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Home , Alfredo Kraus, Francisco Kraus Trujillo, Juan Oncina, La tabernera del puerto

VII CONCURSO INTERNACIONAL DE CANTO

ORGANISED BY

23 TO 28 SEPTEMBER 2019 GRAN CANARIA www.cicakraus.com PRELIMINARY AUDITIONS IN FLORENCE NAPLES DE GRAN CANARIA

WITH THE COLLABORATION OF Introduction Rosa KRAUS LEY Chair Fundación Internacional Alfredo Kraus

The international career of Alfredo Kraus has competition for young singers, judged by a highly always been a point of pride for his home island of qualified jury at an event hosted in the city of his Gran Canaria and the city of his birth, Las Palmas de birth. The initiative had taken shape by 2016 and Gran Canaria. From 1956 to 1999, the name Alfredo became a reality in 2017 with the holding of the sixth Kraus was renowned at the greatest theatres competition, backed by local institutions and funded and concert halls, resulting in extensive recordings by the Cabildo de Gran Canaria in an ongoing tribute that can be heard today on films, radio and television. to the island’s cultural ambassador par excellence. After his death, Kraus became a legend, a status few artists achieve. For new generations of singers who As the custodian of the tenor’s artistic legacy, the missed the opportunity to hear him live, he is a figure Fundación Internacional Alfredo Kraus has sought of reference, and for professional singers and his to ensure the new competition follows the ideals of countless admirers, Kraus is closely identified with its creator. After an interval of 18 years, the sixth Gran Canaria. competition, in 2017, opened a new phase that retains the biennial nature of the event. The Auditorio Alfredo Alongside his artistic activity, Alfredo Kraus was Kraus, the iconic auditorium opened by the tenor in intensely involved in teaching, initially giving master 1997, became the venue for the semi-final and final classes in Madrid, , Rome, Perugia and New rounds of the competition. Following Kraus’ original York, and eventually holding a Chair at the Escuela de idea, the preliminary rounds will be held in different Música Reina Sofía (Queen Sofía School of Music), cities each year, as well as in Las Palmas de Gran in Madrid. Having experienced the ups and downs Canaria. of every beginner singer during his studies in Las Palmas de Gran Canaria, Barcelona, Valencia and To resolve organisational issues from past , Kraus always harboured a strong desire to help competitions, the three official prizes are for Opera young people make their way in this field. In 1989 and , given that these genres are a more he brought this idea to fruition through a project he feasible option today for young singers, many of had long dreamed of: the creation of an international whom will be performing with an orchestra for the singing competition on his island of Gran Canaria, first time. hosted in the city of his birth. The rules have been updated in the “second phase” The first competition,I Concurso Internacional de and brought into line with the standards of today’s Canto Alfredo Kraus (I Alfredo Kraus International international competitions, allowing applicants to Singing Competition), was held in Las Palmas de apply online and contact the organisers if they have Gran Canaria in May 1990. Conceived as a biennial any queries. The list of the Opera and Zarzuela event, mainly because of the artist’s limited free time repertoire has been revised and extended, particularly between performances, the competition was held in for Zarzuela, a genre that Kraus championed 1992, 1994, 1996 and 1999, after the 1998 event was and frequently performed. As the creator of the cancelled due to a family bereavement. The first five competition intended, the jury is made up exclusively competitions were made possible with the constant of artistic directors of international theatres. The support of the Cabildo de Gran Canaria (Gran position of Chair, originally held by Kraus, is occupied Canaria Island Council), which paid tribute through by a singer with international experience. the event to Kraus’ achievements, contribution as a Through theConcurso Internacional de Canto Alfredo cultural ambassador of the island, and involvement in Kraus, the Fundación Internacional Alfredo Kraus has teaching younger generations. revived a major achievement in culture, education The early death of Alfredo Kraus in 1999 marked the and tourism for Gran Canaria. By continuing the end of an era in the holding of the competition. In the competition, the Cabildo de Gran Canaria has following years, the Fundación Internacional Alfredo breathed new life into one of the most cherished Kraus (Alfredo Kraus International Foundation) creations of the great tenor, the island’s most set out to revive the tenor’s original intentions: a internationally renowned artist. History

