LUCID GALLIC OPERA I GAVE LAMMERMOOR Produc. Met New York - year 2009, with ANNA NETREBKO and PIOTR BECZALA (2nd Act) GALLIC OPERA. I agree with ANNA NETREBKO, ELINA GARANCA, RAMON VARGAS and LUDOVIC TEZIER. Symphonic band of Ford Ford and Friburgo. Direction: FRAME ARMILIATO. Baden-Baden's Festival Theatre. Projection of DVD on big screen.
CYCLE OF OPERA "The ITALIAN BELCANTO and the FRENCH OPERA" JAQUELINA LIVIERI, soprano - SEBASTIAN ANGULEGUI, baritone. Piano: HORACIO CASTLE. 1st Report Vincenzo Bellini – I PURITANI: Ah per sempre Gaetano Donizetti - L ´ELISIR D'AMORE: I took, per me sei I liberate. Gaetano Donizetti - L'ELISIR D'AMORE: Gaetano Donizetti eats paride vezzoso - DON PASQUALE: Prompt io they are Charles Gounod – ROMEO ET JULIETTE: Je veux vivre! Jacques Offenbach - THEY CONTES D'HOFFMANN: Scintille, diamant
Opera THE RONDINE, of G. Puccini Projection of DVD. MULE and RICHARD TROXELL operates on THE RONDINE, with AINHOA ARTETA, MARCUS HADDOCK, INVA. Choir and band of the National Opera of Washington. Direction: EMMANUEL VILLAUME. Brought in in ticket office of the Theater from January 20.
RICHARD CLAYDERMAN Recital of the talented French pianist, creator of the famous “Ballade pour Adelina ”, work that threw it to the world stardom. With his own father like teacher, Richard Clayderman began to take classes of piano when it was small. It was as well as the above mentioned musical instrument began loving and discovering that with him it could create beautiful melodies that were coming straight to the heart of any that one who was listening to them. That way it managed to devote itself like one of the most successful pianists of the entire world, and the biggest populizador of this instrument of the XXth century. It has sold more than 70 million discs and offered more than 600 concerts about the whole world, At present it has recorded more than 1500 different compositions, between them “Yesterday ” (of The Beatles), “El sound of the silence ” (of Simon and Garfunkel) and “Memory ”.
Lo Mejor of the OPERETTA lyric Concert with MARIA SPRAYED GIORDANO (soprano) and DUILIO SMIRIGLIA (tenor), accompanied to the piano for HORACIO CASTLE. He programmes: arias and LUISA'S duos FERNANDA, MRS FRANCISQUITA, THE JEWISH CHILD, THE BARTENDER OF THE PORT and THE BARBERILLO OF LAVAPIES.
Tristan und Isolde, of plot Richard Wagner Síntesis musical Drama in three acts. Libretto of the composer, based on a Breton medieval legend as the version of Gottfried von Strassburg (XIIIth century). Music of Richard Wagner. Released on June 10, 1865 in the Theater of the Court of Munich. I release in Big Teatre del Liceu on November 8, 1899. Tristan und Isolde takes as a starting point a medieval poem of Gottfried von Strasburg (about 1210), on a legend of Celtic origin, which narrates the tragic loves of Tristán and Isolda. It is released in the year 1865 in the Theater of the Court of Munich. Wagner did of Tristan und Isolde the most powerful expression of the affectionate passion that steadies itself, uncontrollably, in spite of the proper will, the moral norms and the divine laws, and that only finds in the death his achievement. It used a new music, at the edge of the tonality, of an annoyed chromatism, point without comeback in the romantic opera and starting point of the music of our time. Tristan, who has been treated by Isolde –hija of the queen of Ireland – of his wounds, receives the order of his uncle and protector, king Marco de Cornualles, of going to Ireland to request, in his name, Isolde's hand. When the curtain gets up, the first scene places us in the ship in which Tristan leads Isolde to Cornwall. The filter of death that the princess makes bring to complete his revenge –Tristan had caused the death of his fiancé Marold – it is changed by the servant Brangane into love filter, which unleashes –y at the same time reveals – the sleepy passion of the protagonists. In the second act there takes place one of the more extraordinary scenes of affectionate delight of the history of the opera, until they surprise the Frame comeback and his gentlemen, and Melot hurts seriously Tristan. In the third act, Kurwenal has led his friend Tristan to his Karéol castle, in the Brittany, where they wait for the arrival of the ship of Isolde, the only one who him can recover. Isolde appears with only time to receive between his arms Tristan shortly before dying. King Marke, ready to excuse comes. But the Brussels sprouts present battle and Kurwenal kills Melot before proving, he injured, itself fatally. Isolde, already out of this world, sinks in the night of the death, the only reality that can join it again with Tristan, while he sings the extraordinary Liebestod (Death of love). DURATION Act I: 80 min. Interval: 30 min. Act II: 75 min. Interval: 30 min. Act III: 75 min. WHOLE 5 hs.
