Antonio Canales

With the show The guitar sings The Sevillian bailaor pays tribute to the king of the flamenco world instrument.

They will accompany you David del Arahal, to the guitar; David “El Galli” Y Manuel de la Tomasa, in cante, Y Lucky Losada, on percussion.

With this great appointment, a season that has been dedicated to Blanca del Rey and through which sixteen renowned artists have passed, who have represented different families, schools and currents of flamenco art.

Flamenco Real is a co-production of SOLANA Entertainment and the Royal Theater of Madrid, has the sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, Juan Gil, Group Corporalia.

The next 29 of July Real Flamenco will end its third season with the help of an artist who, since the creation of this space that the Teatro Real dedicated to our most universal art, has been linked to the project with his support and tutelage, the choreographer and dancer Antonio Canales.

This time, the Sevillian choreographer and dancer, wants to pay tribute to the great companion of flamenco singing and dancing, Guitar. For that, will have the presence of the guitarist David del Arahal; the cante of David “El Galli” Y Manuel de la Tomasa and the percussion of Lucky Losada.

Last November began a season dedicated to the mythical Blanca del Rey, bailaora, coreógrafa, businesswoman and muse of the Spanish dance of the last 50 years. To the beat of the Yiyo a cycle was opened that has passed through this period, marked by pandemic and restrictions, with a warm welcome from the public, that has exhausted all sessions, and a torrent of optimism and hope for all the artists who have participated leaving behind the difficult break of confinement.

Miguel Fernández Ribas has offered their art at the tablao of the dance hall this season, ‘The Yiyo’; Antonio Molina, Eduardo Guerrero, Alba Heredia, Amador Rojas, Andres Peña & Pilar Ogalla, Belén López, Ivan vargas, Yolanda Osuna, Maria Jose Franco, Maria Moreno, Sergio Lope, Mercedes of Cordoba, Sara Calero y Macarena Ramírez. Farruquito took the stage of the Real and Antonio Canales will give us the desire for an autumn that will present flamenco.

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Tosca shines at the Teatro Real
Tosca
Giacomo Puccini (1858-1924)
Melodramma in three acts
Libreto by Giuseppe Giacosa and Luigi Illica, based on the work La Tosca by Victorien Sardou
8 July 2021 Teatro Real in Madrid
D. musical: Nicola Luisotti
D. scene: Paco Azorín
Costume designer: Isidre Prunés
Floria Tosca's wardrobe: Ulysses Merida
illuminator: Pedro Yagüe
Video: Alessandro Arcangeli
Choreographer: Carlos Martos de la Veja
D. choir: Andrés Máspero
D. Little Singers choir: Ana González
Distribution: Maria Agresta, Michael Fabiano, Gevorg Hakobyam, Gerardo Bullón, Valeriano boats, Mikeldi atxalandabaso, David Lagares and Inés Ballesteros
Titular Choir and Orchestra of the Teatro Real and Pequeños Cantores de la JORCAMA 1889, Puccini has just had a resounding failure at La Scala with the premiere of Edgar. After a few weeks he writes to his editor Giulio Ricordi, to ask you to ask Victorien Sardou for authorization to adapt his work La Tosca (1887).Sardou's work had toured the main European theaters with great public success, starring Sarah Bernhadt. Puccini, who had attended a performance, He was captivated by the scenic power of the character and the theatrical way of mixing the passion of love with the passion of the political and ecclesiastical powers. He then instructs his two librettists, who had just had a huge success with the Bohéme, that they begin the works of a new libretto that will be the envy, among others, Verdi himself, Tosca became a clear example of verismo. Not without first being suitably sweetened to please the most exquisite palates., who did not hesitate to criticize a libretto and characters not very refined. Puccini's Tosca was more sophisticated and feminine than Sardou's, but the changes were not only focused on the characters. Puccini's music made a great difference and a break with the operatic conventions that went back to the baroque. The fluidity of the plot favored the whole and the, until that moment, almighty arias, were dissolved and intertwined within the globality of the work. In Tosca the arias are reduced to three, that if, of enormous personality and beauty. "Concealed harmony", that Cavaradossi plays in the first act, “Art worms”, emblematic aria by Floria Tosca and “E lucevan le stelle”, also performed by Cavaradossi just before he died. Tosca's success, as a representative of verismo, is in his ability to create climaxes with unbearable dramatic tension. Another characteristic of Tosca is the use of leivmotivs, that without the sophistication of the Wagnerians, they were very dramatically effective and very Italian taste. The most important and constant throughout the work is the one that represents the evil Scarpia, chief of the political police and whose leivmotiv is a true musical metaphor of the political terror of the dictatorship that dominated Rome at that time, as shown in one of the sentences Tosca directs him after assassinating him, "And before him all Rome trembled!"The Tosca production that is now being presented by the Teatro Real, is a co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville. The stage direction has been in charge of Paco Azorín. You can tell that it comes from the world of theater. Perform three different scenes with a single stage, taking advantage of the mobility and resources that the Real offers and that no others have, as demonstrated in the third act, making two scenarios disappear and appear simultaneously in a spectacular way Azorín takes too many licenses during the work. Projected phrases appear on the scene that have nothing to do with the libretto and that repeat the word revolution like a tiresome mantra., those to which some have been late. Nor does it have to see or make much sense of a naked woman who appears at key moments, reducing prominence to the scenes and characters and that, according to Azorín, it is freedom leading the people, by Delacroix. Imagination is not lacking, as a whole the scenery has interesting elements, like the eyes, like a big brother, who watch Tosca. Or the impressive scene of the Te Deum and, especially, the good disposition of the singers on stage The musical direction of Nicola Luisotti greatly favors this type of work. His way of leading, full of energy and musicality, accentuated the spectacularity of the brightest scenes. It created dramatic tension and allowed moments of respite and intimacy in the right way.. He knew how to obtain from the orchestra the Italian character that breathes the work, the deliveries on this occasion are spectacular. Three are the Toscas, Anna Netrebko, who will be alone in the functions of the 21 Y 24, Sondra Radvanovky, with a homogeneous and sonorous voice whose capacity for dramatization makes this character a perfect fit and María Agresta, our protagonist today. It also has a remarkable dramatic ability. His Tosca is more subtle and sentimental, also vocally. It is a role for Tosca who has his difficulties and Agresta solved them better in the second and third acts than in the first. But he also had moments of brilliance, his “Vissì d’arte” was full of emotion. Quite a feat considering that she had to interpret it lying on the ground.For the role of Mario Cavaradossi we have four tenors. Joseph Calleja, of beautiful and warm timbre, Yusif Eyvazov, who happens to act the same days as his wife, Anna Netrebko, the mediatic Jonas Kaufmann, just two functions too, and Michael Fabiano, which was rather static on stage and lacking in naturalness. Luckily it was more inspired by the vocal. Acceptable its "hidden harmony", and quite well in "E lucevan le stelle", apianando with gusto. It was the most applauded of the night, Gevorg Hakobyan's Scarpia lacked stage presence and, at times, also vowel. Started well, but he was losing evil as the moment of his death approached. Has some good bass and baritonal, but his Scarpia lacked carats. It does not help in these cases to have Carlos Álvarez in the other deliveries, who has built a magnificent Scarpia or Luca Salsi, that accompanies the Netrebko marriage.The rest of the tablets had a good performance. Very good Gerardo Bullón in his role as Cesare Angelotti. Valeriano Lanchas played a determined and carefree sacristan. Mikeldi Atxalandabaso, como Spoletta, he complied with his usual professionalism, like David Lagares, with his Sciarrone and the beautiful voice of the shepherd boy by Inés Ballesteros.Magnificent the Intermezzo Choir, Holder of the Royal Theater, that continues to give a lesson in professionalism and effort facing and defeating the elements and masks. Well also the Choir of Little Singers of the JORCAM, under the direction of Ana González. With Tosca the lyrical season of the Teatro Real ends, a season that can be classified as historical. Where the artistic quality, who has had it, may be left in the background to a difficult and extraordinarily courageous decision that the Theater made a year ago, stay open and with your schedule, despite the global pandemic situation showing, that it was not only possible, otherwise necessary, raise the curtain text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Macarena Ramirez

His face and his name have become popular after winning the first edition of the program The Dancer, the talent show that has established her as the best dancer in Spain, but Macarena Ramirez already had a prominent place in the world of Flamenco, where your art, his technique and his style were already recognized by colleagues and fans.

Like so many dancers, Macarena Ramirez she started her professional training when she was very young. With only 6 years I was already on the stage, starting a path that would lead her, one year later, to win the Andalusian Revelation Award and, just completed the 12, to give life to a teenage Lola Flores in the movie Lola. He has perfected his technique with figures like Eva la Yerbabuena, Carmen la Talegona or Rubén Olmo, to name a few, and has worked in the companies of Sara Baras, Antonio "El Pipa" and María Pagés, among others.

Her technique stands out, of very fast feet, and the delicacy of his hands. Established in the purest flamenco, their movements denote the feminine essence, with its delicacy and its strength, and a way of turning and expressing that makes her recognizable as soon as she steps on the stage.

In Ephemeral, his latest work, will tell us a story of meeting and learning, of love with her braid of joy, strength and fragility; of intense love that happens, ephemeral, leaving a mark on the soul. A narration for two in which it will have the special participation of the bailaor Eduardo Guerrero, an artist with whom he has shared a poster and whose dances are understood and complemented.

The soundtrack will be played by the guitar of Juan Jose Alba, the cante of Ismael de la Rosa "the Ball" Y Miguel Lavi, and the percussion of Carlos Merino.

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, the wineries of Juan Gil, Corporalia and Caballero Ventura Group.

Photograph © Isa de la Calle

Tosca

The end of an opera season that he Teatro Real has lived with special intensity, since it has been the only lyrical theater in the world that has presented a complete program in the period 2020-2021, and in which every time the curtain has risen it has felt like an artistic and human reward in defense of safe culture.

With this spirit, the Royal Theater wants to share with all these appointments, before the summer break and just one year after the reopening after confinement, broadcasting on outdoor screens, in the Plaza de Oriente and in the Plaza de Isabel II (Opera), two of his shows this season. For that, the public space has been adapted to the health safety regulations of the Community of Madrid against COVID-19, seeking a limited capacity, with safety distance, which It will be accessed with free tickets obtained with prior reservation at the Theater website from 5 July at 11.00 hours.

The same day, for those who cannot move or live outside the Community, the opera will also be broadcast free of charge, to 21.00 hours, in MyOperaPlayer (where it will become part of the catalog) and in the channels of YouTube of the Royal Theater and RTVE, co-producer of audiovisual production. The next day, 11 of July, to 23.00 hours, Tosca will be broadcast in La 2 of TV.

The great party will begin Saturday at 12.00 hours with the retransmission of the Beethoven's Ninth Symphony, symphony No. 9 in D minor, on. 125 “Coral”, performed at the Teatro Real last September to commemorate the 250 anniversary of the birth of the German composer, directed by Gustavo Dudamel in front of the Head of the Royal Theatre Orchestra.

The concert also had the participation of the Students of the Queen Sofía College of Music, he

Orfeo Català, he Chamber Choir of the Palau de la Musica Catalana, soprano Susanne Elmark, mezzosoprano Aigul Akhmetshina, the tenor Leonardo Capalbo, and baritone José Antonio López.

At 21.00 hours, an hour and a half after the start of the opera on stage, to avoid the heat and excessive light that may occur at 19.30 hours, will start the retransmission of Tosca, from Giacomo Puccini, one of the most beautiful and popular titles in the lyrical repertoire. The play will star the voices of the soprano Sondra Radvanovsky (Floria Tosca), the tenor Joseph Calleja (Cavaradossi) and baritone Carlos Alvarez (Scarpia).

Leading the extraordinary cast and Choir Y Titulares Orchestra of the Royal Theater the teacher will be Nicola Luisotti, Principal Guest Director of the Teatro Real, whose presence has been fundamental during this long period of coexistence with the pandemic, directing the exceptional Traviata after strict confinement (just a year ago) and inaugurating the present temporada, last september, with A masked ball, stimulating with your dedication, trust and dedication, both artists and workers.

The stage manager Paco Azorín conceives opera as conceived as a journey from the outside to the inside of the characters, supported by projections and a circular set that evolves from the realism of the first act to a progressive, more conceptual and symbolic language, leading the viewer to penetrate the revolutionary atmosphere, chaotic and ruthless of the Napoleonic and counterrevolutionary struggles, germ of the movements that would lead to the unification of Italy years later.

Drawing a parallel between the tragic love story of the protagonist and the fight against a corrupt and autocratic power, Tosca fights for the man she loves to humiliation and murder, symbolically embodying the uncompromising defense of revolutionary ideals.

In the production that will be seen at the Real, the original dramaturgy has been maintained, but some changes have been made, like incorporating a character inspired by the painting Freedom guiding the people, by Eugène Delacroix, that symbolizes the revolution, or the new costume design of the titular character, conceived by Ulises Merida, with which it is intended to reinforce the character of Tosca's operatic diva, completing the original costume of Isidre Prunés, who died in 2014.

Photograph: Javier del Real

Farruquito

The next 9 July will be presented in the Main Hall of the Royal Theater, for the first time, Sevillian bailaor Juan Fernández Montoya, Farruquito, great name of flamenco and heir to one of the lines with the most personality of this universal art, with the show Farruquito and friends, en el que compartirá escenario con artistas como Ketama, Antonio Canales and Pepe de Lucía, in which the bailaora will also be present Farruca, his mother, Y Juan, the Moreno, your son.

At this point of artistic maturity, the bailaor selects the most personal and identifying moments of his career, those who have built his personality and made him the figure we all know today. Una biografía forjada en la tradición de los Montoya y enriquecida con la innovación y la sensibilidad de un hombre hambriento de arte, of desire, of technique and a unique way of expressing flamenco.

They will be with him great names who have accompanied him all his life and who have marked, somehow, your course. Hand in hand with Carmona, another of the great sagas of the flamenco world, debuted on Broadway with just 5 years. The paths of both families cross and run in parallel in an enriching coexistence that now, two generations after that show on the New York stage, will give a new shape to the mythical soleá of grandfather Farruco, accompanied by the music of Ketama.

Antonio Canales Y Pepe de Lucía, two great friends, They could not miss this evening at the Teatro Real either. the first, learning and dancing, depth in feet, find the way and shape the future. If young Montoya found in the teacher a source from which to learn, Canales recognized him as the great current figure and the future of dance, and he was not wrong, porque el mundo flamenco le admira y respeta como a una gran estrella. the second, Brotherhood, support for, voice and music.

In this artistic biography that Farruquito will write on stage at the Teatro Real, the presence of his mother is essential, Rosario Montoya, the Farruca, and his son, Juan, the Moreno, un bailarín extraordinario de sólo nueve años. Ambos le hacen recordar de dónde viene y a dónde va. Both with the unmistakable stamp of the Montoya: prodigious stomping and impeccable technique. The gesture, the waist and the rudeness of a saga that boasts the gypsy essence and the purest dance.

Farruquito, bailaor, choreographer, composer, award-winning and recognized artist, create with Farruquito and friends a space to share flamenco and give the viewer a little bit of everything they have experienced.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, the wineries of Juan Gil, Corporalia and Caballero Ventura Group.

THE SHOW, ACCORDING TO FARRUQUITO

In this meeting with my friends, with my family, I count all my concerns as a dancer and also as a musician. It is an original work in letter, music and choreography. The cante, Guitar, percussion, etc., they are not a simple accompaniment: all the musicians star in a con- certain, a musical dialogue between them, and of them with the dance.

With this show I reveal the most personal of me, I capture the traditional but I also show the most current of my flamenco. I relive the best moments of previous shows integrating new creations; yes, always keeping the essence.

I want to show improvisation as the origin of flamenco and enrich it with choreographic montage, both –improvisation and choreography– essential concepts in my learning as a child. I want to find the wonderful balance between the different periods of flamenco that I have been lucky enough to experience and enhance it with the essential influence of cante and guitar..

LIST

Home - Farruquito

Home – Farruca (Mother Farruquito)

Home – Juan "El Moreno" (Son Farruquito)

Guitar – Juan Campallo

Sing – Mari vizarraga

Sing – Maria Mix

Sing – The Chanito

Flute – Juan Parrilla

Low – Julian Heredia

Percussion – Paco Vega

GUEST ARTISTS

Home – Antonio Canales

Sing – Pepe de Lucía

Ketama (Antonio Carmona Amaya, Juan José Carmona Amaya and José Miguel Carmona Child)

TECHNICAL TEAM

Sound – Gaspar Leal

Lighting – Oscar Gomez

Production and Manager – Daliris Gutiérrez

PROGRAM

1.- Soleá

2.- Soleá por Bulerías

3.- To follow

4.- Joys

5.- Bulerías

6.- Zapateao

7.- End of party

BIOGRAPHIES

Farruquito (Home)

Juan Fernandez Montoya "Farruquito", was born in Seville in 1982. Son of the singer Juan Fernández Flores “El Moreno” and the bailaora Rosario Montoya Manzano, "La Farruca". Heir to a unique school founded by Farruco, his grandfather, he has lived since he was a child immersed in the purest flamenco art. He made his debut on the international scene at the age of five on Broadway with the show Puro, sharing the bill with the most legendary figures of flamenco and with fifteen years, after his grandfather passed away, assumes responsibility for maintaining the heritage of purity and unmistakable style of his line. Bailaor, Choreographer and Musical Composer, He has produced and directed more than ten shows, touring with his company in the best theaters at a national and international level.. Among the many awards and recognitions, Farruquito has been awarded the Public Prize for the best dancer and the prestigious APDE Prize 2004 to the worthy trustee of the gypsy dance heritage.

Farruca (Home)

Born in Seville in 1963, Rosario Montoya, daughter of the legendary dancer Farruco. He went on stage for the first time with 13 years, with Camarón de la Isla himself singing in a performance in Camas; and Sabicas played for his dance through bulerías in Los Angeles. After starring in shows like ‘Andalucía flamenca’, 'Persecution', ‘Pure flamenco’, ‘Lover’ and ‘Wedding of glory’, and share a scene with figures of the stature of El Güito, Angelita Vargas placeholder image, Manuela Carrasco and Antonio Canales, clothe the first show of Farruquito, 'Flamencas Roots'. Already with ‘Farruquito and family’, dazzles critics in the United States and, more recently, with such successful shows as ‘Gitanas’ or ‘From Farruca to Faraona’.

Juan "El Moreno" (Home)

Son of Farruquito, despite his young age, already has a long history of collaborations with his father, and together for the first time they make their debut at the Teatro Real in Madrid with the show "Farruquito y Amigos".

Juan Campallo (Guitar)

Born in Seville in 1983. In a family of flamenco artists, began to play on stage with just 12 years accompanying his brothers, dancers Rafael and Adela Campallo. With them he works on stages all over the world, from Tokyo to New York, in theaters and festivals such as the Bienal de Flamenco, the Jerez Festival, the one of Mont de Marsans, the one from Monterrey, or Santa Barbara in California, among others. In 2006 joins the companies of Antonio Canales and Javier Barón, with whom he continues to work today. In 2007 wins the prestigious "Bordón Minero" award from the Festival de la Unión.

Mari vizarraga (Sing)

Sevillian singer, gypsy woman from the Polígono Sur neighborhood, of The Three Thousand Homes, an inexhaustible pool of authentic flamenco artists with duende. Descendant of a family of artists, Juana la del Revuelo made her known professionally twenty-five years ago, and since then he has been by the side of the greatest: Joaquin Cortes, Juana Amaya, Torombo or Farruco.

Maria Mix (Sing)

Great-granddaughter of El Mezcle and descendant of María Vargas. Diploma in Musical Teaching. He has shared the bill with artists such as José Mercé, Pansequito, Juana la del Revuelo, Miguel Poveda, Gerardo Nunez, Esperanza Fernández, and many others. Winner of countless national flamenco and saetas competitions. Winner of the award of the low-Andalusian songs at the International Festival of the Mines of the Union 2013.

The Chanito (Sing)

His first steps on stage were taken with Manuel Fernández Montoya El Carpeta in Gitanas, a show headed by Rosario Montoya La Farruca, whom you consider a teacher. Since then he has been part of the El Carpeta company. With this artist he has sung in Flamenco show and in A baile. He has also accompanied Raimundo Amador as a guest artist on Jazz Flamenco Nights and has been part of the cast of Manuela Carrasco and Farruquito.

Juan Parrilla (Flute)

Born in Jerez de la Frontera. He studied flute at the conservatory and later in Madrid. It comes from one of the great flamenco families, The Jerez Grill, and stands out as one of the greatest exponents of the new flamenco. He is one of the composers most required by great figures such as Aída Gómez, Antonio Canales, Joaquin Cortes, Rafael Amargo and Farruquito.

Julian Heredia (Low)

Granada, bass player, versatile and self-taught, with its gypsy roots from flamenco, but with a wide musical journey in different styles. He works and records with Enrique Morente on several albums, also simultaneously playing with almost all artists, most renowned Spanish guitarists and musicians in the flamenco field, jazz and flamenco fusion, such as José el Francés, David de maria, El Farru, Farruquito, Jerome Maya, Antonio Canales, Jorge Pardo, Remedios Amaya, Diego del Morao, Montse Cortés, Estrella Morente, with the Ketama group, Pepe Habichuela, Reuben Dantas, Raimundo Amateur, Ray Gómez, Child Josele, Tomatito, and a long etc.

Paco Vega (Percussion)

Born in Seville into a flamenco family, receiving his first lessons from his father, the bailaor Paco Vega. He has been creating his own language of flamenco percussion, which has led him to accompany such significant artists from the flamenco scene such as: Farruquito, the Lebrijano, Richard Bona, Antonio Molina "el Choro" or María Pagés.

Photograph: Javier del Real

Tosca at the Royal Theater

Between 4 and the 24 of July They will be offered 16 functions Tosca, with free broadcasts in different formats YouTube channels, MyOperaPlayer, The 2 TVE, RNE Classic Radio and outdoor screens in Plaza de Oriente and Plaza de Isabel II, that will carry the popular title of Puccini to all corners, celebrating the end of an intense and very special operatic program, since Real has been the only lyrical theater in the world to present a season 2020-2021.

Nicola Luisotti has played an important role during this long period of coexistence with the pandemic, directing the exceptional Traviata after strict confinement, inaugurating this season last September with A masked ball and stimulating, with your dedication, trust and dedication, to the artists, workers and Choir Y Titulares Orchestra of the Royal Theater during these uncertain times.

With Tosca, Luisotti He will direct his ninth opera at the Royal Theater, this time leading three deals with four Cavaradossi, working together with Paco Azorín, which has renewed for Real the production created in 2014 for the Liceu of Barcelona and the Maestranza of Seville.

Conceived as a thriller film, supported by projections and a circular set that evolves from the realism of the first act to a progressive, more conceptual and symbolic language, Azorín leads the viewer to penetrate the revolutionary atmosphere, chaotic and ruthless of the Napoleonic and counterrevolutionary struggles, germ of the movements that would lead to the unification of Italy years later.

Drawing a parallel between the tragic love story of the protagonist and the fight against a corrupt and autocratic power, Tosca fights for the man she loves to humiliation and murder, symbolically embodying the uncompromising defense of revolutionary ideals.

Paco Azorín, who began his career as a set designer at the Real have seen his sets for the operas The prisoner Y Suor Angelica (with the direction of Lluís Pasqual) and for the ballets 2 you Maestro, The love wizard Y Electra­, also assumes the stage direction in this production, adapting the guidelines of the acting performance to the idiosyncrasy of each singer.

In the production that will be seen at the Real, the original dramaturgy has been maintained, but some changes have been made, like the incorporation of an actress who symbolizes the revolution, or the new costume design of the titular character, conceived by Ulises Merida, with which it is intended to reinforce the character of Tosca's operatic diva, completing the original costume of Isidre Prunés, who died in 2014.

The opera, co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville premiered in 2014, will star three casts led by the sopranos Sondra Radvanovsky, Maria Agresta Y Anna Netrebko; tenors Joseph Calleja, Michael Fabiano, Yusif Eyvazov Y Jonas Kaufmann; and baritones Carlos Alvarez, Gevorg Hakobyan Y Luca Salsi.

Sondra Radvanovsky, who already played Tosca in 2011, will return to Real with this role, after embodying Amelia in A masked ball at the opening of this season. The soprano also returns Maria Agresta, who starred Rule (2016), The Troubadour (2019) Y Don Carlo (2019). Anna Netrebko will perform his second opera at the Real, after your participation in War and peace, Sergey Prokofiev, in 2001.

American tenor Joseph Calleja debuts at the Teatro Real, Michael Fabiano assumes a new starring role after his participation in Cyrano de Bergerac (2012), I due Foscari (2016), Giovanna D'Arco (2019), La traviata (2020) Y A masked ball (2020), Y Yusif Eyvazov will perform an opera for the first time at the Madrid Coliseum, after having participated in a concert next to Anna Netrebko in 2019. Finally, Jonas Kaufmann, who acted in a role of La clemenza di Tito in 2009, will now play Cavaradossi in two roles.

Scarpia's role will be defended by Carlos Alvarez that completely changes registration after his recent triumph in Long live the mother­, Gevorg Hakobyan, debuting at Real, Y Luca Salsi, who appeared in Rigoletto (2015) Y Don Carlo (2019).

After the reopening of the Real, they have offered 32 functions Tosca in the seasons 2003-2004 Y 2010-2011, all with scene direction of Nuria Espert. This popular operatic title returns with a new focus, born from the musical and dramatic richness of this frenetic masterpiece by Puccini.

Photography © Antoni Bofill

Opera Week

In the scope of the celebration of European Music Day, that is commemorated, since 2016, he 21 of June, el Teatro Real ofrecerá en la Sala Gayarre dos conciertos de “fin de curso” con su INCLUSIVE MUSIC GROUPING, conformada por niños con necesidades especiales de aprendizaje.

Born in 2020, the WHICH es un proyecto pedagógico inclusivo en el que menores de diferentes perfiles desarrollan sus capacidades cognitivas y sociales a través de experiencias proporcionadas por el aprendizaje y la práctica musical colectiva.

The Inclusive Music Group is made up of 20 children and young people who meet twice a week throughout the course in a studio at the Teatro Real, where, under the direction of Francisco Borro, perform musical works created especially for the group, attending to the uniqueness of each of its members.

To that end, Francisco Borro Y Jesus Alonso han compuesto las piezas Dawn of Diversity Suite, Tribute to Inclusion Y Blues-Rock from the Teatro Real, que se estrenarán el 20 June at 19 hours y se repetirán el 27 June at 12 hours in the Sala Gayarre Teatro Real.

Also in the symbolic framework of the European Music Day, los centros escolares adscritos al programa THE REAL ONE IN YOUR CLASS podrán el 21 of June, la grabación de la Ludwig van Beethoven's Ninth Symphony interpretada el pasado 19 de septiembre en el Teatro Real por la Head of the Royal Theatre Orchestra directed by Gustavo Dudamel, con la participación de la soprano Susanne Elmark, mezzosoprano Aigul Akhmetshina, the tenor Leonardo Capalbo, the bass José Antonio López, el Orfeó Català, el Cor de Cambra del Palau de la Música Catalana y alumnos de la Escuela Superior de Música Reina Sofía (próximamente disponible en My Opera Player).
Likewise, to extend this celebration to all of Spain, from today, 18 of June, and until monday, 21 of June, se ofrecerá el acceso a todo el catálogo audiovisual de MyOperaPlayer with the 10% off, an excellent opportunity to get up close to the latest news on the platform, including operas, conciertos y programas de danza procedentes de los más importantes teatros líricos de todo el mundo y joyas del archivo histórico de RTVE. Los usuarios interesados a acogerse a esta promoción deberán canjear el código MOPMUSICA al suscribirse para obtener el descuento.

CONCERTS BY THE INCLUSIVE MUSIC GROUP

20 of June 19:00 – 27 of June 12:00

Sala Gayarre

PROGRAM

Dawn of Diversity Suite, by Francisco Borro Y Jesús Alonso | Premiere

  1. Beginning
  2. Evolution

III. Aurora

Tribute to Inclusion, de Francisco Borro y Jesús Alonso | Premiere

Blues-Rock from the Teatro Real, de Francisco Borro y Jesús Alonso | Premiere

PERFORMERS
Darius Lloret, Javier Ruiz, Saul Perez, Miguel Angel Carrion, Alma-Martina Fernández, Michael Imre Richli, Beatriz Alexia Cano, Irene Oriol, Raul Martinez, Samuel Aparicio, Manuel Gadea, Gabriela Good, Juan Rodriguez, Violeta de la Torre, Celia López, Maria Prieto, Zoë Kamila Vargas, Fernando, Nicolás Bergquist, Rachel Vazquez, Nicolas Rubira

Francisco Borro, artistic and musical director

Jesus Alonso, musical codirection.

photographer: © Purita | WHICH

Orlando Furioso

The next 17 June the stage of the Royal Theater will be filled with the music of one of the jewels of the Baroque, Orlando Furioso, by Antonio Vivaldi. Performed by the formation Harmony Athena, under the direction of the great specialist in the repertoire, George Petrou, has a cast of great voices led by the countertenor Max Emanuel Cencic in the title role.

The soprano completes the cast Julia Lezhneva (Angelica), mezzosoprano Ruxandra Donose (Alcina), the contralto Jess Dandy (Bradamante), countertenor Philipp Mathmann (Medoro) Y David D.Q. Lee (Ruggiero) and the bass baritone Pavel Kudinov (Astolfo).

Orlando Furioso is an opera in three acts by Antonio Vivaldi, with Italian libreto by Grazio Braccioli, based on the epic poem Orlando Furioso of Ludovico Ariosto. The play tells the story of Orlando, a noble knight brave and in love, although unrequited, trapped on the island of the beautiful sorceress Alcina. The scene, woven with love triangles, tangles and magic, combines various arguments from the original work and composes a love story, jealousy and madness.

The chivalric epic poem written by Ariosto in 1532 contains several main characters, even though only one gives it a name, and has inspired numerous authors, from Lully to Haydn. Years after the premiere of this Vivaldi, would see the light two of the best known titles of Händel: Alcina (1735) Y Orlando (1733).

The first performance of the title took place in Venice, at the Sant’Angelo Theater, in 1727, and it is one of the few that remain from the prolific creation of the Venetian composer. His demanding vocal writing - loaded with arias and recitatives as beautiful as they are difficult-, its complex plot –which makes the characters evolve in their dramatic color- and the extent of the work, requires a set of world-class voices, like the one that now meets at the Teatro Real.

Harmony Athena is a project of the Camerata de Atenas, founded in 1991 at the inauguration of the Megaron concert hall in Athens, where it has its headquarters since then. In autumn 2009, started a regular collaboration with the conductor George Petrou, interpreting with period instruments a wide repertoire that goes from baroque to classicism. In addition to his usual activities with period instruments, the orchestra maintains various projects in the field of opera and contemporary music.

Petrou He is considered one of the world's leading Baroque specialists, but nevertheless, his musical activity is very wide, and includes 20th century and contemporary music.

Photography design © Pep Carrió

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The theatrical conveniences and inconveniences
Viva la Mamma!
Gaetano Donizetti (1797-1848)
Playful drama en dos actos
Teatro Real, Madrid 5 June of 2021
Libreto by Domenico Gilardoni, based on the works Le convenienze teatrali
(1794) y The theatrical inconveniences (1800) by Antonio Simeone Sografi
Choir and Orchestra of the Teatro Real holders
D. musical: Evelino pido
D. scene: Laurent Pelly
Costume designer: Jean-Jacques Delmotte
scenographer: Chantal Thomas
illuminator: Joel Adam
D. choir: Andrés Máspero
Distribution: Sabina Puértolas, Gabriel Bermúdez, Luis Cansino, Francesca Sassu,
Alejandro del Cerro, Carol Garcia, Enric Martínez-Castignani, Piotr Micinski,
Luis López Navarro Opera is a very broad artistic expression. Total Art, Wagner was talking about. And behind the own stories that an opera tells us, there are others that are being woven between those who participate in them. To such an extent those other stories were important, that became a genre within the operatic compositional panorama towards the second half of the 18th century, in full classicism. The great animator of this new genre was Benedetto Marcello. Related to opera through its many facets as a composer, writer and businessman, in 1720 publishes a kind of satirical pamphlet entitled "Il teatro alla moda", that quickly generated a movement of critics adept at his cause and that did not leave a puppet with a head, they were already composers, singers, businessmen or simple stagehands. Marcello thought that classical opera had succumbed to the whims of the divas and the superficiality of the scenography.

The "Il teatro alla moda" actually had a lot to do with the way of doing theater at the time with great success among the public.. At that time, a kind of highly hierarchical operatic show was still taking place., where the singers had the command. The scores were at the service of the interpreters, even getting to write the works on the fly depending on the tastes or whims of the singer on duty.

A good number of works were then written on the subject, But with the passage of time the roles were reversed and it was the directors and entrepreneurs who came to take command. From that moment on, these works stopped making sense and were being forgotten..

One of these works is ¡Viva la Mamma!, whose real title is Le convenienze ed inconvenienze teatrali. It was too long a title that was replaced by ¡Viva la Mamma! when he returned to the stage. It was one of the last compositions of this genre and it is the first time that Donizetti wrote the libretto for one of his works.. A funny satire that talks about the entanglements and rivalries that occur during the staging and performance of an opera.

These popular works also had great flexibility in making changes.. Donizetti composed a first version consisting of a single act and, as if it were a zarzuela, had spoken parts that were written in Neapolitan dialect.

Four years later it opens in Milan and the composer adds a second act, removing the Neapolitan from the score so that it could reach the entire audience.

Laurent Pelly is the stage director of this new production of the Teatro Real, in co-production with the Opéra National de Lyon and the Grand Théâtre de Geneva. scenography, using the idea of ​​forgetting this type of work, presents an old theater that is used as a parking lot. On stage, The characters that compete for the title role or to sing the best arias are parading, being the victims of these internal wars, businessmen, composers and librettists.

Pelly has turned to the theater within the theater and has created some characters, rather belonging to the past, that are fun while producing a certain melancholy. characters, as its authors wrote and Benedetto Marcello described well, they exaggerate their flaws to cause more hilarity. Characters for which singers who have a very important interpretive level are needed, apart from the vocal demands, that are not few in this score.

This second cast has been led by the soprano Sabina Puértolas and her Daria, the first woman. A candy that Puértolas embroiders thanks to its sophistication on stage and a very good execution of the first act cabaletta, full of difficulty due to its demanding agility.

Procolo is Daria's husband, played by Gabriel Bermúdez. A toxic husband pretending to be another prima donna like his wife. Bermúdez achieves a great performance, fun and with a good vocal level.

The tenor Alejandro del Cerro played Guglielmo, el first tenor, that embroidered the character stretched out and with a German accent. Had some very inspired moments, as in his aria from the second act.

Without a doubt, the winner of the night was Luis Cansino and his role as Mamma Agata. A transvestite in reverse, because until then only women dressed as men. Cansino gets into this role that can be said to be a specialist. She brilliantly recreated the twisted mamma de la seconda donna pretending to be the diva herself. He changed his register from baritonal to falsetone quite naturally in those unwritten notes and with which he played with mastery..

Luigia, the second gives, hija de Mamma Agata, was in charge of the Italian Francesca Sassu. He interpreted the timid and timid character of compresaria very well and showed the quality of his instrument., being at a very good level.

The rest of the cast had a participation at the height of the protagonists. Stage director Luis López Navarro, businessman Piort Micindki, the poet Enric Martínez-Catignani and the funny Pipeto by Carol García.

Evelino Pidó knows this repertoire well and it shows that he has a trade and experience. He solved the balance between pit and stage very well in such a sparkling play.

The performance ends with a group of workers entering the scene with their destructive machines., which is a true plea in defense of culture in a year as complicated as this. But the strength of those who, in the worst circumstances, they have defended it.

Text: Paloma Sanz
pictures: Javier del Real

Crescendo

The Royal Theater has presented this morning the first edition of a project that we hope will be long-term. Twenty singers under 35 years and eight nationalities Spain, Romania Ukraine, Colombia, Norway, Germany, Venezuela and Chile have participated in the program since last March CRESCENDO, created by Foundation Friends of the Royal Theater and driven by Porosus Endowment Fund Y Edmond de Rothschild Foundations.

This international project, with a pedagogical and inclusive vocation, aims to complement the academic training acquired by young singers in their study centers, offering them workshops, master classes, debates and different transversal activities that enrich their artistic and human development to face a highly demanding professional career, public exposure and competition.

But perhaps the most important and stimulating dimension of the project is the creation of real opportunities for the young participants to start their professional careers., with performances in different initiatives of the Royal Theater.

Through auditions with the artistic direction of the Teatro Real and the directors involved in the different productions or initiatives, singers have been selected to perform at the presentation of the Season 2021-2022 last 20 of May (issued by the YouTube channel of the Royal Theater), in the traveling float installed in Fitur with performances very well received by the attendees on the days 20, 21, 22 Y 23 of May- and in various short and medium term events:

  1. Festival Real Junior: closing concert of the Season 2020-2021 El Real Junior. Main Hall of the Royal Theater, 12 of June from 2021 to 12 hours.
  2. Week Opera Theater Royal: lyrical recital. Sala Gayarre, 9 of July

  3. Mozart Revolution: Season opening concert 2021-2022 El Real Junior. Living room, 3 October from 2021 to 12 hours.
  4. ashen: opera by Pauline Viardot. Royal Theatre production, in co-production with the Teatro de la Maestranza in Seville, the Cervantes Theater in Malaga and the Opera Foundation in Oviedo. Teatro Real, Living room, 20, 21 Y 23 of November from 2021, to 11 Y 13 hours. Subsequent performances in co-producing theaters.
  5. Everyone to the Gayarre!: workshops for the whole family that will take place throughout the season Sala Gayarrre, weekends at 12 Y 17 hours.

GROWING PARTICIPANT SINGERS (alphabetical order)

  1. Agustín Gómez Cortez, tenor (Spain)
  2. Alejandra Maria Acuña Manrique, mezzo soprano (Colombia)
  3. Beatriz Arenas Lake, soprano (Spain)
  4. Celia Cuéllar Calvín, soprano (Spain)
  5. Christian Gil Borrelli, countertenor (Spain)
  6. Cristina Van Roy Roy Rathe, soprano (Norway)
  7. Martyn Estíbaliz, soprano (Spain)
  8. Gabriel Alonso Diaz, baritone (Spain)
  9. Guiomar Cantó Gómez, soprano (Spain)
  10. Juliane Stolzenbach Ramos, soprano (Germany / Portugal)
  11. Maria de los Angeles Gomez Rojas, soprano (Venezuela)
  12. Maria Eugenia Barcia Mendiola, soprano (Spain)
  13. Mario Mendez Saavedra, tenor (Spain)
  14. Marta Briales Villalba, soprano (Spain)
  15. Miriam Silva Martinez, soprano (Spain)
  16. Olga Syniakova, mezzo soprano (Ukraine)
  17. Paola Andrea Leguizamón Santos, mezzo soprano (Colombia)
  18. Ramina Scrob, soprano (Romania)
  19. Ramiro Maturana Coronado, baritone (Chile / Argentina)
  20. Vanessa Wax Bull, soprano (Colombia)

FESTIVAL REAL JUNIOR FOR THE ENTIRE FAMILY

Main Hall of the Royal Theater

12 of June, Saturday, to 12 hours

Script and presentation by Fernando Palacios

An attractive visit, fun and surprising to unexpected corners of the world with exciting music: native songs of Amazon Indians, Malaysian and Balinese rites, dances to accompany the cocky step of a Pink Panther or from a baroque opera, frenetic rhythms from Vivaldi and Mozart, soundtracks of pirates and novels, walks through the center of Madrid ... A varied assortment of songs and dances that will be performed by young people from JORCAM Choir and Orchestra, with the participation of the mezzo-soprano Olga Syniakova under the direction of Rubén Gimeno.

THE SPONSORS OF CRESCENDO

He Porosus Endowment Fund has the mission of helping young talents that emerge in the sports and artistic fields. Their goal is to support and promote their careers. Supported sports projects include golf, The surf, riding, badminton, The artistic skating, etc. The artistic disciplines concerned are, among other, performing Arts, Dance, music, cinema… Porosus endowment fund aims for excellence and high standards to support the most deserving young talents in their sporting and artistic endeavors.

In the Edmond de Rothschild Foundations push the limits of philanthropy. They find disruptive ways to engage partners and establish unforeseen collaborations between civil society, the private sector and public institutions. By expanding the impact, promote diversity and harness business zeal, make a real change. The result is more than the sum of all the parts to create the future together.

tenor Viñas

He Teatro Real will host, one more year, concert winners International Singing Competition Tenor Viñas, that last January celebrated its 58th edition and in which the mezzo-soprano from Donostia Carmen Artaza won the First Grand Prize, in addition to obtaining the Mozart Prize and the extraordinary prize for the Best Spanish Singer.

Next to her, the public will have the opportunity to hear the voices of the Ukrainian mezzo-soprano Olga Syniakova (Second prize offered by the group Amics del Concurs Tenor Viñas); the Argentine baritone German Enrique Alcantara (Third award “Maria Esperança Salvans Piera”) and the Russian baritone Vasily Sokolov (fourth Prize).

Young singers will perform arias by Mozart, Rossini, Donizetti, Bellini, y Tchaikovsky, among others, accompanied by the Head of the Royal Theatre Orchestra, under the direction of teacher Alvaro Albiach.

This year's edition, marked by the restrictions imposed by the pandemic, held the preliminary auditions electronically from Barcelona, Madrid, London, NY, Paris, Berlin, Milan, The Angels, Beijing and Moscow, with an initial participation of 447 singers from 55 countries. The last two tests could be held in Barcelona and the winners offered the traditional concert at the Gran Teatre del Liceu.

Founded in 1963 in Barcelona, The Francisco Vinas International Singing Contest wants to keep alive the memory of one of the most important tenors of our country - it was the great Wagnerian voice in Spain and the person in charge of premiering Tristán e Isolda at the Theatre Royal- and is a springboard for many of the most important voices on the current lyrical scene, since it has become one of the most prestigious competitions in the world.

Among the names awarded throughout its history are Javier Camarena, Violeta Urmana, Marina Rebeka, Giuseppe Filianoti, Dmitri Korchak or the winner of the last International Opera Awards, Xabier Anduaga, to name just a few.

Nowadays, great lyric centers from all over the world such as the Gran Teatre del Liceu are part of the organization of the competition, the Moscow Bolshoi, the Paris Opera, the Royal Opera House Covent Garden in London, the Metropolitan Opera House in New York, the San Francisco Opera, the Teatro alla Scala in Milan, the Staatsoper Berlin, the National Center for the Performing Arts in Beijing and the Royal Theater.