TheConcurso Internacional de Canto Alfredo Kraus De Osma; mezzo- Christa Ludwig, Fedora (Alfredo Kraus International Singing Competition), Barbieri, Alicia Nafé, Mabel Perestein and María created by tenor Alfredo Kraus, was conceived from Isabel Torón; Pedro Lavirgen, Juan Oncina and the start as a biennial event. First held in May 1990, Jesús (Suso) Mariátegui; Sesto Bruscantini the competition continued in 1992, 1994 and 1996, and Antonio Blancas; and basses Walter Berry and followed by a three-year gap until 1999 after it was Antonio Campó. cancelled in 1998 due to a family bereavement. In line with Kraus’ wishes, the first five competitions were With the presence of Alfredo Kraus and the added hosted in the city of his birth, Las Palmas de Gran attraction of a competition held in the city of his Canaria, backed by the Cabildo de Gran Canaria birth, an average of 85 applicants signed up for the (Gran Canaria Island Council), an unfailing supporter preliminary rounds of the first five competitions. The competition archives reveal that applicants were of this initiative. of 30 nationalities, from , Portugal, France, Held on every occasion under the guidance of Alfredo Italy, Germany, the United Kingdom, Belgium, Kraus as Chair, the competition became a hallmark Switzerland, Austria, Holland, Sweden, Norway, among international events of its kind, earning Romania, Bulgaria, Poland, Hungary, Czech international renown not only among conservatories, Republic, Slovenia, Russia, the United States, Mexico, theatres, auditoriums and orchestras, but also in the Venezuela, Colombia, Brazil, Argentina, Chile, context of cultural tourism to Gran Canaria. Other Australia, Japan, China and South Korea. institutions joined the Cabildo de Gran Canaria The competitions held from 1990 to 1999 had two and the Philharmonic Orchestra Foundation as categories: Opera and Lied (including Zarzuela), and collaborators: Spanish Ministry of Culture (INAEM); Oratorio. The six official prizes (three winners in each Spanish Ministry of Foreign Affairs, Directorate category) were complemented by special prizes from General of Cultural and Scientific Relations; Canary institutions and private patrons, in addition to the Islands Government, Regional Ministry of Tourism audience prize. The prize-giving took place after the and Transport, Deputy Ministry of Culture and televised concert of the final round with the Gran Sports; Las Palmas de Gran Canaria City Council; Canaria Philharmonic Orchestra, held at Pérez Galdós Madrid City Council, Education Department; Theatre from 1990 to 1996 and in the Symphonic SOCAEM - International Music Hall of the Alfredo Kraus Auditorium in 1999. In Festival; Gran Canaria Philharmonic Orchestra 2017, eighteen years after the death of the great tenor, Foundation; RTVE Symphonic Orchestra and Choir; Fundación Internacional Alfredo Kraus (custodian of Spanish General Society of Authors and Publishers; his legacy) and the Cabildo de Gran Canaria revived University of Music and Performing Arts, Vienna; the Concurso Internacional de Canto Alfredo Kraus / Conservatory, Milan; Queen Sofía CICAK, ensuring its continuity. School of Music, Madrid; Madrid School of Singing; and the London Royal Opera House. The competition For the VI CICAK 2017, tenor Jaime Aragall was is sponsored by UNELCO, with the collaboration of Chair of the jury. Eleven finalists, from a total of IBERIA, the International Federation of Friends of 105 applicants of 22 nationalities, displayed their Alfredo Kraus, local firms Domnel and Óptica Jaén, artistic talents in a public concert in the Alfredo Kraus and private benefactors. Auditorium, in Las Palmas de Gran Canaria. The prize winners were Carles Pachón (Spain, From 1990 to 1999, the preliminary rounds were first place), tenor Galeano Salas (Mexico / USA, held in Milan, Vienna, New York, London and second place) and Leonor Bonilla (Spain, Madrid, with Las Palmas de Gran Canaria hosting third place). The audience prize for the VI CICAK the semi-final and final rounds. Kraus acted as Chair 2017 went to soprano Leonor Bonilla and the prize and was joined by jury members from outside Gran for the best singer of Spanish nationality, awarded Canaria, including sopranos Edda Moser, Ingrid by Las Palmas de Gran Canaria City Hall, went to Bjoner, Ángeles Gulín, Tatiana Menotti and Marcella baritone Carles Pachón. Biography Alfredo Kraus

