jacinto Guerrero, Manuel Fernández Caballero O Manuel Penella, also through historical creations of some of the largest international masters of musical theater as George Gershwin (Girl Crazy), Andrew Lloyd Webber (The Phantom of the Opera), Franz Lehár (The Merry Widow), Leonard Bernstein (West Side Story) O Claude-Michel Schönberg (The Misérables). Toda collection of masterpieces to toast a 2020 full of light and zarzuela.

Teatro de la Zarzuela

Carols ne the Teatro de la Zarzuela

A week after the official arrival of winter and ten days of Christmas, he Teatro de la Zarzuela starts the countdown a concert performed by those who are protagonists Undisputed these dates: children. Is this next Sunday, 15 from December (12h00), in the main hall of the Theater and within the cycle 'Chamber Sundays with Ñ', when the Small and Young Singers ORCAM directed by Ana González present 'Carols and songs for winter'; a carefully chosen collection of songs for the occasion, that expresses the white voices genuine spirit of this time of the year. The only price of the concert is 6 euros.

The proposed program is very broad, and ranges from compositions Julio Dominguez, Javier Busto, David Azurza and some other anonymous, until Benjamin Britten, Rosa Alarcó, Bob Chilcott, Marcos Leite Y Manuel Vélez, going by Michael McGlynn, Kurt Bikkembergs, Eva Ugalte, Pablo Casals, Pedro Aizpurúa, John Rutter o John Reading.

The inescapable norm of the series 'Chamber Sundays with Ñ' is that each and every one of the concerts that make it up are played by soloists Titular Orchestra of the Theater, the Community of Madrid Orchestra, O for some of their groups, as in the case of this concert they will also participate pianist Pablo Eisele and percussionist Alberto Román.

He journey through the Spanish musical heritage camera posed the cycle, try to discover the public the excellent quality of the work in this format composers who achieved fame for his dedication to the Spanish lyric genre, as well as give visibility to new Spanish composers and contemporaries and consecrated.

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Prégardien in Lied

We are not accustomed to attending a performance in which the protagonist is shown in perfection humble and perform his virtuosity without fuss. Elegance and subtlety are two qualities to add to those already owned Christoph Prégardien, light lyrical tenor, but she is accusing and over the years, is more than a pleasure to listen to a genre, the lieder, who knows and dominates masterfully.

Prégardien offered in the fourth recital of the Lied They organized jointly by the Teatro de la Zarzuela and the National Center for Dissemination of Music, a repertoire divided into two parts. In a first right side interpreted the Lied that, poems by Ernst Schulze, composed Schubert. The second part was devoted to Schumann and his song cycle, on. 39, composed in 1840. In this second part Prégardien got the better of the lieder within him. He filled this cycle of songs nuances and musicality. Texts Joseph von Eichendorff and the intensity of the music of Schumann, They inspired a much deeper and expressive Prégardien. No doubt these works are better accommodate the qualities of his voice and his perfect phrasing.

He was accompanied on the piano by Julius Drake, which he puts the spirit and verve that lacked at times to Prégardien. Drake shined and balanced from the piano to his companion, offering emotional depth in the songs most dramatic draft, and taken away in greater verve.

The evening ended with three tips thanked the audience excited, Serenade", of the Song of the Swan, “night and dreams" and "There Mouse Sohn”.

Photograph: CNDM / Rafa Martín

Christoph Prégardien

Paola Leguizamón at the Zarzuela

Colombian mezzosoprano Paola Leguizamón will make its presentation at the Teatro de la Zarzuela the next Monday, 9 from December (20h00), to undertake a touching journey hand some of the most important figures of the music of their land. It will be within the Notes cycle Ambigú, and it will be accompanied on the piano by maestro Rubén Fernández Aguirre.

In spite of the incontestable greatness of composers and works which for many decades they are feeding the souls of those who, with our same language, They inhabit the other side of the Atlantic, there are few occasions when these music for obvious reasons many times are we so close, They are anchored on the coast of the ocean rightful.

This is one of the many points of interest which brings the recital that next Monday and virtuous young Leguizamón will offer Ambigú in La Zarzuela. The program is exciting from start to finish, with works Jaime de León, who will perform about a dozen songs; Antonio Maria Valencia, whose work the soprano and teacher repertorist address his song cycle on poems by the musicologist and Colombian poet Otto de Greiff; Luis Antonio Calvo, Fernández Aguirre who evoke with its beautiful 'Intermezzo No. 2 Piano ', "Wild Blue"; Luis Carlos Figueroa, with an important sample of its splendid songbook; and to top, José María Tena, with the popular 'Romance of the black girl'.

He Teatro de la Zarzuela it will be like that again different place where live concerts also as a unique experience. Public and artists sharing music in communion. Coming in the same plane, wrapped by the privacy of that warm living room which is the Ambigú.

A concert Paola Leguizamón, third cycle, will follow that of the baritone Maybe Borja 'The migration Galicia, Return songs', the soprano Andrea Jimenez 'Song Basque', that of the tenor and actor Ángel Ruiz dedicated to the Cuplé, the soprano Ruth González 'Three passions of women', the formation of Baroque The retreat led by cellist Josetxu Obregón 'The Spiritillo Brando', that of guitarist Ricardo Gallén 'Romantic Guitar', the trio Arbós with its new delivery 'Chamber Music' and soprano Berna Beads Joaquín Turina.

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Photograph: © 2016 Cartagena International Music Festival

He National Dissemination Center Musical (CNDM) in coproduction with the Teatro de la Zarzuela, will present next Monday 2 from December (20h00), at XXVI Ciclo the Song, to the German lyric tenor Christoph Prégardien with the English pianist Julius Drake. The program chosen for this event will consist of the liederísticas pages Viennese composer Franz Schubert giving life to the poetry Ernst Schulze, next to one of the basic series of work schumanniana, 'Song cycle', on. 39, in which the author focuses on the poética de Joseph von Eichendorff.

tickets, with a General price 8 a 35 euros, and are on sale at the box office of the Teatro de la Zarzuela, INAEM theaters, entradasinaem.es Y 902 22 49 49.

Precise vocal control, clear diction, intelligent musicality and ability to reach the heart with all that singing assure Christoph Prégardien a place among the most important lyric tenors of the world. He performs regularly with orchestras around the world, as the Vienna and Berlin Philharmonics, the Bavarian Radio Symphony Orchestra, the Orchestra of the Concertgebouw of Amsterdam, la Staatskapelle Dresden o la de Leipzig Gewandhaus Orchestra.

His broad orchestral repertoire includes the great oratorios baroque, classical and romantic, as well as works of the seventeenth century (Claudio Monteverdi, Henry Purcell, Heinrich Schütz) and XX (Benjamin Britten, Killmayer, Wolfgang Rihm, Igor Stravinsky). Especially appreciated as lied singer, their engagements this season include a tour of the United States and recitals at the Temple Church, el Wigmore Hall, the Concertgebouw or Schubertiade Schwarzenberg and Schubertíada of Vilabertran. Christoph Prégardien He has acted in two editions of the Lied: WE (99–00), accompanied by piano Michael Gees, y IX (02–03), next to Juliane Banse, Ingeborg Danz Y Olaf Baer; accompanied on the piano by Wolfram Rieger.

Photograph: Jean-Baptiste Millot

Curious and original it appeared in the Teatro de la Zarzuela the third recital of the Lied. Under the title, Cabaret evenings, mezzosoprano Nancy Fabiola Herrera, He began shelling, his voice thick and enveloping, all the musicality of works, perhaps less known, to show that not only the German lieder requires mastery and expertise. He showed that compositions which are less susceptible to the corsetting and technical require the same discipline and management of musical knowledge and canoro.

A repertoire full of artistic possibilities and identity, the eclectic personality of Herrera, coupled with its stylistic resources, They led to a higher level the most popular works by composers such as Oscar Straus, Erik Satie o Francis Poulenc. This first part, more formal, if you can say so, He was completed with works by Kurt Weill and Louis Guglielmi (Louiguy). Always very well accompanied by piano Mac McClure.

