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Giacomo Puccini’s last opera needs no introduction. After a 20 year absence, Turandot returns to the Teatro Real in a new production by one of the greatest stage directors of the 20th and 21st centuries: Robert Wilson, the creator of unforgettable images in The Life and Death of Marina Abramovic and Pelléas et Mélisande. In a cast led by Nina Stemme, Gregory Kunde and Yolanda Auyanet, the Associate Musical Director of the Teatro Real, Nicola Luisotti, conducts one of the greatest operas of Italian repertory.
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La traviata is presented at the Teatro Real in the unique context that we are all experiencing. The opera is presented with fewer rehearsals than normal and with a stage proposal designed to adapt to circumstances. The entire team of the Teatro Real, as well as the artists and the Titular Choir and Orchestra, take on the challenge with an enormous sense of responsibility, a lot of imagination and a great enthusiasm for taking another step towards the normalization of artistic life, encouraging the public and to the citizens to face with courage and positive spirit the new reality in which we find ourselves.
The stage director Leo Castaldi has devised a semi-staged concert version, in collaboration with the light designer Carlos Torrijos and the technical team of the Teatro Real, using elements of props, costumes and characterization from the back of the theatre.
Christopher Wheeldon has magically captured the twists and turns of Lewis Carroll's classic story, The Adventures of Alice in Wonderland, in his 2011 ballet.
Bob Crowley's vivid outfits and costumes take us down the rabbit hole in a world full of color, curious creatures, and captivating characters.
Joby Talbot's original score is full of radical melodies and contemporary sounds.
Lauren Cuthbertson stars as the inquisitive Alice, with Federico Bonelli as the charming Jack of Hearts, Steven McRae as the Mad Hatter dancing tap dance, and Laura Morera as the formidable Queen of Hearts.
This lush and attractive ballet is spectacular entertainment for the whole family.
With the collaboration of Naxos
The starting point for La Bohème and its entire creative process up until the first performance of the opera in Turin’s Teatro Regio on 1 February 1896 is documented in minute detail in the abundant correspondence between Giacomo Puccini, his publisher and mentor Giulio Ricordi, and the librettists Giuseppe Giacosa and Luigi Illica. The latter began their stormy, yet fruitful, collaboration with this opera and went on to write the librettos for Tosca and Madama Butterfly.
Starting with the book Scènes de la vie de bohème by Henri Murger (1882-1861), originally a series of autobiographical stories published in a magazine, the two librettists, closely supervised by Puccini, built an ensemble plot in which four young bohemian artists confront financial difficulties and bad weather with humour and good cheer, finding their way in an effervescent, bustling, wintry Paris.
A love affair between one of them, aspiring poet Rodolfo, and the seamstress Mimi is cut short by her death. We watch the story move from the pleasures and dreams of youth to the solidity of real life, with all its problems.
With his sublime orchestral palette, his mastery of poetic rhythm and his enormous talent for drama, Puccini builds the personalities of the young people with his usual skill, contrasting sparkling anecdotes and fun with deep and heartfelt passions. Their short, conversational phrases are interlaced with others of much greater melodic and dramatic power. The orchestration is expressive and effective, suggesting tiny details such as flickering flames or jingling coins, while setting scenes in an almost cinematic fashion, from the chilly garret to the busy streets of Paris at Christmas time, or the loneliness and deprivation of poverty.
Past moments are evoked like flashes of memory by a masterly use of musical motifs associated with emotions or even objects to which Puccini gives great symbolic significance: Mimi’s candle, the pink bonnet Rodolfo buys for her, Colline’s overcoat, or the muff which warms the heroine’s hands on her deathbed…
These moments which come and go in our memory, concealed and then revealed in the everyday affairs which make up our lives, are the narrative thread running through this new production of La Bohème, which was broadcast live.
The prestigious British stage director Richard Jones and the set and costume designer Stewart Laing present the opera as a series of scenes from bohemian life, without hiding the backstage work that usually goes on behind the scenes. The audience can see how the sets are changed, how different devices are used to create theatrical effects, and how props are piled up in the wings, like scraps of life crammed into our memory.
From their vantage point, the audience watches the past and present of the characters at the same time, unable to immerse themselves in the cold, bright Paris of the young bohemians because they will always see it depicted on stage. But this ‘play within a play’ device, which blurs real time and theatre time, the auditorium and the stage, drama and metaphor, will bring the audience to a richer interpretation of Puccini’s work, enhanced by viewing it from different angles, with all its images.
The flexibility and mobility of the staging created by the Austrian film director contrasts with the frosty atmosphere to emphasise the humanity of the characters that progress from naïve feelings to a whirlwind of situations which put their emotions to the test. Love can seriously damage the health of these two pairs of lovers, who are manipulated by the Machiavellian Don Alfonso and Despina –an odd couple working together to break up the relationships. The new staging concept delivers the recitative passages in a new way, giving the scenes more intensity and reaching a different and more ambiguous denouement in this new reading of the story. Simply magnificent and certainly cutting-edge!
White swan by day, human by night, the beautiful Odette awaits an oath of true love to break the curse. The great legend of the enigmatic swan/woman is one of the most romantic classical ballets, appropriately set in the era of courtly romance and characterised by elegance, style and harmony.