Born Alfredo José María del Carmen Kraus Trujillo in Las Palmas de Gran Canaria on 24 November 1927, Alfredo Kraus was the second child of Otto Kraus Polensky, from Austria, and Josefina Trujillo Mujica, from Gran Canaria. His parents introduced him to music at an early age: when he was four he began to study piano and at the age of eight he joined the choir of his primary school, Colegio del Corazón de María / Claret. As an adolescent he took classes from María Suárez Fiol de León and at 17 he joined the Sociedad Filarmónica choir, later moving on to the Coral Polifónica de Las Palmas.

Following his father’s wishes, Alfredo Kraus studied Technical Industrial Engineering and graduated in 1950, although that did not put an end to his vocal training, which he pursued in Barcelona with Gali Markoff, in Valencia with Francisco Andrés, and especially in Milan, with , his most influential singing teacher. In 1955 he was a prize winner at the XX Geneva International Competition and shortly afterwards signed his first contract with the Opera of , where he made his début with and Tosca. In 1958, performing in La Traviata opposite at ’s Sao Carlos Theatre, Kraus continued on a brilliant career path, performing at the world’s major theatres and concert halls. His popularity resulted in two roles in Spanish full feature films in 1959 and 1960:Gayarre and El Vagabundo y la Estrella. Kraus’ reviews, extensive recordings, ample audio and video material and numerous admirers around the world bear witness to his vocal mastery.