To demonstrate the uniqueness of the evening, something happened that, at least I, I had not seen before in a theater. After the break, an inattentive public, I do not know if the originality of the night, He did not finish entering the room, prompting singer and pianist were on stage waiting several minutes for him to finish accommodate public. This was the start of a second part in which Herrera proved to have a capacity of artistic records and idiomatic almost chameleonic.

It is not easy to place voice after a first more academic side, but, once resolved settings, Herrera found us new ways to deepen the freedom of interpretation, knowledge of the works and their composers and the ability to convey nostalgia and exoticism posed composers like Ernesto Lecuona, Joaquim Zamacois the Astor Piazzolla. Or draw the perfect melancholy boleros Pedro Junco, Maria Grever, Alvaro Carrillo, Gabriel Ruiz Bobby Capó.

Or as described exceptionally Mary of the Self in the playbill, "Moving to the nineteenth century is traveling through subjectivism and introspection; It is the time of rebellion, the willingness to explore all avenues artistic expression with a weekend full trying to regain past precious or achieve a wonderful future. It is the pursuit of feelings, wrapped in dreams, in mystery and fantasy of the exotic haunted by a spirit of nostalgia, melancholy and longing after completion impossible ".

52 years have had to happen for Mirentxu, youth work Jesus Guridi, He has returned to be heard in the Teatro de la Zarzuela. A work that has a long history of transformations. During 30 years, one maverick Guridi not stopped modify and adapt to reach this latest version.

It premiered as zarzuela 1910 at the Theater Champs Elysees of Bilbao, libretto by Jesus Maria de Arozamena and Alfredo Echave and with great critical and commercial success. This first version had a huge orchestration, something very unusual in the Spanish composers of the time. In 1913 takes to Barcelona, this time as an opera, for it regardless of all dialogues. And the 1915 opens in the Zarzuela Theater as he envisaged initially, as zarzuela. After consulting his colleagues Arozamena and Fernández-sahw, Guridi made a new adaptation for premieres at the Arriaga Theater in Bilbao 1934. And it is in this same theater, Arriaga, where it is released in Basque 1947.

The version that has offered the Teatro de la Zarzuela is the latter, with an adaptation of Borja Ortiz de Gondra to the Castilian that, as a narrator, Carlos Hipólito declaims with great musicality narrating the sequence of events. Something so successful is making the Teatro de la Zarzuela with works in concert.

From the pit, a Oliver Diaz master performs a reading of the score filled with refinement and leads to the Community of Madrid Orchestra one of his most lucid interpretations. This is a score of great sound and very reminiscent of the Basque countryside in which the action, simple and everyday, of this work. The score is not complex. It has an almost cyclic structure, Music returns to the same note of the beginning, in a normal humdrum of everyday life, everything starts. Remember Wagnerian chords.

At the front of the cast an excited Ainhoa ​​Arteta as Mirentxu, which it is a vocal splendid moment. He conveyed to the audience the thrill and excitement of their land through music he has known since childhood. He sang all, even accompanying the choir at times. His final aria, which it is the largest lucimiento, He was the delight of an audience that was thrilled with her.

The role of Raimundo, more extensive and complex than Mirentxu, He was in charge of Mikeldi Atxalandabaso. With a beautiful singing line, He was threshed with his light voice every intense moment of the character and plot. After initially somewhat forced, He gave everything in the second half.

The Presen of Marifé Nogales, character in the shadow of the protagonists, But his companion was perfect. always solvent, created a pinched with the precise level of drama.

Christopher Robertson has been impeccable Txanton. Sober expression, as the character of his character. One step below the performance was a headstrong Jose Manuel Diaz, as Manu. Mario Villoria, choir component, he was a pastor with solvency and efficiency.

Very well Holder Choir Teatro de la Zarzuela. It was less to more and their work was assessed with the Basque. Special mention was the intervention of the White Voices Choir Sinan Kay, directed by Lara Diloy. A chorus formed 2015 with didactic vocation whose headquarters are in school Holy Trinity Alcorcón. A brave and highly effective initiative in many aspects, not only academic or didactic. Special mention two solitas Patricia Valverde Y Azahara Bedman. It seems that the future of opera is guaranteed.

A new success of the Teatro de la Zarzuela in his invaluable work search and retrieval of great works of Spanish lyric. And anxiously we hope next.

Photograph: Javier del Real

He National Dissemination Center Musical (CNDM) in co-production with Teatro de la Zarzuela, will present the Monday 25 November at 20h00 in the XXVI Cycle of Lied to the Canarian mezzo-soprano Nancy Fabiola Herrera together with the American pianist Mac McClure. The program chosen for this evening, what It will be held at the coliseum plaza de Jovellanos, immerses us in a varied and colorful redoubt that takes us from the Viennese saltshaker Oscar Straus the lilting sounds of Astor Piazzolla, through the iconoclastic world Erik Satie, cabaret Kurt Weill, the evocation of the great Edith Piaf and humor Poulenc, with Cuban sones Ernesto Lecuona, two pieces of the now forgotten Joaquim Zamacois Y, back to the cabaret, four Mexican boleros and Antillean. tickets, with a general price from 8 a 35 euros, and are on sale at the box office of the Teatro de la Zarzuela, INAEM theaters, entradasinaem.es Y 902 22 49 49.

The constant presence of Nancy Fabiola Herrera on the international stage makes one of the great mezzo-sopranos today, the trade press has called "The Carmen of the XXI Century". In 2018 two recordings made in interpreting Rosario Goyescas, Granados, with the BBC and Health La vida breve, de Falla, with the BBC Manchester. Isabella highlight their performances in The Italian Girl in Algiers at Teatro Colon in Buenos Aires and as Bernarda The House of Bernarda Albto the Teatro de la Zarzuela. He has sung Stabat Mater (Rossini), he Requiem (Verdi) in San Sebastian and Guadalajara (Mexico), directed by Placido Domingo, and he has given concerts in Moscow Tchaikovsky Room and you recitals at the Palau de la Música and the Festival of Benicàssim, next to Ainhoa ​​Arteta. His interpretation Health La vida breve It has led to St. Petersburg, Tanglewood, Toronto, The Angels -with the teacher Frühbeck de Burgos—, Madrid, Cincinnati and the Orchestra of Capitole. His Carmen has been in the Metropolitan Opera, he Covent Garden, he Bolshoi theater, the Tokyo Opera, the German opera, the Bavarian State Opera, the Baths of Caracalla, he Dresden Semperoper, he Masada Festival, the Opera Tel Aviv, the Los Angeles Opera Y Spanish theaters such as the Opera de Sabadell, the Villamarta Theater in Jerez, the Kursaal in San Sebastian and the Teatro Perez Galdos de Gran Canaria, among others. In 2009, He opened the season of the Arena di Verona as Carmen, under the direction of Sunday. Between his recordings highlight Witch Chapí para German Grammophon, Dante Granados for ASV, Tonades of the seventeenth and eighteenth centuries Gerhard for Columna Música, the symphony No. 3 Mahler for New Art, The love wizard Failure to Naxos and Italian Concerto Llorca, in addition to The postman Catan and Luisa Fernanda, both also Domingo. Among his distinctions include the Current Opera Award 2018 an entire career and Placido Domingo Award. In 2019, He has acted in Houston Grand Opera, in Florence, at Amazon Catan, The Wildcat in the Los Angeles Opera, The Tales of Hoffmann at Beijing National Theater Y Samson and Delilah in La Maestranza in Seville. Nancy Fabiola Herrera has participated in an edition of the Lied: XVII (10-11).

