Between days 19 February and 5 March the Teatro Real will offer nine performances of La Liebesverbot, second opera in the catalog Richard Wagner (1813-1883), which opens in Spain -after a version with reduced orchestra presented at the Festival de Peralada in 2013- in a new production of Teatro Real, in co-production with Royal Opera House de Londres and the Teatro Colon in Buenos Aires.
Ivor Bolton, musical director of the Royal Theater, He has worked closely in the review of the score of Wagner to give more fluidity and organic cohesion to work, reducing its original duration (of about 4 hours), but respecting its essence, its musical coherence and dramaturgy, according to the staging conceived by Kasper Holten, that modernizes the Shakespearean comedy with winks to tangle today.
In this fun, fresh and melodious score, light Mediterranean flavor, one Wagner 21 years censured and resorts to biting comedy Measure for Measure from William Shakespeare (1564-1616) to criticize the hypocrisy and puritanism of the Central European nineteenth century society, claiming sexual freedom, the expression of feelings and southern heat. For this action moves the original Shakespearean work from Vienna to Sicily, Friedrich -caricatura where the German dictator hiding behind a purported idealism imposes the death penalty to punish sexual promiscuity and prohibits brothels, carnival and extramarital love that he himself succumbs.
The Liebesverbot, Fairies written after which he could never listen-Wagner, He had its premiere at random 1836 in Magdeburg. The first and only performance of the opera during the composer's life was disastrous, as some soloists did not know their role. The second function could not celebrase because the husband of the protagonist, in a jealous rage and driven, maybe, by hedonism and lust that boasts the plot, He attacked the tenor playing the role of Claudio, who, apparently, undisguised maintained a romance with his wife.
the score, Wagner would brand later "sin of youth", He was removed from his catalog by the composer and his widow Cósima Wagner until, already entered the twentieth century, It began its slow recovery, countersigned by the public and critics with the famous Opera production in Bavaria 1983, with Wolfgang Sawallisch in musical direction and Jean-Pierre Ponnelle in the direction of scene.
At Liebesverbot appears the influence of French opéra-comique, the belcantista melodismo, de la opera bufa, or nationalist dyes Weber, but also they glimpse some of the features, still incipient, of future works of Wagner.
Part of this idea stage director Kasper Holten Danish, in which the young Wagner laughs at the grandiloquence of his future work, of the archetypes of the characters and stereotypes of Aryan germanismo that he would exalt later.
A) Yes, in a setting designed by Steffen Aarfing evoking a bustling neighborhood of Palermo, with her hostess clubs and backyard neighbors, in an indefinite time in which coexist and funny allusions to the past and the present are juxtaposed winks, It is developing the Shakespearean plot sifted by the revolutionary ideology of the first half of the nineteenth century and romantic turmoil young Wagner.
The cartoony characters and dramaturgy dyes agile and fresh plot, with hints of vaudeville, will test the acting skills and songbirds of the two selected deals, with notable baritones
Christopher Maltman Y Leigh Melrose (Friedrich), las sopranos Manuela Uhl Y Sonja Gornik (Isabella), tenors Peter Lodahl, Peter Bronder (Lucio), Ilker Arcayürek Y Mikheil Sheshaberidze (Claudio), and low to Jerkunica Y Martin Winkler (Brighella), to act with María Miró, David Alegret, David Jerusalem, Isaac Galan, Maria Hinojosa Y Francisco Vas.
In front of both troupes will again Ivor Bolton, which will change registration after its recent performance of The Magic Flute, to lead this eclectic Wagnerian youthful work with the complicity of the Choir and Orchestra of the Teatro Real Headlines.