Mercedes of Cordoba

Has clear things, a firm will and a spirit that was born to dance. Is Mercedes of Cordoba, the bailaora that the next 3 June will star in the two sessions of the cycle Real Flamenco, to 19.00 and to the 21.00 hours, to show the public that nothing is by chance and that what she does is flamenco, No more.

Winner of the First Prize at the Seville Biennial (2002), Second Prize in Dance at the International Festival of Cante de las Minas (2013) and the First Prize of the National Flamenco Art Contest of Córdoba (2013), among others, are only part of the recognition of an artist whose career begins at the 4 years with her training in Spanish dance, First, and in classical ballet, after.

Her early vocation leads her to participate, to the 6, in the movie Montoyas and Tarantos; the following year he joined Manuel Morao's company, and with only 11 years ago he debuted at the Lyon Biennale, with Javier Latorre and Eva Yerbabuena. Then the Andalusian Ballet would come, directed by José Antonio, with which he was part of the artistic team of the opera Life Brief, Manuel de Falla, that inaugurated the Teatro Real in 1997.

Mercedes de Córdoba dominates all the suits, with extraordinary technique and innate naturalness, with powerful and expressive presence, able to communicate and excite the public through his elegant dance and flamenco, both in her career as a dancer in the most important companies, like performing his own choreographies in front of his company.

The show he now presents at the Teatro Real, No more, reflects his passion for flamenco, without other explanation; the sign of the fight, the dedication and unconditional love for the art that has marked his life, that makes her sick and that cures her. On the Flamenco Real stage she will be accompanied by Enrique “The Extremeño”, as a guest artist in cante; Juan Campallo, to the guitar; Jesús Corbacho, singing and Paco Vega, on percussion.

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, the wineries of Juan Gil, Corporalia and Caballero Ventura Group.

Photography ®Beatrix Mexi Molnar

Transit

The Fernando Arrabal A Room of Naves del Español in Matadero, Culture Area space, Tourism and Sports of the Madrid City Council, welcomes from 29 of May and up 5 of June the world premiere of Transit, chamber opera with music and libretto by Jesus Torres, musical direction George French and stage director Eduardo Vasco, from the short play of the same name that Max Dog wrote in 1944 from his exile in Mexico and who tells us about the conflict, the loyalty, the commitment and obligation of the Spaniards who suffered exile after the Civil War. The cast of Transit is composed of the baritone Isaac Galan (Emilio) and soprano María Miró (Cruz) in the lead roles, together with the mezzo-soprano Anna Brull (Transit), baritone Javier Franco (Alfredo) and tenor Pablo García López (Pedro).

Transit is a commission and a new co-production of the Teatro Real and the Teatro Español that will be able to be seen in six unique performances: 29 Y 30 of May Y 1, 2, 4 Y 5 of June, to 19 hours.

In Transit, one-act play written in 1944 but set three years later, on a night of sleep 1947, Max Aub reflected the story of Emilio, a Spaniard in Mexican exile who talks, simultaneously, with cross, the wife who stayed in Spain with her children, and with Transit, his current sentimental partner. Emilio faces the complexity and doubts of building a life and love in exile that coexist with the commitment and memory of his life and his political ideals in Spain. Feelings in permanent conflict marked by insecurity, the exile, abandonment, distance, the possibility of return and guilt.

When many ex-combatants and Spanish Republican exiles still held out the hope that the allied armies contending in World War II would put an end to the Franco regime, Max Aub anticipated the total arrest of time with which history would condemn all of them in a labyrinth of found loyalties, political and personal tears and disappointments. This short theater piece constitutes an ethical testimony of that historical moment and the literary base of this chamber opera in an act divided into 12 "Instants" from Zaragoza Jesus Torres, awarded the National Music Prize 2012.

Torres' operatic debut is backed by a solid artistic career spanning more than three decades, an autonomous and versatile voice that has experienced increasing freedom over time, intensity and emotion and a passionate bond with Castilian poetry permanently reflected in his musical production. From the opening bars of the orchestral prologue, the music is dense and complex, reflection of the haunting text of Max Aub.

"The idea of ​​writing an opera has haunted me since my beginnings as a composer", Explain Jesus Torres. “The brief theater of exile by Max Aub seduced me and I thought I found a solid argument to embark on my first opera, Transit, when there was a certain opportunity to release it. It has been a challenge to put music to a text that is essentially colloquial. The melodic tracing of the voices is intimately linked to the phonetics of our language and this, in consecuense, causes the entire orchestra to be impregnated with that melodic and harmonic warmth ".

Stage direction is provided by Eduardo Vasco. “You don't always find a gift like this: be immersed in the process of staging a contemporary opera that is being written at the time, by a composer who is admired and by the hand of a prestigious teacher. But, Besides, enjoyment is multiplied when complicity begins to work from the first encounters with a common denominator as powerful as the name of Max Aub ", the stage manager points out. And continues: “We are united in a very strong way by the theme developed by the work on those Spanish republicans exiled in Mexico after the Civil War., lost in hospitable limbo, although alien, uprooted, trashed and lost in a labyrinth with no exit from which, mostly, they couldn't get out. And also that we think that this drama, like others almost forgotten already from our past, has been unceremoniously stored in the cliché drawer that feeds the simplicity of our current policy, and treat it delicately, through this montage, It seems to us a matter of national urgency.

Transit is a co-production of the Royal Theater and the Spanish Theater with music and libretto by Jesus Torres, musical direction by Jordi Francés, stage direction of Eduardo Vasco, set design of Carolina Gonzalez, lighting design by Miguel Angel Camacho and costume design by Lorenzo Caprile.

Photography © Javier del Real | Teatro Real

VivaLaMamma

Between 2 and the 13 of June, he Royal Theater will offer 11 functions of the opera Theatrical conveniences and inconveniences (The theatrical conveniences and inconveniences), from Gaetano Donizetti, which will premiere at the Teatro Real.

The new production of the Teatro Real, whose title, Long live the mother, was coined by film director Helmut Käutner, is a co-production with the Lyon and Geneva Operas, where it was presented with great success.

Laurent Pelly, that Real has directed Daughter of the Regiment (2014), Hansel and Gretel (2015), The Golden Cockerel (2017) Y Falstaff (2019), returns with another title full of humor in which it shows, once again, his genius and ingenuity in treating comedy and directing actors.

As well Evelino pido will be in front, again, of the Titular Choir and Orchestra of the Royal Theater, that he already directed in La Gioconda (2007) e I puritani (2016). Three of the 11 functions will be directed by José Miguel Pérez Sierra, director musical, Recently, from Don Fernando the Emplazado.A double cast will give life to the grotesque characters of Donizetti, in which they stand out Carlos Álvarez and Luis Cansino, Nino Machaidze and Sabina Puértolas, Xabier Anduaga and Alejandro del Cerro, Borja Quiza and Gabriel Bermúdez, Sylvia Schwartz and Francesca Sassu, seconded by Pietro di Bianco, Enric Martínez-Castignani, Piotr Micinski and Luis López Navarro.

Around Long live the mother activities have been organized at the Teatro Real, Berlanga Room, Museum of Romanticism and Regional Library of Madrid.

The performances will begin at 19.30 hours (Sundays, to 18.00 hours), will have a maximum capacity of 66% (in front of 75% authorized by the Community of Madrid) and there will be an empty seat interposed between each group of cohabitants.

Classical Radio, the RNE, will record the opera The theatrical conveniences and inconveniences - Long live the Mamma for subsequent broadcast in Spain and in the countries of the European Broadcasting Union (A CHILD).

Functions Long live the mother are sponsored by the Board of Friends of the Teatro Real.

Between 2 and the 13 of June, Royal Theatre offer 11 functions of the opera Theatrical conveniences and inconveniences (The theatrical conveniences and inconveniences), from Gaetano Donizetti, new production of Teatro Real, in co-production with the Opéra National de Lyon and the Grand Théâtre de Geneva, where it was already presented with great success.

This opera premiered in Naples in 1827, belonging to the first period of the prolific career of Gaetano Donizetti (1797-1848) and long forgotten, was rediscovered in the years 60, and since then it has captivated the audience. Your title, as serious as it is unattractive, in no way suggests the burlesque and critical plot of the libretto, the irony of the text and Donizetti's ability to mock the canons of serious opera and opera buffa that masterfully intertwines and to musically caricature the characters and situations, with spark, sharpness and great economy of means.

Title Live the Mother, coined by film director Helmut Käutner and repurposed, successfully, since then, immediately refers to the axis of the humorous plot of the opera, in which the most histrionic character is a matriarch, played by a baritone!that he is not satisfied with his singing daughter being the second woman Opera. And while fighting, with all their bad arts, to give it the prominence of a first woman, she aspires to have it herself, At whatever price, fighting for the interpretation of a role to suit.

Theatrical conveniences and inconveniences is, well, a critique of the excesses and tyranny of the divos, his pettiness, envies and power struggles; a parody of hierarchies within operatic productions, with the creators -composer and librettist- subordinate to the whims of the singers, dispositions of employers and arbitrariness of the public.

In the comic genre, the opera that looks in the mirror and laughs at its own world has occupied an important place, as would happen later with musicals and in a huge number of Hollywood films, what dreams have told, disappointments, ambitions and mirages of the world of celluloid and coated paper.

It is precisely that scintillating universe of Broadway and the modernizing fever of the years 50 that serves as inspiration to the production created by Laurent Pelly who also signs the wardrobe, with scenery Chantal Thomas, lighting Joel Adam.

Conceived as a flash-back, the plot unfolds in a parking built in a forever magical space that had previously been occupied by a provincial theater, unceremoniously demolished. The captivating and excessive characters that once shone on their stage parade through there, like specters filled with tenderness and poetry with the patina of time. A universe with clear reminiscences of the variety theater and the famous musical Follies, de Stephen Sondheim, that disguises self-criticism as fun, mockery, of reflexion, always with a hint of melancholy in the evocation of a past of lights and glitter, that the epidemic has moved even further, as Joan Matabosch recalls in her playbill article (included in the press kit).

PARALLEL ACTIVITIES

28 of May, to 20.15 hours | Teatro Real, Sala Gayarre

APPROACHES: meeting with Evelino pido Y Jose Miguel Perez Sierra (musical directors), Laurent Pelly (stage-manager), Stefano Rossomanno (musicologist) Y Joan Matabosch (artistic director of the Teatro Real).

8 Y 9 of June | SGAE Foundation, Berlanga Room

WHO projecting Mom turns one hundred -directed by Carlos Saura- Y The night my mother killed my father -Work of Inés Paris-, two Spanish comedies with black overtones, around two mothers of highly addictive personalities for the viewer.

information: www.salaberlanga.com

8 of June, to 18.30 hours | Madrid Regional Library

CONFERENCE Under the title Glass throats with concrete egos, Joaquin Turina, the best connoisseur of the history of the Royal Theater will take us on a journey through time to learn about the manias, gust, demands and whims of the divas who passed through the stage of the Plaza de Oriente.

Free activity

Information and registration: www.madrid.org/bibliotecaregional

5, 19 Y 26 of June, to 11.00 hours | Museum of Romanticism

IMPROVISATION WORKSHOPS As a tribute to the 19th century theater, the Museum proposes a fun activity for children between 8 Y 12 years graduated Coming out of the box. Improvising at the Museum. In her, participants, in addition to discovering some authors from the Spanish scene, learn techniques and tricks used on stage.

Free activity

Information and registration: www.museodelromanticismo.es

Ignacio García-Belenguer

The general director of the Royal Theater, Ignacio García-Belenguer, is the new vice president of Opera Europa, the organization that watches, within the European countries, for the development and diffusion of the lyrical genre.

Opera Europa, to which all the great lyrical theaters of the continent belong, has celebrated this morning, telematically, its general assembly and, after this, its Executive Council - highest management body- has proceeded to the appointment of Garcia-Belenguer and that of the new president, Anna Maria Meo (Teatro Regio di Parma), which replaces Birgitta Svenden.

The Board meeting also decided on the appointment, at the proposal of the Royal Theater, of the general director of the Gran Teatre del Liceu, Valenti Oviedo, as a member of that management body.

Guy Coolen (Berliner Fetspiele) Y Achim Seven (Stadtische Buehnen Frankfurt) new members of the Board have been appointed, next to Oviedo.

The chose, by 2 years, It is produced in recognition of the active support of the Royal Theater to the organization, to his determined promotion of collaboration and exchange projects with theaters around the world, your effort to open and stay open during the pandemic, to collaboration in audiovisual projects and to its active role as a bridge between the three main opera house associations in the world: Opera America, Opera Europe and Opera Latin America.

The debate in the general assembly held today focused on the recovery of activity in European theaters, that the vast majority have been closed for a year.

The new technologies, the diversity, sponsorship, the patronage and participation of the new audiences are other topics debated during this morning.

One of the main issues has been how to encourage the participation of civil society and the business sector in maintaining the activity of opera houses and creating opportunities for new creators.

The Teatro Real has been responsible for the organization in Spain of two meetings of Opera Latin America, within the framework of the annual Opera Europe convention, held in Madrid 2015, and the first meeting of the World Opera Forum (WOF), in April 2018, in which, in addition to the aforementioned associations, representatives from Africa participated, Asia and Oceania, with the assistance of more than 250 professionals from different professional fields.

Photograph: Javer del Real

Nabucco Teatro Real

Still in the midst of the social upheaval and economic consequences caused by the pandemic, the 25Season of the Teatro Real after its reopening, is presented in a more hopeful context, claiming the gradual return to normality.

It is an ambitious and eclectic program with a tour of 5 centuries, Which incorporates 10 new titles to the lyrical repertoire that the Royal Theater has been shaping throughout its history and that will reach its number season this year 100.

In addition to all the parallel activities inside and outside the Theater, of your course offer, workshops and projects with educational centers, the Season 2021-2022, with a great variety of eras and styles, is composed of 16 titles of Opera, 3 Programs of dance, 9 concerts plus the 6 that make Chamber Sundays­; 8 productions for children and adolescents framed in Royal Junior in addition to the 9 children's workshops Everyone to the Gayarre!­; Y 5 projections of Real productions within the cycle Opera in Cinema.

In the Opera program highlights the premiere from the opera of Luis de Pablo, the letter opener, from the homonymous novel by Vicente Molina Foix, librettist, once again, composer; and the premiere of the stage version chamber opera The empty hours, from Ricardo Llorca.

Along with popular titles from the lyrical repertoire, as The weddings by Figaro, Cinderella, Nabucco, He twilight of the gods, Lakmé O La bohème, Little known works of the English Baroque will be offered such as Parthenope, from georg Friedrich Handel (premiere in Spain) Y King Arthur, from Henry Purcell, Y 3 rarely performed 20th century works: Joan of Arc at the stake, from Arthur Honegger, The angel of fire, from Sergei Prokofiev (premiere in Spain) Y Siberia, from Umberto Giordano.

Five interesting dramaturgical proposals show the syncretism of the opera programming: the staging of the oratory Joan of Arc at the stake, from Arthur Honegger, and from the cantata The elected damsel, from Claude Debussy; the absolute premiere of Extinction production conceived from two masses of the Spanish baroque composer Joan Cererols­; the miscellany of fragments of opera and dance of the seventeenth century entitled The birth of the Sun King; or the hybrid proposal of the musician Rufus Wainwright, Hadrian, ‘Pop belcantism’ with photographs by Robert Mapplethorpe.

 

OPERA SCHEDULE

Cinderella, de Gioachino Rossini

Co-production of the Den Norske Opera in Oslo (2017) are the National Opera of Lyon.

The lyrical season will open on 23 of September, preceded by a youth preview minor 35 years, he 20 of September. The staging of Stefan Herheim, debuting at Real, is a delicious and fun reading of the playful drama Rossini, with the presence on stage of the composer himself, that with this score said goodbye forever to the opera buffa, genre in which it was unsurpassed.

Riccardo Frizza, specialist Italian repertoire, will have two select bel canto casts, led by mezzo-sopranos Karine Deshayes Y Aigul Akhmetshina and tenors Dmitry Korchak Y Michele Angelini.

23 September – 9 October | 14 functions | 2 deliveries

The empty hours, Ricardo Llorca | Premiere of the stage version | Premiere at the Royal Theater

New production of Teatro Real, in co-production with the Teatros del Canal and in collaboration with the New York Opera Society.

Jose Luis Arellano Garcia is responsible for the first staging of this chamber opera that investigates the loneliness of a woman addicted to the internet who confuses the real and imaginary world, starring the soprano Sonia de Munck. The musical direction is from Alexis Soriano.

9 November – 14 November | 5 functions | Theaters Canal

Parthenope, the Georg Friedrich Handel | Premiere in Spain | Premiere the Teatro Real

Co-production of the English National Opera (2008), the San Francisco Opera and the Opera Australia.

Four suitors, one of them transvestite,they fight for the same woman in a satirical opera, obscene, agile and light, unusual in the haendelian catalog.

Ivor Bolton, specialist in this repertoire, will be in charge of two casts of singers ‘from the baroque universe’ -as Brenda Rae, Sabina Puértolas, Iestyn Davies, Franco Fagioli, Anthony Roth Constanzo, Jeremy Ovenen O Juan Sancho– that will give life to this funny sitcom with which the stage director Christopher Alden won the Oliver award for the best operatic production in 2009.

13 November – 23 November | 9 functions | 2 deliveries

Bohemian, Giacomo Puccini

Co-production of the Teatro Real (2017), in co-production with the Royal Opera House in London and the Lyric Opera in Chicago.

The production conceived by Richard Jones in which the viewer, transformed into voyeur, follow the Scenes of Bohemian Life of the protagonists, but also the ins and outs of the backstage and works of backstage. Jaho Ermonela Y Michael Fabiano, Y Eleonora Buratto Y Andeka Gorrotxategi, lead two choral casts that will perform under the sure and meticulous baton of Nicola Luisotti.

12 December – 4 January | 15 functions | 2 deliveries

Götterdämmerung, Richard Wagner

Cologne Opera Production (2007).

The visionary Wagnerian Tetralogy culminates with the 'too real' ecological allegory of Robert Carsen Y Patrick Kinmonth, in which savage capitalism and consumerism lead to the devastation of the planet and the extinction of humanity.

Pablo Heras-Casado the saga will culminate next to singers like Andreas Schager, Ricarda Menzer, Martin Winkler, Lauri Vasar O Stephen Milling.

26 January – 27 February | 9 functions

The Letter Opener, by Luis de Pablo, with libretto by Vicente Molina Foix | Premiere at the Royal Theater

premiere. New production of Teatro Real.

Vicente Molina Foix transforms the first part of his novel into a libretto the letter opener, kaleidoscope of political world, social and cultural Spanish in the first half of the 20th century, that fuses the intimate and the public, the personal and the historical, through anonymous characters and real ones like Vicente Aleixandre, Federico Garcia Lorca, Miguel Hernández or Eugenio D’Ors, to whom De Pablo gives voice with a score of great orchestral richness, full of reminiscences and musical evocations that will make it closer to the viewer than its previous operas. The musical direction will Fabián Panisello and staging of Xavier Albertí –Which makes his debut at Real- with the complicity of a great cast of Spanish singers.

16 February – 26 February | 6 functions

Lakmé, by Leo Delibes

The english director Leo Hussain will be in charge of the musical direction of this opera so representative of the orientalist and tragic exoticism of the nineteenth-century French opera. Sabine Devieilhe will play the committed title role, next to Xabier Anduaga, Stéphane Diverting and the rest of the cast.

1, 3 March| 2 functions | Opera in concert version

The angel of fire, of Sergei Prokofiev | Premiere in Spain | Premiere at the Royal Theater

New production of Teatro Real, in collaboration with the Zurich Opernhaus (2017).

In this intense opera that Prokofiev could not see premiered due to the Soviet repression, Renata, very difficult role in which they will alternate Austine Stundyte Y Elena Popovskaya, look for a strange angel of fire, transformed into obsessive erotic passion, lived between a kind of love triangle, in which esotericism is not lacking, madness and exacerbated emotions, what calixto Bieito deals with brilliant dramaturgical and conceptual artifice. Spanish will be in the musical direction Gustavo Gimeno, with an unstoppable international career, which will debut at the Teatro Real in front of a great (and double) choral cast.

22 March - 5 April | 10 functions

King Arthur, Henry Purcell | Premiere at the Royal Theater

The Belgian vocal and instrumental group The voice of the Light, with its director Lionel Meunier, it is the ideal to revive this work of Purcell in an attractive way and imbued with the atmosphere of the English baroque, who know how to recreate with great care.

27 March | 1 function | Opera in a dramatized concert version

Extinction: Battle Mass Y Misa for the dead by Joan Cererols | Premiere at the Royal Theater

premiere. New production of Teatro Real, in co-production with the Teatro de la Abadía and in collaboration with the International Festival of Sacred Art (fīās).

The versatile Agrupación Señor Serrano and the Nereydas set, directed by Ulises Javier Illán, will offer the absolute premiere of a production created from two seventeenth-century masses by Joan Cererols presented with a powerful dramaturgical and audiovisual discourse, that reflects on the plunder of nature.

12 April – 24 April | 12 functions | Abbey Theater

Le nozze di Figaro, Wolfgang Amadeus Mozart | Premiere at the Royal Theater

New production of the Royal Theater in co-production with the Festival d’Aix-en-Provence.

The next 30 June this new co-production with the Royal Theater will be premiered at the Festival d'Aix-en-Provence, in which the dutch director Lotte de Beer plunges into the most invisible part of the relationships between the characters, unveiling the secrets of the score with the complicity of Ivor Bolton, Mozart's great director, and a double cast that stands out for the musical and acting quality of its singers, so necessary to the success of this great sitcom.

22 April – 12 mayo | 13 functions | 2 deliveries

Siberia, de Umberto Giordano | Premiere at the Royal Theater

The Venezuelan director on the rise Sunday Hindoyan, ‘Son’ of System by José Antonio Abreu, will be responsible for the musical direction of this forgotten opera, in which the dramaturgical force of Umberto Giordano stands out, who uses Russian melodies to reinforce the veracity of the drama.

6, 9 mayo | 2 functions | Opera in concert version

The elected damsel, Claude Debussy | Premiere at the Royal Theater

Joan of Arc at the stake, by Arthur Honegger | Premiere at the Royal Theater

New production of the Teatro Real in co-production with the Oper Frankfurt (2017).

Alex Olle unites Honegger's dramatic oratorio with text by Paul Claudel and Debussy's symbolist cantata from the homonymous poem by Dante Gabriel Rossetti through the female icon of heroine and martyr, that vertebra both scores, with almost antagonistic musical discourses.

Juanjo Mena will be responsible for creating the musical universe of each of these works, in which the participation of the soprano stands out Camilla Tilling, como La Damoiselle, in the first, and the actress Irene Escolar, as Joan of Arc, in the second.

7 June – 17 June | 8 functions

The birth of the Sun King, from various composers | Premiere at the Royal Theater

This delightful miscellany of opera and dance with works by various composers of the 17th century will be recreated by the Matching set directed by harpsichordist Sébastien Daucé.

19 June | 1 function| Semi-opera in concert version

Nabucco, de Giuseppe Verdi

New production of Teatro Real, in co-production with the Zurich Opernhaus (2019).

Nabucco It was the first Verdi title that sounded at the Royal Theater, in the acoustic tests prior to its inauguration. The opera premiered at 1853 and was presented in successive seasons, always with great success, until 1871. Since then it has not been offered in his room. Now, 151 years after the last performance, returns with scene direction of Andreas Homoki, which will debut at the Teatro Real.

Nicola Luisotti will extract all the juice from the score, enhancing its dramatic richness, in which Verdi already has traits of the genius that would flourish in later works. Three casts of great voices will give life to the popular Verdi drama set in the Italy of the resurgence, with sumptuous wardrobe by Susana Mendoza.

9 July – 14 July | 15 functions | Teatro Real

Hadrian, de Rufus Wainwright | Premiere in Spain | Premiere at the Royal Theater

The desolation of Emperor Hadrian over the death of his young lover Antinous, that inspired so many great literary and musical works, was also the source of inspiration for the Canadian singer-songwriter Rufus Wainwright for his new foray into the world of opera with the help of Jorn Weisbrodt in the direction of scene, supported by the powerful images of the legendary photographer Robert Mapplethorpe.

27 July | 1 function | Universal Music Festival | Semi-staged concert version

SEASON OPERA BY CHRONOLOGICAL ORDER OF CREATION:

The DANCE SCHEDULE will bring to the Royal Theater 3 companies representing different choreographic universes. He National Ballet of Spain will celebrate on our stage the Centennial of Antonio Ruiz Soler, ‘Antonio the Dancer’, with a program composed of choreographies of this mythical figure of Spanish dance along with other Ruben Olmo, current director of the BNE, Y Carlos Vilán. Acosta Dance, company founded by the great name of classical dance, Carlos Acosta, will pay tribute to his native Cuba through the gaze of some of the most relevant choreographers of the moment, among those listed Sidi Larbi Cherkaoui Y Russell Maliphant, among others. The finishing touch of the season will be Bolshoi Ballet, who returns to the Royal Theater with one of the most emblematic titles of classical dance, La bayadera, in the version of Yuri Grigorovich on the original of Marius Petipa.

The cycle REAL VOICES is composed this season by 6 concerts starring some of the best lyrical artists in the world: Juan Diego Florez, Ana Netrebko Y Yusif Eyvazof, Lise Davidsen Y Leif Ove Andsnes (piano), Lisette Oropesa, Jakub Józef Orlinski Y Bejun Metha.

They complete the offer of CONCERTS the 6 that make up the cycle CAMERA SUNDAYS, and others 3 interesting proposals. Under the title Rossini and Spain. Isabel Colbrán, the muse, soprano Olga Syniakova and the conductor Lucia Marin, in front of the Head of the Royal Theatre Orchestra, will perform at the Juan March Foundation. The pianist Lang Lang will be the protagonist of Concert of the Fundación Amigos del Teatro Real Y, once again, the Royal Theater will host the Concert of the Tenor Viñas Contest, in which the winners of the 59th edition of the contest will take part, Next to the Head of the Royal Theatre Orchestra under the direction of Daniel Montané.

OPERA IN CINEMA secures your space with a cycle of 5 titles that can be seen in the main room, all of them recorded on their stage: The touchstone, from Gioachino Rossini (Alberto Zedda / Pier Luigi Pizzi); Alcina, from georg Friedrich Handel (Christopher Moulds/David Alden); Idomeneo (Ivor Bolton/Robert Carsen); Rusalka, from Antonín Dvorák (Ivor Bolton/Christof Loy) Y Aida, from Giuseppe Verdi (Nicola Luisotti / Hugo de Ana).

Children's and youth programming has its space in THE REAL JUNIOR with 8 shows for different ages and different formats such as musical stories, who, dramatized dance and concerts, intended for family audiences and schools.

The youngest season opens on 3 October, in the Main Hall, with the carefree and joyful concert Mozart Revolution, played by the Youth Orchestra of the Community of Madrid (JORCAM) and new singers of the project Crescendo, we create opera, first program to promote young talents organized by the Fundación Amigos del Teatro Real, all of them under the direction of Rubén Gimeno, with script and presentation of Ana Hernández Sanchís. The piano will star in two magical dates of the young season; on the one hand, with the projection of the animated film Magic Chopin, for the first time in Spain, with live music performed by the Ukrainian pianist Mariana Gurkova, Y, for another, with Piano without limits, this time with the artist Karina Azizova to the keyboard, in the incomparable setting of the Orchestra Hall. Both shows will be scripted and presented by Fernando Palacios. And we recover the tribute to Beethoven, truncated by pandemic, Hand Luis Piedrahita and the conductor Lucia Marin, at the head of the JORCAM, to interpret his works in a didactic concert with the humor and wit of the title Alabin, pRAISE, a la Ludwig van! ¡Beethoven, Beethoven and no one else!

In parallel to the functions of Acosta Dance, the company will offer a one-time appointment, as a master class and introduction to the world of ballet, intended for all audiences, under the title Learning to fly. And the opera will have its leading role with Cinderella, from Pauline Viardot, with the participation of solo singers from the program Crescendo.

The Sala Gayarre continues to be a place of reference at Real Junior. Go back to your stage A catless smile, show conceived by Ferran Carvajal and inspired by Alice in Wonderland, which the little ones have enjoyed so much this year, and will close the season Child's play, where the work of Georges Bizet and traditional games, Hand Fernando Palacios, help to better understand and listen to music. Monthly appointments will also take place here Everyone to the Gayarre!, for the entire family, with his lighthearted and entertaining gaze on the great opera season titles.

He TRAINING PROGRAM consolidates its courses aimed at both university students and the general public and will address both face-to-face training and online.

In section The Opera Uncovered, that reveals the assembly process of an operatic production from within, have been organized 4 workshops focused on: Parthenope (November), Bohemian (December January), The angel of fire (March April), Joan of Arc at the stake (June).

The Courses related to the season will provide 4 called monographs Understand ... Rossini (Cinderella), Händel (Parthenope), Wagner (Götterdämmerung) Y Verdi (Nabucco).

The novelty of this season will be the Dance courses, divided into Fundamental concepts of dance e History and theory of flamenco. Courses for higher education students will continue within the program The University on Stage and the Training courses in performing arts and business management from culture: Opera and leadership I: the art of working with high-performance teams, Opera and leadership II: the art of transforming challenges into opportunities Y Scene photography.

In addition to these training proposals, THE REAL YOUNG, cultural revitalization and customer loyalty program young man aged between 18 and the 35 years, will have exclusive spaces, preferential sales channels and events designed for this group in collaboration with its own committee made up of representatives from different areas of civil society.

Return to the stage of the Royal Theater, after the long hiatus forced by the pandemic, he UNIVERSAL MUSIC FESTIVAL, which will celebrate its sixth edition in summer, Y REAL FLAMENCO consolidates its cycle of performances in the Royal Theater Ballroom, for the fourth year in a row.

The Teatro Real will increase the national and international diffusion of its programming through new recordings and retransmissions and the expansion of the catalog of MyOperaPlayer.

SEASON IN NUMBERS

FUNCTIONS | A total of 272 functions: 124 opera performances spread over 16 Titles; 14 dance performances with 3 different shows; 15 concerts of different formats (6 concerts of Voces del Real; 6 concerts of Chamber Sundays, 3 extraordinary concerts); 60 functions Royal Junior Y 5 projections Opera in Cinema.

OPERA PRODUCTIONS | They offer 8 Royal Theater productions, including the world premiere of 1 an opera (the letter opener) and the premiere of 2 new productions (the letter opener Y Extinction); 10 titles that have never been performed at the Teatro Real; 3 guest productions ─The Cinderella, Parthenope, Götterdämmerung; Y 5 proposals in concert version with different variants, including 1 dramatized version (King Arthur) Y 1 semi-staged version (Hadrian).

SPONSORED OPERATIONAL PRODUCTIONS | Telefónica sponsor Cinderella; Endesa sponsor Parthenope Y Le nozze di Figaro; BBVA Foundation sponsor Bohemian Y Nabucco; Santander Foundation sponsor Joan of Arc at the stake and La damoiselle élue; and the Royal Theater Friends Meeting sponsor Götterdämmerung.

WORKS BY CENTURIES OF THE OPERA SEASON | There will be 3 productions with works of the century XVII (Extinction, The birth of the Sun King Y King Arthur); 2 operas of the century XVIII (Parthenope Y Le nozze di Figaro); 6 century works XIX (Cinderella, Nabucco, Götterdämmerung, Lakmé, The elected damsel Y Bohemian); 3 century works XX (Siberia, Joan of Arc at the stake Y The angel of fire); Y 3 century titles XXI (The empty hours, Hadrian Y The Letter Opener).

WORKS BY GEOGRAPHICAL AREAS | They will be presented 4 italian operas, 3 Spanish productions, 2 Germanic operas (1 of them, Le nozze di Figaro in Italian), 2 english operas (1 of them, from Händel -German settled in England-, in Italian), 3 productions with French works, 1 Russian opera and 1 American opera.

DANCE | There will be 14 functions starring 3 companies: National Ballet of Spain, Acosta Dance and Bolshoi Ballet.

THE REAL JUNIOR | The children's and youth programming of the Teatro Real is made up of 84 functions –60 for all audiences and 24 for school centers- with 8 programs, including 18 workshops Everyone to the Gayarre!

TRAINING PROGRAM | They offer 4 workshops Uncovered Opera, 4 monographic courses related to the Season, 3 general knowledge courses on opera, 3 courses on Fundamental concepts in the history of opera, 3 training courses in Performing arts and business management from culture, 2 dance courses and 1 new edition of the program The University on Stage.

JordiFrench

What "a passionate and committed musician”. This is how Jordi Francés defines himself (Mariola bathtubs, Alicante), the musical director who at the end of May takes command of a group of soloists from the Titular Orchestra of the Royal Theater of Madrid (Madrid Symphony) and a select cast with whom he will share the limelight at the opera's premiere Transit, with music and libretto by Jesús Torres based on the play of the same name (1944) the Max Aub. Chamber opera, a commission from the Royal Theater, joins the program of the Madrid Coliseum in co-production with the Spanish Theater and will see the light of days 29 Y 30 May and 1, 2, 4 Y 5 June at the Fernando Arrabal A Room of Naves del Español in Matadero de Madrid. “It is a very demanding work both from the vocal and instrumental point of view as well as theatrical”, affirms the director. “This is an extraordinarily well orchestrated score, in which every detail is very careful. There are some very demanding parts, as is the case with the accordion, the piano or percussion, resulting in an execution of enormous difficulty”.

Transit makes its debut in a production that Eduardo Vasco performs on stage; the costume designer is none other than the popular dressmaker Lorenzo Caprile and the cast includes Isaac Galán, María Miró, Anna Brull, Javier Franco and Pablo García López. Composed during the months of confinement, the opera puts Transit to music, a play written in 1944 when Max Aub was in exile in Mexico and sets the action in two parallel shots that are mixed, that of reality and that of fantasy that the protagonist lives in his mind. Transit, his mexican lover, and Cruz, his wife whom he leaves in Spain fleeing the Civil War, embody these two areas.

For French, “musically the opera is raised with tremendous intelligence; music and text coexist and evolve hand in hand. further, Jesus has accomplished something that not everyone achieves, some vocal lines in which Spanish works as well for singing as do other languages ​​of the operatic tradition. I've known Torres for 15 years, I have premiered several of his works and we share a very good chemistry when it comes to working. He is a creator with a strong personality and great determination to bring the ideas behind his music to the public.; this virtue places us performers in a very powerful and stimulating position”, concludes.

The Alicante teacher, which debuted in the Teatro Real's programming in 2016 with Brundibar, has behind him an ascending trajectory on podiums of important orchestras and theaters in Europe and America, facing an operatic and symphonic repertoire, classic and newly created. He has conducted ensembles such as the National Orchestra of Spain, that of the Community of Madrid, the one in Valencia, la BBC Philharmonic, the Ensemble InterContemporain or the Bilbao Symphony.

Among other commitments, Jordi Francés will return to Madrid in June to rehearse a program with works by Brahms and Schumann that he will direct that same month., in front of the Freixenet Orchestra, in Merida.

Web Jordi Francés

Royal Theater website

pablo garcía lópez

The Cordovan tenor Pablo Garcia-Lopez, in the role of Pedro, the son of the protagonist, se an al elenco of Transit, the first opera by the Zaragoza composer Jesús Torres, based on the homonymous text by Max Aub, co-production of Royal Theater and the Spanish Theater, which opens 29 May at Matadero in Madrid.

For Pablo García-López, his participation in this chamber opera represents “a unique experience not only because of the fact of singing current music but also because of the possibility of working in close collaboration with the composer himself., sharing ideas and visions that contribute to shaping the final result of an exciting world premiere ".

Transit is based on Max Aub's homonymous work of 1944 that addresses the issue of the Spanish republican exile and its conflict between the possible return or permanence in the new land. The opera takes place in an act divided into twelve "instants", in which the protagonist, Emilio, interacts with the rest of the characters during a night of sleep.

As the author of the opera himself explains, the role of Pedro, one of only five Transit, adapts perfectly to the moment and characteristics of the tenor Pablo García López,. "On 2019, when Joan Matabosch and I talked about the singers for my opera Tránsito, We agree that Pablo García López was the ideal tenor for the role of Pedro –explains Torres-. For commitments outside of Spain, it was not possible for Pablo to be at the beginning of this project. Three days before the start of the trials, and due to illness of the substitute, his participation was requested again from the Royal Theater and on this occasion he confirmed his presence. I think it was a very wise choice –continues the author-. Pablo is in a radiant moment of his career, with a beautiful timbre and ample power, and in the role of Pedro, the young son of Emilio and protagonist of the opera, brings all the expressive charge necessary for this tragic character ".

García López arrives at this premiere after his recent participation in Manon Lescaut, Puccini, in Baluarte de Pamplona, in January and, his concert "The Spanish Song", at the Gran Teatro de Córdoba the 3 of March. His next projects include his Basilio in "The Marriage of Figaro" at the Lausanne Opera in November and the presentation of his latest album, "Routes", at the Matador Club, from Madrid, he 21 of June.

TRANSIT

Chamber opera, premiere

29 May to 5 June 2021, Fernando Arrabal A Room, The Ships of the Spanish, Slaughterhouse

  • Music and libretto: Jesus Torres
  • musical direction: George French
  • Stage direction: Eduardo Vasco
  • Isaac Galan (baritone) ‐ Emilio
  • María Miró (soprano) ‐ Cruz
  • Anna Brull (mezzo soprano) - Transit
  • Javier Franco (baritone) ‐ Alfredo
  • Pablo García López (tenor) ‐ Pedro
  • Head of the Royal Theatre Orchestra
Sergio Lope

The arrival of Sergio Lope a Real Flamenco represents a turning point in a cycle dedicated to dance and in which, this time, will give music the full prominence of an evening in which the performer and his group collect the sounds of the origin, of memory and flamenco strength to awaken new emotions reminiscent of jazz.

Anabel Moreno, dancer from raigambre, will put all his flamenco art, tanned with big names like Lola Greco, Mario Maya or La Chunga, at the service of a unique and different musical concept within the cycle of this season.

They accompany you on this adventure Matías López "El Mati", in cante and electronics; David Caro with the flamenco guitar; Daniel Arjona, on electric guitar; Juanfe Pérez, electric bass, Y Javier Rabadán, in the battery.

Sergio Lope begins his saxophone studies with 8 years in the conservatory, but it is from 16 years when he decided to start on the transverse flute in a self-taught way to play flamenco, while continuing his training until graduating in Flamencology at the Superior Conservatory of Music of Córdoba. Then the recognitions would come, as the first prize of the Flamenco Instrumentalist Contest of the 57 Festival Internacional del Cante de las Minas de la Unión or the award to the Emerging Mediterranean Musician granted by the Berklee School of Music.

His restless spirit and transforming zeal, entrenched in the deepest roots, they have led him to participate, together with his group, at important international events such as the Aix en Provence Festival or the Baku Mugham Festival, from Azerbaijan, and to perform at venues such as the Lyric Theater in Johannesburg, The Concourse, and Sydney; Elisabeth Murdoch Hall en Melbourne o el Festival Flamenco de Montreal.

In December 2015, publishes his first album entitled "A night in Utrera", where classical cante walks with the chords of jazz, reinterpreting purity and exposing the most personal experiences. Your next project, that those attending Flamenco Real will enjoy, continue in this line of work, but delving even deeper into the roots and claiming them: "If music is the memory of the world, flamenco is the memory of the Andalusian people. Be light It is a plea to the musical memory of the peoples.

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, Juan Gil's winery, Corporalia and Caballero Ventura Group.

Teatro Real

He Teatro Real has received tonight the International Opera Award 2021 to Best Opera Theater, that recognizes the quality of artistic programming throughout 2019 and has received the profession's tribute to a career that has strengthened its international projection, making it one of the reference theaters in the world.

The artistic director of the Teatro Real, Joan Matabosch, thanked the award, on behalf of the institution, and praised the effort of the organization to carry out this gala, despite today's complicated circumstances, for the support it provides for everyone and the encouragement to regain normalcy as soon as possible. His words have had an emotional recognition for the entire Teatro Real team, both for its governing bodies and for each and every one of the workers who "every day, with determination, professionalism and enthusiasm manage to raise the curtain ".

In this sense, the organization of International Opera Awards has made a special mention to Teatro Real for the work done during the pandemic - the 1 July became the first theater in the world to reopen its doors and during the following months it was the only one with uninterrupted scenic activity- what has made it a symbol of strength, creativity and effort on the international scene.

The Royal Theater competed in the category of Best Opera Company with the Royal Opera House (London), la Finnish National Opera (Helsinki), the Frankfurt Opera, comical opera (Paris) y La Monnaie / De Munt (Brussels), being the second time in which I chose as a finalist for this award (was nominated in 2018).

He Teatro Real premiere, in 2019, new productions from Idomeneo, Mozart (with Ivor Bolton in the musical and stage direction of Robert Carsen, Also nominated in this edition as Best Stage Director); Falstaff, in Verdi (with Daniele Rustioni y Laurent Pelly); Capriccio, Richard Strauss (with Asher Fish and stage direction by Christof Loy) e The pirate, Bellini (with Maurizio Benini and Emilio Sagi).

That same year he began the Wagnerian Tetralogy with Rheingold (with Pablo Heras-Casado and Robert Carsen); it premiered La Calisto, of Horses (with Ivor Bolton and David Alden); Return Dido & Aeneas, Purcell (Christopher Moulds/Sasha Waltz), and titles as popular as The Troubadour (Maurizio Benini / Francisco Negrín) Y Don Carlo (Nicola Luisotti / David McVicar) in Verdi, Y L'elisir d'amore, Donizetti (MarcPiollet/Damiano Michieletto), in addition to the absolute premiere of I'm narcissistic, by Raquel García Tomás.

In May 2018 the Teatro Real also earned four nominations: best Coro, Best Opera Company, Best Play Recovered (Bomarzo) and Best New Production for Billy Budd, getting the first prize for the latter, directed on stage by British Deborah Warner and in the ditch by Ivor Bolton, and with special mention to the excellent musical performance of the soloists, the Choir and Orchestra of the Teatro Real Headlines.

In this edition, the Teatro Real had obtained three other nominations in the categories of Best Orchestra, with the Head of the Royal Theatre Orchestra, Madrid Symphony Orchestra; Absolute Best Premiere, with opera I narcisiste, by the composer Raquel García Tomás, and Best Audiovisual Recording for the DVD of Street Scene.

Tonight we also celebrated the award for Best Young Singer, awarded to Xabier Anduaga, who is these days at the Royal Theater rehearsing the opera Long live mom, de Gaetano Donizetti, whose premiere will take place next 2 of June, in which the baritone Carlos Álvarez also participates, one of the four finalists for Best Male Singer.

The Royal Theater wants to thank everyone: public, artists, institutions, sponsors and media, their determined support for the cultural and artistic project that, throughout these almost 25 years of work since reopening, have made it one of the most important opera houses in the world.