Photograph: ©Shirin Tinati

The days 22 Y 24 of November They can be considered Historic for him Teatro de la Zarzuela. At that time the public will hear (in concert), Y for the first time in Basque In this theater, one of the most unknown works of Jesus Guridi: the lyrical idyll in two acts ‘Mirentxu’. And it will be after 52 years of silence in this scenario, only where it has been heard complete in Two occasions along its 163 years of history, the last one in 1967. Again theater the Plazuela de Jovellanos meets one of its essential tasks such as the preservation, study, Recovery Y divulgation of our operatic heritage. The Colisseum, after starting the season with The village ', and culminates its particular tribute to one of our most brilliant musicians.

Libretto by Jesus Maria de Arozamena Y Alfredo Echave, of 'Sandy', the words of the expert musicóloga Maria Nagore Ferrer, "It is indisputable beauty, which explains the popularity of some numbers as the prelude to the first act or the beautiful and lyrical aria end ". A) Yes, Nagore Ferrer stresses that " compositional mastery Guridi It is set to the service of a poetic text that is treated with flexibility, simplicity and orchestral palette rich and elaborate but wrapped in soft hues”.

The various 'Mirentxus'

'Mirentxu' premiered at the Theater des Champs Elysees in Bilbao 1910, and since that first occasion he suffered constant changes. Nagore Ferrer speaks even "Six or seven 'Mirentxus' different', even to become opera, thus adding to the parties dialogued music. In this format was presented at its premiere in Barcelona 1913, but Guridi was not at all satisfied, convinced, despite the rave reviews, that the public did not understand the work precisely because that format opera. So, two years later, in 1915, presents in Madrid, at the Teatro de la Zarzuela, but in its original version.

A new adaptation of 'Mirentxu' It premiered at the Arriaga Theater in Bilbao 1934, Guridi commissioning recast the libretto to his usual collaborators Federico Romero Y Guillermo Fernández-Shaw. For this new version, the composer It reinstrumentó whole score; modified some numbers and added new ones, trying not to undermine the work.

In 1947, the composer asked writer Jesus Maria de Arozamena a new review of the work. Arozamena departed version 1934, also using elements of the original libretto by Echave, Y He wrote two versions, in Castilian and Basque. This last and final 'Mirentxu' was released by the Company Lyrical Theater Donostiarra at the Grand Kursaal in San Sebastian precisely 24 November 1947, receiving Ruperto Chapi National Theater Award. Y It is this "final" version that can be heard these days in the Teatro de la Zarzuela in Madrid.

Although they have not been able to find documented evidence that the work was presented as an opera beyond its premiere in Barcelona, remains always the same question: Is 'Mirentxu' an opera or an operetta? Nagore Ferrer responds: "As rightly says Ramon Lazkano in his introduction to the critical edition published by the Complutense Institute of Musical Sciences in 2009, the imprecision of the work did not stop Guridi pose problems for more than thirty years of gestation of the definitive work: It is a work "halfway between a singspiel and éuscara zarzuela, or a verismo drama and a pastoral scene».”

The double date in La Zarzuela

In the double date with 'Mirentxu' at the Teatro de la Zarzuela, the podium will be assumed by Oliver Diaz, who must face the master orchestrator Guridi; to its inspiration in creating melodies or the detailed architecture vocal of the work. To address all these are demands, It will feature a balanced distribution voices outstandingly suitable to the requirements of the composer.

the soprano Ainhoa ​​Arteta will play the role of Mirentxu, Manu the miller's daughter, and premium Raymond, living with them and who is in love unsuccessfully. The role of Raimundo, love to turn Presen, Mirentxu friend, I assume the tenor Mikeldi Atxalandabaso. Bass-baritone Christopher Robertson It will act as a Txanton, the old man who cares for children whose older sister is presented in the house next door to the mill where they live Manu, Mirentxu and Raimundo. Presen's role will be played by mezzo-soprano Marifé Nogales. Meanwhile, baritone Jose Manuel Diaz Manu will play. All of them will also join the baritone solo Mario Villoria, component of Holder Choir Teatro de la Zarzuela, and children Patricia Valverde Y Azahara Bedmar, members of the White Voices Choir Sinan Kay.

The story of 'Mirentxu' this time is recreated by renowned playwright Borja Ortiz Gondra and will be the actor Carlos Hipolito who among the musical numbers go unfolding succession of events which lead to the final tragedy.

The Community of Madrid Orchestra, Titular del Teatro, and the Holder Choir Teatro de la Zarzuela, completes the artistic picture of this historic recovery will have a milestone: recording and subsequent broadcast of the work by Classical Radio RTVE. The critical importance of this record is that to date there are no recordings valid 'Mirentxu'.

Ricardo Llorca It took three years composing 'Three hats', amazing zarzuela based on the Miguel Mihura comedy whose European premiere welcomes of the 12 al 19 November Theater of Zarzuher in a new production. Accredited teacher in the world Juilliard School in New York, city ​​in which it resides for more than 30 years, Llorca is a meticulous composer, demanding, rigorous with their own work and unconventional. Zarzuela music we now propose is full of catchy tunes with a harmony that will engage the audience from start to finish, where the composer "makes incursions into languages ​​and techniques more contemporary, yes, most of the time for dramatic purposes', as indicated by the scholar Antonio Gómez Schneekloth. And will also be a lucky, unfortunately not too common, Back to indulge in one of the best texts of Mihura, that memorable playwright ahead of his time, precursor in Spain of the theater of the absurd and never sufficiently valued.

The podium of the pit will occupy for the first time in this theater teacher Diego Martin-Etxebarria, senior director in Deutsche Oper Chemnitz, whose distinguished career has focused mainly on international stages. These functions will be at the front of the Titular Orchestra of the Teatro de la Zarzuela, Community of Madrid Orchestra, Holder Choir of the Teatro de La Zarzuela and an extraordinary cast. For Martin-Etxebarria, the score of Ricardo Llorca has every incentive: "This is a score very original -inspired by the Neapolitan folklore and southern Italy-, very demanding for orchestra, with much metal, percussion and riquísima rhythmic structure, reminiscent of the circus music and some curiosities as an instrument rarely heard in opera houses such as the accordion ".

The new production of the Teatro de la Zarzuela 'Three hats', commissioned and published by the New York Opera Society and premiered at the Teatro Sérgio Cardoso de São Paulo 2017, will feature always unexpected and lucid staging of José Luis Arellano, for whom the theater Mihura was from the first a magical source of fascination: "Those women motherless, those madmen behind those dancers, humor that was so near and above all, the simple poetry hidden under all that routine vulgar and tremendous ". Y it moves to the stage, now, in a very special way: "Once again we raise the curtain to tell this story again, perhaps in a different way. he is accompanied veiled whisper music Ricardo with the same passion and the same vertigo of those jugglers throwing their objects with hope and rigor they fall back into their hands ".

Arellano those words that define MM what is not seen but there. but excited. And it will also have a lot to see extraordinary voices of each singer, arts compelling actors.

The artistic cast of Three hats is formed by tenor Jorge Rodríguez-Norton, This past summer has become the third Spanish in 143 he made his debut in the Bayreuth Festival (He did with 'Tannhäuser', and the last two were Placido Domingo Y Victoria de los Angeles), will play the role of Dionisio endearing, Paula finds in-a funny dancer played by the young virtuoso soprano Rocío Pérez–, a different and happier way of seeing the world. the tenor Emilio Sánchez and baritone Gerardo Bullón Don will act as Rosario and Don Sacramento, Episodic two characters that allow prop up the story of Dionisio both the beginning and at the end. the tenor Enrique Viana, as usual, He will not leave anyone indifferent to his hilarious interpretation of Madame Olga, the bearded lady from the circus. the soprano Irene Palazón and mezzosoprano Anna Goma, also they give life to Catalina dancers and Valentina, Paula friendly and always willing to have fun.

Along with the singers and the choir, will occupy the stage 12 actors among which will be Boré Buika (Buby Barton), Marco Covela (The German Strongman), Andres Felipe (Mr. Garibaldi), my Ceballos (The Cunning Hunter) O Chumo Mata (Ancient Military). Likewise, participate in the assembly four solo musicians (fiddle, trumpet, piano and accordion), three of them on stage and one in the pit.