Sasha Waltz and Guests Introducción The multidisciplinary team that has met concerning the German Sasha Waltz has turned into last years in one of the most powerful and recognized creative foci of Europe. Before embarking in projects that amalgamate different genres, like the opera and the theater, taken shape of productions so spectacular and applauded like Dido and Aeneas or Medea, the German choreographer developed his particular choreographic language in the Schaubühne am Lehniner Platz of Berlin. Before becoming independent like company and initiating new artistic courses, it released in 2004 in this prestigious Berlin theater Impromptus, his first piece entirely been inspired by the structure compositiva of the classical music. Accompanied by the live music of Franz Schubert, seven ballet dancers and co-choreographers, penetrate into the intimate universe of the German romanticism depriving his dance of everything superfluous to create and to reflect the pure emotional states that are translated in scene in a movement that looks for the ethereal thing from a contemporary look. Sasha Waltz investigates with his work the beauty and the vulnerability of the human body. The movement generated from this perspective (physically demanding, electrical, expressive) turns this way into a vehicle to express all that that it identifies us like human beings.
Recital Felicity Lott Soprano: Felicity Lott Bailarín: Oliver Sferlazza Piano: Jason Carr Director de escena: Laurent Pelly Iluminador: Paul Boggio QUARTET OF ROPE Oscar Straus (1870-1954): "C’est the saison d’amour», of Trois waltzes Jacques Offenbach (1819-1880): "The valse du divorce», of boule of neige Francis Poulenc (1899-1963): Give to me of Monte Carlo Richard Rodgers (1902-1979): "Wonderful guy», of South Pacific Oscar Straus: "Je ne suis pas ce that l'on I thought», of Trois waltzes Maurice Yvain (1891-1965): Je chante the nuit - «Yes«, of Yes Donald Swann (1923-1994): To Word in my Ear Stephen Sondheim (1930): "Losing my mind», of Follies Bénabar (1969): Him dîner Reynaldo Hahn (1874-1947): "Chanson d’automme», nº 1, of gray Chansons Joseph Kosma (1905-1969): They feuilles mortes Mireille (Hartuch) (1906-1996): Tant pee pour rhymes it Jason Carr (1967):« Looking for to Bear», of Six Pictures of Lee Miller Bruno Fontaine: Him gai tango of Cantatriste Richard Rodgers: «Bewitched«, of Pal Joey Mirelle (Hartuch): Monsieur Marterda
Parrita Introduction Festival of Fleming of Barcelona Of Drawer! it comes to his fifth edition, completely consolidated like one of the principal annual appointments for the lovers of the genre. The fifth anniversary of Of Drawer! it promises many surprises, and it will start for everything high place on Thursday, the 11th of February in Big Teatre del Liceu of the hand of the mític Parrita, that given such a special occasion will come accompanied from numerous and illustrious guests, of whom there can already promise to be Pitingo, Tamara, Toñy Salazar, Farruquito and Chiquetete.
Original The Glenn Miller Orchestra Introduction The Original Glenn Miller Orchestra is one of the most popular big bands. With a wide trajectory and infinity of performances, the formation takes all over the world the music of Glenn Miller and the best sound of the jazz. Created in 1988, Glenn Miller Orchestra has supported since then the same formation on the stage that the big North American musician conceived: five saxos, four trumpets, four trombonists and three percussions, in addition to a masculine and feminine vocalist. The vocal group The Moonlight Serenaders and the formation of jazz The Uptown Entrance hall Gang turn the spectacle into an exceptional trip to the golden age of the swing. The repertoire of the band includes more than 200 topics, many proceeding from the original scores, between which In the Mood, Moonlight Serenade cannot be missing, American Patrol or Chattanooga Choo Choo En the repertoire emphasize also the contributions of big arreglistas of the history, like Jerry Gray, Billy May and Hill Finegan.