Capriccio

Next Monday, 10 May the winners of the International Opera Awards 2021 in an exciting virtual gala, in which the candidacies of 2019 , after last year's edition was suspended due to the pandemic, in which the Teatro Real is nominated in the categories of Best Theater, best Orchestra, Absolute Best Premiere (I narcisiste) Y Best DVD Recording (Street Scene).

The format in streaming It will not detract from the excitement of the expected announcement of the winners in a ceremony that also wants to pay tribute to the resilience of the opera industry during the past months, so hard for everyone, in which the Teatro Real has become a symbol of strength, creativity and perseverance on the international scene. Its projection, inside and outside our borders, and the quality of artistic programming throughout 2019, they will make you compete in the category of Best Opera Company in front of the Royal Opera House (London), la Finnish National Opera (Helsinki), the Frankfurt Opera, comical opera (Paris) y La Monnaie / De Munt (Brussels). This is the second time that the Teatro Real opts for this award.

The Royal Theater premiered in 2019 new productions from Idomeneo, Mozart (with Ivor Bolton in the musical and stage direction of Robert Carsen, Also nominated in this edition as Best Stage Director); Falstaff, in Verdi (with Daniele Rustioni y Laurent Pelly), Capriccio, Richard Strauss (with Asher Fish and stage direction by Christof Loy) e The pirate, Bellini (with Maurizio Benini and Emilio Sagi).

That same year he began the Wagnerian Tetralogy with Rheingold (with Pablo Heras-Casado and Robert Carsen); it premiered La Calisto, of Horses (with Ivor Bolton and David Alden); Return Dido & Aeneas, Purcell, and titles as popular as The Troubadour (Maurizio Benini / Francisco Negrín) Y Don Carlo (Nicola Luisotti / David McVicar) in Verdi, Y L'elisir d'amore, Donizetti, in addition to the absolute premiere of I'm narcissistic, by Raquel García Tomás.

The Head of the Royal Theatre Orchestra is, nowadays, one of the formations best valued by the great opera directors for its professionalism, versatility and delivery, whose musical values ​​have garnered critical acclaim and public applause, after demonstrating his acting skills in titles from Mozart to Wagner, de Verdi and Janáček, of the British and Zimmermann.

I'm narcissistic, It is a comic opera by the Spanish composer Raquel Garcia-Thomas, libretto by Helena Tornero, in which it is alleged, humorously, delusional narcissism prevailing in today's society. With musical direction Vinicius Kattah and scenic Marta Pazos, the opera featured the performance of the sopranos Elena Copons and María Hinojosa, the baritone Toni Marsol, the tenor Joan Ribalta and the Titular Orchestra of the Royal Theater. An exciting project with an essentially young and feminine team, who set up a story full of freshness and full of black humor in a project in which, for the first time, the Royal Theater and the Spanish Theater collaborated, in co-production with the Òpera de Butxaca and Nova Creació and the Teatro Lliure in Barcelona

The DVD recorded at the Teatro Real in Street Scene, Kurt Weill, made in co-production with Bel Air Classiques and winner of the prestigious Diamant d'Opéra Magazine award in December 2018, is one of the nominees for Best Recording of a Complete Opera. Street Scene, production by the Teatro Real in co-production with the Cologne and Monte Carlo Operas, It was premiered in Madrid with musical direction by Tim Murray and stage direction by John Fulljames, who recreated the atmosphere of the years 40 New Yorkers.

The nominations also recognize the work of great voices of the lyric - Best Female Singer and Best Male Singer- many of which have already been heard in different productions of the Royal Theater such as Maria Agresta, Lisette Oropesa, Javier Camarena, René Pape, Carlos Alvarez O George Petean, among others. Among the candidates for Best Young Singer, the presence of the Spanish tenor stands out Xabier Anduaga, who will compete with new promises of song like Teresa Iervolino, Roberta Mantegna O Adela Zaharia, also known by the Madrid public.

Both Carlos Álvarez and Xabier Anduaga are currently rehearsing the opera at the Teatro Real Long live mom, whose premiere will take place next 2 of June.

The International Opera Awards were created in 2012 by the British magazine Opera, and from the beginning they were considered the Oscars of the world of opera. With them we want to annually award the best in the world of lyric (productions, singers, directors, theaters, orchestras ...), thus publicly recognizing its protagonists, and supporting the training of new talents through scholarships financed with the profits obtained at the gala.

In May 2018 the Teatro Real also earned four nominations: best Coro, Best Opera Company, Best Play Recovered (Bomarzo) and Best New Production for Billy Budd, getting the first prize for the latter, directed on stage by British Deborah Warner and in the ditch by Ivor Bolton, and with special mention to the excellent musical performance of the soloists, the Choir and Orchestra of the Teatro Real Headlines.

Photographer: © Javier del Real / Rea Theatre

Check here all award nominations and their different categories.

Best Opera Company

– Finnish National Opera

– La Monnaie / De Munt

– Oper Frankfurt

– comical opera

– Royal Opera House

– Teatro Real

best Orchestra

– Bavarian State Opera / Bavarian State Orchestra

– The Phoenix

– The Astrée Concert

– Leipzig Opera / Gewandhausorchester

– Opera Flanders

– Teatro Real

Absolute Best Premiere

– Garcia-Thomas: I'm narcissistic (Teatro Real)

– Glanert: Oceane (German Opera Berlin)

– Kats-Chernin: Whiteley (Opera Australia)

– MacRae: Anthropocene (Scottish Opera)

– Nishimura: Asters (New National Theatre Tokyo)

– Reid: p r i s m (Beth Morrison Projects)
Schreier: Damage, that she was a whore (German Opera on the Rhine)

– Venables: Denis & Katya (Opera Philadelphia)

 

Best Audiovisual Recording

 

– Beethoven: Leonore (Harmonia Mundi)

– Gounod: Faust (Bru Zane)

– Moniuszko: Ring (Fryderyk Chopin Institute)

– Picker: Fantastic Mr Fox (Boston Modern Orchestra Project)

– Thomas: Hamlet (Naxos)

– Weill: Street Scene (Bel Air Classics)

Peter Grimes

The new production Peter Grimes, Benjamin Britten, currently on stage at the Teatro Real, with great public and critical success, can be followed throughout Spain next weekend.

My Opera Player will issue the penultimate performance of the opera, he Friday, 7 of May, to 19.00 hours. It is a unique occasion, since the opera can only be seen live, both by subscribers and by those who acquire the ‘Direct ticket ’. After the function is finished, the recording will not be part of the platform's catalog.

The next day, Saturday, 8 of May, to 19.00 hours, Peter Grimes will reach countries throughout Europe through the recording made by Classical Radio, the RNE last 24 of April, which will be issued in Spain and offered through the A CHILD (European Broadcasting Union).

The new production of the Teatro Real, co-produced with the Royal Opera House, London, the Opéra national de Paris and the Teatro dell’Opera di Roma, and released the past 19 of April, it is having a huge national and international repercussion, not only because of its great artistic quality but also because of the challenge it entailed to carry it out in the current context of the pandemic.

Your artistic team -with Ivor Bolton in musical direction, Deborah Warner in the direction of scene, Michael Levine in the scenery and Kim Brandstrup in the choreography- is the same one that triumphed in 2017 with Billy Budd, also by Britten, become the most awarded production of the Royal Theater.

In the choral cast of this opera stand out, in their respective roles, the tenor Allan Clayton as Peter Grimes, soprano Maria Bengtsson as Ellen Orford, and baritone Christopher Purves as Captain Balstrode, seconded by Clive Bayley (Swallow), Jacques Imbrailo (Ned Keene), Catherine Wyn-Rogers (Auntie), John Graham Hall (Bob Boles), Rosie Aldridge (Mrs. Sedley), James Gilchrist (Rev. Horace Adams), Barnaby Rea (Hobson), Rocío Pérez (first niece) Y Natalia Labourdette (second niece).

He Titular Choir of the Teatro Real, prepared, as usual, by director Andrés Máspero, has in this opera an important role both musical and dramaturgical, and the Head of the Royal Theatre Orchestra, that is immersed again in the colossal music of Benjamin Britten under the baton of its musical director, Ivor Bolton.

In this masterful opera, the inhabitants of a small coastal town, whose hard life passes under the relentless influence of the sea, they face, they sentence, They slander and humiliate a sullen and violent fisherman who clumsily yearns to integrate into that society that despises him. The question that beats throughout the entire drama - is Peter Grimes the murderer of a child??- triggers many other, of great depth, to which Britten does not answer, though his music always treats marginalized and lonely beings with poignant compassion.

To show the drama of Peter Grimes in all its rawness, stigmatized in a society that creates its own monsters, Deborah Warner, with the complicity of the set designer Michael Levine, has set the drama in a very poor town on the Suffolk coast. There they remain the same line of the horizon, the fury of the sea and the pebble beach that inspired Crabbe's poetry and Britten's opera. But the misery and helplessness of its people today are fundamental in the staging, in which Warner's meticulous work stands out, that always explores the psychological depth of the characters.

© Javier del Real | Teatro Real

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Peter Grimes, from rumor to destruction
Peter Grimes
Benjamin Britten (1913-1976)
Opera in a prologue and three acts
D. musical: Ivor Bolton; D. scene: Deborah Warner; Scenographer: Michael Levine; Costume designer: Luis Carvalho; illuminator: Peter Mumford; Video Designer: Will Duke; D. choir: Andrés Máspero
Distribution: Allan Clayton, Maria Bengtsson, Christopher Purves, Catherine Why-Rogers, Hohn Graham-Hall, Clive Bayley, Rosie Aldridge, James Gilchrist, Jacques Imbrailo, Barnaby Rea, Rocío Pérez, Natalia Labourdette, Saúl Esgueva Mass theories have always been an attractive object of study for sociologists and psychologists. But they not only arouse the curiosity of researchers in the field. As a starting point for mass movements, there is an element that works as a catalyst, the rumor. Rumors are associated with the defense of social identity (Rouquette, 1997). They generally evoke negative or feared consequences or results and their circulation is a way of validating prejudices and stereotypes. When there is a critical situation, the need to build a common affective reference is born, being the rumor an effective vehicle of social cohesion. Participate in the dissemination of a rumor and validate it, increases the perception of belonging to the group.
Peter Grimes is the ideal character to launch the cohesive rumor mill of one of the protagonists of the play, Borough. The Imaginary Town of Suffolk County Coast, composer's birthplace, and whose socioeconomic situation can help explain the behavior of a society against the different, which in this case is not exactly a character with whom you can empathize. it is dark, Tormented, suspicious, lonely and bland, who lives outside all social norms and arouses the distrust of those around him.This work was commissioned by Sergei Koussevitzkt, director of the Boston Symphony Orchestra, Britten during the stay in the US, between 1939 Y 1942. It is based on the libretto by Montagu Slater, inspired in turn by the poem in the collection of The Borough (1810) George Crabbe Back to England, after his disappointing stay in the US, Britten got down to business with her new project that debuted just a month after the end of World War II., in an atmosphere of euphoria for victory. In this work Britten deals with a recurring theme in many of her operas, the drama of marginal characters who face hypocritical societies. A situation that Britten himself knew very well.

Peter Grimes does not premiere at the Royal Theater until November 1997, after its reopening. Although it is an opera that is already part of the repertoire in many theaters, your scheduling is still a brave decision, because it is an uncomfortable challenge due to the harshness of the topics it deals with.

Now Britten's best-known title comes back to Real, after having dedicated an important space to this composer in recent years, since Death in Venice, passing Gloriana and award-winning Billy Budd. And he does it scenic by the master hand of Deborah Warner.

Warner has set the scenery today. As always in the works of the Warner - Levine tandem, elegance is present even in the most seedy decorations. The opening scene of the town with its flashlights looking for Grimes is masterful. The direction of actors and the movements that take place on stage by Kim Brandstrup are very careful, they are perfect. Just like Peter Mumford's extraordinary lighting. All the atmospheres they create are emotional and disturbing. Nothing is random or frivolous or gratuitous. It all makes sense to describe the port, full of tackle and boxes in perfect disarray. Or the tavern, a messy, chaotic place where the townspeople are pouring in, to the rhythm that marks the storm and where, Of course, the protagonist who, facing the door and back to everyone, interpreta “now the great bear and pleiades”, creating one of the most emotional moments.

The famous six interludes have their leading role, both in the musical and the scenic. They serve to reflect, sometimes about the characters, sometimes about action, but always creating a special atmosphere.

Leading the Orchestra, an Ivor Bolton who, like he already did in Gloriana and Billy Budd, proves to be a great Britten specialist. He knew how to put the orchestra at the service of drama, in perfect coordination with the scenery. Perhaps that balance between pit and stage was the cause of the orchestral slowness in some moments. But the sound quality, especially in some of the interludes, it was at a very high level.

The chorus, one of the main characters in this play, has a brilliant participation in this production. In addition to the effort that he has been making when having to sing with a mask, flawlessly performs its predatory and threatening role. Has outstanding moments, as in the last scene.

The list of singers has been at a very high level. The quality of all of them has created a very balanced and compact set, combining magnificent singers with amazing actors.

Allan Clayton played an exceptional Peter Grimes. The drama of his performance built the most suitable character, without excesses or histrionics. His fresh voice accompanied with great sensitivity the moments of greatest intimacy of Grimes, which were the most outstanding. He knew how to highlight that most vulnerable and intimate part of the rude character. This lyricism may be helped by its baroque origins. He was certainly the winner of the night.

Maria Bengtsson was a moving Ellen Orford, the newcomer and also different and strange in the eyes of the people. His light voice endowed the character with great delicacy. He also stood out in the dramatic part, in love with Grimes and always attentive and tender with the ill-fated apprentice.
Another of the most prominent voices has been that of Christopher Purves. A Captain Balstrode who perfectly understands and appreciates Grimes, but he also knows that he must not cross the fine line that would make all the people go against. On the vocal plane it was at a very high level. With a homogeneous voice and a warm timbre, as your character.

Catherine Wyn-Rogers como Auntie, the irritating tavern owner whose voice was perfectly suited to the role and her performance was flawless.

Rosie Aldridge's Sedley also shone in the performance. Created the perfect town gossip character, where almost all the rumors come from. Only in some moments was it covered by the orchestra.

James Gilchrist of Life to Reverend Adams, the unpleasant representative of the church with a posed and bombastic demeanor. His tenorile timbre fit the character well.. The interpretation of John Graham-Hall as Bob Boles was also successful, the histrionic character that he knew how to impeccably characterize. Also highlight Jacques Imbrailo, which was the brand new Billy Budd from 2017 and here he played Ned Keene.

The only two Spanish women in the cast, well they were all british, you have been Rocío Pérez and Natalia Labourdette, like the nieces of the tavern owner. They both knew how to be at the level of the rest of the cast.

New success of the Teatro Real with this Peter Grimes, not an easy opera, nor for those who carry it out, nor for the public, who left the theater enthusiastic. But nothing is easy these days. And for challenges and successes, Royal Theatre.

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

Teatro Real and My Opera Player

He Teatro Real and the Queen Sofía College of Music have signed a collaboration agreement thanks to which the users of the audiovisual platform My Opera Player they will be able to enjoy new musical and educational content performed by those who represent the future of this universal art.

this initiative, that broadens the long-standing bond between both institutions and strengthens the joint project for the dissemination of music and the performing arts, offers a double chance to hear, on the one hand, the concerts in which the students of the Reina Sofía School of Music Y, for another, discover details of interpretive technique through master classes offered by renowned professionals such as the cellist Asier Polo (former student of the School), the violinist Oliver Wille, clarinetist Pascal Moraguès (school teacher) or great singing figures like the tenor Javier Camarena or baritone Leigh Melrose.

The Royal Theater wants to commit itself even more in its commitment to talent and young audiences, being the speaker of the teaching project of one of the most important music schools in the world through the concerts recorded in the Sony Auditorium of the Reina Sofía School, in Madrid, and in the Botín Center of Santander, among others. Symphonic concerts, chamber music, recitals and lyrical sessions will show the work of the new musicians.

The schedule is available in My Opera Player starting today, Friday 30 of April, with the presentation of two concerts performed by the students of the Reina Sofía School of Music for the Young Talents Cycle of the Banco Sabadell Foundation, with Vincenzo Bellini and Antonín Dvorák as protagonists, and a session called "Musical reunion with views of the sea" in which the extraordinary pianist Pallavi Mahidhara - former student of the School- and the young cellist Hayk Sukiasyan.

In addition to musical performances, the contents will be completed with the first two master classes; one of them by Asier Polo, in which he will reveal the essence of Brahms and its codes, and another given by the violinist and co-founder of the Kuss Quartett, Oliver Wille, who will share their knowledge about Beethoven.

The contents will increase in the coming months, with new recordings and teaching activities, that will allow to expand the musical knowledge and diversity of its interpreters.

Maria Moreno

"I like to feel, but not see me, I like to dance. I, bailo”. With this firmness the bailaora defines herself Maria Moreno, protagonist of the next session of Real Flamenco, to be held 6 of May, in which she will compose pieces of a unique and original mosaic that define her as an artist and, a little too, as a person.

Born and raised in Cádiz, at the city's Professional Dance Conservatory, Moreno is already consolidated as one of the mainstays of a generation of flamingos who have learned the technique until they have mastered it., who have sought the details of the masters to define the essence, but they have known how to find their own language without distorting what they are doing, flamenco dancing.

The Revelation Artist Award of the Jerez Festival in 2017, the Giraldillo of the Seville Biennial in 2019 and the Giraldillo Prize for the Magic Moment of the last edition of the Sevillian contest, they are the definitive endorsement of a career forged by teachers like Javier Latorre, Rafaela Carrasco, Antonio Canales and Eva Yerbabuena, being the latter its reference, inspiration and support on your solo journey. With the Yerbabuena company he participates in some of the most emblematic shows of the bailaora and choreographer, and collaborates with great flamenco artists such as Miguel Poveda, Jose Merce, Marina Heredia and Arcángel, among other figures.

In his presentation at Flamenco Real, Moreno will be accompanied by the guitar of Oscar Lago and the cante of Pepe de Pura, next to the palms of Roberto Jaén.

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, Juan Gil's winery, Corporalia and Caballero Ventura Group.

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Piotr Beczala

He Teatro Real will close its cycle of Las Voces del Real with the concert starring the tenor Piotr Beczala, undoubtedly one of the great stars of the world of current lyric, which will take place next Saturday, 1 of May, to 19.30 hours, and in which it will be accompanied by the Head of the Royal Theatre Orchestra under the direction of Łucasz Borowicz.

His care in choosing the repertoire, his vocal flexibility, his mastery of the technique and the color of his voice have made him the great desired by the most important theaters in the world, through which he passes with unusual simplicity and warm treatment.

For your appointment at Madrid, Beczala has had a significant presence of composers from Poland in the program, your country of origin. Authors less known to the general public such as Stanislaw Moniuszko, father of polish opera; Władysław Żeleński, the great representative of neo-romanticism in his country, or the laureate Feliks Nowowiejski, to name a few.

Will not be missing, but nevertheless, arias from operas like Turandot, from Puccini, O Cavalleria rusticana, from Pietro Mascagni, Y Andrea Chenier, from Umberto Giordano, authors with whom the tenor enters the verista territory on the path of natural evolution of his voice, without losing the domain and brilliance of its extensive registry, but now giving it more dramatic expressiveness, as shown in the album recorded last year in which he already makes the roles that are to come his own..

Born in Warsaw, Łucasz Borowicz He has been principal conductor of the Polish Radio Symphony Orchestra between 2007 Y 2015, ensemble with which he made his debut as an opera director with Don Giovanni and has been principal guest conductor of the Poznań Philharmonic 2006.

Pictures of © Javier del Real / Teatro Real

A_Smile_Without_Cat

Inspired by the wonderful tale of Lewis Carroll, Alice in Wonderland, arrive at Real Junior a delicate and colorful proposal for the little ones: A catless smile, new production for him Teatro Real in which they will shake hands dance, theater, music and fantasy, the days 17, 18 Y 24 April 1, 2, 8 Y 9 of May, in double session, to 12.00 and to the 17.00 hours.

For almost an hour, the little ones - the show is designed for children from 4 years- they will recognize many of the characters that intervene in the mythical tale: the White Rabbit, Queen of hearts, the mad hatter and of course, Cheshire's cat, whose smile remained floating in the air when the feline had already disappeared and that surprised Alicia so much.

The show has been conceived by the versatile Ferran Carvajal, responsible for the stage direction, dramaturgy and choreography. Through her unique artistic vision we accompany the protagonist in the discovery of a new world, in which she enters driven by her curiosity and her desire to understand the world, through an overflowing fantasy.

They complete the artistic team Elisa Sanz, creator of the scenery and costumes; Eduardo Bartrina, in the lighting and the dancing performers Daniel Arancibia, Sara sanz Y Anna Serra.

The music of José Luis Greco, path and soundtrack of this story, will be played by the violinist Alejandro Gonzalez Romero, the piper Olga Ramón Chiquero and the percussionists Robert Úbeda Bordería Y Elezar Higuera Barragan, all of them soloists of the Youth Orchestra of the Community of Madrid.

Peter Grimes

Between 19 April and 10 of May, Royal Theatre offer 9 functions from Peter Grimes, Benjamin Britten, new production The Royal Theatre in co-production with the Royal Opera House, London, the Opéra national de Paris and the Teatro dell’Opera di Roma.

In this masterful opera, the inhabitants of a small coastal town, whose hard life passes under the relentless influence of the sea, they face, they sentence, They slander and humiliate a sullen and violent fisherman who clumsily yearns to integrate into that society that despises him. The question that beats throughout the entire drama - is Peter Grimes the murderer of a child??- triggers many other, of great depth, to which Britten does not answer, though his music always treats marginalized and lonely beings with poignant compassion.

When in 1941, during world war II, Benjamin Britten (1913-1976) and his inseparable partner, the tenor Peter Pears, they were in california, discover the work of the English poet George Crabbe (1754-1832) what, as Britten, he was born in a town on the Suffolk coast, scene of all his stories. Such was Britten's identification and empathy with that world so close and longed for, who decides to return to England driven by a revealing feeling of belonging and roots that lead him to take up residence, forever, in those lands on the shores of the North Sea. The unfortunate Peter Grimes also lives there, poem character The Borough, the Crabbe, that Britten decides to transform into an opera, sketched, with the help of Pears, during the boat trip that the two made back to their homeland.

In England, where homosexuality was penalized, A difficult life awaited them in which they would have to hide their love from the well-thought-out society. This fact underlies the opera and almost all of Britten's operatic production., starring unfathomable beings, dark, generally opposed by innocent victims.

To show the drama of Peter Grimes in all its rawness, stigmatized in a society that creates its own monsters, Deborah Warner, with the complicity of the set designer Michael Levine, has set the drama in a very poor town on the Suffolk coast. There they remain the same line of the horizon, the fury of the sea and the pebble beach that inspired Crabbe's poetry and Britten's opera. But the misery and helplessness of its people today are fundamental in the staging, in which Warner's meticulous work stands out, that always explores the psychological depth of the characters.

For this, it has a cast in which the debut stands out, in their respective roles, tenor Allan Clayton (Peter Grimes) and the soprano Maria Bengtsson (Ellen Orford), and the return to the Royal Baritone Theater Christopher Purves (Captain Balstrode), star of the world premiere of The Perfect American, de Philip Glass, in 2013 and Written on Skin, George Benjamin, in 2016.

Two interpreters who performed in Billy Budd in 2017: Jacques Imbrailo, opera protagonist in 2017 and now playing the role of Ned Keene, Y Clive Bayley como Swallow. Accompany them Catherine Wyn-Rogers (Auntie), John Graham Hall (Bob Boles), Rosie Aldridge (Mrs. Sedley), James Gilchrist (Rev. Horace Adams), Barnaby Rea (Hobson), Rocío Pérez (first niece) Y Natalia Labourdette (second niece).

He Titular Choir of the Teatro Real, prepared, as usual, by director Andrés Máspero, has in this opera an important role both musical and dramaturgical. He will perform alongside the Head of the Royal Theatre Orchestra, under the direction of its musical director Ivor Bolton.

Benjamin Britten has occupied a privileged place in the Royal Theater's programming since its reopening. In 1997, two months after reopening, Peter Grimes got a great success, in a production with stage direction by Willy Decker from the La Monnaie Theater in Brussels, with its titular choir and orchestra conducted by Antonio Pappano. They have followed him Summer night Dream (2005/2006), The rape of Lucretia (2007/2008), Another twist (2010/2011), Death in Venice (2014/2015), Billy Budd (2016/2017), Gloriana (2017/2018) and children's works The Little Sweep (2004/2005, 2005/2006 Y 2007/2008) Y Noah's flood (2007/2008).

All these works attest to the immense musical and dramaturgical talent of Benjamin Britten as an operatic composer., who has expressed through his characters the dramas, dreams, traumas, deepest and most unspeakable passions and concerns of the individual, with deep compassion for the miseries of the human condition.

Photograph © Javier del Real | Teatro Real

Patio Armchairs

In the framework of opening to other audiences, he Teatro Real launches on his YouTube channel Adventure in the Real, an initiative for all audiences starring youtubers and popularizers Jaime Altozano Y Tue, both members of the Young Committee of the Royal Theater, Who, through an interactive video game, they will explore and discover the different areas of the theater and their secrets, offering the winners the possibility of participating in a final draw for different prizes related to the world of music and lyric. The contest will remain active until 20 of April.

This is the first initiative within the project to intensify informative content in the YouTube channel of the Royal Theater aimed at all audiences but, in a special way, to new audiences and to those who are starting in the world of opera.

One of the highlights of this project will be the broadcast on the YouTube of the Royal Theater of encounters with artists and creators and of some of the most emblematic titles in the history of the Theater such as La traviata, Lucia of Lammermoor, The Troubadour, O Madama Butterfy.

The offer of operas in streaming is part of the ambitious informative and audiovisual policy of the Teatro Real, what has in MyOperaPlayer, pioneer platform in Spain in lyrical audiovisual broadcasting, its main asset and that is sponsored by Telefónica Y Endesa. The platform allows access to a wide video library, more than 150 Titles, which is enriched with monthly releases and live broadcasts of operas.

Likewise, the Theater will launch new collections within its page at Google Arts & Culture, platform of which it is part since its launch in Spain in 2015. A new content will be developed throughout this year, images, videos and activities that will complete the online exhibition of what is considered the first Spanish institution of the performing and musical arts, and “Quiz” type initiatives in which the keys and curiosities of the creative processes that take place at the Real will be revealed., since the creation of a show (studies, essays, technical preparations) to artistic experiences or historical details.

For those who take their first steps as curious or fans of lyric and stage music, special contents have been prepared called Unwritten Concepts and Rites in the Opera Experience.

At present you can access the virtual tour that explores a large part of the 77.000 m2 of the building, thanks to Street View technology, that captures high quality 360º images, and that travels so much through public spaces (living room, salons) as for inaccessible places like the stage, the workshops, rehearsal rooms and roof, from which you can enjoy the spectacular panoramic view.

Teatro Real

After the effort of presenting simultaneously Siegfried Y Rule, arrives at the Teatro Real, the next 19 of April, the long-awaited premiere of the new production of Peter Grimes, Benjamin Britten, co-production with the Royal Opera House in London, the Opéra national de Paris and the Teatro dell’Opera di Roma.

 

The change of dates of the premiere -of 8 al 19 April - has been due to different factors: the delay in the incorporation of the artists to the rehearsals caused by the mobility restrictions and the bureaucratic obstacles of Brexit (most are british) and also to a complete readjustment of all tests.

 

A) Yes, the 9 functions from Peter Grimes the days will take place 19, 22, 24, 27 Y 29 April 2, 5, 7 Y 10 of May, to 19 hours (Sundays, to 18 hours), what will affect the next opera, Lessons in Love and Violence, George Benjamin, that will be moved to another season.

 

Although during 3 weeks the trials of Peter Grimes have been developed in the staging room, the ballet hall and the choir hall, The only space that has been considered ideal to bring together all the artists and the technical production team - and to carry out as many rehearsals as possible - is the stage.

 

This fact has made it necessary to suspend rehearsals in the different rooms of the Theater until the set of the opera has been mounted on the stage., after the eviction of the scenographies of Rule Y Siegfried.

 

Once again, the Teatro Real has been forced to reorganize all its activity to adapt to the guidelines of its Medical Committee and to the mobility limitations of the artists..

 

Peter Grimes, with musical direction Ivor Bolton, stage direction of Deborah Warner and scenery of Michael Levine -The same artistic team from Billy Budd, Benjamin Britten also, which triumphed in 2017 - it is the most important new international co-production since the start of the pandemic, not only for the excellence of its artistic team, but because it is co-produced with three of the most relevant European theaters, who will present the opera later.

 

The production will star a select cast, mostly British, in which the tenor's debut stands out Allan Clayton in the title role. At his side, the Holder Choir Theater Real prepared, as usual, by director, Andrés Máspero, that will act together with the Head of the Royal Theatre Orchestra.

Yolanda Osuna

With a dance rooted in the Cordovan tradition, sincere and solemn, comes to Real Flamenco Yolanda Osuna. His dance full of color, inspired by tradition, but always in search of synergies that connect and involve the viewer, is shown full of light in IRRADIA, the new show that he now presents at the Teatro Real.

Educated at the Córdoba Dance Conservatory, where did you graduate with 18 years, He has completed his training with artists such as Matilde Coral, Milagros Mengíbar or Blanca del Rey, to which Flamenco Real paid tribute in its third season. Winner of the ‘Antonio Hidalgo’ award in the Lucena National Fandangos Contest and ‘Young flamenco’ award from the Córdoba Provincial Council, among others, and has been a finalist in the National Flamenco Art Contest of Córdoba and in the Cante de las Minas de La Unión Contest.

He has participated in the most prestigious theaters and flamenco festivals both in Spain and abroad and has been part of Javier Latorre's company in the show "Rinconete y Cortadillo". Your stop at the Teatro Real de Madrid in 2016, with the show of Las Minas Puerto Flamenco, marks the beginning of his experiments between the more traditional flamenco and other artistic disciplines, making forays into contemporary dance, plastic art, interactive technology and performance, expanding the flamenco range with multidisciplinary resources to express their art.

In IRRADIA, Yolanda Osuna will feature singing and guitar from Ricardo Fernández del Moral, as guest artist; voice Bernardo Miranda, the guitar of Miguel Perez, the palms of Beatriz and Lorena Osuna, and the touch of the percussion of Roberto Jaén.

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Rule
Vincenzo Bellini (1801-1835)
Lyrical tragedy in two acts
Libretto by Felice Romani, based on the work Norma, or infanticide (1831) Alexandre Submits
New production of Teatro Real
D. musical: Marco Armiliato
D. scene: Justin Way
Scenographer: Charles Edwards
Costume designer: Susan Willmington
illuminator: Nicolas Fischtel
Choreography: Jo meredith
D. choir: Andrés Máspero
Distribution: fiber Gerzmava, Annalisa Stroppa, John Osborn, Fernando Rado, Berna Beads, Juan Antonio Sanabria Arrives at the Teatro Real Norma, Bellini, in a new own production. He does it coinciding with Siegfried, Wagner, who did not exactly like Italian opera and who, but nevertheless, showed great admiration for the Italian master. Specifically, Norma was one of the works in which the German master showed the greatest interest. Norma transcended the bel canto, had some new elements full of romanticism and expressive capacity. The Bellinian declamato-cantato that in Norma reached its maximum expression, where arias are no less important than dialogues and manner, almost mourning, in which the different characters faced each other through duets and triplets, thus leaving aside the traditional succession of virtuous arias that defined the Italian opera tradition up to that time. The characters of this work, especially its protagonist Norma, they have multiple faces. Some even contradictory, what gives them that enigmatic halo that fills the plot with intrigues and romantic situations, with which Bellini and his librettist Felice Romani tried to make their audience cry with emotion., Justin Way's scenography repeats the now classic theater within the theater, located in pre-reunification Italy. But the scenery, which is full of originality and numerous nods to the decorations of 1831, when it premiered on the Milan Stopover, There is some confusion between the two scenes that are combined and that are not very well differentiated.Marco Armiliato has been commissioned to replace Maurizio Benini. The change may have gained in loudness and volume, but maybe it has lost nuances and delicacy. Norma is one of those operas par excellence, that define by themselves what this genre is.

The score is of great richness and, at the same time, simple. His orchestration is of great delicacy. He does not intend to accompany the singer, but to serve as a delicate mattress. This is undoubtedly one of your greatest difficulties when dealing with it, both for the orchestra and for the singers.

On this occasion the Royal Theater presents two high-rise casts. In this dress rehearsal we witness a second of extraordinary level that promises performances of great interpretive quality. It is the first Norma that the Russian Hibla Gerzmava faces and approaches it with courage. Has a good volume of voice and great drama. In addition to that lightness that the character demands, shone in the duet with Adalgisa, in which they pasted to perfection.

Annalisa Stroppa's Adalgisa is undoubtedly the most clearly bel canto voice of the cast. His singing line is very well defined, phrases delicately and with Bellinian intention. Draw an Adalgisa full of sensitivity and expressiveness. Elegant always on stage, stood out in the duet with Norma and the triplet of the second act, achieving some moments of brilliant lyricism. Not for nothing is an experienced Adalgisa.

Another of the most accurately bel canto voices is that of the Polione of the American John Osborn. His vocal characteristics are very suitable for the character and for this style of Bellinian declamation..

The rest of the cast is at high altitude. The destacar is Fernando Radó, as Orobeso. Well the Clotilde by Berna Perles and the Flavio by Juan Antonio Sanabria.
The Royal Theater is right with this work of the classical repertoire that is a respite for the amateur after having attended the endless and decontextualized Siegfried.

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

Teatro Real

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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We interview Annalisa “Adalgisa” Stroppa.
She arrives with her mask and behind her a big smile, there is life on the street, The sun has risen and he is about to have a coffee on a terrace. Something very different from what happens in his native Brescia. It is his tenth production of Norma, but for her it's like the first time. And it is that nothing is the same, tampoco para Annalisa Stroppa, a purely bel canto Adalgisa capable of describing with her voice all the colors of the emotions that her character experiences on stage.: Annalisa Stroppa arrives at the Royal Theater to interpret Adalgisa en la Norma, Bellini, a composer you have a weakness for. What attracts you so much about this composer?Annalisa Stroppa: Adalgisa is a character that I love and like for different reasons. The first is Bellini's writing style. Besides being my favorite composer, always puts the voices above everything. The expressiveness that can be in each word, for him is the first. No one like Bellini has given so much importance to sound, at the half voice, to the legacy y to the declaimed, already known as bellinian declamate. But Bellini scores are not easy. Singers must behave like athletes. Different voice colors are necessary to express the text and Bellini allows a lot of freedom of expression - this is one of the reasons why Wagner admired Bellini so much. For this unique Bellinian writing. Therefore, for me it is extraordinary to be able to use the voice to express in this way, coloring each word. For Bellini expression is very important and he accompanies him orchestral in a very subtle way. This is where the difficulty is, in which the orchestra has to support what you say, but not as an accompaniment, but having the same sound and the same intention with which the singer expresses himself.: How is Adalgisa vocally and what difficulties does she have?A.S: Right now I can say that this music is my vocal territory. I feel very comfortable expressing myself through bellcanto and the French repertoire. But Bellini is the closest thing to my vocality right now.
The difficulty that Adalgisa has is its wide tessitura, goes up to Do5. But, if the voice allows it and you feel comfortable, it is perfect. Bellini's scores have a beautiful and inimitable melodic line. With very few notes it grabs your heart, on a character level and also vocally, is the perfect counterpoint to Norma. because they, in the duets and in the cadence, they become the same person. Their voices intertwine and merge into one. and this is magic. They must have great synchronization in sound and expression. When all this happens, the result is spectacular.: How is the character of the Adalgisa that Annalisa Stroppa builds?A.S: Adalgisa is a very pure woman, a woman who always remains true to herself from the beginning of the work, being very respectful with Norma, never betrays her and is always close to her. The role of Adalgisa allows me to play with the expression and the nuances of the voice. At first she shows her effort, your doubts, his suffering. She is so in love with Polione that she is willing to leave her vows as a priestess.. This is a very deep conflict for her, she is in love and, both, wants to maintain fidelity to his God and religious life. This requires great delicacy when expressing it. She fears Norma's reaction when she knows her intentions. Then discover the great humanity of Norma who understands her situation. Until he realizes the double life of Norma and Polione and their two children in common. How many colors and expressions are there in this argument!. And Bellini allows us to translate the color of love with her voice, of humility, of despair ... All this is in the music of Bellini. Until in the duet of the second act, is loyal and consistent with Norma. He will stay with her so that she can reunite her family and return to Polione. This is of a very great purity. She remains faithful to Norma because the traitor is Polione.This production of Norma at the Teatro Real is also new to me. It is the first time that I work with the maestro Marco Armiliato and with the Regista Justin Way, that's why it's a new experience. I have also met a wonderful team of colleagues. The work we are doing together is spectacular, even with a mask. It is starting to live again and I am happy.: When facing this character again right now, What new emotions do you have or expect?A.S: Every time I go to sing, does not sing only Adalgisa, also sing a part of me. And especially now, after everything we're going through, of all this suffering that we are all living, of that silence of our interior that now has so much to say ... All these reasons will make my Adalgisa different. Because I return to the stage with the warmth of the public that I miss so much. I know that I'm going to get excited, because what was normal until today, now it's going to be very special. I return to share the emotions and the atmosphere that will be generated at that moment, always different. What I appreciate now is being able to be here. Thanks to the Royal Theater for giving me this opportunity and what I would like is to convey my emotion through my voice. I don't know when I'll sing again, So now I will do it as if it were the first and the last time. Without worrying about anything, just for the excitement of singing again with an audience that shares this emotion with me, that's why my Adalgisa will now be very different from the previous ones. This is the tenth production of Norma in which I participate, and all my Adalgisas are different, for different reasons. The maturity of the voice, the maturity of the person and live it differently. The Norm that accompanies me also influences. I remember with special affection the productions with Mrs. Mariela Devia and Edita Gruberová, for being two historical ladies and great icons of the opera.

B.C: When he leaves the theater, after having given everything for a character like this, How do you free yourself from such an intense rol?

A.S: It is not easy to free yourself from such a character. You feel it so strong in your own skin, that I think until the end of production, even weeks later, be part of you. Because you build it, you live it and you always discover something new that, in the end, you take it with you. They are not two separate people, they are together. It's like a very fun game because, sometimes, The directors, they call me Adalgisa instead of Annalisa (laughs).

I do not have the capacity to live separately the two people. On stage I carry a part of Annalisa with her emotions, his life ... and I translate them into the emotions of Adalgisa. I can't separate them. Sometimes it happens that, after playing a role, you have to quickly start with another, without the time needed to decant, like wine, a new character turning the previous page. When you leave a character you have to say goodbye with respect and say hello, also with respect, to the new character. They are our little creatures, what have you elaborated with time, with love and care to create something special that is part of you and that does not disappear suddenly after the last performance.

B.C: When it comes to a city, as now to Madrid, How is the day to day outside and inside the theater?

A.S: Now it is not easy because what we are living is not normal. You always take care of yourself, you rest, you take care of your voice but, Clear, on the day off I could see friends, to visit a museum, take a walk down the street… For me it has not been a very big change in this aspect but, what is most noticeable is sadness. Here in Madrid I have not felt this change much because the theater people make me feel so good, it's amazing how they take care of you. They are always attentive to all the needs you may have, how do you feel. With this what they show is that all this can be done and can be done well.

Whenever I arrive in Madrid I feel at home. That's why being here for me is so special. I feel very loved and appreciated. If I had to choose another country to live, it would certainly be Spain.

Without a doubt, physical health is very important, but mental and emotional health is also very important and music heals us. It's like a medicine of the soul. There is a large audience that wants to return to the theater and I hope that in Italy a solution can be found very soon, by the public, for us and for the whole family that is on stage, that you cannot see and that you are having a very bad time. The theater is a cog in a machine that works when all parts are present, like life.

B.C: What do you think that Madrid is being almost the only city in Europe that has open theaters?

A.S: It is a miracle!. I, until the last minute before taking the plane to get here, I didn't know if I could come. I didn't believe it, that's why i say, long live Madrid!, that has put music and culture in an important place. Health is important, the economy is important but ... you cannot deprive people of the possibility of dreaming, to live and share emotions, this is part of life. Music is oxygen, it's life. Thank you Madrid for being an example in which others can be inspired, is the demonstration that it can be done. Madrid is an example of how you can move forward.

B.C: In May he returned to the stage in Wiesbaden, How was that experience in a moment as dramatic as the one we were going through?

A.S: March and April were very cruel months in the place where I live. In two months I couldn't sing because at that time there was a lot of suffering, many victims. It was like a war. And the voice participated in this mourning and did not feel the need to sing again.

Wiesbaden has been like a rainbow in the sky after rain and storm. I had this contract for a long time and I thought the recital was going to be canceled. But it was not canceled. Germany decided to perform it without staging and they organized everything. Arriving at Malpensa airport, desert, I started to cry when I saw all the people covered in protective suits, it was all amazing. When i came to germany, his health situation was not so bad and everything seemed like a dream to me. I could not believe it.

The peculiarity is that he had to do the function without a choir and without an orchestra, It was a selection of arias and duets by Carmen and in the dressing room I was alone. He had brought a suitcase with dresses similar to those of the production, but mine. Sang an aria, I went back to the dressing room to change for the next aria but I did everything alone, there was no one to help me or point me out. In the end, the important thing is that the music was there and I was singing. In the theater there were 200 people and it seemed to me that it was full. That day everything accumulated in my heart the previous months came out of me. All the suffering, all the emotions, all reflections, all translated into music. I think this intensity reached the audience because in the end we cried together from the emotion. It's something that I won't be able to forget.

B.C: How are you working now for the future, it doesn't have to be easy to prepare an agenda?.

A.S: No, it is not. The difficult thing is to reorganize all the cancellations that have been all this year. I have performances that had been canceled and now they have been scheduled on dates where I already have other commitments. The situation is complicated to get dates square, despite the uncertainty. But I am a very lucky singer because in these months I have been able to continue working, except March and April, which for me have been months of silence.

Our life was very fast, always running and traveling everywhere and, suddenly, everything stopped. During those months I have had a lot of time to reflect, to enjoy my family. You start to value the little things, those things that are really important. It is strange because we discover things that we already knew but that you observe with another point of view.

B.C: In what special situations have you seen yourself professionally in these months?

A.S: Everything that has happened helps us to resize ourselves. I have sung in streaming in an empty theater and I have cried with emotion. I have sung in the Bergamo cemetery as a tribute to the victims of our land. In April I was able to sing at Easter mass in my city, after two months in which my voice did not want to express itself but, at those moments, the voice is projected. And he does it because he has a reason, it was like a prayer. The voice resumed its way to sing again because, in the end, we do not sing only with our heads. We are used to singing in various situations, but these have been special.