The scenery Ricardo Sánchez Cuerda changes every moment of reality as in a magic trick, what inspired genius contribute your wardrobe Jesus Ruiz, lighting of the National Theater Award Juan Gómez-Cornejo and choreography Andoni Larrabeiti.

As is customary in healthy productions presented by the Teatro de la Zarzuela, the role of the Wednesday 27 of November will be issued live in streaming through sites Facebook Y YouTube of the theater, and its Web page. Equally, the role of the Saturday 16 of November It will be recorded by Radio Clásica de RTVE to issue in the near future.

Metaphor of the three-legged stool

One of the reasons that will make three hats a compact whole, is the musical empathy between Ricardo Llorca and Diego Martin-Etxebarria. The latter indicates that to explain his conception of music you like to use metaphor for the three-legged stool, "Which in this case would be melody, rhythm and harmony. In the classical period these were relatively simple but robust. From Hence the music has evolved wonderfully stylizing, blurring or enhancing some of them. The problem with the most avant-garde language says the schoolmaster is that Some composers have made these legs disappear, leaving us without stool”. A) Yes, considers that Ricardo Llorca follows the trail of the great composers: "Da innovative ways the pillars supporting the structure according to the dramatic needs, but remains recognizable to not 'fall from the stool' ". Martin-Etxebarria this means the public "will have melodies that can whistle; riquísimos rhythms, some even catchy; and a harmony that underpins the musical discourse through a brilliant orchestration”.

Around 'Three hats'

In addition to the 7 representations, the Teatro de la Zarzuela has organized a series of activities around the work of Llorca:

  • Thursday 14 of November: meeting Ricardo Llorca at Real Conservatorio Superior de Música in Madrid, moderated by fellow composer José María Sánchez-Verdú.
  • Wednesday 27 of November: Live broadcast in streaming function through sites Facebook Y YouTube of the theater, and its Web page.
  • Saturday 16 of November: Classical Radio from RTVE Record function.
  • Sunday 24 of November: Cycle 'Domingos camera with Ñ', dedicated exclusively to the music of Spanish chamber of hand soloists of the Orchestra of the Teatro Titular de la Zarzuela (BARREL), this time, coinciding with the functions of 'Three hats', It will be dedicated to 'Contemporary Spanish Music'.

Photograph: Javier del Real

the mezzosoprano Cristina Faus illuminate the Ambigú of the Teatro de la Zarzuela next Monday, 11 of November (20h00), with works by composers who Maria Malibran It was much more than an artist; an inspiration; a muse of luminous skin. Expected in this recital, which it is part of the cycle Notes of the Ambigú, the singer will be accompanied by harpist José Antonio Domené.

those composers, starting with his father, the great musician, singer, producer or director Sevillian scene Manuel García, or the intimate friend of this Gioacchino Rossini (mutual admirers of each other's work), Nicolas-Charles Bochsa O Vincenzo Bellini, They fell so captivated by the strangeness of his voice, for his innate talent for music and the scene, for that Irresistible sweetness she is dancing a continuous 'pas de deux' with the indomitable courage of their actions -a mix, this, deeply explosively, so bewitched were those, what They could not resist knitting for her music.

Maria Malibran lived shortly, just 28 years. Wounds that caused the fall of a horse and irresponsible convalescence, ended up killing. He lived little, his career failed to fulfill a decade and still deeply he revolutionized the world of music. It was full star, with much light. And now Cristina Faus and Jose Antonio Domené open up the door to get into his amazing universe.

He Teatro de la Zarzuela It will be like that place different concerts, where what matters is the proximity between artists and audience; inspiring and unpredictable privacy which is only possible in a newly collected and space as Ambigú.

A concert Cristina Faus, second cycle, It also will follow the mezzo Paola Leguizamón 'Song Colombian', that of the baritone Maybe Borja 'The migration Galicia, Return songs', the soprano Andrea Jimenez 'Song Basque', that of the tenor and actor Ángel Ruiz dedicated to the Cuplé, the soprano Ruth González 'Three passions of women', the formation of Baroque The retreat led by cellist Josetxu Obregón 'The Spiritillo Brando', that of guitarist Ricardo Gallén 'Romantic Guitar', the trio Arbós with its new delivery 'Chamber Music' and soprano Berna Beads Joaquín Turina.

the Caserío
Jesus Gurido (1886-1961)
lyrical comedy in three acts
Libretto by Federico Romero and Guillermo Fernandez-Shaw
Madrid, 3 October, Teatro de la Zarzuela
D. musical: Juanjo Mena
D. scene: Pablo Viar
Scenography: Daniel Bianco
Locker room: Jesus Ruiz
Lighting: Juan Gómez-Cornejo
Choreography: Edyardo Muruamendiaraz
Distribution: angel Ódena, Raquel Lojendio,Andeka Gorrotxategi, Marifé Nogales, Pablo Garcia-Lopez, hope Mentxaka, Eduardo Carranza
and José Luis Martínez
Community of Madrid Orchestra and Choir Holder
Teatro de la Zarzuela
Dance de Monserrat Caballe tribute KonpainiaAl, symbolically he started the season at the Teatro de la Zarzuela, followed by the premiere of El Caserío, Jesus Guridi and libretto by Federico Romero and Guillermo Fernandez-Shaw. The scenery is run by Pablo Viar and Daniel Bianco.Tiene eight years of travel in coproduction with ABAO of Bilbao and the Campoamor Theater in Oviedo, but this right is not affected scenery over time. Two scenarios, the entrance of a village and traditional pediment, They take us to a timeless and unmistakable Basque Country.

Production that presents the Teatro de la Zarzuela, and that it was shown in Madrid Canal Theaters, He has been omitted, rightly, of some of the dialogue and more costumbristas passages and which they are very outdated.

Critics of the zarzuela always point as one of their problems to be represented and understood today, some ancient texts, by jetlagged. But all is hopeless, as it takes demonstrating the Teatro de la Zarzuela in recent seasons. What does not change is the music aging, always fresh and processed Jesus Guridi. We narrates the story accurately and delineating the moods of his characters, thanks to a perfect orchestration.

Leading the Orchestra and Chorus of the Teatro Juanjo Mena. Another Basque who makes the best reading of a score rich in color and musicality. Very good pulse pulls the best performance of ORCAM and Choir, this time has an important role and covers actoral, with his performance, the lack of other narrative and scenic elements.

Another surprise of this village are the popular dances by Aukeran Dantza Konpainia, under the direction of Eduardo Muruamendiaraz. Of professionalism and absolute perfection in execution. Very well integrated into the scenes, They were an inspiring element and contextualizing of the entire work. They provided dynamism and fluidity performing transitions.

A production like this can only count on first-rate voices, as well it has been. Ódena Angel turns to gold everything that sings, and his character Uncle Santi would not be less. Accompanied de Andeka Gorrotxategi, with a beautiful and unique tenore di forza bell, giving life to a scatterbrained José Miguel frívolon and, until he finds the love of Ana Mari, which it shapes Rachel Rojendio, another luxury for the cast.

Inosensia character is in charge of other insurance value at this theater, Marife Nogales sings, dances and acts, You can not ask for more. Pablo García López is responsible for giving life to a vibrant Txomin, which is well accompanied by the amusing scene Eustasia, de Hope Mentxaca, marido of the idle Inosensia, who plays Eduardo Carranza and a troubled Don Leoncio, Hand José Luis Martínez.

A more attractive start to the season will be continued, with music by Guridi, in his first opera, Mirentxu, concert version that we see the 22 Y 24 of November, Ainhoa ​​Arteta and Mikeldi Atxalandabaso protagonists.

Text: Paloma Sanz
pictures: Javier del Real

The Argentine soprano Virginia Tola will open tomorrow Tuesday, 8 October (20h00), the new season of the Notes from Ambigú cycle at the Teatro de la Zarzuela. Accompanied on piano by Rubén Fernández Aguirre, the date will be an exciting sentimental journey through the Argentine song, that fly through dazzling sea of ​​joys and sorrows; amores, desamores, nostalgia and forgetfulness. The fourth season of the cycle offers 11 recitals, which is more than double which in its first edition.