With his keen intelligence and obsessive daily study, Alfredo Kraus was able to choose and maintain the right repertoire for his voice, and by developing superlative technique, he continued to sing in full possession of his vocal resources past the age of 70. Considered one of the greatest light lyric tenors of the second half of the 20th century, Kraus had a repertoire that focused mainly on , in particular his memorable performances of , Il Barbiere di Siviglia, , , L’Elisir d’amore, , , , , La Fille du Régiment, , Rigoletto, La Traviata and , and in late 19th century French opera, in which he was unsurpassed in , , , Roméo et Juliette, Les Pêcheurs de Perles, Lakmé and Les Alfredo Kraus received countless awards and Contes d’Hoffmann. His extensive concert repertoire, distinctions throughout his career and around the ranging from classical chamber pieces to popular world, including Grand Cross of the Order of Alfonso songs, was complemented by an ample repertoire X the Wise; Order of Isabella the Catholic, Commander of Zarzuela, a genre he not only performed on stage and recorded in the studio, but also disseminated in by Number; Knight of the French Legion of Honour; concerts around the world. Austrian Grand Cross of Honour for Science and Art; Enrico Caruso Prize, Italy; House In 1991, Alfredo Kraus celebrated 35 years in his Prize, New York; and the title of Kammersänger profession with a recital in the National Auditorium from the Opera of Vienna. He also received awards of Music, in Madrid, and received a warm tribute in Las Palmas de Gran Canaria. In January 1996, for in the Canary Islands: Canary Islands Gold Medal, the celebration of 40 years in his profession, Kraus distinction as Favourite Son of the City of Las Palmas began a two-year tour performing on the world’s de Gran Canaria, and the Canary Islands Fine Arts and greatest opera stages. The following year, he took a Performance Prize. Gran Canaria’s artistic ambassador nine-month break from the stage after the death of his par excellence, Alfredo Kraus died at the age of 71 in beloved wife and faithful companion throughout his Boadilla del Monte (Madrid) on 10 September 1999. career, Rosa Ley Bird. Since 2009 his remains and those of his wife lie in the Determined to pass his knowledge on to younger Cemetery of Las Palmas de Gran Canaria, alongside generations, in his final years Alfredo Kraus alternated other illustrious figures of the city and the island of performing with teaching, holding positions as their birth. Chair at the Madrid School of Singing (since 1981), Director of the Alfredo Kraus Chair at the National Two other auditoriums have been named after Conservatory of Music, Grand Theatre, Barcelona Alfredo Kraus, in Majadahonda (Madrid) and (since 1987) and teacher at the Alfredo Kraus Vocal Technique Studies Centre, Perugia (also since 1987). Aspe (Alicante), as well as two cultural centres, in He gave master classes around the world at venues Mirasierra-Fuencarral (El Pardo, Madrid) and Tejeda including New York’s Juilliard School and the Opera (Gran Canaria). Three city squares (Las Palmas di Rome, and was Chair of Singing at Madrid’s Queen de Gran Canaria, Bilbao and Almería), an avenue Sofía School of Music, which named the chair after him (Seville) and a pedestrian crossing (Lanzarote) carry in 1999. The name of Alfredo Kraus also appears in his name. Eighteen streets throughout Spain have the Chair of Singing at Barcelona Liceu Conservatory, a department at the University of Las Palmas de Gran been named after him: in Carrizal de Ingenio and San Canaria, the Opera Season in the city of his birth and Bartolomé de Tirajana (Gran Canaria), San Cristóbal the auditorium opened by the tenor in 1997 with de la Laguna and Los Llanos de Aridane (Tenerife), La Prince Felipe of Spain. Pineda (Tarragona), Santander, Zaragoza, Illescas and Navahermosa (Toledo), Córdoba, Jaén, Bailén (Jaén), One of his most cherished legacies was the creation of the Concurso Internacional de Canto Alfredo Kraus Alcalá de Guadaíra and Dos Hermanas (Seville), San in Las Palmas de Gran Canaria, a project that came Fulgencio and Torrevieja (Alicante), Vélez (Málaga) to fruition in 1990 with the first competition and and Mérida (Badajoz). A primary school in Lomo continued until the the fifth event, in 1999, held Los Frailes (Tamaraceite, Gran Canaria) and the Aula posthumously. Revived in 2017 with the sixth Cultural (cultural department) of the University of competition, it continues in 2019 with the holding Las Palmas de Gran Canaria are named after him. Five of the seventh competition. Since 2003, a concert in tribute to the tenor, Concierto Homenaje Alfredo music associations have also preserved the memory Kraus, has been held in Las Palmas de Gran Canaria of the Gran Canarian tenor, in Aspe, Bilbao, Buenos to commemorate his birth. Aires, Gijón, Oviedo and Seville. RULES RULES

1.- APPLICANTS

1.1. The VII CONCURSO INTERNACIONAL de CANTO ALFREDO KRAUS de LAS PALMAS DE GRAN CANARIA 2019 (hereinafter VII CICAK 2019) is open to singers of all nationalities aged:

• 18 to 32 years, inclusive, for Soprano, Countertenor & Tenor.

• 18 to 35 years, inclusive, for Mezzo-soprano, Contralto, Baritone, -Baritone & Bass.

1.2. Ages will be considered to have been reached by the time applicants participate in the Preliminary Round (or the Semi-final round in the case of applicants exempted from the Preliminary Round in accordance with Article 4.4. of these Rules).

2.- APPLICATIONS

2.1. Applications must be made exclusively by using the Application Form for the VII CICAK 2019, which can be downloaded from the website www.cicakraus.com

2.2. The closing dates for applications are:

• 31 May 2019: for applicants in the Preliminary Rounds in Florence and Madrid.

• 17 June 2019: for applicants in the Preliminary Rounds in Naples and Las Palmas de Gran Canaria and applicants directly entering the Semi-final Round in Las Palmas de Gran Canaria in accordance with the conditions of Article 4.4. of these Rules.