Interview: Paloma SanzAdalgisa-AnnalisaStroppa

Johann Sebastian Jazz

He next weekend ­­–26, 27 Y 28 February­­–, and also him 12, 13 Y 14 of March, will take place in the Orchestra Hall Teatro Real six attractive concerts starring Alexis Delgado and Iñaki Salvador. The two pianists will play a selection of works by Johann Sebastian Bach ­(see program below) merging two interpretive languages: the orthodox reading of an 18th century score and jazz formulas based on a structural framework on which it is improvised.

The music of Johann Sebastian Bach (1685-1750) has come to us through the sheet music, but in his time, and throughout the Baroque period, improvisation occupied a very important part of the performance, so these seemingly divergent worlds are, actually, very nearby. Plus, yet, if we think that Bach has based a large part of his instrumental production on a very general concept of variation, that is to say: of a musical theme germinate ‘mutations’ of it, usually within a complex structural framework. This concept is easily applicable, as well, to the language of jazz.

But beyond these considerations, Alexis Delgado e Iñaki Salvador achieve a perfect musical osmosis, with a complicity and empathy that make their concerts a privileged ‘musical experience’ for spectators of all ages.

PROGRAM

26, 27 February (20:00 hours) Y 28 February (19:00 hours)

12, 13 of March (20:00 hours) Y 14 of March (19:00 hours)

Presentation

Well-tempered harpsichord I: Prelude 24 and If m

Parallel lives

Suite nº 3 for orchestra in D: Aria

Bach greeting

Well-tempered harpsichord I: Fuga and Do m

The pianist in the ocean

Little Prelude in Do m Goldberg Variations: 1st variation

House of mirrors

Well-tempered harpsichord I: Prelude in C M Small Prelude alla bossa in C M

French Suite no 2: German went ragtime

Pianists: Alexis Delgado and Iñaki Salvador

Presentation: Fernando Palacios

Orchestra Hall of the Royal Theater

Rule

Music, drama and emotion will be the absolute protagonists of the stage of the Royal Theater with the arrival of Rule, opera Vincenzo Bellini (1801-1835), of which will be offered 12 functions between 3 and the 19 March in a new production conceived by the stage director Justin Way, with musical direction Marco Armiliato.

Considered one of the top works of the belcanto, its extraordinary melodic beauty masks enormous vocal difficulty, especially in the title role, and with it Bellini manipulates the most fiery emotions of melodrama like no one else. Rule has, Besides, an extraordinary dramaturgy that exposes the characters on different levels and bravely shows feelings and attitudes almost hidden until then in women. Is, maybe, that strong and modern perception of the feminine world that makes this opera one of the most desired titles of the season.

Justin Way set the action inside an old Italian theater with the whole company rehearsing Norma. Abroad, XIX century, which has begun marked by the Congress of Vienna after the defeat of Napoleon, keeps northern Italy under Austrian rule, whose reactionary government provokes the birth of the first nationalist movements. Between both worlds, the two main performers of the show have a secret relationship subjected to personal and social tensions, immersed in a conflict that they do not know how to manage.

The proposal raises a parallel between the plot of the opera and the historical reality of the moment of its premiere in Milan in 1831, offering the viewer the prima donna / Norma duality, Austrians / Romans, Italian choir / patriots ... in a narrative of which he is doubly observant.

The scenery Charles Edwards reproduces the structure of a theater in decline, with old painted backdrops similar to those used by the great romantic ballets, and costumes Sue Willmington draw imaginative clothing for druids and romans, very to the taste of the time, alternating with 19th century figurines for "real" life. Nicolas Fischtel, responsible for lighting, evokes the footlights of the stages of other times, whose warm light contributes to the dreamlike game in which both realities coexist.

Teacher Marco Armiliato, whose sensitivity we could enjoy in Tosca (2004) Y Madama Butterfly (2017) returns to the moat of the Teatro Real to take charge of the Chorus and Orchestra Headlines, along with a double cast led by the Spanish soprano Yolanda Auyanet - who we listen to at Real as Vitellia in La clemenza di Tito (2016); Mimi in Bohemian (2017) and Liu in Turandot (2018)- and Russian fiber Gerzmava, interpreter of Leonora in The Troubadour del Real in 2019.

The leading trio is completed by the tenors Michael Spyres Y John Osborn, embodying the roman Pollione and the mezzo-sopranos Clementine Margaine Y Annalisa Stroppa, giving life to the virginal Adalgisa. The role of Oroveso will be in the hands of the low Roberto Tagliavini Y Fernando Rado.

Around this title, the Royal Theater will offer a new session of approaches in which the main artists of the production will participate and where the aria by Oroveso composed in 1837 by Richard Wagner "in the manner of Bellini", in complicity with the composer of Siegfried, whose performances will alternate during this month with Rule. The appointment will be next Wednesday, 24 February, to 20.15 hours in the Sala Gayarre (which can be attended with limited capacity) Y on line through Youtube channel of the Theater. And the day 14 of March, with the cheerful and carefree tone of family workshops Everyone to the Gayarre!, between potions and spells, they will discover the other side of Norma.

Due to the curfew in force in the Community of Madrid, related to Covid-19 protocols, all functions of Norma will start the 19.00 hours, except for Sunday 7 of March, what will be at 18.00 hours.

PARALLEL ACTIVITIES · NORM

National Archaeological Museum

24 of March, to 17.30 hours. Guided tour: Rule. Come, see, jokes. Conquering rome

Limited capacity. information

Come, see, jokes. This is how Julius Caesar pointed out the speed with which a success is achieved. In this itinerary we move to Roman times to learn how what would end up being one of the greatest empires was forged. A very well structured army, a common language, Roman law and other aspects will be key to the Romanization of Hispania.

National Museum of Romanticism

March. a work, an opera.

Free activity

For a work, an opera, the Museum of Romanticism has selected a set of polychrome figures from its collection, dated to 1840, reminiscent of a scene from the opera in which Norma, knife in hand, enter the room where the children sleep. Polio, meanwhile, with his right hand on his heart, he seems moved in the final scene of the play, at the moment in which Norma expresses before the people her love for Pollio and acknowledges having violated her sacred vows.

Photograph: Javier del Real

Belén López

Real Flamenco continues its journey, in a season dedicated to dance, with two representatives of the purest flamenco expression, sincere and plastic of the moment. The next 26 February, the bailaora Belén López will present his show Flamenca, and Thursday 4 of March, will do the same Ivan vargas with a proposal called Root flamingo.

Born in Tarragona, and no artistic background in his family, Belén López From a very young age, she shows an enormous sensitivity for the show and an unlimited passion for flamenco. At only five years old, she performs in a tribute to Carmen Amaya, during St. George's Day, before two historical names of dance: Antonio Ruiz Soler and Pilar López. Three years later, Ángel Corella invites her to participate in a tribute to UNICEF at the Madrid Theater and, soon, moves to live in the capital, where she regularly dances in different tablaos and begins studying at the Madrid Dance Conservatory.

From that moment on, his career is unstoppable.. For four seasons, since 2001 until 2005, is prima ballerina at the Arena di Verona, He continues as the star of the La Corrala de la danza company and for months he is the leading figure in the Corral de la Morería in Madrid. In 2004 wins the Mario Maya National Flamenco Award, in 2005 is awarded the Newcomer Artist Award granted by the Corral de la Pacheca and in 2016 obtains the Desplante Award 2016 of the Cante de las Minas de La Unión Festival.

In Flamenca, accompanied by the bailaor José Carmona "Rapico" as guest artist, the guitars by Juan Jiménez and Carlos Jiménez, the cante of Antonio Moreno Maya "El Cancu" and Saúl Quirós and the percussion of Rafael Jiménez "The sparks", Belén López will show her most genuine dance, full of strength and temperament, impeccable technique, great creativity and the mark of a youth marked on stage.

The origins of Ivan vargas mark the destiny of a child born in Sacromonte in the bosom of one of the great dynasties of flamenco art, the maya. From his stock he has acquired the knowledge, technique and discipline, established in a long and fruitful trajectory in which, despite the tradition, has known how to move freely and with its own personality.

From work in the most important tablaos in Madrid, where it already stands out with just 8 years, to shows linked to names like Estrella Morente, Niña Pastori or Rocío Molina, the bailaor has shared different artistic projects such as the one carried out in the Seville Biennial of 1992, by the hand of Miguel Bosé, or the show Death in Granada La Fura dels Baus. Then the doors of the international world would open, where his name is recognized as a great bailaor and as a teacher in important flamenco cycles.

At the Teatro Real Iván Vargas offers us Root flamingo, a show woven with own choreographies and of the masters Manolete Y Juan Andrés Maya, in which two generations of dance and cante come together and whose storyline is Granada and the foundations of flamenco in the mythical Sacromonte neighborhood. Vargas, absolute protagonist, will have the participation of the guitar of Luis Mariano, the cante of Joni Cortes Y Kiki Morente, as guest artist, and the percussion of Miguel Rodríguez Hernández "The Cheyenne".

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

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

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

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

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

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

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

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

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

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

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

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

Teatro Real

The next 18 February the second edition of the Young Talents Cycle Banco Sabadell Foundation, an initiative organized by the Fundación Amigos del Teatro Real in collaboration with the Banco Sabadell Foundation and with the participation of the students of the Queen Sofía College of Music. In this second edition, training sessions will be incorporated by some of the musical and stage directors who participate in the productions of the Teatro Real, that will help young musicians to deepen their knowledge of the operas programmed in this season, linking their explanations with the repertoire of the Cycle.

The sessions, that will take place in the Gayarre Room of Teatro Real and the Sony Auditorium of the Reina Sofía Superior School of Music, aim to provide a formative experience and a professional opportunity to the young students of the Reina Sofía School of Music, while offering cultural and artistic content with free access to the Young Friends of the Royal Theater, Students and Young Friends of the Reina Sofía School of Music.

Taking as reference the operas of the Season 2020-2021 The Royal Theatre, the cycle opens with overtures by Wagner, whose opera Siegfried It is being played these days in Madrid scenario.

The second concert will feature a classical and romantic repertoire, de Joseph Haydn to Vincenzo Bellini, in keeping with the opera Rule, on stage during the month of March at the Teatro Real.

The third appointment of the Cycle will offer works by Benjamin Britten, author Peter Grimes, and for the last concert a program dedicated to the musical baroque has been designed, with pieces by Johann Sebastian Bach, Benedetto Marcello and Antonio Vivaldi, the latter from the author of the opera Orlando Furioso, whose premiere will take place next June at the Teatro Real.

CYCLE YOUNG TALENTS FUNDACIÓN BANCO SABADELL

Concert No. 1
Date: Thursday, 18 February, to 19:30 hours
Opera on poster: Siegfried, Richard Wagner
Program:
RICHARD WAGNER: Openings of Tannhäuser, Lohengrin Y Parsifal
FRANZ LISZT: Piano Sonata in B minor
HENRYK WIENIAWSKI: Fantasy for violin and piano on themes from the opera "Faust", Gounod, Op.20

Concerto No. 2
Date: Tuesday, 2 of March, to 20:00 hours
Opera on poster: Rule, de Vincenzo Bellini
Program:
JOSEPH HAYDN: String Quartet in E flat Op.33 nº2
VINCENZO BELLINI: Concerto for oboe and piano in E flat major
ANTONIO PASCULLI: Tribute to Bellini, for English horn and piano
FRÉDÉRIC CHOPIN: Nocturno Op.27, No. 2 in D-flat major; Waltz Op.64 nº3 in A flat Major and Ballad nº4 in F minor, Op. 52

Concert nº3
Date: Thursday, 29 of April, to 20:00 hours
Opera on poster: Peter Grimes, Benjamin Britten
Program:
BENJAMIN BRITTEN: Quartet-fantasy for oboe and strings Op.2, String Quartet No. 2 in C major, On. 36 Y Tears for viola and string quartet, Op. 48

Quartet No. 4

Date: Tuesday, 29 of June, to 20:00 hours
Opera on poster: Orlando Furioso, by Antonio Vivaldi
Program:
ANTONIO VIVALDI: Concerto for Bassoon in G minor, RV 495
ANTONIO VIVALDI / JOHANN SEBASTIAN BACH: Concerto in D major, BWV 972
ANTONIO VIVALDI: Concerto for oboe A minor, RV 461
BENEDICT MARCELLO / JOHANN SEBASTIAN BACH: Concerto in D minor, BWV 974
JOHANN SEBASTIAN BACH: Brandenburg Concerto No. 5 in D major, BWV 1050

LÜ Jia

morning, 12 February China will welcome the Year of the Ox, a date that is traditionally celebrated in a festive way, inside and outside its borders, and that this year will be marked by the restrictions caused by COVID-19, that will limit all activities organized around this date, concentrating all events virtually.

He Teatro Real has wanted to join these celebrations with the broadcast on its video platform, My Opera Player, of the Chinese New Year Concert held in Beijing last 13 in December National Centre for Performing Arts (NCPA), in which his titular orchestra, directed by Lü Jia, played Chinese folk music, Western classics and well-known opera arias.

A) Yes, Next to the Ode to the Red Flag, de Lyu Quiming, and the Honghu Lake Caprice for erhu and orchestra, which featured Deng Jiandong's participation in the delicate oriental instrument, Attendees were able to listen to well-known opera arias such as “Una furtiva lagrima”, of the L'Elisir d'Amore de Gaetano Donizetti; “Thank you, beloved friends ", from Sicilian Vespers by Giuseppe Verdi and the toast of La Traviata, performed by the soprano Hui He and tenor Jinxu Xiahou with the NCPA choir and orchestra.

The concert has also joined the Beethoven Year celebrations by including in the program the Egmont opening and the Piano Concerto No.. 5 in E Flat Major, with Haochen Zhang solo.

The Royal Theater is part of the Silk Road International League of Theaters (International League of American Theaters of Silk Road), cultural platform created by the Chinese government to promote artistic exchange in the field of performing arts between the Asian country and the other member countries, a total of 56, among which are the United States, Russia and France.

My Opera Player has the technological participation of Telefónica and the sponsorship of Endesa.

Siegfried at the Royal

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

Between 13 February and 14 March Teatro Real offer 8 functions Siegfried, from Richard Wagner (1813-1883), third of the four operas that make up the cycle Der Ring des Nibelungen, It is presented in four successive seasons, with musical direction Pablo Heras-Casado and the iconic staging of Robert Carsen Y Patrick Kinmonth conceived for the Cologne Opera, where production has been replenished several times, always with great support from the public and critics.

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

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

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

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

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

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

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

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

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

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

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

Photography © Javier del Real | Teatro Real

Pure flamenco

The next Thursday, 11 February, the Flamenco Real cycle will present the show Of sepia and gold, Audience Award at the XX Festival de Jerez, created and performed by the bailaora from Cádiz Pilar Ogalla and the Jerez Andres Peña, with which they make a portrait of traditional flamenco, danced with depth and a masterful command of each style, in which they will be accompanied by the guitarist Jesús Guerrero and the singers Miguel Lavi and Miguel Soto.

Due to the mobility restrictions implemented in the Community of Madrid, show times have been changed, that will take place to 18.00 hours and 20.00 hours, with the opening of the door of Calle Felipe V half an hour before the start of the show.

Of sepia and gold it has no plot line, does not tell a story. It shows us, like in an old photo album, the history of flamenco dance. Sometimes alone, sometimes as a couple, the expressiveness of the artists and the utmost care in interpretation, together with the dynamism of the different paintings that make up the show, they rescue the pleasure of simplicity, of the dance for the dance.

The bailaora from Cádiz Pilar Ogalla began his training, just ten years old, receiving classes from the teacher Concha Baras to continue her improvement with great names in Spanish dance such as Cristina Hoyos, Eva Yerbabuena and Antonio Canales. Since its debut at the Gran Teatro Falla in Cádiz, in 1982, with the show The streets of Cai, Ogalla has shared the stage with historical figures such as Camarón de la Isla and Manuel Carrasco until he starred, in 2006, his first solo show, Time crazy.

The gypsy blood of Andres Peña and his tanned dance in large tablaos such as Café de Chinitas, or in the companies of Eva la Yerbabuena or La Chunga, make him an exceptional dancer. In the year 2000 he won the Young Performers Award at the Seville Biennial and it was from this moment on that he launched into his solo career with the show Peña, with which he tours the great important international flamenco festivals.

When both dancers are in 2006, something more than a collaboration that lasts until today is born and is a sample of the purest flamenco identity. Tradition and elegance have marked a journey that never stops looking to the future without renouncing the legacy of its roots..

REAL FLAMENCO, in co-production with SO-LA-NA Entertainment, It is adapted to current health safety regulations, replacing the previous format. Shows take place every two to three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the sponsorship of the Ership Group and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, Juan Gil, Corporalia and Caballero Ventura Group.

stories in the warmth of home

In these days of cold and rain, the doors of Teatro Real open to bring the whole family together in a warm environment in which to enjoy the old stories from the hand of the Grimm brothers and the czech company Karromato what, with its string puppets and its shadow theater, will return us to the tradition of Tales in the heat of home.

Eight functions will be offered spread over this weekend, Saturday 24 and Sunday 25, and the next, Saturday 30 and Sunday 31, to 12 and to the 17.00 hours, all of them in the Sala Gayarre.

Karromato recovers the original tales, no versions or adaptations, leaving the narration in the power of the communication of puppets and music, performed on this occasion by the violinist Silvia Romero and the pianist Duncan Gifford who will turn Robert Schumann's music into “words”, creating a magical atmosphere of singular beauty.

Through these stories children are taught to overcome fears, to face the challenges that life presents, to discover the secrets that are hidden in everyday life, which will be your tools of the future. They thus recall the times when the elderly transmitted tradition and wisdom to children and youth., in the form of a fable.

Karromato is a European Puppet Company based in Prague. Its members come from Spain, Hungary and the Czech Republic, united by interest in the traditional string puppet technique, in whose construction and manipulation they are involved from 1997, working the wood and taking great care in the details.

As in other shows of Royal Junior, an interesting educational guide with information about the show is available on the website, historical details and games and activities designed to be done in a participatory way at home, before or after the show. It is already available at the following link: Tales in the heat of home.

Production by Karromato with the collaboration of the Czech Center of Madrid

ARTISTIC TEAM

Idea and Direction: Karromato Company

Music: Robert Schumann

Musical adaptation: Marko Ivanovic

Scenographer: Luis Montoto

Puppet builder: Jan Ruzicka

Shadow designer: Ettore Battaglia

Violinist: Silvia Romero Ramos

Pianist: Duncan Gifford

It Dance

The following days 22, 23 Y 24 from January, the company IT Dance, directed by Catharine Allard, will be presented at the Teatro Real to perform four choreographies by young creators, with different personalities and concepts, whose names already occupy a place, own right, in the world of dance: Kaash (Akram Khan), The Prom (Lorena Nogal), In rememberence (Sidi Larbi Cherkaoui) Y Whim (Alexander Ekman).

Due to the new mobility restrictions implemented in the Community of Madrid, have been modified show times of the Saturday 23 from January, that will take place at 17.00 and to the 20.00 hours. The dates scheduled for the premiere are kept, Friday 22, to 19.30 hours, and Sunday 24, to 18.00 hours. The show will take place fully and without rest, except for the short pauses necessary between each choreography.

IT Dance is a pedagogical project created in 1996 by the Barcelona Provincial Council Theater Institute, as a postgraduate course for the improvement of training of young dancers and ballerinas. The company, Made up of a maximum of 18 dancers, He has premiered choreographies by both new authors and renowned creators, achieving a very diverse repertoire that shows that contemporary dance is experiencing an exciting creative moment, with a constant redefinition of its expressive codes and an enriching approach to other artistic languages.

Akram Khan I believe Kaash like a meditation, as an evocation of the origin of the world inspired by the Hindu gods and their cycles of time. In it she intertwines the language of contemporary dance and that of Indian classical dance Kathak, through dizzying turns, resounding movements and great gestures with which he leads the dancers to represent life and death, the painful destruction and rebirth, the creation.

The choreography unfolds to the beat of Nitin Sawhney's score, specially conceived for this work, and framed in the scenic design of Anish Kapoor, building an indissoluble whole that leads the viewer to merge with the dancers and the telluric force of the universe. Since its premiere in 2002, Kaash was the first major international recognition of Akram Khan.

Lorena Nogal, trained as a dancer at the Barcelona Theater Institute and at the IT Dansa company, performs with The Prom a dynamic drawing, colorful and humorous of a prom that you are reluctant to attend. An aversion to parties, that she portrays with benevolence and surpassing herself, through jovial encounters. A young look for a young company, full of details and wit that demonstrate the talent of this award-winning dancer and choreographer. IT Dansa represents this work for the first time in July 2018, within the framework of the Grec Festival in Barcelona, and makes it part of his repertoire.

From the memory of those who are no longer, almost like a tribute, an ode, a rescue from oblivion, this choreography of Sidi Larbi Cherkaoui, In rememberence. Inspired by your ancestors, at a time of loss of several members of your family, Belgian creator reflects on who we are and what we become; the unreality of the memory makes them present in the absence and helps us to understand ourselves. This duality manifests itself in an almost ritual dance, where the dancers play a polarization game, attraction and repulsion, of what is and is no longer.

Cherkaoui creates this piece in 2004 counting on the musical collaboration of A Filetta, vocal training of Corsican origin, whose performances and compositions are inspired by the oral tradition of the French island, in sacred or profane songs, in the roots of their culture, which reaffirms this idea of ​​connection between the present and the past that is the germ of this choreography.

Close the program Whim, swedish choreography Alexander Ekman, also responsible for the costumes, who, about an eclectic musical selection that walks from Vivaldi to Nina Simone, and in close collaboration with It Dansa, makes a portrait of human emotions. In a timeless space the dancers describe the future of any of us, between joy and bitterness, the worry, the equilibrium, fatigue ... movements of contemporary contemporary dance, with fast beats, smart transitions and a brilliant sense of humor.

Whim is, according to Ekman, "funny, but not really fun… sad, but not really sad… nice, but not really nice ". The best way to close a great night of dance.

Photograph: Franck Thibault

Red amador

The Sevillian bailaor Amador Rojas (The palaces, 1979) come back next thursday, 21 from January, to the Royal Flamenco cycle of the Teatro Real. Accompanied by a splendid artistic picture, in which the flamenco guitarist appears Antonia Jimenez, the singer Inma "La Carbonera" and the instrumentalist Sergio de Lope, will travel the flamenco styles with the common thread of love and heartbreak.

"Love dancing", that opens in Madrid, is the first show of 2021 of this third cycle, in which until 19 of July artists such as Andres Peña Y Pilar Ogalla, Belén López, Yolanda Osuna Y Antonio Canales. In this flamenco musical dedicated to "the sorrows of the soul and heart and their joys", Rojas reels styles like the soleá, the alegrías and the tangos, with those who "complain" of betrayal and celebrate the happiness of falling in love.

The butterflies in the stomach and the endless desolation are the two extremes that support "Loving dancing", a forest of emotions in which the protagonist makes the end of the traditional festival of flamenco shows the allegory of the rebirth of a new love in the new love.

This pure gypsy began to dance at the age of seven by the hand of Farruco, but she could never take classes because she couldn't afford them. However, to the 12 He already danced as a soloist and created his own choreographies.

To the 16 years he joined the company of Salvador Távora, in which he spent five years touring the world with the production "Carmen". Then he was part of Eva Yerbabuena's company, with which he participated in shows such as "A cuatro voz" or "Cinco mujeres". Shortly after Antonio Canales would give him the leading role in shows like "La casa de Bernarda Alba" or "Mano a Mano".

Already with his own company he mounted "Kahlo Caló", based on the life of Frida Kahlo, a show for which he received the award for Revelation Artist of the Seville Flamenco Biennial of 2008.

The following year he released "Mandala", a mixture of tradition and flamenco avant-garde on the twists and turns of life that has been represented in the United States, France and Brazil.

In the show that the day presents 21, Amador Rojas -that inaugurated the first edition of FLAMENCO REAL with “Poseidón y el hombre” in 2018-, will be accompanied to the cante by the Sevillian Inma "La Carbonera" (1971); the guitarist from Cádiz Antonia Jimenez (1972); the flute player and saxophonist from Córdoba Sergio Lope (1985) - “Filón” award from the Cante de las Minas festival in 2017- and the percussion of the also Cordoba Lolo Plantón (1984).

In this third edition, REAL FLAMENCO, in co-production with SO-LA-NA, adapts to current health safety regulations by changing the configuration and structure of the entire cycle. A) Yes, the old format, with chairs and tables with Spanish wine, like a tablao, It has been replaced by armchairs arranged in a semicircle, like an auditorium, of which they will hardly take care 130 seating (40% of the total capacity), keeping the proper safety distance. Also the schedules of the performances have been affected, getting ahead of 18.30 hours and 20.30 hours, with the opening of the door of Calle Felipe V half an hour before the start of each show.

Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

El Yiyo has already passed through the third cycle of Flamenco Real, El Choro and Eduardo Guerrero, that replaced Alba Heredia, sick due to a fall. After Amador Rojas Andrés Peña and Pilar Ogalla (11 February), Belén López (26 February), Ivan vargas (4 of March), Yolanda Osuna (25 of March), Maria Jose Franco (15 of April), Maria Moreno (6 of May), Antonio Canales (20 of May), Mercedes of Cordoba (3 of June), Angel Muñoz (24 of June), Macarena Ramirez (8 of July) Y Sergio Lope (29 of July).

Teatro Real

Due to the exceptional meteorological situation and following the recommendations of the authorities and emergency services, he Teatro Real has decided suspend the function of Don Giovanni scheduled for today saturday, 9 from January, to 19.30 hours.

Likewise, The family functions of the Todos a la Gayarre cycle are canceled scheduled for tomorrow, Sunday 10 from January, to 12.00 and to the 17.00 hours, and the session of Opera in Cinema, which was to take place in the main hall at 11.00 hours.
The Royal Theater will proceed to refund the amount of the tickets throughout the month of January to all buyers and subscribers, by the same means of payment for which they were acquired. It will not be necessary to request said return, since it will be done automatically.

The world premiere of the opera Marie, by the Madrid composer Germán Alonso and the Alicante playwright Lola Blasco, that was to be held this afternoon at the Abbey Theater, remains postponed to next Tuesday, 12 from January, to 19.00 hours. Tomorrow's show, Sunday 10 from January, It is also postponed to a date yet to be determined, but of which we will inform as soon as possible.

We apologize for the inconvenience these changes may cause and have been made to protect security., both the public and the artists and staff of the Theater.

Photograph: Javier del Real

Premiere Marie

Due to the exceptional meteorological situation and following the recommendations of the authorities and emergency services, this Saturday 9 January and tomorrow Sunday 10 January the functions of Marie planned at the Teatro de La Abadía, to avoid risks to the public, the artists and the theater team.

The premiere scheduled for today is postponed to Tuesday 12 to 19.00 hours. For tomorrow's suspended show, shortly we will communicate alternative dates and we will contact the spectators.

Photograph: Javier del Real

More information

DiDonato

13 from January, to 19.30 hours, mezzosoprano Joyce DiDonato, accompanied on piano by Craig Terry, will perform an eclectic program, from Haydn to cabaret songs.

14 from January, to 19.30 hours, the tenor Jonas Kaufmann, junto al pianista Helmut Deutsch, will present a wide selection of Songs german and songs.

15 from January, to 19.30 hours, the tenor Javier Camarena, Titular Orchestra of the Teatro Real, under the direction of Iván López-Reynoso, will offer arias from the bel canto repertoire.

The three concerts make up the cycle Opera Star Festival, with special advantages for the acquisition of seats.

The Royal Theater will offer concerts on three consecutive days starring three of the most important lyrical singers of today: mezzosoprano Joyce DiDonato (13 from January) and tenors Jonas Kaufmann (14 from January) Y Javier Camarena (15 from January).

The three singers will perform different and complementary programs, with a repertoire that reveals the artistic territories in which they currently stand out in their respective formats: two piano recitals (DiDonato y Kaufmann) and a lyrical concert with orchestra (Camarena).

The versatile mezzo-soprano Joyce DiDonato, much loved by the public of Madrid, will perform works by Joseph Haydn, Gustav Mahler, Johann Adolph Hasse y Hector Berlioz, in the first part and cabaret songs, in the second, with pianist Craig Terry, with which he won a Grammy award for "Best Classical Solo Vocal Album" for the album of Songplay.

Jonas Kaufmann returns to the Royal Theater with a concert dedicated mostly to the Songs German, accompanied by Helmut German, one of the deepest and most sensitive pianists in this type of repertoire. Together they will perform an extensive program with works by Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Robert Schumann, Felix Mendelssohn, Franz Liszt, Johannes Brahms, Friedrich Silcher, Alexander Zemlinsky, Piotr Ilich Chaikovski, Hugo Wolf, Gustav Mahler, Richard Strauss, Carl Boehm, Antonín Dvořák and Edvard Grieg.

Javier Camarena will act alongside the Head of the Royal Theatre Orchestra, under the direction of Ivan Lopez-Reynoso, interpreting arias from The Italian Girl in Algiers Y Ricciardo and Zoraida de Gioachino Rossini; from Dom Sébastien, King of Portugal, Two men and a woman, Don Pasquale Y Roberto Devereux, de Gaetano Donizetti; from Romeo and Juliette, Charles Gounod, Y King D’Ys, by Édouard Lalo.

Photograph: Javier del Real

Marie

The next 9 from January will take place in the Theater of the Abbey he World Premiere from Marie, ‘Contemporary tragedy’ that arises from the collaboration between three renowned artists born in the 80: the composer from Madrid Germán Alonso (1984), the Alicante playwright Lola Blasco (1983) –National Prize for Dramatic Literature, 2016- and the Sevillian stage director Rafael Villalobos (1987) –Arts and Letters Award from the Princess of Girona Foundation, 2019.

The production - the first collaboration between the Teatro Real and the Teatro de la Abadía - proposes an investigation into the murder of a prostitute at the hands of her partner through the story of several characters and the author's reflections, that analyzes homicide from different perspectives, giving visibility in Marie to all Marie, forgotten and nameless victims who constitute the axis of the tragedy.

THE GENESIS OF THE WORK

The stage manager Rafael Villalobos, impressed by the musical potential of the playwright's texts Lola Blasco -Who have you worked with since you met at RESAD (Royal School of Dramatic Art of Madrid)- prompts you to write an operatic libretto, introducing the composer Germán Alonso, who had already premiered his first chamber opera, The Sins of the Cities of the Plain.

Lola Blasco proposes to both the creation of a work that investigates the character of Marie in the work Woyzeck, from Georg Buechner (1813–1837), whose homicide, at the end of the original drama, It is treated just like the epilogue of the unfortunate life of the protagonist, humiliated, used and reviled by all, generating in the public an empathy so great that the murdered woman goes almost unnoticed.

With the support of the BBVA Foundation, that awarded Lola Blasco one of its Leonardo Scholarships to Researchers and Cultural Creators, the playwright was able to write the opera libretto in close collaboration with Germán Alonso and Rafael Villalobos.

THE BOOKLET

An author - alter ego of Lola Blasco, whose reflections appear in the work recorded with his own voice - he intends to write an opera libretto focused on the reasons that led soldier Woyzeck to murder his partner. Spinning his meditations, intuitions and conjectures with the statements of the various witnesses, reconstruct three different scenarios for the same crime.

In the dramatic structure of the play, conceived as a way of the cross of the protagonist, three planes intertwine, corresponding to three times and three different languages: the present, with the author's reflections while investigating the murder (electronic engraved text); the remote past, with the memories of the characters who have lived with Marie (theater); and a 'revived time', with the triple recreation of the murder scene (operatic language).

For the construction of the characters Lola Blasco has scrutinized not only the drama of Büchner, but also operas Wozzeck Y Lulu by Alban Berg, the literary myths of Otello a Carmen, from the Bible to Goethe, that appear explicitly or hidden in the future of the drama.

THE MUSIC

The sung parts of Marie they are written for countertenor and soprano, –Xavier Sabata Y Nicola Beller Carbone (Jordi Domènech Y Valentina Coladonato, he 10 from January)–, whose voices are used in all their registers: natural voice, imposed and vocal fry.

In addition to electronic music and prerecorded texts with the voice of Lola Blasco that appear throughout the work, the score assembles different musical sources, from baroque to rock and electronics, in a fluid sound osmosis that highlights the use of elements from Alban Berg's operas and quotes from recognizable or submerged themes that have inspired the composer.

In his second stage work, German Alonso retell the ensemble OCNOS Project, this time with Diana Muela (flute), Olga Morral (accordion), Pedro Pablo Chamber (saxophone), Gustavo A. Dominguez Ojalvo (bass clarinet) Y Pedro Rojas Ogáyar (electric guitar), who use all the potentialities of their instruments at the service of dramaturgy.

THE PRODUCTION

Starting from opera as a genre intrinsically linked to Greek tragedy, understood as an amalgam of artistic expressions with a vocation to become a social tool, Rafael Villalobos raises production based on a work of registered person, that explores the vocal and physical limits of the performers while delving into the concept of the sublime, placing beauty as the main channel of communication with the public.

The play, articulated like Marie's Stations of the Cross –with her three deaths that emulate the three falls of Christ– takes place in a symbolic space specifically designed for the arches of the Abbey Theater by Emanuele Sinisi. Chaired by a versatile and omnipresent cross, with the accomplice lighting of Felipe Ramos, helps the metamorphosis of the various characters that enter and exit along the 14 'Stations' of the tragedy.

Avoiding the moral and any space-time anecdote, the production aims to provide a space for reflection on gender violence, in which the public, situated in front of a complex reality, is confronted with the tragedy of Marie, of so many Marie, with the unspeakable and profound mediation of Art, the conjunction of all the arts.

Photograph: Javier del Real

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Don Giovanni
Wolfgang A. Mozart (1756-1794)
Playful drama en dos actos
Libretto by Lorenzo Da Ponte, based on the Trickster of Seville (1616) de Tirso de Molina y en el libreto de Giovanni Bertati for the opera Don Giovanni Tenorio or the stone guest (1787)
Production of the Berlin Staatsoper, from Salzburger Festpiele
Teatro Real, Madrid 29 December 2020
D. musical: Ivor Bolton
D. scene: Claus Guth
Responsible for the replacement: Julia Burbach
illuminator: Olaf winter
Dramaturgy: Ronny Dietrich
Choreographers: Ramses Sigl
D. choir: André Máspero
interpreters: Adrian Eröd, Goran Juric, Adela Zaharia, Airam Hernandez, Federica Lombardi, Marco Mimica, Cody Quattlebaum, Marina Monzó
Titulares Choir and Orchestra of the Teatro Real Personally I have to say that I have had bad luck with the Don Giovanni that I have attended. So unlucky I think this is the best I've ever seen. And I also have to admit that a few contradictions arise after seeing the representation. Some things I like a lot, other, less. But if you look at the whole, in all elements (which they are few) that make up this production, I can say that I left the Theater happy after having enjoyed Don Giovanni seems to have some kind of curse in Madrid, because the representations that have been made of him in recent decades have not been exactly brilliant. La de Claus Guth, which premiered in 2008 at the Salzburg Festival and now arriving at the Royal Theater, Since then he has been on stage with enough dignity. It is also the only Mozart opera that remained in the repertoire since its premiere in the Romantic period., when the rest had disappeared from the programming.There are two versions of Don Giovanni, the Prague of 1787 and Vienna in 1788, which is the one represented on this occasion, although the final sextet and the duo between Zerlina-Leporello have been dispensed with. How Mozart wrote for singers, adapted the Vienna version for the Austrian soprano Caterina Cavalieri for the role of Elvira, one of the most famous singers of the moment. He did the same with the role of Don Ottavio, which in Vienna was played by Francesco Morella, for who wrote the aria of Il mio tesoro, a tenor with more skill and facility for coloratura than Antonio Baglioni, which premiered the version in Prague.Guth has created a forest of extraordinary realism. Rotary, how could it be otherwise in the case of the German director. The forest ... that place where we hide or love each other. A place where we can feel fear, we get lost and worry, but where emotions are always strong. Claus Guth's scenography begins by altering the libretto, for the Commander mortally wounds Don Giovanni already in the overture, as a spoiler. From here we witness the agony, in real time, of a Don Giovanni who is like an animal hunted and wounded in a forest that, at turning, besides being a bit dizzy, It unveils the mysteries and corners in which the scenes take place. All this in a permanent and brilliant twilight created by Olaf Winter. There is room for a car, a bus stop or a swing. All, less a palace; neither the costumes nor the incomprehensible scenic elements accompany the immersion, like Don Giovanni's allusion to drugs and, in general, the lack of sensitivity in a work like this Ivor Bolton, that is handled very well in the Mozartian repertoire, had a somewhat uneven result this time. It was less to more, after a slightly muted overture, like most of the first part, a second came with greater musicality and refinement on the strings. The music managed to suffocate the moments in which the scenery took you out of the work. I didn't understand that James Ellis's mandolin had to be amplified. I do not know if this was the cause of the lack of neatness in its emission in an aria that, on the other hand, was cleverly lit creating one of the most sublime moments of the performance. The singers have been very balanced.. You should highlight the interpretation of Don Giovanni by Adrian Eröd, of a high interpretive level. Frivolous and hasty in his conquests while dying. Too bad your broadcast wasn't clean, it seemed like I had a problem. Cold, maybe. A character treated scenic as a poor erratic man. Nothing to do with the Don Juan that we have internalized, the Croatian Goran Jurik offers a good image of Comendador, thanks to his stage presence and his powerful bass voice in an ungrateful role, For brief I liked Adela Zaharia in her role as Donna Anna. The Romanian soprano combined sensitivity with vocal solvency and a good interpretation. She, like the rest of soloists, they had to sing while balancing on an uneven stage. Sometimes there is little thought about singers and much about unstable and unnecessary elements of the set. Nor was Federica Lombardi's Donna Elvira bad., with a solid central zone and good highs that allowed him moments of brilliance. Croatian Marko Mimica's Leporello had almost more vocal prominence than Don Giovanni himself. Not so in the interpretive facet. Though truly serious voices are missed these days, Mimica fulfilled her role.

The role of Don Ottavio has been played by Airam Hernández, a cowardly character who was well portrayed by the Tenerife tenor who was also at a good level in the vocal part.

Marina Monzó's Zerlina was one of the night's satisfactions, no surprise. Next to Cody Quattlenaum's Masetto, they created a well-connected couple in the theatrical part.

Another night of opera at the Teatro Real, which is behaving like a great ship moving forward, Through thick and thin and keeping the course, in a vast ocean of ice.

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

EDUARDO GUERRERO

The young bailaor from Cádiz Eduardo Guerrero will present in the Teatro Real, the following days 16 Y 17 from December, one of his most creative and original shows, ONIRIC, a creation in which, with its subtle language of powerful stomping and beautiful dramatic finishes, will transport us to an unreal world, Fantastic, and linked, As its name indicates, to the world of dreams.

Guerrero thus advances his presence in Real Flamenco, when replacing the bailaora Alba Heredia, who suffers a complicated sprain that will keep her off the stage for the next few weeks and has forced her show to be postponed ALBA&LANDO in the “tablao” of the Plaza de Oriente.

The young bailaor from Cádiz began to dance, with only six years, at Carmen Guerrero's school. There he secured the foundations of an art that he would build by studying Spanish dance at the Cádiz Dance Conservatory, in addition to training in contemporary and classical dance, to later move on to its in-depth development with teachers like Mario Maya, Antonio Canales and Manolo Marín, among others.

From 2002 begins to work with great artists on the national scene who value their undoubted quality, his physical capacity and his refined technique, developing leading roles in the Aida Gómez Company, Eva Yerbabuena, Rocío Molina, the National Ballet of Spain, Javier Latorre or Rafael Aguilar.

In 2011 obtained the 1st Prize of the Choreographic Competition of Professional Conservatories, with his choreography choreography Mayo . From that moment on the recognitions follow: Desplante Award from the Union Mines Festival (2013); Jerez Festival Audience Award, show Guerrero (2017); Pata Negra Award (2018) and Fiver Award, International Dance Film Festival, with Symphony of the body (2019).

It is the moment of this great dancer who, with a current aesthetic, a deep knowledge of the essence of flamenco, his talent, his physique and his great charisma, moves and excites, triumphing where he dances.

FLAMENCO REAL adapts to current health safety regulations by changing the configuration and structure of the entire cycle. A) Yes, the old format, with chairs and tables with Spanish wine, like a tablao, It has been replaced by armchairs arranged in a semicircle, like an auditorium, of which they will hardly take care 130 seating (40% of the total capacity), keeping the proper safety distance.

Shows take place every three weeks, Thursdays or Fridays, in double session, to 19.30 and to the 22:00 hours. See him lowered prices a 15%, in relation to previous editions, and a new category of localities has been created with prices ranging between 25 and the 65 euros.

Teatro Real

The restrictions caused by COVID-19 regarding the location of the public in theaters since the beginning of the ‘deconfinement’, they have forced, in recent months, to a constant work of adapting the capacity of the Royal Theater to the health safety regulations at all times and to individualized communication with subscribers before each scheduled function.

Since last June the opera tickets, dance, concerts and children's shows have gone on sale irregularly for some functions of La traviata, A masked ball, Rusalka Y Don Giovanni, concerts, etc., when there were seats left after the relocation of the subscribers and the return of tickets.

Finally, after the adjustment of the capacity of the Royal Theater in accordance with the current anti-COVID regulations, and made the necessary changes so that subscribers can keep the health safety distance, from tomorrow, 15 from December, the public will be able to buy their tickets for each title of the season (with a maximum capacity of 1280 seating), consulting their respective release date for sale, with the same procedure prior to the pandemic.

The creation, By the end of october, new Subscriber Service Plan has made it possible to speed up personalized communication with subscribers and the relocation of their respective locations until the end of this season.

In this link from the Teatro Real website You can check the days of sale of each show for the whole public, with preferential dates for Friends of the Royal Theater Y Subscribers.

Real Young

He Teatro Real, attentive to the sensitivities of viewers and aware that young audiences are one of the fundamental pillars of the future of culture, has been working for a long time on the development of a project for those who have between 18 Y 35 years, both inclusive, and that now is a reality: The Real Joven.

This initiative was born with the aim of making young people enjoy the experience of opera and, both, that are part of one of the most important cultural realities in the world. For that, the Royal Theater wants to facilitate access to its shows, diversify activities around its programming, create meeting and discussion points about the future of music and the performing arts and capture the contributions they can make.

With this effort has been created an area of ​​its own for young people inside the Main Hall called Young armchair, which includes a number of seats located in the stalls, mezzanine and amphitheater, for whose purchase they will always have priority and whose price will be between 25 Y 35 euros, that is to say, four times less than its usual price. Likewise, the digital sales channels will allow you to purchase tickets from Last minute for opera and dance performances of the season and in all areas of the theater, speeding up its acquisition and favoring the safety of spectators by avoiding concentrations and queues at the ticket offices.