From compositions of Carlos Guastavino with ‘Pampamapa’, 'In the furrows of love' or 'The dove was wrong', until the eternal Carlos Gardel with ‘Fly’, ‘Melody of the Suburb’ or ‘The day you love me’, the recital will reel off, from emotion to emotion, unforgettable and revisited works of Alberto Williams –‘Vidalita’, ‘Pumpkin Milonga’–, Carlos Lopez Buchardo –'If you find it 'or' Little fingers', Astor Piazzola - 'Buenos Aires summer' (floor only)- and Alberto Ginastera - 'Song of the tree of oblivion', ‘Five popular Argentine songs’, on. 10–.

He Teatro de la Zarzuela It will be like that place different concerts, where what matters is the proximity between artists and audience; inspiring and unpredictable privacy which is only possible in a newly collected and space as Ambigú.

A concert Virginia Tola will follow that of the mezzo-soprano Cristina Faus 'Mary, from García to Malibrán ’, the one with the mezzo too Paola Leguizamón 'Song Colombian', The one with the baritone Maybe Borja 'The migration Galicia, Return songs', the soprano Andrea Jimenez 'Song Basque', that of the tenor and actor Ángel Ruiz dedicated to the Cuplé, the soprano Ruth González 'Three passions of women', the formation of Baroque The retreat led by cellist Josetxu Obregón 'The Spiritillo Brando', that of guitarist Ricardo Gallén 'Romantic Guitar', the trio Arbós with its new delivery 'Chamber Music' and soprano Berna Beads Joaquín Turina.

He Monday 7 October at 20h, National Dissemination Center Musical (CNDM) in co-production with Teatro de La Zarzuela, present the German baritone at the XXVI Lied Cycle Matthias Goerne, which this year celebrates two decades since its debut in the cycle. Goerne has been the artist who more times has participated, with a total of twenty concerts throughout seventeen editions. Always with particularly demanding programs, Goerne's surprising proposals for male voice reveal his permanent concern in this genre. The baritone will perform with pianist Alexander Schmalcz, a mixed program featuring the music of Frank Martin, Dmitri Shostakóvich, Hans Pfitzner y Richard Strauss. tickets, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, entradasinaem.es Y 902 22 49 49.

Goerne: 20 anniversary

In the words of Miguel Angel Gonzalez Barrio program notes: "Matthias Goerne and Alexander Schmalcz offer us a dense and varied recital. In every part, two contemporary composers converse about the same topics. They and their poets, their voices, respective styles and viewpoints are confronted. In the process we look at the issue from different angles, with different light, acquiring a richer and more complete picture. "

Matthias Goerne It is one of the most versatile and internationally requested singers and a frequent guest at festivals and renowned concert halls. He has collaborated with orchestras, directors and the most important pianists in the world. Born in Weimar, he studied with Hans-Joachim Beyer in Leipzig and later with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Matthias Goerne has performed in major opera houses in the world, as the Metropolitan Opera in New York, el Royal Opera House Covent Garden, the Teatro Real in Madrid, the Paris Opera and the Vienna State Opera. Their roles range from Wolfram, Amfortas, Wotan, Orest and Jochanaan to major roles in Duke Bluebeard’s Castle y de Bela Bartok Wozzeck by Alban Berg. The art of Goerne has been documented in numerous recordings, many of which have received prestigious awards, among them, four Grammy nominations, the ICMA Award, the Gramophone Award, el BBC Music Magazine Vocal Award 2017 and the Diapason d'Or. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel for Universal Music, He recorded a number of songs by Schubert selected twelve albums for Harmonia Mundi (The Goerne/Schubert Edition) with eminent pianists. His last recordings have received rave reviews. In addition to his residency at the New York Philharmonic, Other highlights of the season 2018-2019 included concerts with other orchestras in the United States, Europe and Japan. Matthias Goerne has sung accompanied by Daniil Trifonov, Ove Andsnes and Antonio Leif Pappano, at the Philharmonie in Berlin, the Philharmonie de Paris, Wigmore Hall in London, the Palau de la Música in Barcelona and other important places in Europe. By last, Goerne has attended summer festivals 2019 one Ravinia, Salzburg and Verbier. Matthias Goerne has participated in seventeen editions Lied: V (98-99), WE (99-00), VII (00-01), VIII (01-02), IX (02-03), X (two recitals, 03-04), XII (05-06), XIII (06-07), XIV (07-08), XV (08-09), XVI (09-10), XVII (10-11), XIX (12-13), XXI (14-15), XXIII (16-17), XXIV (three shows, 17-18), XXVI (19-20).

Photograph: Caroline Bon

Mahler He had said "I statelessness in triplicate: native of Bohemia in Austria, Austrian among Germans and Jews worldwide. Always an intruder, never welcome ", he was a prisoner of the time he lived. Viennese decadence and imperialism entered step opened new artistic currents, intellectual and philosophical, encabezas by Klimt, Olbrich, Hoffmann steel or Freud, his personal friend.

It took to reach him recognition. The originality of the compositions, on the one hand, and the rise of Nazism in Germany and Austria on the other, They made their work was classified as "degenerate". Add to that the anti-Semitic atmosphere joined the Viennese society of the time that, after a press campaign aimed at their expulsion from the Vienna State Opera, He succeeded in making 1907 Marler moved to New York, where he led the Metropolitan Opera between 1908 Y 1910. The following year return to Vienna where he died 18 of May, suffering from a serious illness.

After World War II, two of their brightest students, Bruno Waltter y Otto Klemperer, They began distributing his work, after more than 50 years of indifference.

Great admirer of Wagner, He had tried unsuccessfully to compose opera, but if he developed a brilliant career as a composer of symphonies and orchestral lieder. Although it is two different genres, Mahler is not understood without each other. Throughout his compositional career, both genders fed off. From 1890, Mahler orchestrated all songs, providing them with a symphonic entity notably enriched his vocal music.

The Teatro de la Zarzuela dedicated XXVI Lied two complete series of works by Gustav Mahler Lied. In this first installment are interpreted Llieder a moving join (1884-1885), Wayfarer songs. This was the first song cycle as such, he composed at the end of his stormy affair with the soprano Johanna Richter, while he was director of the opera house in Kassel, Germany.

Lieder accompanied by piano should not be considered minor work. Mahler was an extraordinary pianist and is the absolute knowledge of the instrument, with clarity and perfection he sought in his compositions, which they make these voice and piano versions are treated as an orchestrated version, full of nuances and symphonic textures.

Christian Gerhaher y Gerold Huber raise its peak the term interpenetration. Both were students of the great Dietrich Fischer-Dieskau, note what, among other things, in faithful interpretation made. Dieskau thought that Mahler not have to read between the lines, "Observing only his instructions exactly can be demonstrated fully the art of Mahler".

Gerhaher modulated his voice to provide a clearer record, closer to its natural tenor baritone. He demonstrated once again its ability to articulate, to say the outline and exact verse with a refined and smooth voice. As usual, without stylistic ornaments. Done accurately the journey to the depths in the interpretation of lieder. No one as he goes through the different characters and demands that contain these song cycles. Dota expressive of deep intimacy Songs of Wayfarer, where nothing is accessory. then flows into Des Knaben Wunderhorn (The wonderful horn Boy) and voice rises with roundness conclusive.

The grand finale came with a deep understanding of Kindertotenlieder (Songs on the Death of Children). Not abandon elegance never, or is carried away by the drama, but it gives each one of these songs an abyssal intensity and always sober.

A great start to this traditional Lied CNDM and Teatro de la Zarzuela. Definitely, the quality of this cycle is already a very important cultural heritage for Madrid. It sets an example.

