On Wednesday, February 17, 2010


Madrid, on February 14

Álvarez fulfills his word and surrenders sensual and violently in "Andrea Chénier"

The tenor Marcelo Álvarez has fulfilled his word and has left yesterday evening "the skin" to him in the Real one to print on his "Andrea Chénier" both the sensuality and the violence that needs this jewel of the realism, sublimated with the cinematographic and sumptuous staging signed by Giancarlo del Monaco. Of "Andrea Chénier", with that Umberto Giordano wanted to recover the historical drama led by the poet who more had criticized the goldsmith of the Terror, the fierce Robespierre, the famous one is "The mamma morta" immortalized by the Callas, with which Fiorenza Cedolins has started in the premiere yesterday event in Really fervent "brave".

But the one that has provoked a delirious admiration with each of his interventions, demonstrated with "brave" and applauses along the representation and with a closed applause in the end, has been the Argentine tenor, which has exhibited the technical safety and the vocal force that needs his complicated role.

Pawned in singing "I fall calm and drizzle" so that the public feels how the music flows, Álvarez has risen and gone down for the "roller coaster" of the phrasing and the color ruled by Giordano, with an orchestration so "resounding" that there runs the risk of "covering" the singers, something that the director, Víctor Pablo Pérez, has avoided with ease "breathing", as he said that it would do, simultaneously that they.

His version of this opera, which was represented in Madrid for last time in 1985, with José Carreras and Montserrat Caballé, demonstrates that there is "another way" of singing the realism, slowly, without the "forza" of the one that Mario del Mónaco or Corelli were presuming, and of that it is "changes time".

"Andrea Chénier", a historical drama with elements next to the newspaper serial, is impelled from beginning to end by the melody, with brief and very intense lyric passages which they precede recitatives with the band like protagonist and it is a challenge "of maximum difficulty" for the singers because it has four arias and two short duets, and without the breaks that the composer was marking.

Giordano was inspired by the life of Andrea Chenier (1762-1794), guillotined during the French Revolution, and by the affectionate triangle formed by the poet, the aristocrat Maddalena de Coigny, capably of sacrificing his life for love to him, and the servant transformed into revolutionary Carlo Gerard, whose revenge as desperate lover turns then piety and repentance.

To put in foot all this, Giancarlo del Monaco - son of the famous tenor, who interpreted frequently the Chénier role - has designed a staging impactante, of so many complexity that, after the first picture, of only half an hour, there is a rest of 45 minutes to change the set and, again, other to the half an hour to adapt it to the scenes of the judgment and the jail.

The equivalence between drama and music is entire and the only point in which the music of the libretto separates is in the historical reconstruction of the period of the Revolution.

The realism diminishes in this "Italian opera in the pure state", in words of the director of the band, to the authenticity of the court ambience with the gavotte of the first picture or the revolutionist of others three with appointments of the Carmañola or the Of Marseilles one.

The functions of "Andrea Chénier", a joint production of the Real one and of the Theater of the Bastille (Paris), will interpret three different casts: Álvarez distributes functions with Fabio Armilato and the debutante Jorge de León; Cedolins with Daniela Dess ì and Anna Shafajinskaia; and Marco Vratogna with Marco di Felice.

© EFE 2010.

Hand program of Andrea Chénier in the Real Theater of Madrid


  • On February 17, 1653: Arcangelo Corelli, musician and Italian composer is born. Grosso contributed to the crystallization of the concerto. Author of numerous instrumental works (Concert of Christmas, The Follia, sonatas), father of the sonata for violin and inspirer of a group of composers of this instrument like Varacini, Germiniani and Viotti.

  • On February 13, 1883: Richard Wagner dies in Venice. Composer of German origin, renovator of the romantic opera. His inclination towards the music did not wake up up to knowing the works of Weber and Beethoven. After a life lax and invested in the game and the women, he married and traveled to Paris and then to Dresden, where his work was recognized. The transfer of his remains was comparable to the funeral procession of a big sovereign one.

