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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.
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.
*Title available only in non-EU countries, with the exception of Spain
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.
Set in 1940s Spain, this production by Lluis Pasqual for the Teatro Real, with sets by Ezio Frigerio and costumes by Franca Squarciapino, has an illustrious cast, headed by the Malaga-born baritone Carlos Álvarez in the leading role. Sonia Ganassi as Donna Elvira, the splendid María Bayo in the difficult role of Donna Ana, and José Bros as Don Ottavio, a role for which he was awarded the 2006 Teatro Campoamor prize for Best Opera Singer, complete the starry line-up in this staging of this Mozart and Da Ponte opera. Directed by the masterly Victor Pablo Pérez, it was recorded in high definition in the Teatro Real’s 2005-2006 season.
Purcell's most important collection of keyboard music appeared posthumously in 1696 entitled A Choice Collection of Lessons for the Harpsichord and contains his eight suites for keyboard. In 1720 Handel published his Suites de pièces, a representative corpus of a genre composed between Hamburg and London. The performance of this harpsichord repertoire on the piano offers a new insight into the greatness of this music.
The Spain of the past criticises the Spain of the present. The Spain of the present complains about the inheritance received. And, in between, two bride and groom with a dark future plan their wedding. Costumbrismo and social criticism characterise the tonadillas, a dramatic-musical genre that flourished in Spain at the end of the 18th century. This production recovers three tonadillas by one of the most renowned authors of his time: Blas de Laserna.
Los elementos is explicitly presented as a "harmonic opera in the Italian style", in which the best tradition of Hispanic verse converges with Italian musical novelties, materialised in the use of violins and the alternation of recitatives and arias. These stylistic features were then understood as synonymous with modernity, something that would not escape its first listeners either. The staging of this new production brings these allegorical codes to the present, while maintaining the emblematic world of baroque opera, with the original results typical of the splendour of this golden age of Spanish music.
The comparison of Caravaggesque chiaroscuro with Baroque musical creation has become popular. Based on this idea, this project brings together various baroque compositions with tableaux vivants that recreate live paintings by Caravaggio and Velázquez.
Critics praise her and the audience loves her - Kristine Opolais, the primadonna and the star of the New York Metropolitan opera in a splendid solo concert at the Latvian National Opera. The programme includes arias both from operas that brought Kristine international acclaim and pieces that will be included in her future repertoire.
The beautiful programme, mostly dedicated to Italian music, will encourage you to dream about love and think about what is truly important. It will touch your heart in many ways.
An opera where the prima donna is a baritone? Le convenienze ed inconvenienze teatrali is an excessively long and daunting title for an opera of such unrestrained delight. That is likely what German film director Helmut Käutner thought when he renamed it Viva la mamma in the famous 1969 adaptation for the rococo Cuvilliés theatre in Munich, changing the history of this work forever. First seen in Naples in 1827, this farce of a “theatre within a theatre” narrates the mishaps of a second-rate opera company as it stages the great serious drama Romolo ed Ersilia in a provincial theatre. The unbearable tensions between the two lead singers are finally resolved with the decisive intervention of one of their mothers. The co-production by Ópera de Lyon shared with the Grand Theâtre de Genève and Teatro Real is brought to life by Laurent Pelly, a tireless champion of Donizetti's comedies, as one recalls from his production of La fille du régiment which we enjoyed at Teatro Real some seasons ago.
Although he choreographed more than 100 ballets over the course of his career, Frederick Ashton was not one to repeat himself. From full-length narrative creations to miniature pas de deux, each of his works is unique in concept, performed in a style that is uniquely suited to its particular story, its music and the dancers in which it was created. And yet, despite the precision of his choreography, each dancer in an Ashton role can find their own way through it, creating an interpretation that is not only faithful but also personal.