In every season - winter, spring, summer and autumn- a Young Preview in which they will be distributed 650 tickets, free of charge, in whose cast will participate, in addition to the Young Friends and the young followers of the Theater, the three administrations that support the institution: Government of Spain, Community of Madrid and Madrid City Council. Catered, in all cases, by order of record.

The project includes the creation of a Youth Committee, like the stable bodies of the institution -such as its Advisory Council, of which representatives of Culture and civil society are part- in which a score of young talents from various sectors will collaborate in the creation and promotion of initiatives and policies aimed at building the theater of the future. They are already part of this Committee Lucas Vidal, Tue, Jaime Altozano Y Alberto Merlo, among others.

The new identity also speaks a young language. Inside the Theater a physical space is being prepared that will function as a meeting point for young spectators, before the start and during breaks of the show. Outside, the website will enable a microsite with all the information related to the youth plan and specific profiles will be created on social networks.

Another important avenue of participation is the program Young Friends what, for a subscription of 25 euros per year, allows access to the advance purchase of the Young Seat one week before the sale to the general public and two days before the rest of the youth, and preference in acquiring "Last Minute" tickets online, the day of the performance from 14.00 hours. In addition to the purchase advantages, Exclusive activities have been designed for this group and discounts on training courses organized by the Teatro Real.

At this time the channels that will link the Real Young with similar projects, National and international, as Juvenilia, European network of young opera friends organizing trips and activities in other theaters in Europe.

Step by Step, young people have built a place in their own right at the Teatro Real. This path that began with last minute tickets and progressed with programs such as La Universidad a Stage, meetings with artists or the recently created Young Talents Cycle, now opens a universe of possibilities for a community that grows every day, around the opera.

Photograph: © Javier del Real / Teatro Real

Burgos cathedral

The VIII Centenary of the Cathedral Foundation. Burgos 2021 held this afternoon the meeting of its Board of Trustees in the Seo choir and it approved the cultural and sports programming planned for next year. It is a calendar of high-altitude activities with the aim of reaching all audiences, as 2021 It will be the great year in which the Castilian temple meets 800 years since Bishop Mauricio and Fernando III laid the first stone of the basilica. The initially approved budget is 2,5 millions of euros.

In this program the musical section stands out, with more than twenty concerts planned. A) Yes, the VIII Centenary of the Cathedral will be the magnet that attracts the Venezuelan conductor Gustavo Dudamel to Burgos, the Mexican tenor Javier Camarena or internationally recognized singers such as Raphael, Bunbury, Pablo López e Izal.

Formations such as the Teatro Real will also visit Burgos; Munich Philharmonic Orchestra, directed by Barbara Hannigan; the Vienna Boys' Choir; the Amsterdam Baroque Orchestra, directed by Ton Koopman; The English Concert, directed by Harry Bicket; and the chorus The Sixteen, directed by Harry Christophers.

Likewise, Burgos corals, choirs, the organs of the Cathedral and other concerts aimed at young people, without forgetting a peasant mass, the OSCyL, the JOSBu and a new agreement with the Albéniz Foundation, will have a leading role in the commemoration of the 800 years of Seo.

Exhibitions of 'geniuses': Goya, Bigarny, Siloé, 'The Quijote'

In 2021 culture will also make its way through an extensive exhibition program that will show what Burgos was like in 1921, will bring The Ages of Man to the Cathedral of Burgos under the name of ‘Lux’ or it will bring the greatest patrimonial treasures of the Castilian province to the Museum of Santa Cruz de Toledo in ‘Burgos-Toledo. Origins of Spain ’. further, The Evolution Forum will host an exhibition in which Burgos artists will show how they see the Cathedral and another that will deal with the Castilian language and the collection of volumes of ‘Don Quixote’ that the Cathedral Archive guards.

Goya will also stop in the city with ‘The disasters of war’, sponsored by Fundación Ibercaja. And they are studying an exhibition in Sasamón, one of the historic headquarters of the diocese of Burgos, and another in which two geniuses who were contemporaries converge, rivals and crucial in the greatness of the Cathedral: Felipe Bigarny and Diego de Siloé.

Bet on history as a tourist engine

2021 It will be the Jacobean Year and that spirit will be transferred to the streets of Burgos with the creation of a reception office for pilgrims in the vicinity of the Cathedral, the installation in the Plaza del Rey San Fernando of a large plant sculpture in the shape of a pilgrim six meters high and with a special signposting of the Camino de Santiago in fiberglass by the artist Cristino Díez.

The celebration of the Jubilee Year granted by the Pope and which has already been underway since last month will also converge in Burgos, the commemoration of the VIII Centenary of the death of one of the most international Castilian and Leonese people, Santo Domingo de Guzman, and the VIII Centenary of the birth of Alfonso X the Wise.

On this journey through history, the historical re-enactment of the wedding of Ferdinand III and Beatrice of Swabia and the launch of a network of European cathedrals will stand out..

Activities already consolidated such as "The Cathedral by candlelight" will be kept on the calendar., ‘Dancing with stones’, literary talks, varied colloquia and poetry recitals.

Don Giovanni

Between days 18 December and 10 January the Teatro Real will offer 15 functions Don Giovanni, Wolfgang Amadeus Mozart, in a production of the Berlin Staatsoper, premiered at the Salzburg Festival in 2008, with the same leading duo that will perform at Real: british baritone Christopher Maltman, as Don Giovanni, and the Spanish-Uruguayan bass-baritone Erwin Schrott, as Leporello.

The interpretation of both, unanimously praised by critics, acquires a special meaning in this montage, as Claus Guth reinforces, in its staging, the macabre bond of the two characters, whose complicity and piety bring, maybe, the only tender and compassionate moments of the production.

The plot takes place in a very versatile fir forest, designed by the set designer Christian Schmidt, where the different pictures of the opera are happening, distorted by the agony of Don Giovanni, that slowly bleeds out from the first to the last scene.

Wounded by the Commander at the start of the opera, in the paroxysm of death the perverse games of seduction that have filled his hectic life parade through his head, walking towards alienation and death without ever abandoning his impetuous spirit, lewd and blasphemous.

Helped by Leporello, friend junkie and adventure buddy who accompanies him in the painful trance, Don Giovanni mezcla, at the opera, the vivid memories encouraged by his hedonistic eagerness, With the blurry visions that precede death. Hidden in the meanders and recesses of a forest always complicit, wisely illuminated by Olaf winter, the forest reflects the drama of the characters, in a pictorial game of chiaroscuro that links the baroque universe of Tirso de Molina's libertine, With the murky world of sexual morons of the 21st century.

Two casts of internationally renowned singers embody the characters of Don Giovanni, led with expertise and depth by Claus Guth, which has already left its mark on three productions presented at the Teatro Real: Parsifal (15/16), Rodelinda (16/17) Y Lucio Silla (17/18).

The baritones Christopher Maltman Y Adrian Eröd (Don Giovanni), the bass-baritones Erwin Schrott Y Marko Mimica (Leporello), las sopranos Anett Fritsch Y Federica Lombardi (Donna Elvira), tenors Mauro Peter Y Airam Hernandez (Don Ottavio), las sopranos Brenda Rae, Adela Zaharia Y María José Moreno (Donna Anna), and also Louise Alder Y Marina Monzó (Zerlina), as well as the bass Krzysztof Baczyk Y Cody Quattlebaum (Masetto), Y Tobias Kehrer Y Goran Juric (The commander), will alternate in the 15 programmed functions, always under the direction of Ivor Bolton, who will direct his fifth Mozart title at the Real, in front of Coro and Orchestra Titulares del Teatro o Real.

Don Giovanni will be presented for the fourth time since the reopening of the Royal Theater: in June 1999 with Daniel Barenboim and Thomas Langhoff; in October 2005 with Víctor Pablo Pérez and Lluis Pasqual; and in April 2013, with Alejo Pérez and Dmitri Tcherniakov.

The production that now reaches the Real is offered in a period of uncertainty and difficulties, demanding an additional effort from everyone to present the opera within the health safety regulations.

The stage manager Claus Guth has modified several details of the staging and the Titular Choir of the Teatro Real will perform with masks specially designed for singers, that promote voice projection and facial movement without releasing aerosols. But these and other adaptations will not prevent the Royal Theater from offering, with the highest quality, a different perspective of the great myth of Spanish literature, with new interpretations that continue to enrich your aura.

ENDESA'S SPONSORSHIP

For José Bogas, CEO of Endesa "contribute so that culture does not stop and, in particular, support the Royal Theater, is an enormous pride for Endesa. We greatly value that the Royal Theater is one of the few Opera Houses in the world that has maintained its programming through thick and thin, despite the pandemic; Besides, it has done it with an enormous quality and without neglecting safety. And that is what we are going to verify with this ‘Don Giovanni’ that Endesa sponsors.

Teatro Real

THE REAL BALLET DE FLANDES WILL BE REPLACED BY THE COMPANY IT DANSA

Due to the impossibility of the Royal Ballet of Flanders can travel from Antwerp to Madrid, its four functions, planned for the day 22, 23 Y 24 from January, will be starred by the company IT Dance, who will present four choreographies: Kaash (de Akram Khan), The Prom (by Lorena Nogal), In rememberence (Sidi Larbi Cherkaoui) Y Whim (by Alexander Ekman).

The shows will take place on the following days and times:

22 from January, Friday, to 19.30 hours

23 from January, Saturday, to 17.00 Y 21.00 hours

24 from January, Sunday, to 18.00 hours

Dance subscribers with tickets for the Royal Ballet of Flanders performances may attend the performance of the IT Dansa company on the same date as their original performance and the difference in price between the two shows will be reimbursed in the month of January.

Otherwise, may request a full refund of their tickets for the Royal Ballet of Flanders until 8 from December, inclusive, in a form on our website: www.teatroreal.es

THE FUNCTION OF ELEKTRA, IN CONCERT VERSION

La Philharmonia Orchestra, under the direction of its owner Esa-Pekka Salonen, You will not be able to travel from London to Madrid for the performance of the opera Elektra, Richard Strauss, in concert, scheduled for 18 from January, due to mobility restrictions caused by COVID-19.

The Royal Theater and the Philharmonia Orchestra will try to find a date to reschedule the opera in future seasons.

The subscribers of the Opera Premiere shift with a ticket for this function will receive the refund of the amount of the same automatically during the month of January.

Totolin

Lthe piece rescues the story of the clown Totolin and its author, Hermenegildo Lanz, as well as the connection of four generations through theater, art and music

Eight performances will be offered on the days 5, 6, 7 Y 8 December in double session, to 12.00 and to the 17.00 hours

The public has more information about the show on the Teatro Real website through the following link: Totolín didactic guide

Totolín -entredós- is the last show of Puppets Etcétera, the veteran Granada company, National Theater Award for Children and Youth

The play, combining musical language and puppeteer, it's a tribute to august clowns like Charlie Rivel, Grock or the Rudi Llatas and their naive and deep humor at the same time

Royal Junior, in the Sala Gayarre, It will be the meeting point for the family audience the days 5, 6, 7 Y 8 from December in double session, to 12.00 and to the 17.00 hours, with the company of puppets Etcetera, who returns to the Royal Theater with a story full of tenderness, with friendship at the center of the narrative, to talk about the ability to excel and the struggle to make dreams come true, and it is also a tribute to the circus world and to august clowns like Charlie Rivel, Grock or the Rudi Llata, Totolín-Entredós.

Conceived for an audience from 6 years, the scene combines the languages ​​of music and puppetry, always in search of the complicity and smile that characterize Etcétera's proposals. With Enrique Lanz at the head, the team composed of Yanisbel Martínez, Leo Lanz, Mrs. Martínez and Laura Renieblas drag us to fiction to make us be part of it.

The piece rescues the real story of the Totolín clown and its author, Hermenegildo Lanz, as well as the connection of four generations through theater, art and music. In the words of its director, Enrique Lanz: “During the process of creating the show, we realized that our ideas were materialized in the character of Totolín, a puppet made by my grandfather, Hermenegildo Lanz, in the forties of the last century.

On stage, a musician and a clown strike up a friendship full of adventures in a circus in which they will turn red noses and play the saxophone in duet. Topics such as the ability to excel and the struggle to make dreams come true are combined with musical and puppetry languages, appealing to smile and family enjoyment.

Music, created for this work, performed live with various instruments - primarily piano and saxophones- and it is the thread that sews the relationships between the characters. It has been composed by Leo Lanz, who also interprets it live. Sara Martínez improvises with Leo some song, also playing the accordion and the piano.

Photograph: © Javier del Real / Teatro Real

My Opera Player

135 titles of more than 26 theaters make up a catalog that grows every month with new additions

From today until next time 30 of November, inclusive, a special promotion of 50% discount will allow you to subscribe six-month subscriptions for € 23 or one year, for € 40

My Opera Player has the technological development of Telefónica and Samsung and the sponsorship of Endesa.

At a time when most of the world's theaters continue to have the curtains down, he Teatro Real, that has not ceased its activity even in difficult times of confinement, reinforces its vocation to become the meeting point for opera lovers, dance and music through its video platform My Opera Player, that has the participation of the most important national and international institutions.

Coinciding with the celebration of Black Friday, My Opera Player will offer, from today until next Monday 30 of November, inclusive, a special promotion of 50% off which will allow you to subscribe for six months for € 23 or for one year, for € 40, which means less than 4 euros per month.

Shows of more than 26 stages of the world can be seen in this "theater of theaters" in which, together with the productions of the Teatro Real, other of the Paris Opera, the Royal Opera House, he Bolshoi Theater, the Berlin State Opera, he Gran Teatre del Liceu, he China National Grand Theater, he Colón of Buenos Aires or the Municipal Theater of Santiago de Chile, to name a few.

Since last may, the platform has been adding new titles every month, which will be added in the next few days The magic Flute, of the Festival de Glyndebourne, and ballet Giselle, interpreted by the Royal ballet British.

My Opera Player has the technological development of Telefónica Y Samsung and sponsorship Endesa.

The Choro

The bailaor performs at the Teatro Real with a show in which he will exhibit his mastery and personality accompanied by Ismael de la Rosa "El Bola" and Moi de Morón, in cante, and Juan Campallo, to the guitar.

The next Flamenco Real appointments will be on Wednesday 16 December and Thursday 17 from December, both starring the bailaora white inheritance.

In the current edition, prices have been lowered a 15%, in relation to the above, and new categories have been created whose prices range from 25 and the 65 euros.

Without a definite argument, without a common thread, dance to perform the dance, dance from the flamenco roots with its own light ... this is how it presents itself, first in the Teatro Real, the dancer Miguel Fernández Ribas "El Choro", consolidated name of the new generations that tomorrow, Thursday 26 of November, offer to the public of Real Flamenco his way of understanding art with the show My dance.

El Choro learns the basics of flamenco from his father, also called the "El Choro". Extends and deepens his training with Manolo Marín and Javier Cruz until, in 1999, wins the II Huelva Young Flamenco Dance Contest and, From this moment, already installed in Seville, continues his studies with teachers like Javier Barón, Israel Galván, Rafael Campallo and Antonio Canaeles, among others.

After participating in important companies, led by Vicente Amigo, Manuela Carrasco, Israel Galván or Javier Barón, embarks on his first solo adventure in 2016 with the show "Notice: Bayles de Jitanos ”at the XX Festival de Jerez with which, under the direction of Rafael Estévez and produced by the Cristina Heeren Foundation with the collaboration of the Andalusian Institute of Flamenco, wins the Festival Revelation Award.

In his presentation show at the Teatro Real, My dance, will be accompanied by the singers Ismael de la Rosa "El Bola" and Moi de Morón, and guitarist Juan Campallo.

In this third edition, FLAMENCO REAL adapts to current health safety regulations by changing the configuration and structure of the entire cycle. A) Yes, the old format, with chairs and tables with Spanish wine, like a tablao, It has been replaced by armchairs arranged in a semicircle, like an auditorium, of which they will hardly take care 130 seating (40% of the total capacity), keeping the proper safety distance.

Rusalka

Day after tomorrow, Wednesday, 25 of November, to 19.30 hours, television networks HALF Y TV DOCTORS they will broadcast the opera live Rusalka, by Antonin Dvořák, new production of Teatro Real, co-produced with the Säschsische Staatsoper in Dresden, the Teatro Comunale Bologna, the Gran Teatre del Liceu in Barcelona and the Palau de les Arts Reina Sofía in Valencia, in which it will be presented after its premiere in Madrid.

The opera will be recorded in an audiovisual co-production with Jake Febus, Spanish TV, Half, Unitel and Medici. It will later be broadcast on The 2 of Spanish Television and will integrate the catalog of MyOperaPlayer before its DVD release with international distribution.

Audiovisual recording and broadcasts of Rusalka they have won a special international leadership as the Royal Theater is the only great European lyric theater that is currently presenting staged operas.

Rusalka, premiered in Prague in 1901, was the penultimate of eleven operas by Antonin Dvorak (1841-1904) Y, definitely, the most famous of all those he composed.

the libretto, of the poet and playwright Jaroslav Kvapil, is based on the Central European legend that inspired the book Undine (1811) from Friedrich de la Motte Fouqué and in the story The little Mermaid (1837) from Hans Christian Andersen, in which a water nymph decides to leave her aquatic world at any cost to pursue the prince she loves.

the score, in which the influence of Wagner and the currents of Central European musical nationalism subtly beat, different intertwines leitmotiv and bohemian folklore themes, with a different orchestration to represent the world of nature and spirits -with greater harmonic richness and a diaphanous and delicate timbral palette- and the world of men, with a more conventional and obscure instrumentation.

The stage manager Christof Loy bridges these two seemingly irreconcilable universes, delving into feelings, passions, wishes and contradictions of the characters, what, in a ghostly atmosphere, they go from life to stage, in a production that is a profound tribute to theater as a territory of catharsis and sublimation of emotions.

The Kingdom of Waters -with Rusalka, on the author Padre Vodník, the seasoned sorceress Ježibaba (turned into his mother) and the nymphs, her sisters- hides complex and conflictive relationships between the characters that, in Loy's conception, they transform into a strange and forgotten theater family with a glorious past, whose members, like specters, they live on nostalgic memories, but also illusions. And in that closed space, decadent and evocative conceived by the set designer Johannes Leiacker, with lighting of Bernd Purkrabek and wardrobe Ursula Renzenbrink, everything moves with the dream of a lame dancer in love, who aspires to reach heaven with his pointe shoes and the transforming power of love.

Photograph: © Monika Rittershaus

Mermaid-1

Mermaid-2

Mermaid-3

Mermaid-4

Mermaid-5

Mermaid-6

 

Rusalka, almost a century later, at the Theatre Royal
Rusalka
Antonin Dvorák (1841-1904)
Libretto by Jaroslav Kvapil, based on the fairy tale Undine (1811) by Friedrich de la Motte Fourqué and inspired by the story The Little Mermaid (1837) by Hans Christian Andersen and other European stories.
New production of the Royal Theater in co-production with the Dresden Semperoper, the Teatro Comunale Bologna, he
Gran Teatre del Liceu in Barcelona and the Palau Les Arts Reina Sofía in Valencia.
Teatro Real in Madrid 13 November 2020
D. Musical: Ivor Bolton
D. scene: Christof Loy
Scenographer: Johannes Leiacker
Costume designer: Ursula Renzenbrink
Choreographer: Klevis Elmazaj
D. choir: Andrés Máspero
Distribution: Olesya Golovneva, David Butt Philip, Rebecca von Lipinski, Andreas Bauer Kanabas, Okka from the Damerau, Sebastiá Peris, Esteve Manel, Juliet Mars, Julitta Aleksanyan, Rachel Kelly and Alyona Abramova.
In 1891 Antonin Dvorák received a letter at his home in Prague in which the influential Jeanette Thurber, founder of the New York National Conservatory of Music, offered him the position of director of the New York Conservatory. It was there that he wrote one of his best known works, the New World Symphony, and it was there also that Dvorák listened, as I had not done before, Wagner's obas. He lived in New York until 1895, year he returned to Prague to take over his Conservatory. It was then that Rusalka wrote, the penultimate of his works, and where is warned, clearly, Wagner influences. Not only for its ambitious duration, more than three hours, if not, by the use of leitmotifs referring to the characters and an orchestration full of complexity and delicacy., in the case of Dvorák, the nationalist inspiration could not be missing in the score. And it is that Rusalka is, above all, an opera with a strong Czech character. Evocative of romantic melodies, that can be seen in some of the brightest moments played by the harp or that ending, almost momentous, which is considered by many one of the most sublime opera of all time.Rusalka arrives at the Royal Theater as one of the great premieres of the season. And it can be considered a premiere, since since 1924 it had not been re-represented in Madrid. On that occasion, was his librettist, Jaroslav Kvapil, who took over the stage direction.

The libretto is based on the fairy tale Undine (1811) by Friedrich de la Motte Fourqué and inspired by the story The Little Mermaid (1837) by Hans Christian Andersen and other European stories. Is, definitely, a tale that stage director Christof Loy (Whose Capriccio from last season we'll never forget), has located inside a theater.

For Loy, the theater is the only place where reality and dreams can be represented at the same time. That duality that exists in the work between the fantastic world, to which Rusalka belongs and the underworld she longs for. But Loy's elegant, gray scenography is missing essential elements of the work. The lake, who is one more character and who gives meaning to the protagonists and the story, does not appear by chance. Nor are there hardly any references to nature, another must-have romantic item.

Ivor Bolton's musical direction was at a great height. The expressiveness of his gestures infects the orchestra that had moments of great brilliance, generating that magical atmosphere of the score. The strings and magic that Mickäele Granados was able to generate with his harp stood out from a prominent place above the pit.

Extraordinary the choir, this time offstage, that recreated the magic of the lake flawlessly. Very good also the performance of the dancers and actors, who did not act as a mere accompaniment in the scenes, but they had a great role in that kind of sexual orgy that Christof Loy marked himself.

The young Russian soprano Olesya Golovneva demonstrated great versatility on stage, not only sang, she also tiptoed around the stage with her ballet slippers. With a pleasant timbre and a delicate line of singing, reached moments of great beauty in his interventions. He found his difficulties in the most serious areas of his score.

The British David Butt Philip was in charge of giving life to the prince who falls in love with Rusalka. A role not easy, due to the great demand that the tenor has in this work and that Butt knew how to address without great difficulties.

Andreas Bauer Kanabas' Vodnik best represented the most heartless part of the menacing father, than the protector with her daughter Rusalka. Has powerful low and mid tones, but it had its difficulties in the highest notes.

The evil Jezibaba was played by German mezzo-soprano Okka von der Damerau. His good stage presence helped raise a dual character, like the rest, with its funny part and its disturbing and dark part. Good flow of well-timbred and adjusted voice.

Rebecca von Lipinski played the insinuating foreign princess with great intention and freshness, Rusalka's rival in conquering the prince.

Much applauded were the three nymphs played by Julietta Aleksanyan, Rachel Kelly, with impressive treble, and Alyona Abramova. With very balanced and well timbred voices, they unfolded with ease all over the stage.

The rest of the cast was at a high level, both the hunter by Sebastiá Peris and the servants played by Manel Esteve and Juliet Mars.

One more success of the Royal Theater, that continues to make representations, It is already without stage adaptations due to the pandemic, to the amazement of the theaters of the rest of Europe. Good for Matabosch!.

Text: Paloma Sanz
pictures: Monika Rittershaus

CND

He Teatro Real receive the National Dance Company, for the first time under the direction of Joaquín de Luz since he assumed office in 2019, of which four functions will be offered on days 19, 20 Y 21 of November, the latter in double session at 17.00 and to the 21.00 hours, with a program that includes two unpublished works in this scenario: Apollo, by George Balanchine, Y DSCH concert, de Alexei Ratmanski, next to one already classic by Nacho Duato, White Darkness.

Three choreographies with three great composers as protagonists: Igor Stravisnky, Dmitri Shostakóvich y Karl Jenkins, interpreted by the Head of the Royal Theatre Orchestra under the direction of teacher Manuel Coves, with special participation of the pianist Luis Fernando Pérez for the choreography DSCH concert.

Premiered by the Diaghilev Russian Ballet in Paris in 1928, Apollo it was the first collaboration between George Balanchine and the Russian composer Igor Stravisnky, obtaining immediate international recognition. The harmony between the two artists leads to a work of simple narration, almost mild, but with a great harmony between form and music, constituting the best exponent of neoclassical language.

The story centers on the figure of Apollo, Greek god of music and his encounter with three Muses whom he accompanies to Parnassus: Terpsícore, muse of dance and song; Polimnia, muse of mime; y Caliope, muse of poetry. Day function 20 will have the participation of Sergio Bernal, as guest dancer, giving life to Apollo.

When Alexei Ratmanski premiered DSCH concert, with the New York City Ballet, had Joaquin de Luz Y Gonzalo garcia as lead dancers. The next 19 of November, at the Theatre Royal, both will share the stage again to convey the emotion, energy and drama of Piano Concerto No. 2 of Shostakovich through the language of Ratmanski, that combines in a continuous discourse the contrasts of the score, from exaltation to serenity, from vitality to melancholy, from martial notes to almost poetic intimacy.

Gonzalo garcia, guest principal dancer, will also play the role of Apollo on the day 21 in the function of 21.00 hours.

In White Darkness, last choreography of the program, Nacho Duato pushes us to reflect on the world of drugs, its darkness, the individual and social consequences, the destruction and darkness they lead to. The music of Karl Jenkins (Adiemus variations, String Quartet No. 2), the scenery by Jaffar Chalabbi and the lighting by Joop Caboort accentuate the heartbreaking character of a story whose ending we know, we suffer, towards which we walk, accompanying that path without escape through which the dancer travels.

Consecrated almost from its premiere, White Darkness is, possibly, one of the best creations of the Spanish choreographer.

Is, definitely, a program of great moments. Three different languages ​​for a common word, dance.

Photograph: Javier del Real

THE YIYO & ON TROUPE

With dance as the protagonist, tonight, Friday 13 of November, the Teatro Real will inaugurate the third season of Real Flamenco, in co-production with SO-LA-NA, in which homage is paid to the great figure of Spanish dance Blanca del Rey and whose first premiere will feature the presence of one of the most charismatic artists of today, Miguel Fernandez Ribas, The Yiyo.

The young dancer, endowed with extraordinary qualities for dancing and with his own personality and style, He has become the flamenco interpreter most in demand by the reference tablaos and also by the great theaters, where he has shared the stage with cante names such as Estrella Morente, Pitingo or Miguel Poveda, to name a few .

His art draws from the sources of classical dance, contemporary and flamenco roots with which it has been raised and developed, creating an original and refined amalgam capable of seducing flamenco purists, to fans and the world of fashion, National and international, who has found in him a seductive racial image.

In the show you present tonight, The Yiyo & on troupe, will be accompanied at the dance by Ricardo Fernández "El Tete" Y Jose Escarpín, to cante for Juan Carrasco "Juañarito" Y Carmen amador, that they will have the guitar of Eduardo Cortes and the percussion of Jose Cordoba. With them, like an everything, reflects on their emotions and experiences on the stage to represent flamenco, dance and language from an emotional landscape of sensations.

In this third edition, FLAMENCO REAL adapts to current health safety regulations by changing the configuration and structure of the entire cycle. A) Yes, the old format, with chairs and tables with Spanish wine, like a tablao, It has been replaced by armchairs arranged in a semicircle, like an auditorium, of which they will hardly take care 130 seating (40% of the total capacity), keeping the proper safety distance.

Shows will take place every three weeks, Thursdays or Fridays, in double session, to 19.30 and to the 22:00 hours, see his lowered prices a 15%, in relation to previous editions, and a new category of localities has been created with prices ranging between 25 and the 65 euros.

The next appointments of Real Flamenco will take place on Thursday 26 of November with Antonio Molina, The Choro ' and his show My dance, in which he will share tables with the guitarist Juan Campallo and the voices of Ismael de la Rosa Y Very Morón. And the Thursday 17 from December will be starring Alba Heredia who, together with the singers Antonio Moreno Maya, ‘The Cancu’, Y Jose Plantón, ‘José de Calli’, and the guitars of David Jimenez Y Juan Jimenez, will offer an evening which he has called Alba&Country.

Rusalka

Between days 12 Y 27 of November Royal Theatre offer 10 functions from Rusalka, from Antonin Dvorak, in a new production The Royal Theatre, co-produced with the Säschsische Staatsoper in Dresden, the Teatro Comunale Bologna, the Gran Teatre del Liceu in Barcelona and the Palau de les Arts Reina Sofía in Valencia, in which it will be presented after its premiere in Madrid.

Rusalka, premiered in Prague in 1901, was the penultimate of eleven operas by Antonin Dvorak (1841-1904) Y, definitely, the most famous of all those he composed.

the libretto, of the poet and playwright Jaroslav Kvapil, is based on the Central European legend that inspired the book Undine (1811) from Friedrich de la Motte Fouqué and in the story The little Mermaid (1837) from Hans Christian Andersen, in which a water nymph decides to leave her aquatic world at any cost to pursue the prince she loves.

the score, in which the influence of Wagner and the currents of Central European musical nationalism subtly beat, different intertwines leitmotiv and bohemian folklore themes, with a different orchestration to represent the world of nature and spirits -with greater harmonic richness and a diaphanous and delicate timbral palette- and the world of men, with a more conventional and obscure instrumentation.

The stage manager Christof Loy bridges these two seemingly irreconcilable universes, delving into feelings, passions, wishes and contradictions of the characters, what, in a ghostly atmosphere, they go from life to stage, in a production that is a profound tribute to theater as a territory of catharsis and sublimation of emotions.

The Kingdom of Waters -with Rusalka, on the author Padre Vodník, the seasoned sorceress Ježibaba (turned into his mother) and the nymphs, her sisters- hides complex and conflictive relationships between the characters that, in Loy's conception, they transform into a strange and forgotten theater family with a glorious past, whose members, like specters, they live on nostalgic memories, but also illusions. And in that closed space, decadent and evocative conceived by the set designer Johannes Leiacker, with lighting of Bernd Purkrabek and wardrobe Ursula Renzenbrink, everything moves with the dream of a lame dancer in love, who aspires to reach heaven with his pointe shoes and the transforming power of love.

In perfect harmony with this psychological view of the characters in Rusalka, Ivor Bolton, musical director of the Royal Theater, will be in charge of two select casts in which they will alternate, in the lead roles, the sopranos Asmik Grigorian Y Olesya Golovneva (Rusalka); tenors Eric Cutler Y David Butt Philip (Prince); las sopranos Karita Mattila Y Rebecca von Lipinski (The foreign princess); the short ones Maxim Kuzmin-Karavaev Y Andreas Bauer Kanabas (Sergeant) and mezzosopranos Katarina Dalayman Y Okka from the Damerau (Jezibaba).

He Choir and the Titulares Orchestra of the Royal Theater they will perform this opera for the first time, who returns to the stage of the Real after 96 years of absence and about to meet the 120 anniversary of its creation.

PARALLEL ACTIVITIES

Of the 15 October to 17 from December | International Institute

Film Series: at the end of the years 40 and during 50 twentieth century, producers, directors, scriptwriters, actors, Hollywood musicians were the subject of a spectacular persecution that deeply affected the film industry. This cycle, with films in English subtitled in Spanish, collect some titles that suffered that witch hunt.

– November sessions: One day in New York (5/11), The concrete jungle (12/11), Alone in the face of danger (19/11), Holidays in Rome (26/11).

– December sessions: The law of silence (3/12), Fugitives (10/12), Spartacus (17/12).

Free activity upon registration in www.iie.es

5 of November, 20:15 hours | Teatro Real, Sala Gayarre

approaches: meeting with Ivor Bolton (musical director of Rusalka), Christof Loy (stage director of Rusalka), Pablo Rodriguez (musicologist and critic of El País) and Joan Matabosch (artistic director of the Teatro Real).

Interpretation of songs from the cycle Love Songs Op. 83, by Antonin Dvořák, by soprano Juliette Mars and pianist Mack Sawyer.

Face-to-face assistance with limited capacity and live broadcast by the Youtube channel of the Royal Theater.

10 of November, 19:00 h. | Czech Culture Center

Conference in streaming: American musicologist David R. Beveridge, specialized in the work and life of Dvořak, will offer a conference via Zoom on the Czech composer, his origins, his sources of inspiration and his influence on music.
Free activity at madrid.czechcentres.cz

From the 13 of November, 19:00 hours | National Museum of Decorative Arts

Storytelling in streaming: under the title Moon water, the public from 9 years you can celebrate your particular Friday 13 and enjoy a tale with ghosts, a swamp of deep and mysterious waters and a prince in love with a magical girl. A story of impossible loves and witches.
Free activity in www.museoartesdecorativas.es and on his YouTube channel.

14 Y 22 of November, 12:00 Y 16:00 h. | Routes of the Emperor Charles V

Guided tour: the palace of the Counts of Osorno in Pasarón de la Vera (Cáceres) opens its doors exclusively for, in groups of six, know the legend that encloses its walls and that, like in Rusalka, tells a story of impossible loves.
Free activity upon registration. More information admin@itineracarolusv.eu

15 of November, to 12:00 hours | Teatro Real, Great room

At 120 anniversary of the premiere of Rusalka, the soloists of the Titular Orchestra of the Royal Theater will offer a program around Antonín Dvořák.

Program:

Antonin Dvorak: Terzetto and Do Mayor. 74 for violins and viola

Bedrich Smetana: String Quartet n ° 1

Josef Suk: Meditation op. 35 for string quartet

Antonin Dvorak: String Quartet n ° 13

16 of November, 19.00 hours | International Institute

Literary gathering: Alix E. Harrow, author of A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies, with which he won the Hugo Award, will offer a lively talk in English via Zoom to talk about witchcraft, libraries and books in which the public can freely participate.
Free activity upon registration in www.iie.es

21 of November, 17:00 hours | Naval museum

Storytelling: the renovated Naval Museum opens its doors to host a fun and unique activity for children between 3 Y 7 years, in which the story of the nymph Rusalka will be told. The act, that will be face-to-face, it has a capacity limited to five people.
Free activity upon registration in www.armada.defensa.gob.es/museonaval

22 of November, 12:00 hours | Museum of Romanticism

Storytelling: the expert narrator Alba Muñoz will give voice to the story of The little Mermaid, by Hans Christian Andersen, a masterpiece from which Dvořak was inspired to compose his opera Rusalka. An activity for children from 8 years that will transport you to a magical world.
Free activity with prior reservation at www.culturaydeporte.gob.es/mromanticismo

23 of November, 19:00 hours | International Institute

Conference in streaming: the writer Alix E. Harrow will meet virtually with the public to discuss witchcraft and the female vote, main themes of his new novel The Once and Future Witches. The act, what will be in english, will address the fight for witches' rights in the suffrage movement.
Free activity upon registration in www.iie.es

25 of November, 17:30 hours | National Archaeological Museum

Guided tour: a unique and exclusive tour to know the halls of Greece from the hand of a specialized guide, where the attending public can discover the many mermaids, nymphs and other fantastic beings that populate some of the pieces in the museum's collection.
Free activity with reservation of place. More information www.man.es

29 of November, to 12:00 and to the 17:00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre!: music workshops for the whole family, direction and presentation of Fernando Palacios. Story of a mermaid.

A nymph bewitches with her songs whoever approaches the lake.

Photograph: Javier del Real

BillyBudd

The Lawrence Olivier Awards, created and supervised by la Society of London Theatre, annually recognize the excellence of the performing arts in London, in a ceremony with great social impact that in recent years has taken place at the Royal Opera House (2012-2016) Y, since 2017, at the Royal Albert Hall.

Due to the confinement caused by the Covid, this year's awards ceremony, that would have taken place last April, was delayed until yesterday, 25 October, transformed into a TV program presented by Jason Manford and broadcast on ITV and Magic Radio.

In its different categories, recognizing the various fields of the performing arts, including the theater, Opera, musicals, dance, etc., Billy Budd has won the Olivier Award for best new operatic production for its presentation last year at the Royal Opera House, co-producer of the show together with the Teatro Real, that premiered it in 2017, and the Rome Opera, who presented it in 2018.

The production of Billy Budd was awarded the International Opera Award 2018 for Best New Production and its audiovisual recording also obtained several awards, highlighting the awards from Diapason magazines (Diapason d’or) y BBC Music Magazine.

Billy Budd premiered in Madrid on 31 of January of 2017 with a new production by the Teatro Real with musical direction by Ivor Bolton, stage direction of Deborah Warner, scenery Michael Levine, figurines of Chloe Obolensky and lighting Jean Kalman.

This choral opera, with an exclusively male cast ─5 tenors, 8 baritones, 1 bass-baritone and 3 basses─ has featured the baritone Jacques Imbrailo, the tenor Toby Spence and low Brindley Sherratt.

The fantastic choral parts were performed by 60 male voices from Titular Choir of the Teatro Real and children of Little Singers of the Community of Madrid, who acted alongside the Head of the Royal Theatre Orchestra.

Photograph: Javier del Real

clowns

Alcobendas starts the next 28 October a cycle of six shows recorded in the Teatro Real, which will be screened on the last Wednesday of each month at the Paco de Lucía Auditorium, with the best picture and sound conditions, so that the approach to opera reaches the audience with the highest quality standards.

operas Cavalleria rusticana e clowns they usually appear in the same evening, not only because of the short duration of both but because both are a paradigmatic example of the so-called Italian ‘verismo’, fleeting stylistic movement in which the dramatic plot tries to approach reality without artifice or stylization.

Premiered at the Teatro Costanzi in Rome on 17 May 1890, Cavalleria rusticana, from Pietro Mascagni, is a vibrant melodrama based on the novel by Giovanni Verga, about a story of love and jealousy in the Sicilian countryside.

clowns, from Ruggero Leoncavallo, premiered at the Teatro dal Verme in Milan on 21 May 1892 under the direction of Arturo Toscanini, is based on a crime of passion within a company of traveling comedians in Calabria, who was judged by the composer's father.

The veteran stage manager Giancarlo del Monaco has given each opera a unique and deeply evocative atmosphere, reinforced by his excellent work of directing actors. Next to Jesus Lopez Cobos, in front of Headlines Choir and Orchestra of the Teatro Real, has directed the two passionate dramas with great theatrical vigor, counting on the magnificent voices of Violeta Urmana Y Vincenzo La Scola, in Cavalleria rusticana Y Vladimir Galouzine Y Maria Bayo, in clowns.

Paco de Lucía Auditorium of the Alcobendas Art Center

C / Mariano Sebastián Izuel, 9

Wednesday, 28 October, to 19 hours.

Tickets (4 euros) for sale on the internet (www.giglon.com) and at the box office of the Art Center on the same day of the projection from 18 hours.

Capriccio, World Opera Day

My Opera Player, of the Teatro Real, will offer open operas for everyone Capriccio Richard Strauss, on Friday 23, Y Aida, de Giuseppe Verdi, Saturday 24.

Among the scheduled events will take place the virtual delivery of the Opera XXI Awards, to 19.00 hours, that this year they celebrate their second edition, and whose ceremony can be followed in My Opera Player.

The awards have an outstanding presence of the Royal Theater represented by Christof Loy, Best Stage Direction Award for Capriccio, y Luisotti, Best Musical Direction, by Turandot.

Opera Europa will offer live broadcasts from the five continents in the most important theaters in the world and with well-known voices from the world of opera that will put their art on a day marked by the difficult challenge imposed by the pandemic.

The next sunday, 25 October, the second edition of the World Opera Day, a commemoration that seeks to promote the cultural value of this genre, pay tribute to creators and performers and highlight their importance as a sector of special relevance in the economy.

The initiative, created and powered by Teatro Real with the support of Ópera América, Opera Opera Latin America and Europe, has the backing of important institutions such as Opera Canada; Meeting of Operas of France (France); Opera XXI (Spain); Opera & Music Theatre Forum (United Kingdom); the International Theater Institute (YOU) and the National Centers for the Performing Arts in China and India.

This year, marked by restrictions and the special situation created by the pandemic, the celebrations will have their epicenter in Opera Vision, Opera Europa audiovisual platform, which will include live broadcasts from the five continents starting at 7 in the morning in Tokyo and then visit Moscow, London or New York.

Through My Opera Player, he Teatro Real will advance two days to the official date to offer open, throughout Friday 23 October, one of the great titles of the season 18/19, Capriccio, last opera of Richard Strauss, with musical direction Asher Fisch and a brilliant production conceived by Christof Loy, winner of the prize for the best Stage Direction Opera XXI.

He Saturday 24 the stage of My Opera Player will make available to users, also for free, Aida, de Giuseppe Verdi, in the monumental production of Hugo de Ana under the baton of Nicola Luissotti, Principal Guest Musical Director of the Teatro Real and Award for Best Musical Director Opera XXI for Turandot at the Theatre Royal.

Tanto Christof Loy, which is currently preparing a new production of Rusalka for the Madrid Coliseum, as Nicola Luisotti, responsible for the musical direction of the opera A masked ball that inaugurated the current season of the Royal Theater, will participate in the virtual delivery of the second edition of the Opera XXI Awards, which will take place on Sunday 25 that can be followed in streaming in My Opera Player and on the Operavision platform to 19.0 hours.

The virtual ceremony, conducted by Daniel Bianco, director of the La Zarzuela Theater, and by stage director Bárbara Lluch, will feature the performance of two of the awarded artists, Sondra Radvanovsky and Leonor Bonilla, and the pianist Rubén Fernández Aguirre. They will be joined by the words of the Minister of Culture, Jose Manuel Rodriguez Uribes, and the president of the association, Oriol Aguilà, director of the Castell de Peralada International Festival. The event will also feature the interventions of great Spanish singers such as Ainhoa ​​Arteta, Carlos Alvarez, Ruth Iniesta, Session Hernández, Ismael Jordi, Xavier Sabata, Jorge de León, Nancy Fabiola Herrera and Sabina Puértolas.

We enclose extended information on the Opera XXI Awards and the artistic files of Capriccio Y Aida The Royal Theatre

PALMARÉS OPERA XXI

  • Sondra Radvanovsky, Award for Best Singer, for his leading role in Luisa Miller in Verdi, at the Gran Teatre del Liceu in July 2019, as well as for the recital-homage to Montserrat Caballé at the Castell de Peralada Festival.
  • Leonor Bonilla, Best Young Singer Award, by Lucia of Lamermoor in the Maestranza, The trip to Reims Opera in Tenerife, Orfeo y Euridice at the Villamarta Theater and Capriccio at the Theatre Royal.
  • Nicola Luisotti, Best Musical Director Award for Turandot at the Theatre Royal.
  • Cristof Loy, Best Stage Director Award for Capriccio at the Teatro Real in Madrid.
  • Teatro de la Zarzuela, Best New Production Award for Spanish opera Bernarda Alba's house.
  • Pocket Opera and New Creation (OBNC), Best Lyric Promotion Initiative Award.
  • Gran Teatro de Lima, Best New Latin American Production, by Alzira, in Verdi.