Photograph: Elvira Megías

The season begins 2019/2020 of the Teatro de la Zarzuela, and with her the music and theater festival, art in its broadest sense. The celebration of our heritage. For it is not worth any proposal; the title chosen should be special, a excellent cover letter of all that remains to come. And this role corresponds to 'The village' of Jesus Guridi, a musical treasure to turn 93 years of its premiere on this same stage from the Plazuela de Jovellanos –in November 1926–, arrives to compensate the public for a absence of 42 years. And the remedy it cannot have better protagonists: the expected musical direction of the teacher Juanjo Mena –No doubt one of our heavyweights in conducting–, the scene of Pablo Viar, full of meaning and poetry, Y two deals that include many of the most desired Spanish voices of the moment. They offer 14 functions 3 al 20 October.

Not for less the expectation that this season opening has raised with ‘The farmhouse’, And not only for that almost half a century that has passed since he last went on stage in the same theater where he was born.; or because in front of the Community of Madrid Orchestra (Titular del Teatro) occupy the podium of the pit none other than Juanjo Mena. And it is the teacher who precisely gives us some of the keys to the importance of Guridi's work in time and space: “As a composer, as an orchestrator, it's exquisite; beauty is at the beginning of everything. Guridi is one of the undisputed centers of music between wars –The World Cups and the Spanish Civil War–. Of those musicians who were forced to work without materials and almost without references”, affirms the director, that before the weight of popular music in the composer's score, Vitorian like him, adds that this "is a lord of folklore, that he addresses with all respect, elegance and discretion”.

And all that that Guridi captures in the score, It is collected in the most respectful way by Pablo Viar from Bilbao to assemble a staging full of knowledge and poetry that takes place in Arrigorri, that imagined place, dreamed up by Jesús Guridi and the librettists Federico Romero and Guillermo Fernández-Shaw, "where, as it could not be otherwise, All the problems, no matter how complex, they will have a happy ending ".

And on the tables, accompanied by the Coro del Teatro de la Zarzuela, two casts with many of the Spanish voices that today triumph in lyrical theaters. The sopranos Raquel Lojendio Y Carmen Solis will give life to the young Ana Mari - niece of Uncle Santi, owner of the Sasibil farmhouse–, with whom Txomin is in love without being reciprocated. The baritones angel Ódena Y José Antonio López will play Uncle Santi, who adopted Ana Mari when she was orphaned in America and hatches a plan with Don Leoncio –the village priest– so that Ana Mari and her nephew José Miguel fall in love. The tenors Andeka Gorrotxategi Y José Luis Sola they will play the role of José Miguel, also in love with Ana Mari (and Ana Mari from him), but whoever leaves the village knowing that it is going to marry his uncle, with which he will lose his inheritance and love at a stroke. The mezzo-sopranos Marifé Nogales Y Ana Cristina Marco they will play Inosensia, daughter of Eutasia - owner of the cider house -, that is successfully declared to Txomin, servant of the farmhouse represented by the tenors Pablo Garcia-Lopez Y Jorge Rodríguez-Norton. The role of Eutasia will be assumed by the mezzo-soprano hope Mentxaka, that of her husband Manu the actor Eduardo Carranza, and that of Don Leoncio, also an actor José Luis Martínez.

The scenery Daniel Bianco, inspired and beautiful, represents a pediment as the center of the events of Arrigorri, as a kind of town square behind which the hegemony of the land is sensed; the supremacy of nature. The wardrobe Jesus Ruiz, lighting Juan Gómez-Cornejo and choreography Eduardo Muruamendiaraz complete the unique artistic proposal of this production of the Arriaga Theater in Bilbao and Teatro Campoamor of Oviedo.

Three will also attend the stage extras, four children and eight dancers of the Optional Dance Company Directed by Muruamendiaraz himself.

And as the occasion demands, the role of the Thursday 17 October will be issued live through the sites of Facebook Y YouTube of the theater, and its Web page. Equally, the role of the Saturday 19 October will be broadcast live through RTVE Classic Radio.

The village ': Basque soul and land

'The village' of Jesus Guridi expresses undoubtedly and precisely the soul, the race and the Basque land. After 'Mirentxu’ (1910) and 'Amaya’ (1920), Guridi moved to live in Madrid to boost his career and soon began working on a new Basque setting. To do this, he contacted the librettists Federico Romero and Guillermo Fernández-Shaw. From those purposes and these alliances, ‘El caserío’ was born., a zarzuela - lyric comedy in three acts, according to the score - that supported by a good libretto stands out for an extraordinary score, rich and varied, resolved with an absolute command of musical language.

His success was formidable and went on to become one of the great pieces of the Zarzuelistic repertoire. Not in vain, Arrigorri, "Imaginary village of Vizcaya", it has something of a dream village, from idyllic and happy place, that we contemplate through the poetic gaze of music.

Therefore, the teacher Juanjo Mena talks about the family, the land and the house when referring to ‘El caserío’: "I am Basque and I live in a village ..., I am immersed in the world of Guridi. Having this production is an important way - after more than forty years of absence - of listening to this music here again., at the Teatro de la Zarzuela in Madrid where it was heard for the first time”.

The stage manager himself, Pablo Viar —Also Basque, from Bilbao—, comments that "that dreamed Arrigorri magically emerges from the fog for just a few days every long time and its endearing inhabitants, like the characters in the theater, they just wake up, secure, they laugh and cry, for a brief moment every many years ". So let us return to enjoy the poetry of lyrical theater through one of the great works of that unusual talent that was (and it still being) Guridi.

Around ‘The farmhouse’

In addition to the 14 representations, the Teatro de la Zarzuela has organized a series of activities around Guridi's work:

  • Friday 11 October: meeting Master Juanjo Mena with students from the Higher School of Singing of Madrid.
  • Wednesday 16 October: meeting Pablo Viar with students from the Municipal School of Dramatic Art.
  • Thursday 17 October: Broadcasting of the function in ‘streaming’ through the sites of Facebook Y YouTube of the theater, and its Web page.
  • Saturday 19 October: Live broadcast through Classical Radio from
  • Sunday 20 October: Start of the new cycle 'Domingos camera with Ñ', dedicated exclusively to the music of Spanish chamber of hand soloists of the Orchestra of the Teatro Titular de la Zarzuela (BARREL), this time, and coinciding with the last performance of ‘El caserío’, It will be dedicated to 'Cuartetos Basque' with music José María Usandizaga and self Jesus Guridi. Photograph: Enrique Moreno Esquibel

He National Dissemination Center Musical (CNDM) and the Teatro de la Zarzuela they inaugurate the next Monday 30 of September he XXVI Ciclo the Song. Chosen to open this edition are German baritone Christian Gerhaher and pianist Gerold Huber, one of the most successful and outstanding duos on the leadership scene actual, who will present the first part of a monograph dedicated to Gustav Mahler. The second round of this program will be held on 13 of January of 2020.

With ten concerts scheduled for September 2019 to June 2020, this season the most important lyrical voices of today will visit the Lied cycle, with varied and suggestive programs of great musical interest. Matthias Goerne, Nancy Fabiola Herrera, Christoph Prégardien, Simon Keenlyside, Manuel Walser, Ian Bostridge, Anna Lucia Richter Y Marlis Petersen, will interpret Schubert, Schumann, Shostakóvich, Strauss, Wolf, Brahms Y Wagner, among others. They will be accompanied on stage by pianists of the stature of Julius Drake, Gerold Huber, Alexander Schmalcz, Mac McClure, Caroline Dowdle, Igor Levit O Stephan Matthias Lademann.

Tickets for all concerts, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM network of theaters, 902 22 49 49 Y entradasinaem.es.