On this recording, before Marguerite & Armand come two excellent performances by the Company, each showing different aspects of Ashton. His exquisite The Dream (1964), an adaptation of Shakespeare's A Midsummer Night's Dream, set to Mendelssohn's musical response to the play, stars Steven McRae and Akane Takada as the ethereal king and queen of the fairies. In an interview (also included), Dowell, the original Oberon, mentions his relief at how dancers still find the roles difficult: Oberon, especially, is among the most demanding male roles in the repertoire. But, despite all the challenges, McRae and Takada are as light as air in their moving pas de deux de reconciliation.
In collaboration with Naxos
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Sabina Puértolas is one of the most international Spanish sopranos, recognized and acclaimed for her interpretations of a wide repertoire of bel canto and baroque music. Her ever-increasing projection has led her to sing in venues such as the Royal Opera House in London, Teatro Real, Gran Teatre del Liceu, Teatro Municipal de Santiago de Chile, Seattle Opera House (USA). or the National Center for Performing Arts in Beijing (China). In 2001 she made her debut at the Teatro alla Scala in Milan under the direction of Riccardo Muti, playing the role of Oscar in Verdi's Un ballo in maschera, and has since developed an intense international career. Her interpretations, of great expressiveness and theatricality, unite her with the soul of her characters.
Together with the pianist Rubén Fernández Aguirre, the evening will offer songs, romances and arias from operas such as Alcina and Rodelinda by Händel, Il Turco in Italia by Rossini or Lucia di Lammermoor by Donizetti. Puértolas' elegant, musical and highly technical singing promises a night to remember.
Applauded by audiences and critics alike, Raymonda, with the suite of this ballet, in the version by Luis Ortigoza, based on the ballet by Marius Petipa, was presented in the summer of 2019 at the Parque de las Esculturas thanks to an agreement between the Corporación Cultural de Santiago and the Corporación Cultural de Providencia.
This work, set in medieval France, is a product of fin-de-siècle exoticism and a symbolic representation of the process of imperialist expansion of nineteenth-century Russia, which sought to conquer territories in Persia and China.
Exquisite sets and beautiful costumes in this shorter and more dynamic proposal, which presents a high demand for the leading role and maintains the fundamental role of the corps de ballet, which in this case has more male presence than in the original. A story of a love threatened by war and distance that manages to overcome all obstacles to reach a happy ending.
Available from July 2.
The French composer Maurice Ravel remains a source of inspiration for any choreographer. Artistic director and star choreographer Sidi Larbi Cherkaoui and rising talent Jeroen Verbruggen take their vision of Ravel’s music to the stage. Jeroen Verbruggen, who as a young student dancer at the Royal Ballet School won the Prix de Lausanne, has drawn his inspiration from Ravel‘s Pavane pour une Infante défunte and from Ma mère l‘oye.
Sidi Larbi Cherkaoui also translates Ravel into dance, opting for Pictures at an Exhibition, which was originally composed by Modest Mussorgsky, but which was later orchestrated by Ravel to become the most widely performed orchestration of this work: It has thus become truly canonical.
It is a programme full of surprises with which the Royal Ballet Flanders/ Ballet Vlaanderen might just write a page of dance history.
The libretto of the most well known opera by Dvořak, which premiered in Prague in 1901, is inspired by the Czech version of the Central European folktale, one we also know as Undine (1811) by Friedrich de la Motte Fouqué or The Little Mermaid(1837) by Hans Christian Andersen. The original story is perfectly translated into a musical score full of colour and magic where it is possible to perceive a Wagnerian influence, especially in the river currents of Der Ring des Nibelungen. There are also considerable similarities with another wonderful aquatic fable of sacrifice and redemption: Sadko (1898) by Rimski-Kórsakov. Notwithstanding, the composer did not renounce his Bohemian roots for he left a mark on a large part of his creations as an artist committed to Czech music and culture. Rusalka triumphed quickly in German speaking countries but international acceptance took time, in spite of the famous “Song to the Moon”. As of the last decades of the 20th century, its presence on the world stage has consolidated and today Rusalka is one of the twenty most performed operas; surprisingly it has never been performed since the re-inauguration of the Teatro Real.