2.3. To apply for participation in the VII CICAK 2019, applicants must first pay €30 (thirty euros) by way of a user and beneficiary fee to contribute to the cultural objectives and activities of Fundación Internacional Alfredo Kraus (FIAK). This amount must be paid by bank transfer to the following account:

Bank: Caja Mar - Account holder: Fundación Internacional Alfredo Kraus Account number SWIFT / BIC: CCRIES2AXXX IBAN ES 55 3058 6100 9327 2003 3561

The transfer receipt must indicate: CUOTA FIAK (plus applicant’s given name and first surname).

2.4. If the fee is not paid and no receipt is sent to the organisers, the application will be considered invalid. No other method of payment will be accepted and the fee will not be refunded under any circumstances.

2.5. The application form must clearly indicate, in addition to the applicant’s personal information:

• The applicant’s personal information. • The applicant’s (Soprano, Mezzo-soprano, Contralto, Countertenor, Tenor, Baritone, Bass-baritone or Bass).

• The city where the applicant wishes to enter the Preliminary Round.

• The pieces to be performed in the three rounds, to be chosen from those included in Annexes I & II of these rules.

• The applicant’s signature.

2.6. The completed form must be sent by email to [email protected], attaching the following documentation in digital format:

• Valid passport or national identity document showing the applicant’s age and nationality.

• One recent colour portrait photo in high definition for printing.

• A short CV detailing the music studies, repertoire, awards received and any professional activity undertaken by the applications closing date.

• The receipt for the payment of the fee indicated in point 2.3.

2.7. Applicants agree to accept the rules of the VII CICAK 2019 and all the conditions that govern it.

3.- TRAVEL AND SUBSISTENCE EXPENSES

3.1. All travel and subsistence expenses shall be met by the applicants.

3.2. The organisers of the VII CICAK 2019 will award a grant of €900 (nine hundred euros) to contestants in the Final Round who do not obtain a prize, towards travel and subsistence expenses in Las Palmas de Gran Canaria. Contestants in the Final Round who live in Gran Canaria are excluded from this award.

4.- PRELIMINARY ROUND

4.1. The Preliminary Round, with piano accompaniment, will be held in one of the cities chosen by the applicant on the application form. The venues for the VII CICAK 2019 are:

FLORENCE Teatro del Maggio Musicale Fiorentino - Piazzale , 1. 15 and 16 June 2019, 11.00 am.

MADRID Teatro Nacional de La Zarzuela / Sala Brístol – Calle Fuencarral 118 (Metro Bilbao). 17 and 18 June 2019, 11.00 am.

NAPLES Fondazione Teatro di San Carlo – 98 / F, via San Carlo. 5 and 6 July 2019, 11.00 am. LAS PALMAS DE GRAN CANARIA Auditorio Alfredo Kraus – Avenida Príncipe de Asturias. 20 and 21 September 2019, 11.00 am.

4.2. Applicants participating in the Preliminary Round will be judged by a committee comprising the Chair of VII CICAK 2019, the artistic director of VII CICAK 2019 and members of the artistic direction of the collaborating institutions hosting the round, or persons appointed by them to act on their behalf.

4.3. At the Preliminary Round, with piano accompaniment, applicants must perform 1 (one) Opera piece of their choice, which may not exceed six minutes in duration. The piece must be chosen from the list of works indicated in Annexes I & II of these Rules and must be clearly stated on the Application Form. Applicants who also wish to enter the Semi-final and Final Rounds with the Zarzuela repertoire must perform one Opera piece and one Zarzuela piece, neither of which may exceed six minutes in duration.

4.4. Applicants who can duly certify, by means of written documentation to be sent to the organisers of VII CICAK 2019, that they were finalists in another international singing competition that has been running for at least 15 years will be exempt from taking part in the Preliminary Round. Applicants who were finalists in such competitions in 2017 (including the VI CICAK 2017), 2018 or up to April 2019, inclusive, will be exempt from taking part in the Preliminary Round. These applicants may directly enter the Semi-final Round in Las Palmas de Gran Canaria providing they meet the requirements to apply for participation in the competition, including payment of the fee indicated in point 2.3.