Two quotes for Mahler

According to Luis Suñén in the hand program: “Has Christian Gerhaher ever said that his highest aspiration as a singer is to get deep into the interpretation of the German art song”. As part of this aspiration, the Bavarian baritone will reel off the Liederistic language of Gustav Mahler in two sessions: during the opening appointment of the cycle (30 of September) and early next year (13 from January 2020). In this first recital, Gerhaher and Huber will introduce us to the Mahlerian world closest to the popular tradition through the legendary cycles Songs of a traveling fellow (Wayfarer's Lieder) Y Des Knaben Wunderhorn (The boy with the magic trunk) (selection), as well as in the hallucinatory lyricism of the Kindertotenlieder (Songs of the dead children).

during his medicine studies, baritone Christian Gerhaher (Straubing, Germany, 1969) perfected his vocal training in the classes of Dietrich Fischer-Dieskau, Elisabeth Schwarzkopf e Inge Borkh. Gerhaher attended the Munich School of Music and Theater and, with his usual pianist, Gerold Huber, She studied acting with Friedemann Berger and he received singing lessons Paul Küen y Raimund Grumbach.

His exemplary interpretations of lieder by Huber have created school. Both perform frequently on international stages, as in the Lincoln Center of NY, el Concertgebouw de Amsterdam, the Philharmonie de Colonia and Berlin, the Konzerthaus and the Musikverein of Vienna or the Wigmore Hall London, among others. Gerhaher is also a regular guest at festivals such as the Rheingau Music, London Proms, the festivals of Edinburgh Y Lucerne and the Festival of Salzburg. Last season, focusing particularly on recitals lied, presented five different programs with Gerold Huber in Salzburg, Milan, Munich, Berlin, Leipzig, Vienna, Baden-Baden, Geneva, Paris, London, Madrid Y Schwarzenberg, as well as in a US tour. It is an exclusive artist for Sony Classical. Assiduous interpreter CNDM, Gerhaher has participated in twelve editions of the Lied Cycle at the Teatro de la Zarzuela.

Photograph: Christian Gerhaher © Sony_Gregor Hohenberg

The Teatro de la Zarzuela He has started the new season with a heartfelt tribute to Montserrat Caballé. A Spanish lyric gala which is "your home in Madrid", as he never tires of repeating Daniel Bianco, director of this theater, he was excited in the words dedicated to the soprano at the beginning of the gala.

The gala has been starring exclusively for music. No projected images, only one at the beginning and end. Very suitable for honoring who lived for music. "He was looking for the music behind the music", Bianco noted in a speech that has thrilled children and siblings of Caballé, present at the event from stage No. 8, that take today the name of Montserrat Caballe.

Caballé debuted at La Zarzuela in 1964 with "Anthology of tonadilla and short life", under the direction of Maestro Alonso Odon. Since then there have been numerous their holdings, both operas and zarzuelas.

They participated in the gala Celso Albelo, Rubén Amoretti, Ainhoa ​​Arteta, Yolanda Auyanet, Maria Bayo, Maite Beaumont, Gabriel Bermúdez, José Bros, Mariola Cantarero, Carlos Chausson, Andeka Gorrotxategi, Airan Hernandez, Nancy Fabiola Herrera, Ismael Jordi, Pilar Jurado, David Menendez, Marina Monzó, Sabina Puértolas, Jose Luis Sola and Virginia Tola. All under the direction of maestro Oliver Diaz, in front of the Titular Orchestra of the Teatro de la Zarzuela, Community of Madrid Orchestra. It should be noted that all interpretations have been at a high level, as the occasion deserved. At the end of the gala, his great friend Nuria Espert, everyone was excited recalling the great soprano in its human aspect.

A deserved and heartfelt tribute Teatro de la Zarzuela in Madrid and the public a unique singer.

Flamenco guitarist José Fernández Torres, ‘Tomatito’ (Almería, 1958), will close in style this season 2018/2019 the Teatro de la Zarzuela. It will be a particularly emotional concert, as it will serve to pay tribute to Joaquín Rodrigo, whose death in Madrid were fulfilled 20 years last 6 of July. He 'Aranjuez's concert', one of the masterpieces of the composer from Sagunto and one of the indisputable and universal pillars of Spanish orchestral music, It will serve as an excuse for this moving and necessary memory that will take place in the Coliseum on Jovellanos Street this next Friday, 12 of July, at 20h00.

The musician from Almeria, one of the ‘precious stones’ that flamenco has given us, music in general in recent decades, will be clothed by the Community of Madrid Orchestra (BARREL), holder of the Teatro de la Zarzuela, under the always wise guidance of Victor Pablo Pérez, head of training.

This will be in the second part of the care program dedicated to the glory of Spanish music. In the first, ORCAM will perform the beautiful orchestral suite ‘Songs and dances of Dulcinea’ by Antón García Abrihim and that absolute sensory journey that is 'Brujo Love' by Manuel de Falla.

Tomatito carries on his back part of the brighter history, rooted and free from our music. Almost 20 years accompanying Island Shrimp, a perfect communion that could only be broken by the premature death of the Cádiz singer from San Fernando. And while, and then, sailing in the same boats, over the same seas that Paco de Lucía, its clearest artistic reference, musical, vital; or that he did not cry enough Enrique Morente. Or that that great call Jose Merce with whom you now share a project ('Really'). Or that the luminous jazz pianist Michel Camilo, with whom he has shared the stage for many decades. Why, as also happened to Paco de Lucía, José Fernández Torres loves total music, without Borders, Without tags. This is how geniuses are and this is how they manifest. Who really are.

Photo: A.P.

Last 3 June ended the XXV edition of the Lied jointly celebrate the Teatro de la Zarzuela and the National Center for Dissemination of Music. And he did it in an original way. Around an excellent program, in which had much to see the accompanist, Justus Zeyen, It was held, Viennese mode, a meeting of extraordinary performers who did nothing but enhance the art that everyone is able.

Thomas Quasthoff, that up 2012 He has developed a successful career as a baritone, He was commissioned to tell, so brilliantly dramatic, the texts that introduced the works then tenor Michael Schade interpreted the baritone Florian Boesch and.

They offered works by Eichendorff, Mendelssohn, Nietzsche, Brahms, Schubert, Schumann, Heine, Liszt s Wolf. They performed the solo lieder duo or as an unforgettable night, not only for the originality of the format, but by the quality of the four interpreters.

Undoubtedly the Lied, that next season reaches its sixteenth edition, is one of the most interesting and highest quality that are scheduled in Spain and at such an affordable price, which is ridiculous. If you have occasion, not miss next season.

This XXVI edition offer 10 recitals: baritone Christian Gerhaher (30 of September), baritone Matthias Goerne (7 October), mezzosoprano Nancy Fabiola Herrera (25 of November), the tenor Christophe Prégardien (2 from December), baritone Christian Gerhaher (13 from January), baritone Simon Keenlyside (3 February), baritone Manuel Walser (30 of March), the tenor Ian Bostridge (20 of April), soprano Anna Lucia Richter (4 of May) and soprano Marlis Petersen (29 of June), will complete the proposal for the new season.

Photograph: I Vine - CNDM

He National Dissemination Center Musical (CNDM) in co-production with Teatro de la Zarzuela closed down next Monday 3 of June from 20h00 the XXV Ciclo the Song with a special program featuring baritones Thomas Quasthoff (as narrator) Y Florian Boesch with the tenor Michael Schade, accompanied by pianist Justus Zeyen. The program chosen for this evening is immersed in the essence Romantic, con songs, duos and compounds melodramas by big names in this genre: Franz Schubert, Robert Schumann, Felix Mendelssohn, Johannes Brahms, Franz Liszt O Hugo Wolf, on texts Joseph von Eichendorf Y Heinrich Heine. To all this will join the song 'The Broken Ringlein', written by Friedrich Nietzsche text rarity Von Eichendorf.

tickets, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es> Y 902 22 49 49.