Honorary Awards, appointed in Assembly by all Opera XXI members

  • La Caixa Foundation, Best Patronage Initiative.
  • Jose Antonio Campos Borrego, Honorary Award to the Person.
  • Canary Friends of the Opera of Las Palmas de Gran Canaria, Cultural Institution Award.

CAPRICCIO, Friday 23 October

He 27 May 2019 he Teatro Real presented, for the first time in his scenario, Capriccio, last opera of Richard Strauss, with it he reaffirmed his repertoire expansion project through a masterpiece, the composition and content of argument beyond the artistic value to invite the eternal debate about opera: What is more important, the word or music?

The German stage director Christof Loy, expert on the work of Strauss, addressed for the first time the interpretation of this complex work in which, while upholding the central theme, I discovered the multiple layers that outline the secrets hidden in the soul of each protagonist, concerns and motivations derived from human emotions to the perception of beauty.

The musical director Asher Fisch, expert baton on the music of Strauss, He was in charge of a cast that featured the voices of the soprano in the main roles Malin Bystrom (Countess Madeleine), baritone Josef Wagner (Conde), the tenor Norman Reinhardt (Flemish), baritone André Schuen (Olivier) and low Christof fish eaters (The rock), among others, Next to the Head of the Royal Theatre Orchestra.

AIDA, Saturday 24 October

With almost 300 ─entre solo artists, choir, dancers, orquesta─ actors and scenery and historical and, Aida was returning to the Royal Theater on 7 March 2018, with great production conceived by Hugo de Ana for the opening of the second season of 'new' Teatro Real, in October 1998, which he unveiled to the public the enormous dimensions and exceptional technical capabilities of his new stage.

Hugo de Ana opts for a production of strong symbolic power, dominated by a colossal pyramid suggests the magnificence of political power and religious, opposed to desert landscapes that emphasize the profound loneliness of the characters, torn between feelings, doubts and contradictions.

The musical direction had one of the great Verdian experts, the teacher Nicola Luisotti, principal guest musical director of the Teatro Real, who, at the head of the Titulares Choir and Orchestra of the Royal Theater he was in charge of a brilliant cast headed by Liudmyla Monastyrska in the titular role; Violeta Urmana, as Amneris; Gregory customer, in the skin of Radames; y George Gagnidze, as Amonasro, along with the rest of the cast.

Barbar, the little elephant

Next Saturday, 24 October, he Municipal Auditorium of Boadilla del Monte will offer the little ones a beautiful musical story in which they will know the Story of Babar, the little elephant. The friendly little animal will cross, hand in hand with the Royal Theater, junglas, cities and gardens discovering a different world to the place where it was born.

Inspired by the original tale of Jean Brunhoff, author of the first book with illustrations for children, and sustained by the haunting music of Francis Poulenc, the Royal Theater creates a production in which, with a simple scenery and elements well recognizable by children, manages to stimulate imagination and creativity, making them participate in the emotion of the story.

Besides the music, performed on the piano by Miguel Huertas, the story will put the words in the voice of the narrator, Ana Sanchiz Hernandez-, also director of the show, and the movement in the dancer's dance Lara Sagastizabal. The artistic team is completed by the set designer Cristina Martin, the illuminator Lia Alves and the costume designer Nadia Balada.

Tickets are now available on the City Council website, www.aytoboadilla.org, with localities to 10 euros, for adults, and at a reduced price of 5 euros for children 12 years, older than 65 and people with disabilities.

Last September, children enjoyed the adventures of little Babar at the Teatro Real and began a journey that now leads to Boadilla del Monte.

Photograph: Javier del Real

Antonio Gades Company

The following days 22, 23 Y 24 October, the latter in double session at 17.00 and to the 21.00 hours, the Teatro Real will inaugurate its dance season with the premiere of Fire, choreography of Antonio Gades inspired by The love wizard, by Manuel Falla, and last collaboration of the artist with the film director Carlos Saura, performed by the Antonio Gades Company, with which you also want to pay tribute to the recently disappeared Gerardo Vera, creator of the stage space and costumes for this production, for which he obtained the Goya in 1987 in the film version.

The Antonio Gades Company, artistically directed by Stella Arauzo, will have 26 artists on stage, between musicians and dancers, with Emerald Apples (Candle), Alvaro Madrid (Carmelo), Juan Pedro Delgado (The spectre) Y Rachel Valencia (The sorceress) in the lead roles, and the singers Sara Salado, Alfredo Tejada, Enrique Bermúdez ‘Piculabe’ Y Aser Gimenez and the guitarists Antonio Solera Y Basilio Garcia, in the flamenco music parts.

The orchestral fragments will be performed by the Head of the Royal Theatre Orchestra under the direction of Miquel Ortega.

 

With this work, the Teatro Real completes the staging of the choreographic production of one of the most relevant figures in the history of dance in Spain, of which they have already been offered in previous seasons Blood Wedding, Carmen, Fuenteovejuna Y Suite Flamenca, all of them recorded on DVD and available on the audiovisual platform My Opera Player.

Fire, born in 1989 commissioned by the Châtelet Theater in Paris. It is an exponent of the purest Gades seal: "Go back to tradition if you want to evolve"; a transitional work between the already mythical montages of Carmen Y Fuenteovejuna, in which there are some resources created by the artist that were hardly seen and were never repeated and that constitute, nowadays, a surprise that keeps the work fresh.

The Antonio Gades Company replaces the Munich Ballet, planned in the programming on these same dates, that he has not been able to travel to Spain due to health restrictions imposed by the German Government.

Antonio Gades Company

Resident in Getafe. Artistic director Stella Arauzo

Antonio Gades made Spanish dance a universal style with a very broad expressive capacity. This allowed him to carry, to all corners of the world, without using the words, classics of world literature such as Blood Wedding by Federico García Lorca or Fuenteovejuna by Lope de Vega and Carmen that he signed with Carlos Saura and that has remained as one of the most recognized approaches to this Spanish and universal myth. After the death of the choreographer in 2004, The Antonio Gades Foundation's main objectives are the dissemination and conservation of the dancer's legacy, sponsors the Antonio Gades Company and keeps the school alive gadesiana: an aesthetic language rooted in the popular culture and art of Spain, but refined in the artistic and intellectual avant-gardes of the last half of the 20th century.

Antonio Gades Foundation

The Antonio Gades Foundation is a private institution, nonprofit, that is entrusted with maintenance, the care and dissemination of the work of the Spanish choreographer and dancer. To that end, custody and catalog the funds of an important documentary archive related to his artistic life, supervises the reconstruction of his choreographies and edits publications that delve into his work. further, promotes an important pedagogical program aimed at promoting knowledge and appreciation of Spanish Dance and Flamenco. Founded in 2004 by Gades himself, the Foundation is currently run by his widow, Eugenia Eiriz, who works for the fulfillment of the foundational purposes with the support of his close collaborator Josep Torrent and under the presidency of María Esteve, actress and eldest daughter of the teacher and Pepa Flores. In 2019, the Antonio Gades Foundation receives the Gold Medal from the Academy of Performing Arts of Spain for its “magnificent work of conservation and promotion of the memory of the great master of Spanish dance Antonio Gades”.

Photograph: Javier del Real

www.antoniogades.com

THE ROYAL BALLET OF THE NIGHT

Due to the difficult health situation that COVID-19 has generated in Europe, with special incidence in France and Spain, the show The birth of the Sun King, The royal ballet of the night, conceived and performed by the French company Ensemble Correspondances, whose premiere was to take place next Friday 16 October, has been canceled due to difficulties in the transfer of the artists to Madrid.

As he Teatro Real as the Matching set, conducted by harpsichord player Sébastien Daucé, They are working with their agendas to find a new date in which to carry out this beautiful function that involves the recovery of a work as interesting as it is unusual in the history of European music..

Subscribers and fans with tickets to this show will receive a refund of the amount of the same in their checking account, on the credit card with which they made the purchase or at the Theater box office if this was the mode of acquisition.

There are many monarchs who have starred in operatic titles (only in this season of Real we have Edward II of England, Ferdinand IV of Castile and Gustav III of Sweden), but very few titles that have the honor of having been released by a monarch, as is the case of The royal ballet of the night (1653), show in which King Louis XIV incarnated the god Apollo as a dancer with barely 14 year old.

The show, nothing innocent in political terms, sanctioned the triumph of the crown over the revolts that the aristocrats of the Fronde had instigated during the preceding five years, through an allegory in which the Sun King dispelled the darkness of the night, arranged musically throughout four vigils that alternated sung and danced numbers.

the score, composed of various French and Italian composers linked to the court, slept for centuries among the archives of the Philidor collection of the old Paris conservatory, until its rediscovery in 2004 and his musical recreation in 2016 por parte by Sébastian Daucé and Ensemble Correspondances.

Teatro Real

Pablo-Heras-Married

The main guest director of the Teatro Real and Ambassador of Ayuda en Acción, Pablo Heras-Casado, will lead the Madrid Symphony Orchestra for the sixth consecutive year to direct the concert Chords with Solidarity, an initiative led by the director himself and Ayuda en Acción. The appointment will take place on Monday 19 October at 20.00 hours at the Teatro Real in Madrid. This time, the Coriolano Overture and Symphony No.. 7 Beethoven, coinciding with the 250 anniversary of the birth of the German composer which is celebrated this year. Back in 2001, Pablo Heras-Casado made the genius of Bonn sound for the first time with his Seventh Symphony and, at the end of this year and repeating repertoire, There will be almost a hundred interpretations of Beethoven that the director has directed throughout his career in some important moments such as his debut with The Cleveland Orchestra or the Los Angeles Philharmonic.

The present time of this author does not only reside in the resignification of his message, but in a music that never ceases to amaze. In the words of the director himself "It is the occasion to restore Beethoven's strength, the impact and novelty that must not be lost over time ". In March of this year, the prestigious magazine "The Gramophone", Alluding to his performance with the Freiburger Barockorchester, he applauded the success of "Let Beethoven be Beethoven. Rhythmic displacements, the explosive forces, the dynamic contrasts that disarm and beg for sincerity, juxtaposed with brutally empathetic insistence, create a sense of wonder and awe that the Viennese audience (…) must have experienced when listening to Beethoven for the first time; the care and conscious consideration of every detail, they leave on the listener an impression of complete abandonment and surrender to the spirit of music ".

Heras-Casado, the Freiburg Baroque Orchestra and the pianist Kristian Bezuidenhout have teamed up once again with the record label mundi harmony in the recording of a special series dedicated to Beethoven. They have left a record of the Comprehensive Piano Concertos of the Bonn composer and some of his Openings, already on the market -except for the last of the discs of this integral (Concerts 1&3) whose launch is scheduled for August next year, as well as the Triple Concerto (with violinist Isabel Faust, cellist Jean-Guihen Queyras and pianist Alexander Melnikov) which is expected for January 2021. As a finishing touch to the aforementioned collaboration with the Freiburger Barockorchester and the pianist Kristian Bezuidenhout, a very special disc has been recorded with the Choral Fantasy and the Ninth Symphony, with which Heras-Casado will close the year Beethoven with the NHK Symphony Orchestra Tokyo in his traditional end-of-year project. A closing full of light and hope that adds to a wide repertoire of the great composer played, still still, in this year of celebration on stage, where they stand out Violin Concerto in D major, the 2nd, 3ª, 5ª, 7Symphonies and 9th, he Triple Concerto and the Concert Piano 4 in its full and camera versions. On stage some of the best ensembles on the scene such as The German Chamber Philharmonic Bremen, European Union Youth Orchestra, Orchestra of the Reina Sofía School of Music, Montreal Symphony Orchestra, Philarmonia Orchestra, Karajan Academy of the Berlin Philharmonic, the mentioned NHK one to Madrid Symphony Orchestra, in charge of bringing the next day's program to the lectern 19.

In this sixth edition of the Chords with Solidarity initiative, the proceeds will go entirely to the response that Ayuda en Acción is giving to the emergency caused by COVID-19 in Spain. Through the Program Here too, the NGO is fighting to reduce the digital and educational divide that has become evident and accentuated after the pandemic, supporting about 11.000 children, girls and adolescents who are at risk of social exclusion in Spain to which can access education with equal opportunities. “It is a solidarity initiative fruit of a great alliance in which our extraordinary ambassador Pablo Heras-Casado and the Madrid Symphony Orchestra take part., who participate in the concert in a completely altruistic way; Royal Theatre, supporting us with the dissemination of this great event; and the Repsol Foundation, who also collaborates with our program Here also in Spain. One more year, We thank all of them for their unconditional support and we extend it to the general public of the Royal Theater that, with your input (in person or via streaming) and with your contributions to the row 0, allow us to continue our work that is now more necessary than ever”, affirms Marta Marañón, Director of Institutional Relations of Ayuda en Acción.

as a novelty, emphasize that the concert it can be enjoyed live by streaming from any part of the world. Tickets for the broadcast online, that are already on sale, can be purchased on the platform's website My Opera Player by 9,99 euros. For those people interested in attending the appointment in person, they can buy their tickets (from 10 €) through the Teatro Real website on the phone 902 24 48 48 and at the theater box office. A row has also been enabled 0 for donations in account number ES55 0049 0001 58 2911863843. The event will be held at 50% of its capacity, with separation between seats and following all security protocols.

Photograph: Javier del Real

Philippe Jaroussky

He Teatro Real had announced a recital in which the absolute protagonist was to be the French countertenor Philippe Jaroussky. In two sessions, one at 19:00 and another at 21:30 hours (You have to use your imagination to get around the capacity restrictions caused by covid-19). But what we found was a whole baroque concert, somewhat peculiar, but quite a concert. that if, Jaroussky's leading role was shared by the high quality of the rest of the performers and the orchestra.

Sweet works of Vivaldi, between arias and fragments of operas, they were distributed among the four interpreters. Three for each one, somewhat mechanically, came on stage one after another. I suppose that as a consequence of the urgency of the two sessions, so the effort of theater and interpreters must be valued,

Despite these unusual situations, product of the time we live, the artistic and musical result was at a very high level. It began with the aria from La trusted nymph "Do not storm that the trees prune", played by the German tenor, of Chilean origin, Emiliano González Toro. Volume and colorature are often not compatible and, in the case of González Toro, the first is sacrificed, clearly, for the benefit of the second, at least in this first work, because in his two subsequent interventions he surprised with a bright and well-timbred voice, an elegant and clean singing line that he knew how to show off especially in the last of his arias, the delicate "You would like with your tears", the Griseelda, where he showed an exquisite expressiveness.

The vocal pyrotechnics was reserved for the Hungarian soprano Emóke Baráth. He made a great display of coloratura in his first two arias, "Arm torch and Angus", from Abra triumphans Y "Soul oppressed by cruel fate", by La fida ninfa. But it was also in the dramatic "He proudly sees the wave", by Griselda, where he exhibited a very well modulated vocal delicacy.

The contralto Lucile Richardot has a beautiful and original timbre. He has a good vocal range that he demonstrated in the turns towards the low register, from powerful and sharp highs. She showed off both in coloratura and in the most dramatic and delicate moments. Quite a surprise since his first intervention with "Often the sun", from Andromeda Liberata or the second “Frema pur”, from Brass in the villa.

The best known and expected was, definitely, Philippe Jaroussky. As usual, the French countertenor offered in his three interpretations the nuanced expressiveness and delicacy that are his hallmark. It started with the best known piece "I will see with my beloved" from The Justin, after "Cold in every vein", of Il farnace and ended his brief speech with "If in every look", from Orlando faking mad.

As a final gift, the four interpreters offered an encore together, "De’ll aura when whispering" from The trust nymph, a kind of adaptation that Vivaldi made of his Primavera.

The Lodge Concert, group not well known in Spain, pleasantly surprised by the hand of its conductor and violin Julien chauvin, who led musicians of extraordinary quality with great dynamism and a baroque accent.

Photograph: Javier del Real

Antonio Gades Company

The Antonio Gades Company replaces the Munich Ballet, planned in the schedule, that you will not be able to travel to Spain due to health restrictions imposed by the German Government.

With the premiere of Fire he Teatro Real completes Gades's choreographic production of which he has already performed and recorded on DVD: Blood Wedding, Carmen,Fuenteovejuna and Flamenco Suite,available on the audiovisual platform My Opera Player

Four functions will be offered, the days 22, 23 Y 24 October, the latter in double session at 17.00 and to the 21.00 hours

The music will be performed by the Titular Orchestra of the Royal Theater under the direction of Miquel Ortega.

Premiered at the Châtelet Theater in Paris in 1989, Fire is the exponent of the purest seal Gades: "Go back to tradition if you want to evolve"; a work of transition between the already mythical montages of Carmen and Fuenteovejuna, possessing many of the artist-created assets that have never been repeated, and today they constitute a surprise that they make the work maintain its freshness.

The Royal Theater and the Antonio Gades Foundation qThey want to pay tribute, with these functions, the recently disappeared Gerardo Vera, responsible for the stage space and costumes for this production.

Photograph: Javier del Real

Philippe Jaroussky

The appointment will take place next 5 October, As planned, double session at 19.00 and to the 21.30 hours

The subscribers of the Grandes Voces cycle and the buyers with tickets for this concert will be relocated according to the guidelines of the sanitary protocol and at a new schedule

Under the titleLong live Vivaldi ! a program consisting of arias and excerpts from operas by the Venetian composer will be offered

Jaroussky will be accompanied by the soprano Emóke Baráth, the contralto Lucile Richardot and tenor Emiliano González Toro, next to The Lodge Concert with musical direction of the violinist Julien chauvin

The bond of Philippe Jaroussky with the Teatro Real has always been related to artistic success and the enormous affection that the public of Madrid professes for him since his debut on this stage in the year 2000 with Jealousy air even kill, by Juan Hidalgo. His quick and brilliant career, that has placed him among the best countertenors in the world, points to the Madrid coliseum as a witness to great lyrical nights.

For this reason, and given the current situation caused by COVID-19, the French artist and the Royal Theater have decided to offer the concert planned for the next 5 October, in a double session, to 19.00 and to the 21.30 hours, that allows to relocate the public with tickets for this appointment in the best conditions of sanitary security.

Jaroussky will perform at this appointment with a selection of arias and opera excerpts from his fetish composer, Antonio Vivaldi, accompanied by baroque training The Lodge Concert, conducted by the violinist Julien chauvin. Along with them will participate the soprano Emóke Baráth, the contralto Lucile Richardot and tenor Emiliano González Toro.

The concert title says it all, Long live Vivaldi!. The works of the Venetian composer are the place where Jaroussky's voice best exhibits his virtuosity and sensitivity, endowing each fragment with an undeniable beauty.. The unmistakable timbre of your voice will be assembled, in some moments of the program to those of Emóke Barát and Emiliano González Toro to interpret the trio of The truth at stake, “Placid and serene aura” or share the passionate notes of Il Giustino with Emiliano to contrast the dramatic and melodic intensity of this opera that contains some of the composer's roundest arias such as "I'll see with my beloved" e "The pleasure of revenge".

The Royal Theater will contact all the subscribers of the Grandes y Voces cycle and with the buyers with tickets for this concert to inform them of the time change and the relocation to new places, in order to guarantee the health safety distance that allows you to enjoy an unforgettable evening.

Teatro Real

Real Flamenco

The next 13 of November the Teatro Real will inaugurate the third season of Real Flamenco, consolidating the presence of flamenco in its Ballroom, with a program articulated around a great name of cante or dance.

After Cristina Hoyos, honored in the last edition, this third season will be dedicated to the great bailaora, coreógrafa, teacher, researcher and businesswoman Blanca del Rey, Spanish muse of dance in recent 50 years.

Antonio Canales, linked to FLAMENCO REAL since its creation, will continue to tutor, with his mastery, this cycle, which this season will have a more ambitious program, in which the names of Miguel Fernández Ribas stand out, ‘The Yiyo’; Antonio Molina, The Choro '; Juan Campallo, Alba Heredia, Amador Rojas, Andres Peña & Pilar Ogalla; Rafael Rodriguez, "The head"; Belén López, Quick, Ivan vargas, Kiki Morente, Yolanda Osuna, Ricardo Fernández del Moral, Maria Jose Franco, Juan Manuel Moneo, Maria Moreno, Oscar Lago, Antonio Canales, Mercedes of Cordoba, Enrique ‘El Extremeño’, Angel Muñoz, Charo Espino, Macarena Ramirez, Eduardo Guerrero, Sergio Lope, o el “El Mati”.

To carry out the third edition of FLAMENCO REAL with the current health safety regulations, the configuration and structure of the entire cycle had to be changed: the above chairs and tables with Spanish wine, like a tablao, they have been replaced by armchairs arranged in a semicircle, like an auditorium, of which they will hardly take care 130 seating (40% of the total capacity).

To accommodate more viewers, each show will be offered in double session, to 19.30 and to the 22:00 hours. Likewise, a reduced price ticket category has been added and lowered prices a 15% in relation to previous editions in order to facilitate the enjoyment of flamenco to the greatest number of people in these difficult times marked by the pandemic. The four categories of localities have prices ranging between 25 and the 65 euros.

The shows, that will take place Thursdays or Fridays, each 3 weeks, approximately, will be preceded by a welcome wine, to be served half an hour before each show in the rooms adjoining the ballroom, with the spectators standing, following the health measures in force.

This third edition of FLAMENCO REAL, in co-production with SO-LA-NA, It shall consist of 15 flamenco art shows, sing, home, tap and percussion, featuring renowned artists, They are representing different families, schools and schools of art deeply rooted tradition, but permeable to the personality of its various interpreters.

The Ballroom will once again host flamenco shows throughout its season, enriching the mythical space with the Spanish artistic heritage, within the framework of the policy of opening to the Royal Theater styles and different languages, promoting dialogue between different forms of expression.

Flamenco Real has the sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, Juan Gil, Group Corporalia.

REAL FLAMENCO | PROGRAMMING

13 of November 2020 | Miguel Fernandez Ribas, ‘The Yiyo’

Setback

Miguel Fernandez Ribas, ‘The Yiyo’, home

Miguel de la Tolea, sing

Manuel Tañe, sing

Eugenio Santiago, guitar

Paco de Mode, percussion

26 of November 2020 | Antonio Molina, The Choro '

With the participation of Juan Campallo, Invited artist

My dance

Antonio Molina, The Choro ', home

Juan Campallo, guitar

Ismael de la Rosa, sing

Very Morón, sing

17 from December 2020 | Alba Heredia

Alba&Country

Alba Heredia, home

Antonio Moreno Maya, ‘The Cancu’, sing

Jose Plantón, ‘José de Calli’, sing

David Jimenez, guitar

Juan Jimenez, guitar

Rober ‘El Moreno’, palmas

21 from January 2021 | Amador Rojas

Love dancing

Amador Rojas, home

Joni Jiménez, guitar

Inma ‘la Carbonera’, sing

 

11 February 2021 | Andres Peña & Pilar Ogalla

With the participation of Rafael Rodriguez, "The head" Invited artist

Of sepia and gold

Andres Peña, home

Pilar Ogalla, home

Rafael Rodriguez, 'The head', guitar

Emilio florido, sing

Miguel Soto, ‘El Londro’, sing

26 February 2021 | Belén López

With the participation of Quick, Invited artist

Flamenca

Belén López, home

Morenito de Illora, sing

Pedro Jimenez, sing

Juan Jimenez, guitar

Carlos Jimenez, guitar

Rafael Jimenez, ‘The Spark’, percussion

 

4 of March 2021| Ivan vargas

With the participation of Kiki Morente, Invited artist

Root flamingo

Ivan vargas, home

Kiki Morente, sing

Joni Cortes, sing

Luis Mariano, guitar

Miguel Rodriguez Fernandez, "The Cheyenne", percussion

25 of March 2021 | Yolanda Osuna

With the participation of Ricardo Fernández del Moral, Invited artist

Radiates

Yolanda Osuna, home

Miguel Perez, guitar

Bernardo Miranda, sing

David Moñiz, fiddle

Roberto Jaén, percussion

15 of April 2021| Maria Jose Franco

With the participation of Juan Manuel Moneo, Invited artist

return

Maria Jose Franco, home

Juan Manuel Moneo, guitar

Manuel Moneo, sing

Carmen Grilo, sing

 

6 of May 2021 | Maria Moreno

With the participation of Oscar Lago, Invited artist

I dance

Maria Moreno, home

Oscar Lago, guitar

Pepe de Pura, sing

Roberto Jaén, palmas

20 of May 2021 | Antonio Canales

The guitar sings

Antonio Canales, home

David “The Rooster”, 'sing

Israel Fernández, sing

Manuel de la Tomasa, sing

David Rodríguez "David del Arahal", guitar

3 of June 2021 | Mercedes of Cordoba,

With the participation of Enrique ‘El Extremeño’, Invited artist

No more

Mercedes of Cordoba, home

Enrique ‘El Extremeño’, sing

Pepe de Pura, sing

Juan Campallo, guitar

Paco Vega, percussion

 

24 of June 2021 | Angel Muñoz

With the participation of Charo Espino, guest artist

Syrup

Angel Muñoz, home

Charo Espino, home

Jose Angel Carmona, sing

Gaspar Rodríguez, guitar

Diego Villegas, saxophone and flute

 

8 of July 2021 | Macarena Ramirez

With the participation of Eduardo Guerrero, Invited artist

Ephemeral

Macarena Ramirez, home

Juan Jose Alba, guitar

Jose Plantón, ‘José de Calli’, sing

Ismael de la Rosa, 'The ball', sing

Juan José Amador, The Perre ', sing

 

29 of July 2021 | Sergio Lope

With the participation of "El Mati", Invited artist

Being of Light

David Caro, guitar

Javier Rabadán, percussion

Juanfe Pérez, low

PRICES BY LOCATION *

Zona Premium: 65 €

Zone A: 55 €

Zone B: 35 €

Zone c: 25 €

* The price includes a welcome wine.

Friends of the Real

10% discount for buying tickets for all shows.

Fertilizers

Two season tickets with alternate dates: 6 tickets by subscription

Photograph: Javier del Real

Teatro Real

The younger audience is once again the protagonist of the weekend at the Teatro Real with a new title of the Real Junior program in which, hand in hand with the music of Igor Stravinsky, we will discover the A Soldier's Story, work based on the text of Charles Ferdinand Ramuz of the same title, inspired in turn by a Russian folk tale.

Three sessions will be offered on the days 3 Y 4 October at 12.00 hours, in the Main Hall, with the necessary protocols and sanitary measures so that the family public feels safe and can enjoy a morning music day.

The Teatro Real wants to join in the recognition of the effort and work carried out since the beginning of the pandemic to health personnel and to the security forces and services (National Police, civil protection, firefighters, SAMUR and municipal police), making free full-feature tickets available to you this weekend, so they can enjoy music as a family. The invitations have been distributed to interested parties through hospitals, professional associations and administrations of the security forces.

The story tells the story of a soldier who, back home, with a rest permit, is mocked by the devil, in the form of a stranger, suggesting you exchange your violin for a magic book with which you can learn about the future and get rich. The soldier accepts the barter and spend three days in the company of the new friend in order, On one side, to teach him to play the instrument and, for other, of learning to interpret the content of the book. But not everything will be as he expects ...

At this starting point, music, word and dance will construct the story with a closer look and a more current format in the eyes and sensibilities of today's young people, directed and choreographed by Ferran Carvajal, with the participation of Roger Orra in the design of the scenography and the costumes and Marc Lleixà in lighting.

Teacher Rubén Gimeno will direct the soloists of the Youth Orchestra of the Community of Madrid, in a complex score in which each instrument represents a character and all define the different scenes, sometimes with an intimate and, sometimes, festive and carefree where the waltz, jazz or ragtime dance together.

A Soldier's Story is a production of L’Auditori de Barcelona, Thorus Arts and Jeloudoli being featured, for the first time at the Royal Theater.

As it is usual, the Royal Theater makes available to viewers, in his web page, a complete Teaching guide with complementary information and curious facts about the show.

Photograph: Javier del Real

Teatro Real

The journalist Concha Barrigós has been named Director of Communication and Informative Relations of the Royal Theater and becomes part of its Management Committee.

Doctor in Journalism from the Carlos III University, it was until his incorporation to the Royal Theater, Chief Editor of the Efe Agency, in which she has been the most responsible, in different stages, of the Culture and Shows sections, Society and Science and Future. For a decade he had, Besides, of information in the field of Performing Arts and Classical Music.

She has been Chief Editor of the News of Telecinco, founder and director of Cable Canal Salud and founding partner of the Communication magazine Joiner.

Strongly linked to higher education for years, She has been a professor at the Antonio de Nebrija and Carlos III universities. Invited by different universities and institutions, He was a speaker at seminars at the Complutense University, Alternativas Foundation, the Santillana Foundation, the MonteMadrid Foundation, the Ibero-American Congress of Culture of Zaragoza or the Hay Festival, Spanish representative at the World Journaliste Conference in Seoul and organizer of a congress on youth and drugs for the Spanish Presidency of the EU.

Member of the jury of awards such as Cervantes or national awards such as Ensayo, Architecture or Children's Literature, has the White Cross of the Order of Merit of the National Drug Plan, the Fecyt award for Diffusion of Science , the award of “No violence against women” from the Ministry of Labor and Social Affairs, among others.

Teatro Real, Royal decree

In order to meet the demand expressed by some viewers in the past 20 of September, Royal Theatre, always sensitive to the concerns and concerns of your audience, has decided to limit to a 65% the capacity in the delimited areas of the Theater. For that, Since yesterday afternoon, subscribers are being contacted with tickets corresponding to each area to inform them of the current health security protocol at the Theater and propose them, if applicable, the relocation of their localities or, failing that, the refund of the full amount of your tickets.

The Royal Theater is reminding the entire public that its strict health security protocol remains active: disinfectant carpets, hydroalcoholic gel, supply of masks and temperature measurement at all entrances to the theater; limited mobility areas within the building; Increase in bathrooms and bars to avoid crowds; permanent cleaning of all public spaces (bathrooms, staircase, bars, etc.), entry and exit of spectators in a staggered manner; permanent and individualized assistance to the public by the room staff; medical assistance service during performances, etc.

Likewise, Spectators residing in the semi-confinement areas delimited by the Community of Madrid will be able to recover the amount of their locality by proving the postal address of their home.

The Teatro Real appreciates the support of the official institutions -Government of Spain, Community and City Council of Madrid-, the essential and generous collaboration of the sponsors -and their very special support in recent days-, as well as the joint action of the governing bodies of the theater and of all the workers.

Teatro Real

A masked ball

After analyzing the possible causes of the protest by a group of spectators who came yesterday, 20 of September, representing A masked ball, that finally could not be carried out, he Teatro Real he is very sorry for what happened and expresses his understanding with all the spectators who have not felt safe in their seats, even if the current health regulations were scrupulously complied with, verified by the Police who traveled to the Theater last night.

Perhaps the origin of the dissatisfaction of a part of the public with the distribution of their seats in the room is due to changes in the health security protocol adopted for the functions of A masked ball, that are not the same as those applied in the representations of La traviata in July: The sealing of the chairs and the obligation to leave two empty seats next to two other occupied ones has been eliminated, since the health regulations of the Community of Madrid have also changed.

In the functions of La traviata The previously blocked seats did not go on sale and in A masked ball free sale has been left until the 65% of the total capacity of the room, when the maximum authorized by the Community of Madrid was yesterday 75%. A) Yes, the public who have bought their tickets have been able to freely choose their seats in the room, unlimited by zones, being watched by the theater, within current health regulations, the possibility for spectators to sit in consecutive seats - as happens in public transport- protected by their mask and in a room where they are quietly listening to the opera.

Perhaps this fact has been the trigger for the protests, since the public expected to find the room with a distribution of seats similar to that of the July functions, but the health protocol of then and now is different, as it has been on stage, in which a complete operatic production is already being offered, with scenery, figurines, and soloists, choir and dancers with greater mobility on stage.

The Teatro Real wants to reiterate its commitment to the public's health safety, artists and workers, in which he has been working hard, responsibility and a lot of energy, since April, with its own Medical Committee and scrupulous monitoring of the regulations of the Government of Spain and the Community of Madrid.

After last night's incident, the Teatro Real will take all the necessary measures to make spectators feel safer, also reinforcing its communication with the public.

The Royal Theater appreciates, as usual, to the artists and workers all their involvement and dedication to make opera possible in these days of uncertainty. Once again this thanks is extended to all the public, including also the spectators who last night did not feel comfortable in the room. We ask everyone for trust, understanding and generosity to face these difficult days together, where art and music are more necessary than ever.

Photograph: Javier del Real

Teatro Real

Teatro Real

Today, 20 of September, before the start of the function A masked ball, in which there was 905 locations busy (51,5% of the total capacity of the room), a group of spectators has expressed with applause and shouts their dissatisfaction with the location of their seats.

The protest has been prolonged despite the public address announcements that offered spectators the possibility of repositioning them or returning the amount of the tickets.

After the relocation of a large part of the protesting spectators, and two attempts to interpret the opera by the conductor and all the artists and technicians who participated in the performance, a very small group insisted on continuing their protests to boycott the representation, so it had to be suspended, near the 21.10 hours.

The direction of the Royal Theater will open an investigation to find out this unfortunate incident and will take the necessary measures so that the successive functions develop normally.

Teatro Real

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A special masked ball

A masked ball

Giuseppe Verdi (1813-1901)

Rarely is a title so accurate to describe a situation. And is that the Teatro Real opens this strange and uncertain season 20/21 with 'A masked ball', in Verdi.

To enter the Theater you have to dedicate a little more time now. You cannot skip any of the steps in the new security liturgy against covid-19, which in this Theater is especially thorough. Everything perfectly organized to avoid any type of agglomeration and a caring room staff who gives all kinds of information and indications.

This season the Teatro Real is launching an initiative that has already been carried out in other European theaters with great success. It is a preview dedicated exclusively to young people. He 16 of September, two days before the official premiere, this stimulating premiere has taken place that has had an extraordinary response. A magnificent initiative highly celebrated by a young hobby who normally, either for reasons of capacity or because of the high price of the seats, he does not attend these shows as often as he would like.

We have spoken with some of these young people who have come to this first gala and have shared with us their points of view. Today they are the protagonists.

It is not the first time that Cristina has attended an opera. In fact, has worked as a makeup artist at the Theater. ”I think the initiative is very good, I like it a lot and if today, that I come alone, I like it, I'm going to bring all my friends. For € 35 I think it's amazing to be able to come and enjoy all this ".

Manuel and José Ignacio, are musicians who come for the first time to the Royal Theater from Seville and Aracena, Huelva. "Our expectations are very high. We have always liked Verdi's music and we come here with enthusiasm. The proposal of the Theater seems very interesting to us, especially for the approach of opera to young people. We generally cannot afford it and these are very reasonable prices.. We always had to settle for watching it online and now we are here. "

Gonzalo and Eduardo is the first time they come to the opera and they are a bit lost. "We come with desire, It is a new experience and I think we will like it. From the outside it looks very good. The first time, Let's see how!”.

Unlike the Traviata of July, this Ballo in Maschera is staged. Given the impossibility of moving David Alden's initially scheduled production to Madrid, the scenography by Gianmaria Aliverta has been chosen. The effort made to adapt this production, released in 2017 at the La Fenice Theater in Venice, to strict health protocols has been important. The staging is almost complete. Avoiding contact or closeness between the performers and in which only the dancers wear a mask, by the way, so discreet that it is barely visible.

The scenery is outdated and bland. All elements are very static, except for a big rock in the second act that spins (to Amelia's torment, who has to sing while climbing it). Nothing on stage provides the dynamism that singers fail to achieve., due to the necessary lack of movements. Nor do long changes of scenery during the performance help..

The dance corps choreography isn't very stimulating either, does not seem very elaborate. The fact of locating the work in the America of slavery is also puzzling., with an American flag with excessive presence, so gigantic.

But the absence of proximity between the singers, especially in the love duo, is offset by music. Master Luisotti describes it very well: "The experience of the opera is a personal experience. The possibility of closing our eyes and imagining what is happening is provided by music. In the love duo, even if i wasn't seeing it, I can imagine the embrace of the two lovers. " Verdi manages to transmit, through his music, the exact words to describe an action.

Un Ballo in maschera is undoubtedly the most Italian of Verdi's operas, and the baton of Nicola Luisotti, great connoisseur of this repertoire, makes it manifest throughout the entire representation. If one abandons oneself to music and the color and detail that Luisotti extracts from the orchestra, nothing that happens on stage alters the essence of the play.

We must recognize the great work developed by the set designer Massimo Checchetto and by the singers. It is not easy to function on a stage keeping your distance from everyone. What also affects, not only to interpretation, but to the projection without close references.

This Ballo in maschera has two casts and four Amelias. The representation of the young gala was in charge of a second cast headed by veteran Ramón Vargas, as Count Ricardo, that preserves the class and phrasing that made him one of the greatest tenors. The Madrilenian Saioa Hernández, as Amelia, who showed great sensitivity with the expressiveness of his voice. Geroge Petean, with a deep baritone voice that gave life to Ricardo's friend and later rival. Silvia Beltrami, who built a dark character of the sorceress Ulrica. Elena Sánchez Pereg, who played young Oscar, Take Babylon, as Silvano, Daniel Giulianini, as Samuel, Goderdzi Janelidze, as Tom and Jorge Rodríguez Norton.

The choir was assisted at all times by the technique to be able to keep the distances on mobile platforms.

A hopeful start to the season in the midst of this dystopian situation and full of uncertainty but, as Vargas Llosa recalled on opening night "Culture is made to face difficult times". That's why we are here, surrounded by young people ...

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

Masked ball
  • The official opening of this season, the next 18 of September, will be preceded, for the first time, of a preview only for children under 35 years ─la Young Gala─ the 16 of September.
  • They offer 16 functions A masked ball with a maximum capacity of 75% of the localities and with the health security measures implemented in 27 representations La traviata last july, modified in accordance with the regulations recently approved by the Community of Madrid.
  • The stage manager Gianmaria Aliverta and the set designer Massimo Checchetto They have introduced important modifications in the original production of the Teatro de La Fenice in Venice to adapt it to the sanitary protocol of the Teatro Real, keeping intact its dramaturgical concept.
  • Nicola Luisotti, first guest musical director of the Teatro Real, will conduct his sixth Verdi title at the head of the Titulares Choir and Orchestra of the Teatro Real, after the enormous success obtained with Don Carlo Y La traviata in the past season.
  • Two deals (with four Amelia) they will alternate in the interpretation of the main roles: tenors Michael Fabiano and Ramón Vargas (Riccardo); the sopranos Anna Pirozzi, Session Hernández, María Pia Piscitelli and Sondra Radvanovsky (Amelia); baritones Artur Ruciński and George Petean (Renato); las mezzosopranos Daniela Barcellona y Silvia Beltrami (Ulrica) and the sopranos Elena Sancho Pereg and Isabella Gaudí (Oscar).
  • The premiere of Un masked ball, he 18 September at 20.00 hours, be broadcast live on screens installed in Plaza de Oriente and Plaza de Isabel, with limited capacity and in accordance with the regulations related to COVID 19 of the Community of Madrid.
  • Around A masked ball Parallel activities have been organized at the Teatro Real and in collaboration with the SGAE Foundation, Museum of Decorative Arts and Nebrija University, highlighting the session approaches, he 14 September at 20.15 hours, with a capacity of 75% of face-to-face locations and retransmission, for the first time, at Youtube channel of the Royal Theater.
  • Functions A masked ballare sponsored by Telefónica.

  • The live broadcast of the opera on the outdoor screens is sponsored by Telefónica, Endesa, State Lotteries, Mutua Madrileña, Redexis Foundation and EDP Foundation.
  • The Young Gala will have the collaboration of the professional services firm EY.

The Royal Theater will inaugurate the Season 2020-2021 ─the 24th since its reopening─, with A masked ball, from Giuseppe Verdi, which will be offered in a production from the Teatro La Fenice in Venice and responded in collaboration with the Teatro de la Maestranza in Seville.

The libretto of the opera, something outdated for the time, part of a previous one, from Agustin Eugène Scribe, Tangentially inspired by the assassination of King Gustav III of Sweden during a masked ball at the Stockholm Opera, victim of a conspiracy. Successive problems with Roman and Neapolitan censorship forced the librettist Antonio Somma to move the political background of the Swedish court opera to Boston, at the end of the XVII, then under british rule.

The stage manager Gianmaria Aliverta maintains the plot of the opera in America, but move the action to the nineteenth century, when violent fratricidal struggles faced the states of the North and South, who resisted abolishing slavery and losing other abusive prerogatives ascribed to the owners of large estates.

In this context of confrontations, the political tension underlying the libretto is emphasized., what's wrong with it, spotlight, a dismal love triangle, in which the vicissitudes of the protagonists are musically described with Verdi's sharp dramatic sense and his inexhaustible melodic inspiration. The composer intertwines arias, duos and choral scenes in blocks that make up large frames, articulating drama and comedy with extreme skill, ensemble numbers and intimate moments, the palace bustle and the inner drama of the characters, always keeping the tension in "the most melodramatic of melodramas", in the words of Gabrielle D’Annunzio.

Nicola Luisotti, first guest conductor of the Teatro Real, will be in front of the departments of great verdean voces, in which the female lead role (Amelia), will be performed by four different sopranos: Anna Pirozzi, Session Hernández, María Pia Piscitelli Y Sondra Radvanovsky. The tenors complete the cast Michael Fabiano Y Ramón Vargas (Riccardo); baritones Artur Ruciński and George Petean (Renato), the mezzosopranos Daniela Barcellona Y Silvia Beltrami (Ulrica) and sopranos Elena Sancho Pereg e Isabella Gaudí (Oscar).

As with the functions of the La traviata, the soloists, choir, actors and theater workers will rigorously comply with the Health Security Protocol designed by the Teatro Real Medical Committee, in accordance with the guidelines of the Community of Madrid.

The premiere of A masked ball, he 18 of September, be broadcast live on screens installed in the Plaza de Oriente and, for the first time, in the Plaza de Isabel II, where will they be placed 450 chairs separated from each other by 2 m., in a limited area of 4000 m2 with 320 m. of security fencing and 8 Entrances and exits duly signposted and equipped with hydrogel.

TELEFÓNICA, MAIN TECHNOLOGICAL MECHANES OF THE REAL THEATER

Telefónica, main technological patron of the Teatro Real, drives its digital development and the best connectivity to optimize the experience of opera fans on all the digital channels of the Theater. In these years, Telefónica has expanded the number of functionalities and services on the web, reinforcing the interactive and communication with users. In this way, It has allowed the creation of a much broader catalog of products - encompassing different types of music- and accessible, with services more adjusted to the preferences of the followers of this institution. A further step within this global project has been My Opera Player, digital platform that allows opera lovers, dance and classical music enjoy from home, with just a click, of the best internationally successful productions.