Elias Felix Mendelssohn Introducción Elias (1846) is one of the most important works of Mendelssohn and one of the big oratories of the history of the European music, along with Messiah de Händel and Die Schöpfung (The creation) of Haydn, with big influence of the religious music of Bach, of whom the composer was a big admirer. He narrates in a dramatic way, with big leading role of the choirs and the band, the history of the prophet Elijah (IXth century B.C.) the one who faced king Ajab and his evil wife Jezabel –adoradores of Baal –, realized miracles –resurrección of a young man, end of a durísima drought – and was fighting against the said false idol. Finally, Elijah amounts to the skies in a fire car. For the text, part of the conception of his London friend Carl Klingemann, as well as of Julius Schubring, but finally it was him itself who fixed the topics. It was released in the Festival of Birmingham of 1846, one year before the death of Mendelssohn, directed by himself, in English language, harvesting an extraordinary success (four arias and four choirs had to recur). Conductor: Antoni Ros-Marbà Solistas: Camilla Tilling, the widow Katarina Karnéus, an angel / the queen Werner Güra, Obadjah René Pape, Elias Graham Lister, Ahab Meritxell Argenté, the child Solistas del Coro: Quartet Raquel Lucena, soprano Min A. Baek, mezzo-soprano Xavier Martínez, tenor Dimitar Darlev, under The angels: Olatz Gorrotxategui, soprano Elisabet Vilaplana, soprano Elizabeth Maldonado, contralto women's Quartet: Carmen Jiménez, soprano Glory López Pérez, soprano Cook it Zannerini, mezzo-soprano Hortènsia Larrabeiti, contralto ORCHESTRATES SYMPHONIC AND CHOIR OF THE BIG TEATRE OF THE LICEU Direction of the Choir: José Luis Basso POLIFÒNICA OF PUIG-REIG Direction of the Choir: Ramon Walnut tree Programa: Elias, op. 70. An oratory as words of the Ancient Testament Felix Mendelssohn-Bartholdy (1809-1847)
Allegro Vivace, magic Trip for the world of the opera Introduction Fragments proceeding from the big operas of the repertoire, joined by a plot thread surprising and full of humor, form this beginning spectacle to the opera created by the company Comediants. DURATION: 65 min.
Recital of Ruth Ziesak Alma Mahler: Die stille Stadt Hymne an die Nacht Bei dir ist is traut Ich wandle unter Blumen Waldseligkeit Alban Berg: Seven Songs of youth "Nacht" "Schilflied" "Die Nachtigall" "Traumgekrönt" "Im Zimmer" "Liebesode" "Sommertage" Alexander von Zemlinsky: Irmelin Rose and other singings, op. 7 "(Christian Morgenstern) "Entbietung" Gives waren zwei Kinder" (R. Dehmel) "Meeraugen" (R. Dehmel) "Irmelin Rose" (J. P. Jacobsen) "Sonntag" (P. Wertheimer) Gustav Mahler Selección of Des Knaben Wunderhorn "Um schlimme Kinder artig zu machen" "Ich ging mit Lust durch einen grünen Wald" "Selbstgefühl" "Ablösung im Sommer" "Scheiden und Meiden"
It confers on Andrea Chénier Conferenciante: Pablo Rodríguez Conferencia organized in collaboration with the Friends' Association of the Opera of Madrid on Andrea Chénier, of Umberto Giordano.
The bestiary Miguel Ortega (1963-) New production of the Real Theater in joint production with the Friends' Association of the Opera of Oviedo and the From Bilbao Association of Friends of the Opera (ABAO). Band - school of the Symphonic one of Madrid.