Heine y Oaken village: poetry in the heart of lieder

According to the scholar Luis Gago, “'Heine in music', the catalog compiled by Günter Metzner, covered twelve thick volumes dedicated to exploring the musical wealth of the poems Heinrich Heine, despite which it can not even be taken by comprehensive: the figures are overwhelming, as it is more than in 2500 composers and a figure that exceeds eight thousand songs inspired by the German poet. And it is particularly significant that have been many musicians who decided to choose poems of Heine as textual inspiration from his op. 1, as if that twinning shall gain them symbolically Access to the pantheon of the most illustrious liederistas. Brahms himself even said at the end of his life that had music "almost all Heine" in his youth, definitely, an exaggeration, but revealing that the German poet had become part of the ritual of baptism of anyone who would venture down that path that had begun to clear Franz Schubert at the edge of his death. And the entrance It was not confined to the Germans: French -in which the poet lived in exile country the last twenty years of his life They endorsed a "Henri Heine" (as reads the plaque on the house he died, in the number 3 the Avenue Matignon parisiense) almost like a compatriot, and has not missed even one who has seen what the direct ancestor of Jean-Paul Sartre, more generally, French intellectuals engagés of the Second World war; in Italy, widely circulated poems "Enrico Heine '; Gustavo Adolfo Becquer adapted among us his verses; Y, without great effort, find songs with his poems translated into Russian signed by Chaikovski, Glazunov o Borodin. Poemas como "You're like a flower" o "Gently through my mind" acumulan bajo su modestísimo puñado de versos hundreds of musical versions.

Love for nature and the glare felt Joseph von Eichendorf to know the collection "Des Knaben Wunderhorn ' (which she led him to befriend their compilers, Achim von Arnim Y Clemens Brentano) They left a deep mark in his own poems, Lavish musical references and descriptions of nature sounds, something that one ear as sensitive as Felix Mendelssohn I could not help but be receptive. Music also plays a decisive role in his prose work more widespread, 'The life of a ne'er-do' (The life of a useless), an example of poetic prose High School starring a vagrant violinist and hosts, Likewise, numerous poems and songs. Without reaching the prodigious figures Goethe o Heine, Eichendorff was the third great favorite poet of the Romantic composers: Dietrich Fischer-Dieskau He stood at more than five thousand songs composed from his poems since they began to be published, this is, in the last sixty-five years of the nineteenth century.“.

For nearly four decades, Thomas Quasthoff has moved the hearts of countless listeners with his art. He ended his distinguished career as a singer in 2012 although it has maintained close ties with music and singing professor at the Hanns Eisler Music Academy in Berlin and giving master classes. Quasthoff It was one of the most notable singers in their field, frequently invited to sing with the Berliner and Wiener Philharmoniker, among others with directors like Claudio Abbado, Daniel Barenboim, Christoph Eschenbach, James Levine, Bernard Haitink, Mariss Jansons, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Sir Simon Rattle, Helmuth Rilling, Christian Thielemann y Franz Welser-Möst. In addition to its commitments as a teacher He has developed other virtues storyteller, comedian, moderator and even as an actor. After its great success in fall 2012, where he first appeared as an actor in the role of Feste in 'Twelfth Night' by Shakespeare, He continued to play this role in the Berliner Ensemble for 5 years until May 2017.

Quasthoff in recent years has shown that likes to face new challenges. In 2010 launched its program soul / blues / jazz titled "Tell It Like It Is' that revolved around Europe. Since then, He returns again and again to jazz concerts with some internationally renowned instrumentalists: Frank Chastenier (piano), Dieter Ilg (double bass) y Wolfgang Haffner (drums). Last year concert 'My Favorite Things' closed cycle Jazz at the Auditorium of CNDM.

Photograph: Bernd Brundert

Casa Limón, one of the most significant art projects and more powerful in recent decades, meets 20 years. The occasion, definitely, It requires a celebration in style, and that is the festive intention of the two concerts under the slogan Casa Limón & Friends will offer the Teatro de la Zarzuela 7 Y 8 June at 20h00. Two of those concerts that happen rarely, a lifetime remembered. Javier Limón is the soul of every. Who holds the key, The magic wand, the ideas, the genius, the mills and the assurances that have turned a dream that might seem crazy and unattainable, in one of the most amazing realities of our music, Spanish music, music with Ñ. Music here, deep and ancient roots, free dancing, naturally with the rhythms and cultures of other ends; open to any genre to become one and universal. Without Borders.

Son, well, two decades leading a top-quality musical movement which he has enjoyed the cooperation of artists of very different styles, and cultures. From the Cuban flamenco 'Black Tears' O Paco de Lucia to jazz Wynton Marsalis, fado Mariza, rock Andres Calamaro or Indian music Anoushka Shankar, the sound of Casa Limón has nurtured recordings and live concerts all over the world.

In both concerts Teatro de la Zarzuela this indispensable spirit at all times be skin deep. In them, Javier Limón present a Band of all stars where the great musicians who have been part of this endless adventure will accompany some of the stars that are now forever part of the family Lemon. And they will reviewing a repertoire that in the collective memory of all living today in absolute forefront. Between the two nights will be 22 artists, Javier Limón besides their, you want will accompany this group of performers destined to change again and again the rules of music.

Classics for all hearts

The artists who lend their talents at concerts of La Zarzuela is a magical and surprisingly harmonious heterogeneity. They are already classic and all kinds of hearts. He Friday 7 of June Iran illuminating the stage as singers Mariza -one of the most importants, great artists and unrepeatable portuguesas-, Pitingo -flamenco art and heart, with a special talent for mestizaje, Archangel -indiscutible first figure of flamenco mundial-, Ainhoa ​​Arteta , one of the essential voices in opera houses in the world, Mala Rodríguez unique and powerful -artist; groundbreaking and extraordinary Hague-where, Matthew Nicholl -the pianist and composer who is a legend in the prestigious Berklee College of Music-, Tali Rubinstein That jazzista of Israel, maga absolute flute and woodwinds that will be part of the battalion sonoro-, Genara Cortés -the gypsy voice Coiling hopeless souls are made by front of him, Mar Fayos -the great Catalan voice of the moment, one inclasificable- treasure, Y Javier Limón.

He Saturday 8 of June not slow down the party. The public visiting the Teatro de la Zarzuela will witness a unique collective genius. The protagonists: Kiki Morente which already flies on the future of flamenco, with wings of the past and the future of the best art jondo-, Clara Montes without doubt one of our most beautiful and elegant voices, everyday poetry, Juan Carmona pure flamenco -guitar, the roots are now vanguard-, Larry Monroe -the masterful jazz saxophonist, global reference instrument for its ingenious inspiration and virtuosity odd, Diego del Morao -resplandeciente present and future of guitar flamenca-, Israel Suárez Piranha -king Flemish percussion, Universal percussion, pure pálpito, pure rhythm-, Damien Sneed -pianist, organist, orchestra director, composer…, jazz world star, the gospel, pop, R&B and classical music, Tamara Jokic -the Serbian inimitable vocalist who fill the night air Balkan, Layth Sidiq -from Iraq and Jordan, one of the voices and the biggest and most exciting violinists of his generation, Argentina -diamante timeless cante, bright star Flamingo today-, lemon Jr. -Multi-instrumentalist arriving from Boston in an exceptional artistic and musical journey and vuelta-, In -the voice coming from the Venezuelan island of Margarita to illuminate the world and Saúl Quirós -cantaor innate talent and unheard-songwriter gems glitter.

Y the name itself that 20 years has been able to turn the Casa Limón record in a star factory, a project unsurpassed talent and inspiration, and that it has fundamentally by love, It's of Javier Limón. Musician, producer, educator, specialized in Flemish, jazz, and world music, with 10 Grammys his credit, the artist is international reference of roots music. emphasize their versatility in the different tasks assumed as a composer, guitarist, producer, columnist, teacher or communicator, and the diversity of cultures and styles where he has developed his career. He has composed and produced more than 100 music discs over 1000 artists as Paco de Lucía, Wynton Marsallis, Joe Lovano, Caetano Veloso, Tom Harrel, Alicia Keys, Enrique and Estrella Morente, Jose Merce, Bebo Valdes, Buika, Diego El Cigala, Mariza, O Anoushka Shankar to name a few names from a long list.