MyOperaPlayer, , has Telefónica, as a technological partner of the Teatro Real, and with the sponsorship of Endesa, who supported this initiative as sole sponsor when the platform was called Palco Digital.

AGENDA | PARALLEL ACTIVITIES

11 of September, to 20.15 hours | Teatro Real, Sala Gayarre

approaches: meeting with Nicola Luisotti and Gianmaria Aliverta - musical and stage directors of A masked ball- and Joan Matabosch, artistic director of the Teatro Real. Interpretation of arias from operas by Mercadante and Auber based on the libretto by Eugene Scribe.

18 of September, to 20.00 hours | Broadcast in the Plaza de Oriente and Plaza de Ópera

Live broadcast of A masked ball on the screens located in Plaza de Oriente and Plaza de Isabel II.

8 October, 19:00 h. | Nebrija University

Streaming conference: first of four conferences of the cycle Opera baskets, that throughout the entire season of the Teatro Real wants to delve into the fascinating world of fashion through opera.

Free activity upon registration in actos.nebrija.es

11 October, to 12.00 hours | Teatro Real, Living room

Chamber Sundays I: the Soloists of the Titular Orchestra of the Royal Theater will offer a concert with affinities with the opera A masked ball.

18 October, to 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

All the Gayarre: music workshops for the whole family, direction and presentation of Fernando Palacios.

A dance with suspense. We sneak in with a page at a costume ball.

Saturdays and Sundays from October to December | Museum of Decorative Arts

Travels in family: under the title A masked ball, Classic myths the museum offers self-guided itineraries to discover as a family the multitude of heroes of classical mythology that hide in its rooms. Heroes that on many occasions the mask of time has turned into anonymous figures and of whom we will now be able to know their name and history. Free activity upon registration in difusion.mnad@cultura.gob.es

Photograph: Javier del Real

Fabio Parenzan

The famous Italian mezzo-soprano Daniela Barcellona returns to the stage of Real for his debut as the sorceress Ulrica de la ópera de Verdi "A masked ball", opera than next 18 September opens the new lyrical season of the Madrid Coliseum. The singer born in Trieste and acclaimed as one of the great figures of international opera in the most important opera houses in the world, come back to Teatro Real, with what will be his first operatic performance after his recent success as a soloist of the Ninth by Beethoven at the reopening concert of the legendary Teatro San Carlo, held in the Piazza del Plebiscito.

Considered the Rossinian mezzo-soprano of reference in recent decades, and one of the most important voices on the international opera circuit, both for his vocal quality and for his stage skills, which made her the first Italian singer to be awarded the prestigious "Olivier Award"; Daniela Barcellona, who has sung under the baton of teachers like Claudio Abbado, Colin Davis, Lorin Maazel, James Levin, Georges Prêtre, Kent Nagano, Valery Gergiev, Daniel Barenboim O Riccardo Muti, has decided to follow the natural evolution of his voice and in recent years has added new roles to his repertoire. To his extensive catalog of characters he has added new ones, like Baba la Turca in The rake’s progress Stravinsky, his applauded Didon from The Trojans Berlioz, Santuzza (Cavalleria rusticana), Laura Adorno (The Gioconda) and the Verdians, Princess Eboli (Don Carlo), Amneris (Aida) – after his memorable performance at the Arena di Verona, the Italian critique la saludó como “Greatest Daniela Barcellona! We have finally found the Amneris areniana we have been waiting for for years!”- or Mrs. Quickly of Falstaff, role he has sung in Chicago with Riccardo Muti, at the Opéra National de Paris, La Scala in Milan, Dutch National Opera de Holanda, the Berlin Staatsoper with Daniel Barenboim and Zubin Mehta, or last spring at the Teatro Real in Madrid, in the new production of Laurent Pelly.

Its immediate commitments include, again, Falstaff in brussels, her debut as Azucena (The Troubadour) at the Opéra National de Paris, and the Requiem de Verdi junto a la Staatskapelle Berlin y Zubin Mehta en la Staatsoper Unter den Linden y the Philharmonie de Berlín.

Photograph: Fabio Parenzan

https://www.danielabarcellona.com/

Fados Teatro Real

Tickets are already on sale for the Madrid International Fado Festival to be held in the Teatro Real he Saturday 26 September 2020 and that throughout the day it will feature concerts by Ana Moura, Cuca Roseta Y Fábia Rebordão.

The Madrid Fado Festival will dedicate the programming of its X Edition to pay tribute to the great diva of the Portuguese genre, Amalia Rodrigues, in the year that marks the centenary of his birth.

For this important event, a day has been designed in which there will be room for different disciplines that will try to bring the figure of the artist closer to the viewer.

Throughout the day you can visit the exhibition “Amália Rodrigues” created by Fado Museum and the EGEAC with photographs and texts related to the Portuguese diva. There will also be two conferences on Amália offered by the experts Jorge Fernando Y Tiago Torres da Silva. Before the music, two emblematic films of the Luso genre will be shown “The Art of Amália” from Bruno de Almeida Y “Amália o Filme” from Carlos Coelho da Silva. As the culmination of the festival, three great female voices will offer two concerts: Fábia Rebordão (17.30H Orchestra Room), Cuca Roseta (19.00h Main Room) Y Ana Moura (21.30h Main Room)

ANA MOURA

Ana Moura's return to Madrid will be marked by a different and unmissable show.

At a height that the artist is preparing her next album and that the centenary of the birth of Amália Rodrigues is being celebrated, the major name of Fado, Ana Moura presents a concert with a repertoire that is not usually part of her shows and with some re-readings of the Amália Rodrigues songbook in the legendary Teatro Real hall..

It is about, probably, of one of the last opportunities to see Ana Moura on stage, before the arrival of the new album, of the new songs and the new show.

Day 26 of September: Ana Moura Voice: Ana Moura- Portuguese guitar: Ângelo Freire –Viola Fado: Pedro Soares- Acoustic bass: André Moreira Keyboard: João Gomes -Percussion- Mario Costa21.30 h., Great room.

CUCA ROSETA

Cuca Roseta is one of the most acclaimed and applauded voices in fado. His voice and enormous talent have conquered many of the most important stages in the world.

After five albums released, in which the production firm of Gustavo Santaolalla or Nelson Motta stands out, Cuca Roseta now presents an album and a show entirely dedicated to Amália Rodrigues. More than a tribute by Cuca Roseta to the greatest voice of fado it is, especially, of a personal thanks to a woman and a work that, From the first moment, they became a fundamental support for his artistic growth as a fado player.

https://www.teatroreal.es/es/espectaculo/ana-moura

Day 26 of September: Cuca Roseta- Thanks Amália-Voice-: Cuca Roseta – Portuguese guitar: Sandro Costa - Viola Fado: Tunic Goulart- Acoustic bass: Marino de Freitas –Piano: Rubén Alves -Percussion- Ivo Costa- 19.00 h., Great room.

https://www.teatroreal.es/es/espectaculo/cuca-roseta

READY FABIA

It is considered, unanimously, one of the leading voices of the new fado.

Cousin of Amália Rodrigues, Fábia Rebordão begins to sing regularly in fado houses. Since then, many consider that the singer "has the same bitterness in her voice as Amália" She now presents herself to the public with a renewed image and energy in the year of release of her third album of originals.

In the new show by Fábia Rebordão, some themes from the new album and the most emblematic fados of Amália Rodrigues will be addressed.

In the year of commemoration of the centenary of Amália's death, the presence of a moment of tribute to the greatest voice of fado ever would be inevitable.

Day 26 of September: Fábia Rebordão Voice: Fábia Rebordão – Portuguese guitar: Bruno Chaveiro - Viola Fado: Jorge Fernando –Acoustic bass: José Ganchinho 17.30 h., Orchestra room.

https://www.teatroreal.es/es/espectaculo/fabia-rebordao

Teatro Real in Madrid

Successfully conclude 27 functions La traviata that dismiss the season of the Royal Theater

THE OPERA IS POSSIBLE WITH THE COMPLICITY OF EVERYONE

  • Between days 1 Y 29 July have been offered 27 functions La traviata, in which the public has scrupulously followed the health security measures implemented by the Teatro Real without any relevant incident.
  • 22.000 spectators have attended the performances, exceeding the objective of occupying the 50% of the total capacity of the room in all representations.
  • The Royal Theater thus culminates an exciting and very complex project, in which they have worked hard their 300 workers, in close complicity with the interpreters (four deals), the Choir and Orchestra of the Teatro Real Headlines, music director Nicola Luisotti and stage director Leo Castaldi.
  • The health protocol designed by the Teatro Real Medical Committee, in collaboration with its Prevention and Infrastructure teams, it is being offered to national and foreign institutions that request it.
  • So that all Spain and the rest of the world could see the first full opera offered on a stage after the period of mandatory confinement, La traviata was broadcast live and free of charge on MyOperaPlayer -still available in your catalog- and on RTVE.
  • The Teatro Real has been working for two months with the artistic team of A masked ball, which will open next season, so that production can be carried out within sanitary guidelines, with the scenery, original figurines and stage management adapted to new circumstances.
  • The subscription sale term for the next season will remain open until 17 September and you can already buy the locations for all the programming September and October.
  • Until the reopening of the Royal Theater to the public, the next 16 of September, MyOperaPlayer will remain very active, adding new titles to its catalog weekly.

The 27 functions La traviata offered by the Teatro Real during the month of July, without any case of coronavirus being recorded among the interpreters (four deliveries from different countries), workers, choir, orchestra and public who have attended the performances.

The success of this complex and unique project has been made possible by the exciting complicity of all: emotional and responsible support from the public, the trust and dedication of the artists, the enthusiastic involvement of the workers of the Teatro Real and its Titular Choir and Orchestra, the enormous contribution of the national and international media in the dissemination of the functions, the essential collaboration of sponsors and the support of official institutions: Government of Spain, Community and Madrid City Council.

The health security measures designed by the Medical Committee of the Royal Theater uestocomposed of six doctors of recognized prestige and different specialties─, in collaboration with its Prevention and Infrastructure teams, have been constantly adapting to the opinions of the health authorities, which allowed the theater to begin with an occupation of the hall of the 50% of the capacity and extend it later to 75%.

The rigorous protocol adopted, which was an investment of 340.000 euros, it is being offered to national and international institutions that request it to adapt it to the idiosyncrasy of each space and territory.

A) Yes, after the triumph of the functions of La traviata, the Royal Theater continues its path towards ‘normality’, preparing for the next season's opening, he 18 of September, with A masked ball, to be offered in a production from the Teatro La Fenice in Venice, with stage director Gianmaria Aliverta and scenery of Massimo Chequeto, who are working with the teams of the Teatro Real to redesign the show in strict compliance with sanitary security measures. Nicola Luisotti, first guest conductor of the Teatro Real, will return to assume the musical direction of the Verdian title, after unanimous applause from the public and critics for his deep and overwhelming reading of La traviata.

A masked ball will be presented with the scenery, props, figurines and stage direction adapted from the original production of the Teatro de la Fenice, which supposes a step more in the conformation of a programming that will be adapted to the circumstances of each moment.

Parallel work continues, already well advanced, of the first new production of next season, the popular Czech romantic opera Rusalka, with stage director Christof Loy, co-produced with the Dresden opera houses, Bologna, Barcelona and Valencia, which will be presented later.

The Royal Theater says goodbye, well, this season severed by the pandemic, with hope for the future and a deep feeling of gratitude for the support, collaboration, trust and complicity of all.

Lissette Oropesa at LaTraviata Teatro Real Madrid

This was the second encore offered by the soprano at the Teatro Real, after the repetition of the Sextet of Lucia of Lammermoor, in 2018, in which she was accompanied by the remaining soloists who performed the opera.

BISES AT THE TEATRO REAL

2009 – Leo Nucci: Rigoletto. Duet ‘Yes, vendetta, tremendous revenge 'with Patricia Cioffi

2014 – Javier Camarena: The Regimen's Daughter. Aria ‘To my friends’

2015 – Leo Nucci: Rigoletto. Duet ‘Yes, vendetta, tremendous revenge 'with Olga Peretiatko

2018 – Six soloists (including Camarena Y Oropesa) Sextet of Lucia di Lammermoor

2019 – Camarena: L'elisir d'amore. Aria ‘A furtive tear’

 

 

La Traviata, “back to life”
La Traviata
Giuseppe Verdi (1813-1901)
Opera in three acts
Libreto de Francesco Maria Piave, based on the novel and the play La Dame aux camélias by Alexandre Dumas Jr.
Premiered at the Teatro La Fenice in Venice on 6 March 1853 and the the Teatro Real the 1 February 1855. Opera in semi-staged concert version
D. musical: Nicola Luisotti
Scenic concept: Leo Castaldi
Lighting: Carlos Torrijos
D. Choir: Andrés Máspero
Distribution: Marina Rebeka, Michael Fabiano, Artur Ruciński, Sandra Fernández, Marifé Nogales, Albert Casals, Isaac Galan, Tomeu Bibiloni, Stefano Palatchi, Emmanuel Faraldo, Elier Muñoz and Carlos García
It had been four months since everything was suspended. At first it seemed like it would be for a short time, but as the weeks and events passed, uncertainty came to occupy everything.
In this period there has been time to think about many things. Also that only a miracle would bring me back to this chair. But miracles exist, and we make them. In this case, Royal Theatre. And a miracle has worked that covers various aspects. First, have the courage and determination to return to operatic activity in the safest way, and the second, and no less important, have the ability to demonstrate that, difficult as the circumstances are, good management can be done, even, very good.The bet is risky, keep this fragile balance when the entire operatic world is watching, is not easy. For a full month, in which the representations have been multiplied to compensate for the limited capacity, this stage adaptation by Leo Castaldi is presented, like who says, with four little things that he has found by the theater, to create a scenery that could not be more effective. In it the essential elements appear, nothing is missing or nothing. A parceled stage delimits the two square meters that each singer has to move. A small space, but in which all the emotions of the protagonists fit. The chorus, occupying the back half of the stage box, remain disciplined in seclusion, each one of them, on his ground, which does not detract one iota from its sound and professionalism. All this illuminated with great success by Carlos Torrijos It was not easy to immerse yourself in history in an environment so different from the one we are used to. Too many elements distract us in the room, on the stage, distance, the mask ... But then, he appeared, Like a hero without a cape to rescue us from silence, Nicola Luisotti. One of the men who must be working the most in the last weeks and who was exultantly happy with this challenge, perhaps for having lived through the dramatic circumstances that have touched us with the intensity that only a passionate person like him has. He was the first to suspend the premiere of Il Trovatore at the Scala in Milan and is now the first to raise the curtain on what he calls "ritorno alla vita". It was then that one of the most elaborately romantic and evocative that have been written, the opening of the first act of La Traviata. The orchestra, which occupies the entire space of the pit, also appears with their masks, except for the wind, which is separated by a screen, like Luisotti himself. The Italian teacher was the perfect link between what was happening on the remote stage and the wide moat, generating confidence and balance in this strange new way of interpreting. After a deep overture, sober and heartfelt, for whom is a great connoisseur of this repertoire, he knew how to transmit to the stage the theatricality he lacked. His direction was above some more muted sounds caused by physical and technical distances. The orchestra sounded muffled and with the delicacy that some sometimes abandon when it comes to Verdi.The distance at which the singers were kept was not disturbing. Always attentive to the teacher who accompanied them, more than directed. Despite not approaching or touching, Violetta and Alfredo were able to demonstrate their passion.The Latvian Marina Rebeka is the first of five sopranos who address the character of Violetta Valéry. Has an extensive and voluminous lyrical soprano voice, a beautiful timbre and great sound that was appreciated very well in the most dramatic parts and in well-delineated pianos. Maybe too contained, which affected the most theatrical part of the character, something very important in this role that Rebeka is very knowledgeable and loving. If I let the character take over her, coupled with his exceptional technique, would be the best of the Violets.The Alfredo by Michael Fabiano went from less to more. He had moments of great inspiration, although it was noticed a little insecure at the beginning, something that may be normal under the circumstances, and that it disappeared from the second and third act, In which he shone with an inspired and intense Alfredo, the most applauded of the night was Artur Rucinski and his Giorgio Germont.. A good diction and elegant and very careful phrasing for your stretched Germont. Very well at Di Provence.

The rest of the tablets were at high altitude. Great participation Marifé Nogales in her role as Annina. Also perfect Sandra Fernández, with a frivolous Flora Bervoix, both are involved in all functions. Like Albert Casals, as Gastone, Isaac Galan, like Baron Douphol, Tomeu Bibiloni, as Marquis de Obigny, Stefano Palatchi, like Doctor Grenvil and Emmanuel Faraldo, as Giuseppe and Violetta's servant.

A success without a doubt of the Royal Theater showing great courage and ability. All this served with a security that can be felt. If a major outbreak occurs, I'm going to the Royal Theater. And is that normality does not come alone, you have to conquer it.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

My Opera Player

My Opera Player, video platform the Teatro Real, consolidates its international presence thanks to a new catalog that includes, in addition to own productions, titles of important lyrical coliseums such as the Paris Opera, the Royal Opera House, he Bolshoi Theater, he Gran Teatre del Liceu, he China National Grand Theater, he Colón of Buenos Aires or the Municipal Theater of Santiago de Chile, to name a few.

During the period of confinement, in which the Teatro Real gave free access in Spain to the complete video library of the platform, while expanding content, more of 52.000 people joined the initiative with about 4 million visits. My Opera Player thus became a theater of theaters that music lovers from all over the world can attend.

In one more step into the future, he Teatro Real, hand in hand with Samsung, Telefónica and Endesa, has launched the application My Opera Player for smartphones and tablets with Android systems, which will soon be available in other environments, giving the opportunity to enjoy the exclusive content included in the application at any time and from anywhere through their mobile devices.

MyOperaPlayer, which was already operational on Samsung Smart TV since last November, has Telefónica, as a technological partner of the Teatro Real, and with the sponsorship of Endesa, who supported this initiative as sole sponsor when the platform was called Palco Digital.

The video library of MyOperaPlayer, available on demand, for a single connection or in various subscription modalities, offers a wide selection of titles including opera, dance, concerts, children's and youth shows, extra content about the productions, 4K recordings and live broadcasts.

LaTraviata

morning,15 of July, to 20.00 h*, lives in direct a Traviata history from the Royal Theater of Madrid.

Enjoy in My Opera Player from La traviata Verdi in a careful semi-staged version by Leo Castaldi and with Marina Rebeka and Michael Fabiano in the main roles.

With this exciting proposal, adapted to the new current context, the Teatro Real becomes one of the first coliseums in the world to raise the curtain again.

Once issued, will be added to the My Opera Player catalog so you can see it again when and where you want within your subscription.

See you on My Opera Player!

lisette-oropesa

After her extraordinary success as Lucia (Lucia of Lammermoor, Donizetti) season 2017-2018, The American soprano of Cuban origin returns to the Madrid Coliseum in the coming days 18, 22, 25 Y 28 July to star in one of the best known operatic titles, La Traviata de Giuseppe Verdi. After being awarded two of the greatest opera awards in the United States, the Richard Tucker Award and the Beverly Sills Award, and of his applauded debuts as Marguerite de Valois (the Huguenots, Meyerbeer) at the Paris National Opera, Rodelinda (Rodelinda, Haendel) the Gran Teatre del Liceu in Barcelona, Amalia (I masnadieri, Verdi) at the Scala in Milan or Manon (Manon Lescaut, Massenet) at the Metropolitan Opera in New York, the soprano returns to Madrid to play the unfortunate heroine of La traviata, the first post-confinement opera at the Teatro Real. It so happens that Lisette Oropesa, in his first post-Covid performance, returns to the Real stage to put herself in the shoes of Violetta Valery, the same role with which he was reaping great success at the New York Metropolitan Opera, as reflected The New York Times: "Lisette Oropesa endorses La Traviata”, Anthony Tommasini (critic’s pick), when it closed its doors in the midst of a world emergency due to the coronavirus.

Lisette Oropesa is nominated in the best category Female Singer in the edition 2020 of the prestigious International Opera Awards, to be held in September, and among his next commitments stand out: the "Rossini Gala" of the Arena of Verona, Constancy The abduction from the Seraglio the Mozart and the Vienna State Opera, in a new production by Hans Neuenfels, recitals at the Wexford Festival Opera, el Théâtre des Champs Elysées y el Smetana Hall in Praga, La Traviata by Verdi at the Metropolitan Opera in New York, and the Premiere from Lucia of Lammermoor de Donizetti en la Opera House Zurich, with scenic signature of Tatjana Gürbaca.

https://lisetteoropesa.com/

La Traviata

La traviata, from Giuseppe Verdi, It was planned for this season ─with the famous production of the Salzburg Festival directed by Willy Decker─ in two periods: of the 9 a 24 of May (10 functions) Y of the 7 al 19 of July (9 functions).

Due to the state of alarm decreed by the Government of Spain, May performances could not be performed, reason why the Royal Theater is trying to relocate in July the people who had bought their tickets for those dates. parallel, viewers of the July shows affected by the restriction of capacity will be relocated, what will be 869 locations, in compliance with health safety regulations.

Of the 19 scheduled functions has been passed to 27 with reduced capacity, to be offered of the 1 al 29 of July (he 6 and the 20 July there will be no show), with four different deals in the interpretation of the leading trio: like Violeta, las sopranos Marina Rebeka, Ruth Iniesta, Ekaterina Bakanova, Lana Kos Y Lisette Oropesa; as Alfredo Germont, tenors Michael Fabiano, Ivan Cordoba, Matthew Polenzani Y Ismael Jordi; y like Giorgio Germont, baritones Artur Ruciński, Nicola Alaimo, Luis Cansino Y Javier Franco.

Due to the mobility restrictions caused by the coronavirus crisis both in Spain and in the various countries of origin of the singers - who traveled from the United States, Austria, Croatia, Italy, Latvia, Poland, etc.─, rehearsals have started on 19 of June with all the soloists, except for the soprano Lisette Oropesa, that will arrive in Madrid on 13 July to participate in the final performances of the opera.

Together with the soloists, the Headlines Choir and Orchestra of the Teatro Real, under the direction of Nicola Luisotti, who will direct his fifth Verdian title at the Teatro Real ─after The Troubadour (2007), Rigoletto (2015), Aida (2018) Y Don Carlo (2019)- and he will return in September with the sixth, A masked ball, which will open next season.

The production of La traviata that will be offered throughout the month of July will no longer be the one that was announced, By Willy Decker, since the singers, choir and orchestra must comply with current health safety guidelines.

To present a version of the opera that respects these rules and can be performed with just 10 rehearsal days, wardrobe and characterization tests, stage director Leo Castaldi has devised a semi-staged concert version, in collaboration with the illuminator Carlos Torrijos and the Teatro Real technical team, using elements of props, wardrobe and characterization from the Theater collection.

Starting precisely from the forcefulness with which the safety distance is getting between us, Leo Castaldi has conceived a ‘scenery’ marked by a grid of squares of 2 by 2 meters drawn on the ground and projected onto the walls of the stage, Psychologically 'imprisoning' the characters in their limited spaces. The soloists, they will keep a minimum distance from 2 m. among them will move in 100 m2, sharing the stage with him choir, which will occupy 260 m2, and with the inner band (group of 16 musicians who plays on stage), what will you use, during his performance, 60 m2.

To unify and unite the dramaturgical proposal without a previous costume design or material time to carry it out, Castaldi has chosen to create an atmosphere vintage, mid-20th century, in which costumes from the Theater and from the performers themselves and elements of props from the same period.

At pit, with its maximum dimension of 140 m2, the orchestra will be with the full score template for performance of La traviata: 56 musicians will play with mask, individual lectern and with 1,5 m. away from each other. Wind players will have methacrylate panels strategically placed in front of their instruments. On stage the internal band will play with 16 teachers.

So that musicians can have rest days between 27 functions, the Head of the Royal Theatre Orchestra will unfold in two touching each formation for periods of 3 consecutive days.

He Titular Choir of the Teatro Real, with 51 singers, will perform the opera on stage, which will allow the optimization of the sound, despite the safety distance of 2 m. among its members. They will occupy an area of 260 m2, with about 24 m. wide by 11 m. background.

La traviata will be presented at the Teatro Real in the unique context that we are all experiencing. The opera will be presented with fewer rehearsals than normal and with a stage proposal designed to adapt to the circumstances. All the Teatro Real team, as well as the artists and the Principal Choir and Orchestra, take on the challenge with a huge sense of responsibility, a lot of imagination and a great illusion to take another step towards the normalization of artistic life, encouraging the public and citizens to face the new reality in which we find ourselves with encouragement and a positive spirit. yes, everything will be done scrupulously respecting the guidelines of the health authorities of the Government of Spain and the Community of Madrid.

Traviata
Traviata

TELEFÓNICA, MAIN TECHNOLOGICAL MECHANES OF THE REAL THEATER

Telefónica, main technological patron of the Teatro Real, drives its digital development and the best connectivity to optimize the experience of opera fans on all the digital channels of the Theater. In these years, Telefónica has expanded the number of functionalities and services on the web, reinforcing the interactive and communication with users. In this way, It has allowed the creation of a much broader catalog of products - encompassing different types of music- and accessible, with services more adjusted to the preferences of the followers of this institution. A further step within this global project has been My Opera Player, digital platform that allows opera lovers, dance and classical music enjoy from home, with just a click, of the best internationally successful productions.

AGENDA | PARALLEL ACTIVITIES

7 Y 8 of July, to 18.30 Y 21.00 hours | SGAE Foundation, Berlanga Room

Who: the SGAE Foundation will program a cycle titled Female models in which they will be projected I am the Juani by Bigas Luna and No one wants the night Isabel Coixet. Two films about women who, as Violetta Valèry, they have transgressed the “feminine roles” to which due to their social condition and / or historical moment they were doomed.

Of the 1 al 31 of July | Museum of Romanticism

Exposition: within the initiative a work, an opera, The Museum will exhibit a wonderful illustrated edition of 1857 from The Lady of the Camellias, the novel that inspired La traviata. Thus, the public that visits the rooms will be able to see this printed jewel that is kept in the Museum's library.

From 10 of July | Lazaro Galdiano Museum

Audio guide: Lázaro Galdiano offers the Royal Theater public the possibility of downloading an exclusive podcast with which they will learn about the stories and legends that surround some of the women who are represented in their rooms. Women who, as the protagonist of La traviata, they fought against the destiny that they drew for them. Download code request at educación@museolazarogaldiano.es

Photograph: Javier del Real

To celebrate the International Music Festival and celebrate the summer solstice after the difficult days of confinement, Opera Europa will offer free, from his opera platform in streaming, he next Sunday, 21 of June, to 19:00 hours, the Opera Vision Summer Gala, presenting a succession of short lyrical recitals from eight European opera houses.

The Royal Theater will present a forgotten opera of the Spanish lyrical heritage, Mr.Fernando, the summoned, from Valentin de Zubiaurre, which will be offered in full next season, under the musical direction of José Miguel Pérez Sierra. baritone Damian del Castillo will incarnate the unfortunate Don Fernando, and the tenor Gerardo López, Don Rodrigo, interpreting, along with the pianist Patricia Barton, a fragment of this romantic opera of abrupt contrasts widely applauded by Real's public in the 19th century.

Ruth Iniesta, who will be one of the five Violets in the functions of La traviata which will take place in July at the Teatro Real, plays the Donna Anna aria at the Gala, from Don Giovanni, “Cruel… Don't tell me”.

The prestigious stage director Kasper Holten, that at the Teatro Real he directed The Liebesverbot, will be in charge of presenting the Opera Vision Summer Gala from the Royal Theater of Denmark, of which he was artistic director before assuming the same position at the Royal Opera House.

OPERA THEATERSPERFORMERS
Dutch National Opera, AmsterdamEva-Maria Westbroek (soprano)

Thomas Oliemans (baritone)

Ernst Munneke (piano)

Vadim Tsibulevsky (violin)

Berlin Comic OperaAlma Sadé (soprano)

Barrie Kosky (piano)

Festival de GlyndebourneDanielle de Niese (soprano)

Allan Clayton (tenor)

Matthew Fletcher (piano)

Teatro Real in MadridDamian del Castillo (baritone)

Gerardo López (tenor)

Ruth Iniesta (soprano)

Patricia Barton (piano)

Paris Opera ComiqueJodie Devos (soprano)

Cyrille Dubois (tenor)

Marine Thoreau La Salle (piano)

Rome OperaRosa Feola (soprano)

Roberto Frontali (baritone)

Swedish Royal Opera, StockholmNina Voting (soprano)

Alan Gilbert (director musical)

Inese Klotina (piano)

The Royal Swedish Orchestra

Polish National Opera, WarsawAndrzej Filończyk (baritone)

Katarzyna Sienkiewicz (piano)

Photograph: Javier del Real

José Miguel Pérez-Sierra

The Madrid musician returns to the Madrid Coliseum twice, in charge of Mr.Fernando, the sited Zubiaurre and Long live the mother Donizetti. Due to the health crisis, delays his debut in Macerata, where should have debuted with Don Giovanni this July.

Director José Miguel Pérez-Sierra will be on the podium of two operas in the course 2020-2021 of the Teatro Real de Madrid as it became known in early June after the official presentation of the next season of the Teatro Real de Madrid. The Madrid teacher, Besides, will lead in two authentic events. On the one hand, he will be in charge of the expected exhumation of the opera Mr.Fernando, the sited, of today forgotten Biscayan composer Valentín de Zubiaurre, title to be offered in concert version (day functions 15 Y 17 May 2021) and that at the time it became one of the most important Spanish operas of the 19th century. “It is a very interesting and unfairly forgotten title”, says Pérez-Sierra; ”Zubiaurre was a composer of great technical solvency and the audience will recognize in the score a very Verdian character, especially that of the first period and with Belcantist overtones; it is undoubtedly beautiful music and I am sure that the recovery of this opera will bring many joys”.

Always at the Teatro Real, Pérez-Sierra will also participate in the premiere in the Spanish capital of the Donizetti farce Long live the mother O The theatrical conveniences and inconveniences –A very rare title and never before seen in Madrid– that will come in the production of the acclaimed stage director Laurent Pelly who signs for the Opéra de Lyon, the Grand Théâtre in Geneva and the Spanish coliseum. Pérez-Sierra shows “delighted to be able to work with Laurent Pelly and finally go down to the pit of the Teatro Real after my two previous appearances in concert, both in the tribute to Montserrat Caballé in 2014 as in the farewell to the Madrid stages of the soprano Mariella Devia in 2018”.

On the other hand, Madrid Director, that this July he had to direct Don Giovanni Mozart inaugurating the Macerata Festival, has handed over the baton to the musical director of the Italian competition, Francesco Lanzilotta, due to the exceptional situation caused by the health crisis. The Arena Sferisterio Association, organizer of the Macerata Festival, He thanked Pérez-Sierra for the gesture and invited him to direct one of the titles that will be scheduled during the summer of 2021, still to be determined.

further, in the next course, José Miguel Pérez-Sierra will direct both opera and symphonic music in countries like Spain, Italy and Germany.

More information

Teatro Real 20/21

“We can't wait for normality to come alone, we have to be brave”. These words from the director of the Teatro Real, Joan Matabosch, which are quite a declaration of intent, have accompanied the presentation of the next season of the Madrid coliseum. A schedule that, as Matabosch has pointed out, it has hardly changed with respect to what was planned. Many news, repertoire operas and a good number of national artists, are some of the characteristics of this new season.

In its 24ª season after reopening, the Teatro Real presents an ambitious program, captaining co-productions with the most important European theaters, driving current creation, defending the Spanish musical heritage and offering great titles of the lyrical repertoire with some of the most acclaimed singers worldwide in their respective repertoires.

Between the 15 titles of the OPERA SCHEDULE, that extends from the 17th century to the present day, there will be 7 new productions of the Teatro Real ─Rusalka, Peter Grimes, Lessons in Love and Violence, Rule, Long live the mother! and the 2 world premieres Marie Y Transit─; 4 guest productions ─A masked ball, Don Giovanni, Siegfried Y Tosca─; Y 4 operas in concert version: The birth of the Sun King, Elektra, Mr.Fernando, the summoned Y Orlando Furioso.

This season is possible thanks to the support of all the sponsors of the Teatro Real and especially to Telefónica, as main technological patron; a Endesa, as main energy patron; already BBVA Foundation already Santander Foundation, as main patron.

New productions of the Teatro Real

  • For its international projection, two important new European co-productions stand out that will be premiered at the Teatro Real before being presented at the other co-producing theaters: Rusalka, from Antonin Dvořák (Ivor Bolton/Christof Loy), co-produced with the Dresden opera houses, Bologna, Barcelona and Valencia; Y Peter Grimes, from Benjamin Britten (Ivor Bolton/Deborah Warner), co-production with the Royal Opera House in London, Paris Opera and Rome Opera.

 

  • The popular Czech romantic opera Rusalka will be presented for the first time at the reopened Teatro Real with stage direction of Christof Loy, architect of the great triumph of Capriccio, Richard Strauss, last season. With the complicity of Ivor Bolton, responsible for musical direction, Loy will once again explore a mythical and mysterious universe tinged with tragic resonances and populated by nymphs, goblins, princes and princesses who sing beautiful melodies and who will give life to two casts led by Asmik Grigorian Y Olesya Golovneva, which will be accompanied by Karita Mattila Y Alexandra Deshorties; Eric Cutler Y David Butt Philip; Katarina Dalayman Y Okka from the Damerau, Maxim Kuzmin-Karavaev Y Steven Humes.

  • Peter Grimes will reunite Ivor Bolton (musical direction), Deborah Warner (stage direction) Y Michael Levine (scenography), after the great success obtained with the award-winning production of Billy Budd, also by Britten, where they worked together. They will again have a choral cast led by Allan Clayton, Maria Bengtsson Y Christopher Purves, in this masterpiece that talks about the destructive power of a hypocritical and unforgiving society.

Peter Grimes will return to the Teatro Real after 23 years, now with the participation of his Choir and Orchestra Holders, so that in 1997 the opera was presented with the stable bodies of the La Monnaie Theater.

  • Another important international co-production, Lessons in Love and Violence, from George Benjamin Joint commission and co-production of the Royal Theater with the London Operas, Amsterdam, Hamburg, Lyon, Chicago and Barcelona─ will culminate the presentation in Madrid of the operas of this great composer, after the huge success of Written on Skin (2016) e Into the Little Hill (2019).

The opera, created like the previous ones in partnership with the playwright Martin Crimp, part of the Elizabethan drama Edward II, from Christopher Marlowe, to enter the sordid and tortuous path to rise to power as a perverse spiral from which no one is saved, sharply reflected in the staging of Katie Mitchell, highly praised by international critics at its premiere at the Royal Opera House in London two years ago. Josep Pons, musical director of the Gran Teatre del Liceu in Barcelona, will direct the opera in both theaters. Among the soloists they stand out Stéphane Diverting, Gyula Orendt Y Georgia Jarman.

  • From world premieres of Spanish composers of different generations reaffirm the commitment of the Teatro Real with the current creation. Marie, from Germán Alonso, with libretto and dramaturgy of Lola Blasco, investigates a woman's fight for sexual freedom based on the character of Woyzeck de Georg Buchner, present at the Alban Berg opera. It will be presented at the Teatro de la Abadía, with staging Rafael Villalobos and the participation of the singers Xavier Sabata, Jordi Domènech, Nicole Beller Carbone Y Valentina Coladonato, who will act with him Ensemble Proyecto Ocnos under the composer's direction.

Transit, with music and script Jesus Torres, is a foray into the universe of Spanish republican exiles after the second world war, in a time of doubts and disappointments evoked in the heartbreaking drama of the same name Max Dog. The opera will premiere at Naves Matadero, with Lydia Vinyes-Curtis, Isaac Galan, María Miró, Javier Franco Y José Manuel Sánchez; stage direction of Eduardo Vasco and musical direction George French, in front of the Head of the Royal Theatre Orchestra.

  • The Teatro Real will premiere a new production of Rule, from Vincenzo Bellini, with musical direction Maurizio Benini and two great voice casts in which they will alternate in the title role Yolanda Auyanet Y fiber Gerzmava, seconded by Clementine Margaine Y Annalisa Stroppa; Michael Spyres Y John Osborn; Y Roberto Tagliavini Y Fernando Rado, in the lead roles.

The stage direction will be Justin Way, who, together with the renowned set designer Charles Edwards, has conceived a minimalist montage with strong symbolic power prepared for easy roaming. The Royal will thus have its own production of this iconic opera of romantic belcantism, with flexibility to be adapted to different spaces, like the one at the Ljubljana Festival, where he will go on stage five months after its premiere in Madrid, on a tour of the Royal Theater Choir and Orchestra.

  • Live the Mother!, new production of the Teatro Real in co-production with the Lyon and Geneva Operas, is the name coined by film director Helmut Käutner when dramma giocoso from Gaetano Donizetti The theatrical conveniences and inconveniences, to be released in Madrid with a hilarious and witty staging signed by Laurent Pelly and acclaimed by the public and critics since its premiere. In his satirical tangle, that reveals the back room of an opera rehearsal where a gallery of cartoon characters parades, highlights that of the histrionic Mamma Agata, mother of the second-woman, whose crazy role Donizetti awarded to a baritone and who will be played at Real by Carlos Alvarez Y Luis Cansino, in front of both casts. They will accompany you Sabina Puértolas, Maybe Borja, Gabriel Bermúdez, Sylvia Schwartz, Xabier Anduaga, Carol Garcia Y Enric Martínez-Castignani, under the musical direction of Evelino pido.

Guest productions

  • A masked ball, from Giuseppe Verdi, will open the season with a production from the Teatro de la Fenice, in which the stage director Gianmaria Aliverta claims the American setting devised by Verdi's librettists to circumvent censorship.

Nicola Luisotti, principal guest conductor of the Teatro Real, will lead from the departments of great verdean voces, that will alternate in the leading roles: Michael Fabiano, Ramón Vargas, Anna Pirozzi, Tatiana Serge, Artur Ruciński, George Petean, Daniela Barcellona, Maria Jose Montiel, Elena Sancho Pereg e Isabella Gaudí.

  • Don Giovanni, from Wolfgang Amadeus Mozart will bring to the Real the acclaimed staging of Claus Guth, in which Don Giovanni, killed from the start of the opera by a fatal blow, remembers, dying, the episodes of his dissolute life in a dark and disturbing environment.

Ivor Bolton, a superb director Mozartianos, will be in charge of two casts with Christopher Maltman y Adrian Erod; Brenda Rae, Adela Zaharia Y María José Moreno; Mauro Peter Y Airam Hernandez; Anett Fritsch Y Federica Lombardi; Erwin Schrott Y Marko Mimica; in the lead roles.

  • With Siegfried tetralogy will continue Ring nibelungo, from Richard Wagner, with musical direction Pablo Heras-Casado and the disturbing and vindictive production of Robert Carsen Y Patrick Kinmonth starring a select Wagner cast: Andreas Schager, Andreas Conrad, Tomasz Konieczny, Martin Winkler, Ricarda Menzer Y Ronnita Miller, among others.

 

  • Tosca, from Giacomo Puccini, with Nicola Luisotti in musical direction, will close the season with a production conceived by Paco Azorín, responsible for the stage direction and set design of the pucciniano drama, that flows directly and effectively, leaving room for the expression of the characters, that will be embodied by three star casts and that will bring Madrid to Sondra Radvanovsky, Maria Agresta, Anna Netrebko, Joseph Calleja, Michael Fabiano, Yusif Eyvazof, Jonas Kaufmann, Carlos Alvarez Y Luca Salsi.

Operas in concert version

  • In the framework of the defense of the Spanish musical heritage, a romantic opera that triumphed at the Teatro Real in the 19th century will be rescued from oblivion, Mr.Fernando, the summoned, from Valentin de Zubiaurre with review by the great Verdian expert Francesco Izzo and the collaboration of the ICCMU, Complutense Institute of Musical Sciences. José Miguel Pérez Sierra will be in charge of directing the score in front of a cast in which they stand out José Bros, Look Urbieta Vega, Damian del Castillo, Fernando Rado Y Cristina Faus, among others.

 

  • Baroque opera will be represented by two very diverse proposals, both in concert version and with singers and orchestras specialized in that repertoire. The birth of the Sun King (The Royal Ballet of the Night), delicious 'miscellany' of 17th century opera and dance conceived by various composers, will be recreated by the Matching set directed by harpsichordist Sébastien Daucé. Orlando Furioso, from Antonio Vivaldi, will be performed by the versatile Greek group Harmony Athena, with the stamp of its multifaceted and award-winning director George Petrou, renowned expert in the baroque universe.

  • Finally, a single function will be offered Elektra, from Richard Strauss, with the Philharmonia Orchestra, who will perform alongside a stunning female threesome ─Irene Theorin, Lise Davidsen Y Anna Larsson─, under the orders of the famous Finnish director Esa-Pekka Salonen.

  • The DANCE SCHEDULE will bring to the Royal Theater 3 companies representing different choreographic and stylistic universes. He Munich Ballet will play Giselle, in the version of Peter Wright reviewed by its current director, Igor Zelensky. The National Dance Company will present three works: Apollo, from George Balanchine; DSCH concert, from Alexei Ratmanski; Y White Darkness, from Nacho Duato. And the Royal Ballet of Flanders will offer the absolute premiere of a new version of the work In rememberence, conceived by its director, Sidi Larbi Cherkaoui.

 

 

  • The music program completes the cycle of 7 concerts CAMERA SUNDAYS starring soloists from the Teatro Real Titular Orchestra; the Concert of the Friends of the Royal Theater Foundation in commemoration of the 250th anniversary of Ludwig van Beethoven, in which the Mahler Chamber Orchestra y he Chamber Choir of the Palau de la Música Catalana, under the direction of Gustavo Dudamel, they will perform the ravishing 9th Symphony; and the Viñas Tenor Contest Concert, starring the winners of its 58th edition, Next to the Head of the Royal Theatre Orchestra under the direction of Alvaro Albiach.

 

  • OPERA IN CINEMA, with a program articulated with the productions of the season, will offer in the main room 4 operas recorded on stage: Faust, from Charles Gounod (Dan Ettinger / Àlex Ollé); The beamer, from Giuseppe Verdi (Maurizio Benini / Francesco Negrín); and the award-winning productions of Benjamin Britten Billy Budd (Ivor Bolton/Deborah Warner) Y Gloriana (Ivor Bolton/David McVicar).

 

  • They make up the children's and youth programming of THE REAL JUNIOR 8 shows of different formats úsmusic, dance, who, puppetry, puppets, Shadow Theather, music stories, etc.─ conceived for different ages, of which 3 are own productions Y 5 new productions that will be seen for the first time at the Teatro Real and a total of 83 functions for family audiences and schools.