  • On February 13, 1976: the soprano Lily Pons dies. A voice crystalline and extended towards the sharp one, joined a graceful figure and personal friendliness, they constitute the props of the formidable success of Lily Pons. An exceeded publicity helped to do of her almost a sacred monster of the singing; so much it was so in the decade of '40 went so far as to consider her to be the best singer of the world.

  • On February 12, 1924: there is released "Rhapsody In Blue" of George Gershwin. Gershwin managed to unite in this work three fundamental elements of the music of his country: the piano popular tradition, the harmonic treatment of the music of the theater of varieties and all the ambience of the African American blues.

  • On February 10, 1881: I release in Paris of "The Stories of Hoffmann" of Jacques Offenbach. The opera is an adaptation of Jules Barbier and Michel Carré of several stories of writer Ernst T.A. Hoffmann. The first one takes place with a mechanical doll, the second one with the victim of the conjuration of a magician, and the third one with a moribund sick person. The history begins with a prologue ambientado in a bar.


  • Daniel Barenboim
    "The director does not have physical contact with the music that his instrumentalists produce and at most he can correct the phrasing or the rhythm of the score but his gesture does not exist if it does not find a band that is receiving"

  • George Gershwin
    "It would give everything what I have as a little of the genius that Schubert needed to compose his Ave Maria"

  • Gustav Mahler
    "When the work turns out to be a success, when a problem has been solved, we forget the difficulties and the perturbations and feel richly rewarded"

  • Franz Schubert
    "When one is inspired by something good, the musician is born fluently, the melodies sprout; really this is a big satisfaction"

  • Bedrich Smetana
    "With the help and the God's grace, I will be a Mozart in the composition and a Liszt in the skill"


  • Tristán and Isolda

    Richard Wagner

  • Tzigane

    Maurice Ravel

  • I agree for violin, piano and band of ropes in re minor

    Félix Mendelssohn

  • Carmen

    Georges Bizet



Astor Piazzolla

Astor Piazzolla

Piazzolla represents one of the rarest cases in which an author is unrolled of extraordinary form so much in the world of the popular music, with his tangos of Buenos Aires, as in that of the refined or classic music. Called symphonic tango created a new genre renewing this way of decisive form the tango. If it is considered that the work of Piazzolla begins in 1946 with The desbande and concludes in 1990, with Him grand tango and with Five tango sensations, that the same year records with the quartet of ropes Kronos, it is deduced that it covers 46 years, space in which it produced not less than eight hundred works.


Carlos Gardel

Carlos Gardel

Carlos Gardel is perhaps the biggest myth of the Argentina. His artistic skill, his incomparable talent as singer of the suburbs of Buenos Aires, his musical instinct to compose some of the biggest tangos of all the times, his marvelous character, his fanaticism for the careers, have led him to being equalled perhaps only by another legend of the country of the south of the Silver: Eva Perón. Nevertheless, while all political activity can be worth of objections, comments and mistrust on the part of certain sectors of the population, the figure of Carlos Gardel is erected as universally for all the Argentinians and the followers of the tango across the world.

Paris, on February 16

Juan José Mosalini: the soul of the bandoneón beats in Paris

The music and the dance of the River Plate came to the margins of the Seine more than one century ago, seducing the French, but Juan José Mosalini lives through the tango now a real explosion in France, of the hand of some of his contemporary teachers, like the bandoneonista. In an interview with the AFP in Paris, before traveling to Argentina, where it will offer two concerts, and from which it will set off then in the direction of China, Mosalini evoked "passionate and unconditional" relation between Paris and the tango and between he and the bandoneón, which came to his hands when it was a chiquilín.

Granada, on February 16

International festival tango Granada dedicates his XXII edition to Carlos Gardel

75 anniversary of the death of the singer and tanguista Carlos Gardel will lead XXII edition of the International Festival of Tango of Granada, which also will organize several parallel activities between which there are holidays of trasnoche, tango in the university or an exhibition. Between the artists who will take part in three forms of the festival - dance, set of instruments and sung - there is Leo Sujatovich, Cristian Zárate and the Japanese couple of dance Kyoto and Hiros Yamao.


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