With Tchaikovsky’s famous, lyrical score, ‘’Swan Lake’’ depicts the tragic love between Princess Odette and Prince Siegfried, and will no doubt be performed to perfection by the unparalleled virtuosity of Russia’s great Bolshoi Ballet. This universal and enchanting masterpiece of love, deception and drama is a must.
With wonderful ballerina Svetlana Zakharova, one of the most beautiful Odette / Odile of the time, Denis Rodkin, Artemy Belyakov and Bolshoi Ballet.
With the collaboration of Naxos
Madama Butterfly, one of the most staged operas in the whole world.
The tragic story of the geisha Cio Cio San, better known as Madama Butterfly, touches all audiences. Puccini’s innate talent narrates the terrible conflict between two irreconcilable civilizations. This time the story is told from a different angle. Stage director Mario Gas sets the story in a 1930s. He narrates the poignant drama from three simultaneous perspectives for an even more marvelous experience of this classic by Giacomo Puccini.
During the quarantine period, this title will only be available in Spain, Argentina and China
This most humorous story explores the confrontation between the adult world and the imaginary one of children. A conservative father and strict mother attempt to domesticate their playful daughter, whose only friend is a fearless hen. Eventually, the girl, influenced by her little friend, begins to cross boundaries. Her parents decide to go after this unusual bird but it does not go well for them. In the imaginary world of the little girl, anything is possible when humour prevails over closed-mindedness. “Omelette” is the name of the heroic hen, she lays a great many eggs during the show (and “you can’t make an omelette without breaking eggs!"). Our recipe is “a mixture of seriousness and ridiculousness with a pinch of satire”.
The programme includes a teaching guide with more information and resources relating to this work.
With the participation of the Mozart expert and Teatro Real conductor Ivor Bolton, and the stage director Claus Guth. Alongside them, the Teatro Real Orchestra.
Mozart had just turned 16 in March 1771 when he was commissioned to write Lucio Silla. A year and a half later he had written all the recitatives and had travelled to Milan, where he would work on the music for the arias and begin rehearsals. His third opera was first performed at the Teatro Regio Ducal in December 1772, with a cast including some of the best voices of the moment. It was just as well: the notoriously difficult score can only be tackled by singers with a solid command of vocal technique.
The libretto, which just two years later would be used by Johann Christian Bach for his own opera, follows the typical format of 18th century European opera seria, and proposes magnanimity as the moral value which is central to the plot. Silla, the dictator of Rome, based on the historic figure Sulla, plans to use his political power to win the woman he loves, Giunia, the daughter of his enemy. However, she loves Cecilio, a senator exiled for political reasons. Silla’s initial intention gradually falls away and is replaced by compassion, leading him to make way for love, and even to give up power. The opera shows us that virtuous decisions are always the right ones.
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A simple but effective plot (a shy and naive young peasant buys a charlatan a love potion, actually a simple bottle of wine, to conquer the girl he is in love with; the beauty will finally realize that he loves the young man without the help of the elixir), a joyous musical language with bright and particularly inspired melodies (including the famous "Una furtiva lagrima"), made this opera composed in 15 days by Donizetti a true masterpiece.
Transposing the action into Italy in the 1950s, director Laurent Pelly achieves a true gem, finely chiseled and highly poetic.
With the collaboration of Naxos
Cuando Georges Bizet estrenó su ópera Carmen, no podía imaginar que su bella y seductora cigarrera se convertiría en un mito, en la precursora de un comportamiento femenino que rompía todos los convencionalismos. Es uno de los títulos que más se ha representado en el Teatro Real y su presencia es constante en las temporadas de ópera de todos los teatros del mundo.
El director de escena Emilio Sagi recurre al imaginativo vestuario del diseñador Jesús del Pozo para enfatizar la sensualidad, los rasgos, la fiesta y el trágico final. Sus originales concepciones dibujan la atmósfera, casi de colmena, de la fábrica de tabacos, la calidez de la luz sevillana, el frío del campamento en la serranía…
García Navarro, director musical del Teatro Real, en el momento de esta grabación (8 de abril de 1999), aúna bajo su batuta al Coro de la Comunidad de Madrid, a los niños de la Escolanía Nuestra Señora del Recuerdo, a la Orquesta Sinfónica de Madrid y a un elenco encabezado
por Agnes Baltsa, Neil Shicoff, Geer Grimsley y Andrea Dankova.
The opera Aida by Giuseppe Verdi with libretto by Antonio Ghislanzoni is embedded in the Teatro Colón in Buenos Aires from its beginnings. It was the title with which the current building was inaugurated in 1908. Since then it has been performed countless times, with dazzling figures as Enrico Caruso, Beniamino Gigli, Renata Tebaldi and María Callas, among others.
From 1966, the Argentine Roberto Oswald was in charge of the set and costume design and in 1989 was also responsible for the staging, with costumes by Aníbal Lápiz. This classic production of the Argentine house, made entirely in its workshops, was revived in May 2018 to celebrate the 110 years of the building, with a cast that featured the voices of Latonia Moore and Riccardo Massi along with local figures, the Resident Orchestra, Ballet and Choir of the Teatro Colón.