Andrea Chénier Umberto Giordano (1867 - 1948) Dramma storico in four caudros Libretto of Luigi Illica Editores and owners Casa Musicale Sonzogno I gave Piero Ostali (Milan) Production of Opéra National of Paris Titular Choir of the Real Theater (Choir Intermezzo) Titular Band of the Real Theater (Symphonic Band of Madrid) Introduction Composed on a libretto of Luigi Illica written initially for Alberto Franchetti, and released in the Theater there Scala of Milan on March 28, 1896, Andrea Chénier is the most popular of a dozen of qualifications of the composer Umberto Giordano and, along with Fedora, the only one that has remained in the repertoire of this fervent defender of a refined realism, which delle counts in his credit with other works not contemptible at all, like Siberia or The dinner beffe. Andrea Chénier is full of wide melodies, of declamatory fragments and scenes of big theatrical effectiveness, like the famous person “Improvviso ” of the Act I, “Un d ì all’azzurro spazio ”, favorite piece of all the tenors, which there intones the protagonist, a French poet who lived between 1762 and 1794 and died guillotined during the period of the Terror. IV was paraphrased one of his poems by Illica in the aria of the Act, “Come one bel d ì say maggio ”. Other pages of the work, like Gérard's aria “Nemico della native ” or Maddalena's aria “La mamma morta ”, they are counted also between the most famous fragments of the Italian opera. With these representations post-verdiano turns to the Real Theater the big lyric melodrama, over the hand of excellent two vocal tercetos formed by the sopranos Italian Fiorenza Cedolins –que has already triumphed in this stage in Luisa Miller and like Leonora de Il trovatore –, and Daniela Dess ì (that did the proper thing in Coarse and Madama Butterfly); the tenors Marcelo Álvarez (also well-known here for his interpretations verdianas of Rodolfo in Luisa Miller and Riccardo in A ballo in maschera) and Fabio Armiliato (for his interventions in Coarse and The Gioconda) and the baritones Marco Vratogna and Roberto Frontali, two of the most solid representatives of his rope at present. The assembly takes the signature of Giancarlo del Monaco, big connoisseur of this language and with a cinematographic conception of the work, which will show his habitual talent again for the masses movement in this new production of the National Opera of Paris, where it is released three months earlier. In the pit there will be one of our best batons, Víctor Pablo Pérez, in his third visit to the coliseum of Madrid, where it will offer another sample of his capacity and versatility after tackling two qualifications mozartianos: Don Giovanni and The clemenza I gave Tito.
National company of Dance infinite Garden devoted to Chekhov in 150 anniversary of his birth. Music of Pedro Alcalde and Sergio Caballero. In collaboration with the International Festival of Theater Anthony Chekhov of Moscow, with the support of the Government of Russia and of Moscow Artistic director: Nacho Duato Introducción Desde the reopening of the Real Theater, in 1997, the National Company of Dance has been regularly in this stage, where the choreographies, according to words of the director of the set, Nacho Duato, acquires his real dimension. The Valencian choreographer will present in the Real Theater his new works, still in creation process. Duato took charge in 1990 of the company, and the work developed in these almost two decades have done that the CND turns into one of the principal modality of the European contemporary dance. This way it has been recognized in the theaters of the whole world; the technical and artistic level of his ballet dancers, the demand of the developed work and the unquestionable talent of Duato like creator have been the credentials of a company which there is going to be able to enjoy once again the public of the Real Theater.
Opera in movies: The traviata Movie recorded in high definition in March, 2005 of the production of the Real Theater, in joint production with the From Bilbao Association of Friends of the Opera (2003). Producer: Ángel Luis Ramírez Sonido: Andy Rose Coproducción of the Real Theater, Opus Art and Mediapro Música of Giuseppe Verdi (1813 - 1901) Coro and Titular Band of the Real Theater (Choir and Symphonic Band of Madrid)
The big night of the Spanish music Introduction The energy and the poltergeist of the Spanish guitar turn The Big Night of the Spanish Music into an authentic delight for the senses. With a music inspired by the tradition and lyric melodies, the glossy tone of the guitar and his rhythmic energy capture the sounds and feeling Spanish like no other instrument can do it. The work covers with stars it is the Concert of Aranjuez de Joaquín Rodrigo, who occupies the most popular place between the concerts of the XXth century, a creative merger of music of popular influences with an imaginative orchestration. The famous guitarist Rolando Saad achieves that his interpretation of the Concert of Aranjuez raises the fortitude of the public, achieving that the spectator re-discovers the grandeur of the work. The program complements itself with the Fantasy for Rodrigo's Gentleman, which offers a fresh and original draft to the Spanish topics of the XVIIth century, Suite Española of Albéniz, in his version for guitar and band, and The Enchanting Love of Manuel de Falla. The cantaora Gives hope to false Fernández with his voice, while the director Aidar Torybaev guides to the Ukrainian State Symphonic Band across this magnificent musical trip between the ancient Spain and the current one.
The petita Magic Flute Introduction Adaptation for the infantile public, realized by the company Comediants, of the opera The magic flute of Mozart.
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.
"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"
"It would give everything what I have as a little of the genius that Schubert needed to compose his Ave Maria"
"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"
"When one is inspired by something good, the musician is born fluently, the melodies sprout; really this is a big satisfaction"
"With the help and the God's grace, I will be a Mozart in the composition and a Liszt in the skill"
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 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.
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.
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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