4.5. The organisers of the VI CICAK 2017 recommend that applicants attend the rounds suitably dressed for the occasion.

4.6. Applicants must provide their own musical scores, plus two extra copies: one for the piano accompanist and one for the judging panel.

4.7. Applicants will be accompanied by a pianist provided by the organisers. They may, however, choose to provide their own pianist, in which case they must notify the organisers and meet all expenses.

4.8. Applicants in the Preliminary Round will perform in alphabetical order.

4.9. The organisers of the VII CICAK 2019 will decide how many applicants will continue to the Semi- final Round in Las Palmas de Gran Canaria as contestants.

5.- SEMI-FINAL ROUND

5.1. The Semi-final Round, with piano accompaniment, will be held in:

LAS PALMAS de GRAN CANARIA Auditorio Alfredo Kraus – Avenida Príncipe de Asturias 23 and 24 September 2019 / 11.30 am.

5.2. Contestants entering the Semi-final Round will be judged by the Jury of the VII CICAK 2019.

5.3. In the Semi-final Round, contestants must perform 1 (one) Opera piece with piano or 1 (one) Opera piece and 1 (one) Zarzuela piece (both with piano) if they also choose to enter with this genre. To allow the organisers to choose, contestants must indicate 4 (four) Opera pieces or 2 (two) Opera pieces + 2 (two) Zarzuela pieces; each piece must be less than 6 minutes in duration. The pieces will be chosen by contestants from the list in Annexes I & II of these Rules and indicated correctly on the Application Form; in this round, candidates may not choose the piece already performed in the Preliminary Round.

5.4. Contestants who choose Zarzuela pieces from this list and do not have the voice and piano sheet music may request a PDF copy from the organisers.

5.5. Contestants will preferably sing in two different languages; pieces must be sung from memory in the original language.

5.6. Contestants must provide their own musical scores, plus two extra copies: one for the piano accompanist and one for the Jury.

5.7. Contestants will be accompanied by a pianist provided by the organisers. They may, however, choose to provide their own pianist, in which case they must notify the organisers and meet all expenses.

5.8. Contestants in the Semi-final Round will perform in alphabetical order.

5.9. The Jury will decide how many contestants will continue to the Final Round. The organisers will provide a piano accompanist for finalists, with a maximum of two 20-minute work sessions.

6.- FINAL ROUND

6.1. The Final Round, with orchestral accompaniment and a public audience, will be held in:

LAS PALMAS DE GRAN CANARIA Sala Sinfónica (Symphonic Hall), Auditorio Alfredo Kraus – Avenida Príncipe de Asturias 28 September 2019, 8.00 pm.

6.2. Contestants in the Final Round will be judged by the Jury.

6.3. Contestants in the Final Round must perform 2 (two) works with the orchestra. These works - clearly indicated on the Application Form - may be: 2 Opera pieces or 1 Opera piece + 1 Zarzuela piece. The pieces will be chosen by from the list in Annexes I & II of these Rules. Contestants who choose the first option will indicate 4 Opera pieces (these may include the pieces from the Semi-final Round), from which the Jury will choose 2. Contestants who choose the second option will indicate 2 Opera pieces + 2 Zarzuela pieces (these may include the pieces from the Semi-final Round), from which the Jury will choose 1 piece from each genre. The choice of works by the Jury will be made based on its own artistic criteria, availability of orchestral material and other considerations of a technical nature.

6.4. Contestants in the Final Round must be available from 25 to 28 September 2019 for rehearsals with piano and orchestra. The organisers will provide the work schedule at the appropriate time.

6.5. The order of performances by contestants in the Final Round will be established by the Jury and the organisers.

6.6. After the performances of the contestants in the Final Round, the Jury will decide the order of the Official Prizes (1st, 2nd and 3rd) and the other prizes it is entitled to award.