 

  • Season THE REAL JUNIOR starts with the Gala Everyone at la Gayarre!, this time in the main room, that will evoke the stellar moments of 70 children's workshops held during 9 years with this successful cycle conceived by Fernando Palacios, which will offer new ones 18 family functions in the cozy Gayarre Room, intimately related, as usual, with the programmed operas. An inspired version of the A Soldier's Story, from Igor Stravinsky, with choreography and dramaturgy of Ferran Carvajal and interpretation of JORCAM soloists; the magic show of puppets and circus Totolín-Entredós, creation of the Theater company Etcétera; the celebrated film version (awarded with an Oscar in 2011 for the best animated film) from Peter and the Wolf, from Sergey Prokofiev, with interpretation of the Head of the Royal Theatre Orchestra directed by Luis Miguel Mendez; the Tales in the heat of home, creation for puppets and shadow theater about stories by the Grimm brothers conceived by the Karromato company of Prague; the concert Al piano… ¡Johann Sebastian Jazz! with a dialogue to two pianos between Alexis Delgado and Iñaki Salvador in the Orchestra Hall; the poetic proposal A catless smile (suite) inspired by Lewis Caroll's Alice in Wonderland, with music by the composer José Luis Greco and interpretation of JORCAM soloists; Y, Finally, the funny Festival Real Junior to celebrate the start of summer vacation in style, with the complicity of JORCAM Choir and Orchestra and surprise guests, under the direction of Rubén Gimeno.

  • He TRAINING PROGRAM increases and diversifies significantly in the coming season, and will address both classroom training and online.

In the section of The Open Opera, that reveals the assembly process of an operatic production from within, have been organized 6 workshops: A masked ball, Siegfried, Peter Grimes, Lessons in Love and Violence, Long live the mother! Y Tosca. Likewise, also closely related to the season, They will be offered 4 monographic courses: Understand… Mozart, Benjamin Britten, George Benjamin Y the american musical theater.

  • For those who want to start or expand their operatic culture, the Royal Theater offers 4 opera knowledge courses, 1 on History of the voices Y 3 about fundamental concepts: From the beginning to the 19th century, The romantic opera Y Contemporary opera; and also 3 interdisciplinary courses: The role of women in the history of opera, Performing arts teaching Y Music and emotional intelligence.

 

  • The courses for higher education students will continue within the University on Stage program and have been designed 3 training courses in performing arts and business management from culture: Opera and leadership: the art of working with high-performance teams, Scene photography Y Regiment and protocol.

 

  • In addition to these training proposals, the Teatro Real has created THE REAL YOUNG, cultural revitalization and customer loyalty program young man aged between 18 and the 35 years, which will have exclusive spaces, preferential sales channels and events designed for this group in collaboration with its own committee made up of representatives from different areas of civil society.

 

  • Parallel to these programs, the Real has devised, as in the previous seasons, a delicious programming of PARALLEL ACTIVITIES to each operatic production, with the collaboration of prestigious cultural institutions such as (in alphabetical order): UNHCR, National Library, Madrid Regional Library, British Council, Czech Culture Center, Circulo de Bellas Artes, SGAE Foundation, International Institute, Polish Institute of Culture, National Archaeological Museum, Museum of Contemporary Art of Madrid, Museum of Decorative Arts, Lazaro Galdiano Museum, National Sculpture Museum, Thyssen-Bornemisza National Museum, Naval museum, Museum of Romanticism, Student's residence, Routes of Emperor Carlos V and Nebrija University.

 

  • Within this permanent dialogue with different forms of artistic expression and musical languages, the sixth edition of the UNIVERSAL MUSIC FESTIVAL, in summer, and the third edition of the cycle REAL FLAMENCO, with performances throughout the season in the Royal Theater Ballroom.

 

  • The Teatro Real will increase the national and international diffusion of its programming through new recordings and retransmissions and the expansion of the catalog of MyOperaPlayer, International audiovisual platform created and supervised by the Teatro Real, offering recordings from a large number of theaters in Europe, America and Asia.

 

  • Finally, under your SOCIAL CLASS, the Royal Theater continues to host children in unfavorable situations throughout the academic year, whether physical, psychological or social, with a program that uses music as an integrative and therapeutic vehicle, developed with the support of the Fundación Acción Social por la Música.

DATA AND NUMBERS

PROGRAMMING

  • FUNCTIONS | A total of 234 functions: 122 opera performances, distributed between 15 Titles; 12 dance performances with 3 different shows; 13 concerts of different formats; 5 concerts of Voces del Real; 6 concerts of Chamber Sundays, 2 extraordinary concerts; 83 functions Royal Junior Y 4 projections Opera in Cinema.

  • OPERA PRODUCTIONS | They offer 7 new productions of the Royal Theater ─Rusalka, Peter Grimes, Lessons in Love and Violence, Rule, Long live the mother!, including the 2 world premieres, Marie Y Transit─; 4 invited productionsA masked ball, Don Giovanni, Siegfried Y Tosca─; Y 4 operas in concert version: The birth of the Sun King, Elektra, Mr.Fernando, the summoned Y Orlando Furioso.

 

  • SPONSORED OPERATIONAL PRODUCTIONS | Telefónica sponsor A masked ball; Santander Foundation sponsor Rusalka; Endesa sponsor Don Giovanni Y Rule; the Royal Theater Friends Meeting sponsor Elektra Y Long live the mother!; and the BBVA Foundation sponsor Peter Grimes Y Tosca.

 

  • OPERA BY THE CENTURIES | There will be 1 century opera XVII (The birth of the Sun King); 2 operas of the century XVIII (Orlando Furioso Y Don Giovanni); 5 operas of the century XIX (Long live the Mama!, Rule, A masked ball, Siegried Y Mr.Fernando, the summoned); 4 operas of the century XX (Rusalka, Tosca, Elektra Y Peter Grimes); Y 3 century titles XXI (Lessons in Love and Violence, Marie Y Transit).

 

  • OPERA BY GEOGRAPHICAL AREAS | They will be presented 4 italian operas; 3 Spanish operas, 3 Germanic operas (1 of them, Don Giovanni, in Italian); 2 english operas, 1 French opera and 1 czech opera.

 

  • DANCE | There will be 12 functions starring 3 companies, with 4 functions for each.

 

  • THE REAL JUNIOR | The Teatro Real's children's and youth programming is made up of 83 functions, divided between 26 school and 57 family, including 18 workshops Everyone to the Gayarre!.

 

  • TRAINING PROGRAM | They offer 6 workshops Uncovered Opera, 4 monographic courses, 4 general knowledge courses on opera, 1 course of History of the voices, 3 courses on fundamental concepts from the history of opera, 3 interdisciplinary courses, 3 training courses in performing arts and business management from the culture and 1 program edition The University on Stage.

 

  • PARALLEL ACTIVITIES | Around each opera production have been organized 75 activities in collaboration with 20 cultural institutions, which will be expanded throughout the season

LOCATIONS AND FERTILIZERS

LOCATIONS AND FERTILIZERS | They will go on sale near 255.000 locations (including those of fertilizers) from next season.

OPERA FERTILIZER CATEGORIES | They offered 2 shifts of fertilizers of 10 operas, 5 shifts of fertilizers of 9 operas (one on the weekend), 1 turn of abonus of 7 operas, 3 shifts of fertilizers of 6 operas (one also on weekend), 2 shifts of fertilizers of 5 operas and 2 subscription shifts (Selection I and II) from 3 popular titles.

DANCE FERTILIZERS | They offered 4 dance passes with 3 shows each.

"VOICES OF THE REAL" PASS | It is offered 1 shift payment 3 concerts.

‘SUNDAY CAMERA PASS ' | It is offered 1 shift payment 7 concerts (includes the Viñas Concert)

CINEMA OPERA PASSES | It is offered 1 shift payment 4 projections.

‘EL REAL JUNIOR’ FERTILIZERS | They offered 3 different types of subscriptions with weekend functions: 2 shifts for the main room on Saturday and Sunday with 3 shows; 2 shifts for the Gayarre Hall and Orchestra Hall with 4 shows also on saturday and sunday; and the Sunday subscription Everyone to the Gayarre! in the morning and evening shift.

THE REAL YOUNG | Commitment to young people is reinforced with new and expanded initiatives such as the first Opening gala of the season for young people with A masked ball at special prices the 16 of September. It also creates the Young armchair, more than 5.000 tickets in seats for young people distributed in Platea, Main and Mezzanine, which will have a preferential sale for young Friends and for other young people up to 35 years before the sale to the public. Those under 26 will get these tickets for 20 € and those up 35 years 30 €. Likewise, Last minute online sales will open, in which minors 26 years can purchase an entry for 20 euros and young people between 26 Y 35 years can buy tickets for 35 euros.

FRIENDS OF THE ROYAL THEATER | From 60 euros per year you can already enjoy the advantages of being Friend of the Royal Theater, with a 75% of the deductible donation.

YOUNG FRIENDS OF THE REAL THEATER | From 25 euros per year you can already enjoy the advantages of being Young Friend of the Royal Theater.

Photograph: Javier del Real

Intermezzo

Registration for the course is now open, which will start next October at the Musikene headquarters in Donostia.

The Superior Music Center of the Basque Country Musikene and Intermezzo come together to offer an innovative postgraduate course aimed at choir singers who seek to make their passion their profession. The specialization course will be offered from October in Donostia-San Sebastián, and pursues to deepen the required training of a professional choir singer. In the 14 Double sessions planned during the course and which will be held on Fridays and Saturdays, both the specific vocal technique will be worked on, like all those aspects related to the interpretation of the choral repertoire and its staging.

Intermezzo, Besides, will offer various job offers to participate in productions in which it collaborates. The company, with a history of more than 15 years, manages the titular choir of the Teatro Real de Madrid, reinforces the choir of the Gran Teatre del Liceu in Barcelona and participates in seasons of Opera and Festivals.

The course of 150 hours spread between October and May, Its main objective is to offer the necessary tools to students who want to become professional choir singers., developing all the professional aspects related to their work. The postgraduate course includes subjects to work on vocal technique, the lyrical and symphonic choral repertoire, the correct diction of the various languages ​​used in said repertoire, or body techniques and movements on stage, among other. The specialization will be completed with different conferences on professional aspects with which the student will get an overview of how the sector works., with expert speakers in different disciplines.

Enrollment is now open for all those interested who are in possession of a higher music degree (the equivalent). All the information and program.

Teatro Real, Royal decree

The initiative, what starts today, will try to alleviate the difficult situation generated by the closure of the Theater after the beginning of the state of alarm of the past 13 of March.

All donations may benefit from a 80% tax relief.

Those interested in participating in the initiative can do so through the page of the Foundation Friends of the Royal Theater.

The Fundación Amigos del Teatro Real has started a fundraising campaign, through donations, in order to contribute to the recovery of the situation generated by the cessation of its activity, help maintain their economic stability and be part of the promotion of their cultural project.

Thanks to approval, last 7 of May, of the Royal Decree-Law that included the declaration of «Plan for the Promotion of the Teatro Real Opera» as an Event of Exceptional Public Interest, all donations to be made to the Fundación Amigos del Teatro Real may benefit from a tax relief close to 80% of the amount.

In recognition of donor collaboration, the Royal Theater will grant them a special mention in the list of patrons of the Royal Theater, that will have visibility in its various broadcast channels, as publications, Web page, etc.

MyOperaPlayer

Last November, the video platform of the theater Real, MyOperaPlayer, with the vocation of becoming a theater of theaters in which opera lovers, dance and music could access as many titles as possible, both own production and other important national and international institutions.

In this first stage, the project has had the participation of large opera centers, as the Gran Teatre del Liceu, he China National Grand Theater, he Colón of Buenos Aires, he Municipal Theater of Santiago de Chile or the Bicentennial Theater (San Juan, Argentina) next to National Heritage, Albéniz Foundation Y RTVE.

Hereinafter, MyOperaPlayer grows with the incorporation of new productions from the Paris Opera, the Royal Opera House, he Bolshoi Theater, the Berlin State Opera, the Zurich Opera House one to Bavarian State Opera, to name a few, who will contribute some of their spectacular productions in the coming months.

Among the titles that will be available in the coming days is Capriccio, in the spectacular production of the Teatro Real last season, Madama Butterfly, from the Royal Opera House, Y Elektra, from the Paris Opera, on the lyrical plane.

Dance will see its presence reinforced with emblematic works such as Sleeping Beauty Y Swan Lake, performed by dancers from the Boshoi Theater, O Alice's Adventures in Wonderland, by the London Royal Ballet.

This new international projection of MyOperaPlayer It has been possible thanks to the agreement signed with Naxos, one of the most important labels in the recording and distribution of classical music in the world.

In the last two months, the Royal Theater has given free access in Spain to the complete catalog of the platform, while expanding content, accompanying fans and opening a new cultural horizon to other audiences during the long days of confinement. More of 52.000 people were part of the initiative with close from 4 million visits.

Starting now, MyOperaPlayer recovers its subscription format which, in the coming days, since last sunday, 10 of May, and until next time 17 of May, a special promotion of 50% discount that will allow you to purchase six-month passes for € 23 or one year, for € 40, which means less than 4 euros per month.

MyOperaPlayer has the technological development of Telefónica Y Samsung, and sponsorship Endesa.

dance on MyOperaPlayer

The next 29 April commemorates the International Day of Dance and the Royal Theater has wanted to join this celebration with a more prominent presence of this art in MyOperaPlayer

From the Municipal de Santiago-National Opera of Chile we get the choreographic version that Marcia Haydée performs of the classic Swan Lake performed by the Ballet de Santiago, that she runs

We recover another emblematic work of Antonio Gades, Blood Wedding, inspired by the homonymous drama of Federico Garcia Lorca, in which the dancer and choreographer gathers the essence of the tragedy, supported on the Andalusian temperament, masterfully performed by his company

North American choreographer Mark Morris seeks inspiration from the music of Händel and in the tables of William Blake to create a beautiful choreography: The Allegro, The Penseroso and Moderate

Fuenteovejuna, based on the original of Lope de Vega, turn the Golden Age into opera with the music of Jorge Muñiz and the script of Javier Almuzara, world premiere in a magnificent production that opened the season of the Oviedo Opera in 2018

The great romantic drama, Lucia de Lammermoor, will arrive on the platform at the weekend from the Gran Teatre del Liceu in Barcelona, with a luxury cast led by Elena Mosuc and Juan Diego Flórez

We remind you that, To access all the contents of MyOperaPlayer for free, all you have to do is register the link www.myoperaplayer.com and enter the code OperaEnCasa.

With the upcoming celebration of International Dance Day, next Wednesday, 29 of April, MyOperaPlayer wanted to open a special window to this artistic expression with the presentation of three very different shows that show from the slender elegance of classical dance, with Swan lake, to the racial expression and strength of Spanish dance, in Blood Wedding, to the subtle lightness of the contemporary form of The Allegro, The Penseroso and Moderate.

The artistic director of the Santiago ballet From Chile, the Brazilian Marcia Haydée, offers us a version of the famous ballet Swan Lake in which the wicked sorcerer Rothbart takes on a special role, equating their presence on stage to that of the "double" protagonist couple and achieving a novel reading of the story that has captivated the entire world since its appearance in 1895. The Chilean César Morales in the interpretation of Sigfrido, the Brazilian Andieza Randisek in the double challenge of Odette / Odile and the Chilean Rodrigo Guzmán playing Rothbart, They compose a virtuous protagonist trio wrapped by a company that is going through a magnificent technical and artistic moment..

In 1974 the stage of the Olympic Theater in Rome hosted the world premiere of what would be one of the great choreographies of the mythical Antonio Gades, Blood Wedding, with which the dancer and choreographer wanted to pay tribute to the poet Federico Garcia Lorca, to which they united ethical and political positions, and the use of folklore and traditions of Spanish popular culture as a source of artistic inspiration. The tragic feeling of the Andalusian people, the strength of Spanish dance and the flamenco essence are amalgamated in a work that interprets and further enhances the work of the Granada-born author. In his conception, Gades delivers everything by composing a narrative, almost filmic, that has not stopped being interpreted by everyone since its birth, turning Blood Wedding on the banner of the Spanish dance.

The Allegro, The Penseroso and Moderate, choreographer Mark Morris recreate 32 scenes inspired by paintings by William Blake, about music georg Friedrich Handel. Morris draws an expressive work, with predominant presence of the group through a choreography marked by vital and spontaneous steps that walk from the initial melancholy towards the contagious energy, where the collective predominates over the individual, convincing him of the full joy that the human being feels when he is part of something.

In September 2018 the Opera Oviedo assumed, probably, one of his bravest challenges with the world premiere of opera Fuenteovejuna, first own production of the Asturian theater, with music Jorge Muñiz and libretto Javier Almuzara based on the original by Lope de Vega, whose publication then celebrated its 400 anniversary. An entirely Spanish artistic team in which luxury names from the scene of our country participated, led by Miguel de Arco in the direction of scene, in collaboration with Paco Azorín in the sets and Sandra Espinosa in the sets, to name a few.

Functions Lucia de Lammermoor, de Gaetano Donizetti, at Gran Teatre del Liceu, were the perfect occasion for the tenor Juan Diego Florez The difficult role of Edgardo will debut. This great melodrama woven with impossible loves, betrayals, ancient clashes and death, contains one of the best-known arias in the history of lyrics at the time of its protagonist's madness, interpreted this time by Elena Mosuc.

The production of Damiano Michieletto, directed musically by Marco Armiliato, recreates a nude environment of excess, dominated only by the sharp, cold glass of a tower, which is both a place of celebration and death.

My Opera Player was launched by the Teatro Real in November 2019 and it has had the technological participation of Telefónica and Samsung and the sponsorship of Endesa.

#QuedateEnCasa, the Royal Theater stays with you.

PROGRAMMING

SWAN LAKE

Marcia Haydée

Municipal of Santiago-National Opera of Chile

Founded in 1959 with the name of Modern Art Ballet, he Santiago ballet is the only professional classical dance company in Chile. His command of the classical repertoire, his close relationship with contemporary choreographers, the quality of its artists and the experience of its teachers, the Santiago Ballet is one of the most important companies in Latin America.

Since 2004, the company is run by Marcia Haydée, considered one of the most important dancers of the 20th century. Hers is the choreographic version of this production offered by MyOperaPlayer, with scenery and costumes by Pablo Núñez and lighting by Ricardo Castro.

Released in 2009 by the Royal Ballet of Flanders, Swan Lake by Marcia Haydée gives a novel reading to history. in which the Rothbart character, so often relegated to a secondary place, acquires special importance, joining the "double" couple of lovers as one more protagonist.

The Chilean Cesar Morales in Siegfried's interpretation, the Brazilian Andieza Randisek in the double challenge of Odette / Odile and the also Chilean Rodrigo Guzmán embodying Rothbart, They compose a virtuous protagonist trio wrapped by a company that is going through a magnificent technical and artistic moment..

The music is performed by the Santiago Philharmonic Orchestra, under the musical direction of Roberto Rizzi Brignoli.

BLOOD WEDDING

Antonio Gades

Teatro Real 2011

In 1974 premieres at the Olympic Theater in Rome Blood Wedding, choreography of Antonio Gades with which he wanted to pay tribute to the poet Federico García-Lorca, to which he was joined by ethical and political positions,and the inexhaustible source of inspiration that emanates from Spanish popular culture.

Gades, in collaboration with Alfredo Mañas in the ballet adaptation of the literary work, It structures the work into six scenes throughout which the tragedy is described with an expressiveness and plasticity that indicate, emphatically, the dancer's personality. Devoid of artifice, combines the languages ​​of dance, but also from the other arts, that explores and devours with curiosity, and extract the essence.

The dancers star in this representation Cristina Carnero (Girlfriend), Joaquín Mulero (Boyfriend), Angel Gil (Leonardo) Y Vanesa Vento (Mother), Next to the Antonio Gades Company. The sets and costumes are designed by Francisco Nieva.

L’ALLEGRO, THE THOUGHTFUL AND THE MODERATE

Mark Morris

Teatro Real 2014

The Allegro, The Penseroso and Moderate, is considered one of the most interesting choreographies of Mark Morris. Inspired by the pastoral ode of George Friedrich Handel (1685-1759) of the same title, the work is divided into two acts, in which he recreates 32 scenes inspired by paintings by William Blake.

The presence of the group predominates in this creation, the coral structure, marked by vital and spontaneous steps in the form of basic paths that walk from the initial melancholy towards the contagious energy, where the collective predominates over the individual, convincing him of the full joy that the human being feels when he is part of something.

Morris counts on this show with the presence of the sopranos Sarah-Jane Brandon Y Elizabeth Watts, the tenor James Gilchrist and low Andrew Foster-Williams, Who, next to Headlines Choir and Orchestra of the Teatro Real, Handel under the direction of the teacher Jane Glover.

SOURCE SHEEP

Jorge Muñiz

Oviedo Opera 2018

In September 2018 the absolute premiere of an opera based on one of the masterpieces of the Spanish Golden Age took place at the Oviedo Opera, Fuenteovejuna, from Lope de Vega, that raises perfectly transferable questions to today's society: the solidarity force of a social mass under the repression of established power and corruption and serves as a tribute to the 400 years after the first publication of this masterpiece.

With this starting point, the composer Jorge Muñiz, with the collaboration in the script of Javier Almuzara, conceives a work with very active rhythm music, shows many different traditions and genres but connected in a very organic way, with references to today's popular trends, like motown, el jazz or el hip hop.

The stage bet is based on some of the most important names in the theater of our country, headers Miguel del Arco (for the National Theater Prize) which had the collaboration of Paco Azorín in the stage design, Sandra Espinosa in costume design, Juanjo Llorens in lighting and Pedro Chamizo in the design of projections.

Santiago Serrate was in charge of the Symphony Orchestra of the Principality of Asturias and the Oviedo Opera Choir, along with a cast led by Mariola Cantarero (Laurencia), Antonio Lozano (Leafy), Felipe Bou (Esteban), Damian del Castillo (Fernán Gómez), Juan Antonio Sanabria (Mengo), Isabela Gaudí (Pascuala), Luis Cansino (Flores) and Pablo García-López (Judge).

LUCIA DE LAMMERMOOR

Gaetano Donizetti

Gran Teatre del Liceu 2015

Juan Diego Florez debuted the role of Edgardo in Lucia of Lammermoor in November 2015, at Gran Teatre del Liceu, with this production of Damiano Michieletto directed musically by Marco Armiliato and the soprano Elena Mosuc in the leading role of the opera.

Truculent based on historical novel by Walter Scott, The Bride of Lammermoor, what Salvatore Camarano transformed into a script for Gaetano Donizetti, who composed the opera in just a month, Lucia di Lammemoor expresses romantic love that endures beyond lies, of misunderstanding, of madness and death. Located in Scotland, the rivalry between two enemy clans is the stage that sees the love between Lucia and Edgardo, who swear in secret marriage vow. The protagonist, Lucy, It is one of the great challenges of the operatic repertoire, both vocal and scenic, and which is known for one of its high points, when the character is delivered to madness.

The stage proposal offered by the Liceu, directed by Damiano Micheletto and premiered at the Opernhaus Zürich, recreate an environment “naked of excesses, dominated only by the sharp, cold glass of a tower, which is both a place of celebration and death”, in the words of the stage director.

Photograph: Javier del Real

Maria Llorens Cortés, with the story titled Pélida's rest, Y Eva Maria Torrecilla, with the work The date of Apollo, have obtained ex aequo the first prize from Short Story Teatro Real for Young People convened last February, on the occasion of the premiere of Achilles in Skyros, Francesco Brusa, whose theme was the myth of Achilles.

In the same call they have been finalists Javier Quevedo, with Ghosts, Y Miguel Reviriego Antón, with Last missive before going into battle.

The judge, formed by journalists and writers, Concha Barrigós, chief editor of culture of the EFE Agency; Jesus Garcia Calero, head of culture of the newspaper ABC, Y Juan Cruz, attached to the address of EL PAÍS, has highlighted the quality of the thirty stories presented and has valued the literary and artistic creation they represent.

On Pélida's rest, by María Llorens, the jury has indicated that “it is a vibrant and tender story, featuring Achilles living an everlasting love story with Patroclus. The award-winning story effectively combines narrative strength and poetic tension that endow it with subtle beauty. Magic and hopeful sadness come together in a story full of tenderness ".

Apollo's arrow, by Eva María Torrecilla, places the story at the time of the Trojan epic and narrates the death of the son of the goddess and the mortal at the hands of Paris “with a very attractive poetic and cinematographic structure that recreates, in different planes and with verisimilitude, the last moments of the hero ".

Both stories will be published on the Teatro Real website, and in future printed editions of the institution, and its authors will be part of the Friends Foundation without fees for a year and will receive two tickets for the premiere of the opera Rusalka, de Antonín Dvořák, which will take place next November, within the Season 2020-2021 The Royal Theatre.

Both finalists, Javier Quevedo, Y Miguel Reviriego Antón They will get one year of permanence in the Friends Foundation and two tickets for one of the functions of the aforementioned opera.

Achilles in Skyros, work recovered by the Complutense Institute of Musical Sciences (ICCMU) for the Real, It was never released due to the declaration of the state of alarm that has impeded the normal development of our daily lives.

Apollo's arrow
por Eve Blakesley

Troy burns.
Its temples, houses and palaces are consumed in a gigantic pyre; inside
the muffled screams of those who will never get away alive escape. In the
streets, the survivors are harassed by the Greek troops, that thirsty for blood,
spear through the bowels of the city, ending the lives of men,
women and children alike.
And yet, those poor souls already rushing across the Styx lagoon
I do not care about them. The corpses that carpet the beautiful gardens of the royal family
Trojan is meaningless to me.
Just like this damn war. Just like my own life. They are nothing but
illusions sent by the gods to torture me, to remind me that, as much as
i wished it, i can't die.
I squeeze the sword between my bloody fingers. It's a reality that I believed
accept long ago, but after the death of Patroclus, something tore inside of me, something
dark and visceral.
A desire born of the deepest pain.
A need to follow Patroclus into the very arms of Hades alone
for contemplating him one last time.
But nevertheless, i can't die. The great hero Achilles, feared and loved at the same
time by the gods, he's condemned to lead a cursed life, longing for what
will never have again.
The pain seems about to tear me in two, and as the only way to free it,
I raise my sword and pierce the chest of a too young Trojan soldier,
too gullible, who was preparing to string me with his spear. In his eyes I see the
hope of becoming a hero for your city; the childish dream of being the one who
defeated Achilles. The very fool has been no more than a mere puppet of the
gods, a pawn in the middle of an absurd war, and as I ripped the sword from his
still throbbing chest, I see how hope is diluted in your eyes before your
body plummeting on the ground.
For this I was born. For this the gods chose me: death, war, the glory.

My mother's words echo like a cold whisper in my ears, brought
from my most primary memories: If you stay, you will live long years, but without glory. And
you go, you will achieve immense fame among men, but your life will be fleeting.
And here I am, with the glory between my fingers, but without a trace of death that
I long to get. The gods must be making fun of me and my misery, and furious,
I raise my sword again to cut another Trojan's neck, as young and confident as
previous.
After, another arrives. And other. The Trojans arm themselves with their despair and I
offer their last defense; but nevertheless, their spears slide on my armor and their
swords, too slow, seem to be repelled by Athena herself.
The most sensible soldiers begin to back down, realizing that his war
I was lost even before I started. I stand before them, resollando. He
helmet oppresses me; the heat of the fire that rises behind me, licking the sky
night, seems about to make me burn.
I take off my helmet with a rough wave of the hand, throwing it over the pile of
corpses around me. After, I raise my back and point it at the soldiers,
throwing them a challenging smile.
"Who will be the next to face Achilles?"? -scream-. Who will dare
defy the gods themselves?
I almost seem to savor the chill of terror running through the bodies of the
soldiers, whose weapons tremble in his hands. I notice how the smile stretches my
lips, but then one of the soldiers looks up at the end of the
gardens. I follow the direction of his eyes to find the figure of a man leaving
of the palace. He carries a sword at his belt and a bow in his hand, and for a moment, me
seems to be seeing the god Apollo, already prepared to fulfill my deepest wishes.
But nevertheless, when man separates from the palace shadows and fire
brightens the attractive features of your face, I check that it's only about the prince
Paris.
I tilt my head towards him, measuring you from a distance. I remind you of the day that
I faced his brother, prince hector, at the foot of the Trojan walls. Paris,
far from showing the same value as his brother, stayed hidden high up in the
ramparts, protected behind the figure of his lover Helena, and did not make a single move
when I pierced Hector's chest with my spear. Nor when I tied his corpse to a
car and dragged it around town.

But nevertheless, now, after so long, It seems that pain has nested in your
alma, because he looks at me in the same way that I looked at Hector: with hate
inordinate of the one who has lost what he loves most in this world of misfortunes.
-What are you looking at, the prince? What are you waiting for to avenge your brother? -the
scream, raising my sword before him.
Paris raise your head. His youthful face, with golden eyes and sharp features,
outlined by beautiful brown curls, transforms into a mask of anger. No development
the sword; instead, raise your bow, pulls an arrow from the quiver behind him and
points.

He doesn't even have enough courage to engage in sword combat
with me.
A snort full of contempt escapes my mouth, and shaking his head, the
I turn my back. Arrows cannot kill me; nothing can do it. Start to
walk towards the soldiers, But then I hear the murmur that Paris dedicates to the
Heavens.
-Gods, let me carry out my revenge.
The way he draws his bow reaches me, the sound of the string
stretching. I smile and I keep walking.
—Apolo, guide the arrow into the heart of my enemy. Let the shot be
accurate, I beg you…
I raise my sword towards the soldiers, willing to string them, but then a
ray of pain paralyzes my leg. I look down to see the arrow that ends
of going through my heel: a pool of black blood begins to stain the earth.
I tilt my head towards Paris, that he has turned pale and hastens to load the bow
with a new arrow. He is such a weak man that the most pious for him would be that
will end its miserable existence. But nevertheless, before i can bend down to
rip the arrow from my heel and rush to cut Paris's neck, the pain that
it goes up my leg it makes me unbearable.
An intense agony is born somewhere in my chest. I gasp and look down
towards the pool of blood that surrounds me. It's too much blood, too much pain, for
a simple arrow wound. Weakness spreads through my body like one
disease, and soon I fall to my knees to the ground, soaking them in red.
Maybe this is death? Will i fall here, at the mercy of a mortal's arrow?

I drop the sword, that collapses with a sharp metallic sound to the ground;
I lay my hands on the ground and gasp, with labored breathing and a happy heart
For the first time in years.
Yes, here is the death of the hero Achilles: I feel it in my bones, what do I know
they become brittle every second; I notice it in the steely taste that floods my
tongue; I feel it in the histrionic laughter of the gods, that come from Olympus like
a faint rumor.
My death, so longed for, so dear… I hug her like I'm melting
with Patroclus himself. A smile comes to my lips without being able to avoid it. Known
the presence of prince paris behind me. Say something, I don't understand what, though
it doesn't matter. Nothing matters anymore.
I collapse in my own blood, as black as the night around us.
So I sign my end, I, Achilles, fallen like the most pathetic of mortals
before the weakest of men. My eyes slam shut, without a single
I remember can come to my mind, without being able to tie myself to anything that I had in life.
When I open them again, spreads out before me, eternal, gray and smoky, the lagoon
Stygia.
At last.

Otello, Teatro Real

The next 23 April commemorates the International Book Day, around this celebration MyOperaPlayer has selected opera titles inspired by great literary works whose performances have taken place in the Teatro Real

The Golden Age inaugurates this cultural proposal with Fuenteovejuna, version of the homonymous play by Lope de Vega (1562-1635) created by Antonio Gades and performed by his company, with a masterful show of narration and expressiveness through Spanish dance

We dedicated the weekend to an opera whose premiere took place at the Teatro Real precisely a 23 of April, in 2019, Falstaff, de Giuseppe Verdi, whose visualization will be available only these two days. The poet Arrigo Boito seeks inspiration for the libretto in various works by William Shakespeare (1564-1516)

Year 2015 world premiere of opera takes place The public, commission from the Teatro Real to the composer Mauricio Sotelo, with libretto by the writer and musician Andrés Ibáñez. The opera rescues the essence of the work of the same title by Federico García Lorca (1898-1936)

W's sweeping dramatic force. Shakespeare, who portrays like nobody the essences of the human being, is at the genesis of some of G's great titles. Verdi as is the case of Otello. A. Boito was responsible for converting the work of the English immortal into a script, The Moor of Venice

On the fruitful collaboration between the composer Richard Strauss and the poet and playwright Hugo von Hofmannsthal is born an indispensable work in the history of the opera, Elektra, based on the homonymous narration of Sophocles (496 a.c.- 406 a.c.)

We remind you that, To access all the contents of MyOperaPlayer for free, all you have to do is register the link www.myoperaplayer.com and enter the code OperaEnCasa.

Many are the opera composers who have drank from literary sources for the elaboration of their librettos, combining two arts that on numerous occasions have contributed to mutual aggrandizement and others have suffered unequal luck. In the same way, the world of dance, with its double musical and choreographic language, has narrated stories and beautiful tales from the pen of great authors.

Stimulated by this eternal relationship, and with the close celebration of International Book Day, the next 23 of April, he Teatro Real has selected a series of operas for its video platform MyOperaPlayer, whose argument is born from titles of universal literature through the rewriting of authors no less celebrated as Arrigo Boito, in the case of Giuseppe Verdi; Hugo von Hofmannsthal, in the of Richard Strauss, O Andrés Ibáñez, in the of Mauricio Sotelo.

Two works by Verdi: Falstaff (available only during the weekend of Saturday 18 and Sunday 19) Y Otello, in large productions starring the best performers of the moment.

The former artistic director of the Teatro Real, Gerard Mortier, commissioned in 2010 to the Spanish composer Mauricio Sotelo a new opera. Five years later the Madrid stage would host the world premiere of The public, with libretto by the writer and musician Andrés Ibáñez on the homonymous work of Federico Garcia Lorca. Complex, symbolic and transcendental, opera relies on resources as distant as electronic music or flamenco, sung and danced, recreating a murky universe and, sometimes heartbreaking, loaded with images of intense beauty.

In autumn 1998 the Teatro Real faced the second season since its reopening. In your programming, the then artistic and musical director of the institution, Luis Antonio García Navarro, he put himself in front of Elektra, Richard Strauss, starring one of the leading interpreters of this role, Eva Marton. Spanish Television now rescues this production from its historical archive to offer it on MyOperaPlayer.

However, the dance will be in charge of opening this special week at the hands of Antonio Gades and his company with one of the jewels of his repertoire, Fuenteovejuna. In this choreography, the talent of the great Gades joins that of Lope de Vega, in collaboration with José Manuel Caballero Bonald, to tell us about the solidarity struggle of a people against tyranny through the expression of the best Spanish dance and the most genuine folklore that result in a mythical show that has been exhibited around the world.

Like at the best book fair, it seems that this week the rain will accompany us. One more reason to delve into this new musical proposal.

#Stay at home, the Royal Theater stays with you.

PROGRAMMING

SOURCE SHEEP

Antonio Gades

Antonio Gades Company. Teatro Real

Fuenteovejuna, culminating work of Antonio Gades, it is above all a most beautiful work, the last fruit of a great artistic and personal maturity. The subtle and moving quality of its material resides neither in its aesthetic values ​​nor in its spectacular nature., but in the overwhelming simplicity with which it shows the essence of the things it wants to tell.

Released at the Carlo Fenice Opera in Genoa, he 20 December 1994, is based on the eponymous dramatic creation by Lope de Vega, from a historical event in which an entire town in upper Andalusia, Ovejuna Fountain, rebels against abuse by a noble, the Commander of the Order of Calatrava Fernán Gómez de Guzmán, and ends up executing it. When the Catholic Monarchs, Isabel and Fernando, they send a judge to clarify the case, not even by subjecting the villagers to the worst torture can they make them denounce the culprit, well all, with one voice, assume the death of the "ignoble" noble and the responsibility for his destiny.

Dedicated to the memory of Celia Sánchez Manduley, the adaptation of the work is the responsibility of Gades himself with the collaboration of José Manuel Caballero Bonald. The show has a luxurious artistic team in which they participate in the setting and costumes Pedro Moreno; in lighting, Dominique You and in the arrangements and musical selection Faustino Núñez.

The leading roles fall on Cristina Carnero (Laurencia), Angel Gil (Leafy), Alberto Ferrero (Mayor) and Joaquín Mulero (Commander).

FALSTAFF

Giuseppe Verdi

Teatro Real 2019

The premiere of this production took place, precisely, he 23 April 2019, International Book Day, at the Theatre Royal. Is about Falstaff, whose script, from Arrigo Boito, is inspired by passages from The Merry Wives of Windsor, Enrique IV Y Enrique V from William Shakespeare, at the service of the genius of Giuseppe Verdi who, octogenarian, write a great score, dismissing his operatic career with a song full humanity mood, wisdom, vitality, profundity and rejoicing.

Laurent Pelly, responsible for the stage direction and the figures of the opera - very dear to the Royal for his accurate versions of The Daughter of the Regiment (2014), Hansel and Gretel (2015) Y The Golden Cockerel (2017)- translates the action of the work into our time with a schematic scenography, ‘Organic’ and mutant, designed by Barbara de Limburg, in which he delves deeper into the characters through a narration in which the limits of farce and comedy vanish, to enter the magical realm of enchantment and fable.

Verdi's devilish sheet music is conducted by Daniele Rustioni in front of Headlines Choir and Orchestra of the Teatro Real and from a baritone-led cast Roberto de Candia, in the title role, seconded by Daniela Barcellona (Mistress Quickly), Maite Beaumont (Mrs. Meg Page), Rebecca Evans (Mrs. Alice Ford), Ruth Iniesta (Nannetta), Joel Prieto (Fenton), Simone Piazzola (Ford), Christophe Mortagne (Dr. Caius), Mikeldi Atxalandabaso (Bardolph) Y Valeriano boats (Gun).

The fat bluster amuses us with our sorrows, redeems us from our miseries and leads us to a better world, more tolerant and smiling, from which "everything is a joke".

THE PUBLIC

Mauricio Sotelo

Teatro Real 2015

The public, commission from the Teatro Real to the composer Mauricio Sotelo, with libretto by the writer and musician Andrés Ibáñez (1961), rescues the essence of the novel by Federico Garcia Lorca (1898-1936) written in 1930 in Cuba, after the transcendent trip that the Granada poet made to New York, in a period of deep emotional crisis and creative effervescence.

When writing the script of The public, Andrés Ibáñez has tried to preserve all the dimensions of the work, maintaining its two fundamental themes: “homosexuality and contemporary theater. Both are united in a central theme that has to do with the appearance or the mask. Mask 'love that can not speak its name' and, Finally, mask is revealed as the essence of the human being. (…) Obscenity, cruelty and irreverence are fundamental elements of Lorca's poetic language. Not emphasized or avoided. The text explores sexual desire with frankness and complexity that defies well-intentioned or more or less moralizing simplifications.”

Also for Mauricio Sotelo, “the intelligibility of the sung text was the beacon that always guided the composition process. If the text is clearly understood, then it will be possible for it to project all its light onto the viewer.

The composer is inspired by the symbolic world of the poet. Starting from the letters of the name L-O-R-C-A, Sotelo weaves a fluid but complex score, in which he uses from the harmonic textures of microtonalism to sophisticated electronic techniques, and in which it hides numerical relations, esoteric and iconic, without disregarding the structure of a traditional opera, with a prologue and five pictures, arias, duos, interludes, etc ... To explore the ancient and telluric world that underlies Lorca's text, animal and sexual forces, has resorted to flamenco, incorporating in the score its language and its duende.

A diverse and multicultural group of interpreters will bring to life the symbolic world of The public: eight singers led by baritones José Antonio Lopez Y Thomas Tatzl, will incarnate, each, to various characters; two cantaores, Archangel Y Jesus Mendez, along with the bailaor Ruben Olmo, interpret the three white horses symbolizing the uncontrollable forces of nature; three dancers representing the harlequin costumes, dancer and pajamas and, Finally, two children dancers and actors. Next to them will be the Titular Choir of the Teatro Real, the prestigious orchestra contemporary music Klangforum de Viena, guitarist Cañizares and percussionist Augustine Diassera, all under the direction of Pablo Heras-Casado, Principal Guest Musical Director of the Teatro Real.

The scenery is designed by the painter and sculptor Alexander Polzin and the stage direction is in charge of Robert Castro.

OTELLO

Giuseppe Verdi

Teatro Real 2016

The sweeping dramatic force of William Shakespeare becomes again a source of inspiration for Giuseppe Verdi and the poet Arrigo Boito giving as fruit Otello. Boito builds a libretto for this opera in which he simplifies the plot, delving into the complexity of the characters and their relationships, while Verdi uses all his creative resources at the service of dramaturgy, creating a seamless score, with a great orchestration in which the song flows like a declamation, Interlocking subtle melodies, epigramáticas cases, huge dramatic force, with other long expressive breath.

This production has a trio starring in authentic luxury led by the tenor Gregory customer, one of the most celebrated interpreters of the demanding role of Otello today; the Albanian soprano Jaho Ermonela, moving in her portrayal of Desdemona, and baritone George Petean, incarnating the sibilant sadist and Iago. The chorus Little Singers of the Community of Madrid, directed by Ana González, and the Titular Choir of the Teatro Real, prepared, as usual, by its chief conductor, Andrés Máspero, will act again by the Head of the Royal Theatre Orchestra, under the baton of Renato Palumbo

American stage director David Alden chooses to emphasize the internal conflict of Otello, whose warlike character masks the enormous insecurity that makes the wicked machinations of Iago vulnerable. A ruined city and gloomy Mediterranean conceived by scenographer Jon Morrell accentuates the terrifying atmosphere of the drama.

ELEKTRA

Richard Strauss

Teatro Real 1998

From the historical archive of RTVE we rescued, this time, Elektra, from Richard Strauss, whose representation took place in November 1998, when the second season of the Teatro Real began to shoot, whose reopening had taken place a year earlier. This story of hate and revenge, with libretto by the poet Hugo von Hofmannsthal, inspired by the work of Sophocles, of complex orchestration and extreme interpretative difficulty, he had at the forefront of the project García Navarro, artistic and musical director of the Madrid coliseum at that time.

He 29 of January of 1996 the theater of La Fenice in Venice burned for the second time in its history. The ruins of that emblematic opera house served as inspiration for Ezio Toffolutti to create the scenography of this production in which he tried to renew and update the classic myth that Strauss Y Hofmannsthal they had located in the inner courtyard of the palace of Agamemnon.

In this devastated space, under the direction of Henning Brockhaus, The heartbreaking story of Electra embodied in the voice of what has been considered one of the best interpreters of this role took shape., Eva Marton. Leading the cast was this dramatic soprano in which she was accompanied by the Norwegian mezzo-soprano Anne Gjevang, as Clitemnestra, and the Spanish soprano Ana María Sánchez, in the role of Crisotemis, completing the protagonist trio. With them, the North American tenor Kenneth Riegel, Aegisthus, low german Hans Tschammer, Orestes, and the Madrid Symphony Orchestra.

Photograph: Javier del Real