6.7. Votes for the Audience Prize will be made by the audience attending the Final Round after all contestants have performed. Voting will be made on voting slips during the interval of the Final Round. 6.8. The decision of the Jury will be final and not open to appeal.

7.- CHAIR & JURY

The VII CICAK 2019 will be chaired by the Chair of Fundación Internacional Alfredo Kraus (FIAK). The Jury will be made up of seven members with voting rights: one female singer with international experience, acting as chair, and six artistic directors from international theatres, acting as members. There will also be two honorary members who will be entitled to speak but not vote. The Secretary of the Jury will be appointed by the Chair of VII CICAK 2019.

8.- POWERS OF THE JURY

8.1. To decide whether contestants will perform one or more pieces, interrupt contestants or ask contestants to repeat part of the piece or the whole piece at its discretion.

8.2. To determine the number of contestants who will continue to the Final Round, taking into account the vocal, performance and stylistic level of the contestants.

8.3. To award points from 2 to 9.

8.4. To reserve the right to not award any of the prizes at its discretion.

9.- PRIZES

Official Prizes

1st Prize = €14,000 plus Medal and Diploma. 2nd Prize = €12,000 plus Medal and Diploma. 3rd Prize = €10,000 plus Medal and Diploma.

Special Prizes

Premio Excmo. Ayuntamiento de Las Palmas de Gran Canaria (Las Palmas de Gran Canaria City Hall Prize) = €3,000. Awarded to the best singer of Spanish nationality.

Audience Prize = €2,500 For the singer who receives most votes from the audience attending the Final Round.

Teatro Nacional de La Zarzuela (Madrid), Teatro di San Carlo (Naples), Teatro del Maggio Musicale Fiorentino (Florence), Opéra Royal de Wallonie (Lieja), ABAO (Bilbao), ACO - Amigos Canarios de la Ópera, Orquesta Filarmónica de Gran Canaria and Fundación Teatro Auditorio.

Invitation for one or more of the prize winners or finalists in the VII CICAK 2019 to an audition, with the chance to secure a position. 9.1. Cash prizes in the VII CICAK 2019 will be subject to the tax withholdings in force and will be paid only by bank transfer.

9.2. Contestants agree to accept the decision of the Jury, which will not be open to appeal.

10.- CONTESTANT RIGHTS

10.1. Fundación Internacional Alfredo Kraus and the organisers of the VII CICAK 2019 will be the owners of the international rights to the photographs, audiovisual recordings and any reproduction, circulation or broadcasting by radio, television or streaming of the VII CICAK 2019.

10.2. Contestants will specifically and formally waive all rights that may corresponded to them in this respect.

11.- DATA PROTECTION

11.1. The treatment of the personal data of the participants and winners of the VII CICAK 2019 is compulsory in the terms laid down in these Rules. In accordance with the foregoing, simply by participating in this contest, the person concerned expressly accepts the treatment of their personal data in accordance with the terms of these Rules.

11.2. In compliance with data protection legislation in force in Spain, General Data Protection Regulation (GDPR) 679/2016 and Organic Law on Data Protection and Guarantee of Digital Rights (OLDPGDR) 3/2018, FUNDACIÓN INTERNACIONAL ALFREDO KRAUS, holder of Tax Identification Number G81431546 and with registered office in Plaza Tenor Stagno, 1 - 35002 Las Palmas de Gran Canaria, provides the following information with reference to this matter:

-Purposes of the treatment.

The data of the persons participating in the VII CICAK 2019 will be treated by Fundación Internacional Alfredo Kraus for the following purposes, including but not limited to:

- Managing their application and participation in this contest.

- Providing the person concerned with the necessary information so that their participation complies with these Rules.

- Verifying there are no actions that are fraudulent or contrary to these Rules.

Similarly, if the person concerned is the winner, their data will be treated for the following purposes:

- Verifying that the prize was obtained lawfully and that their participation is in accordance with these Rules.

- Publishing and using their data for promotional purposes. 11.3. Consent of the person concerned for treatment of their data.

Given the compulsory nature of the content of the treatment of the personal data of the person concerned, the application and participation by the person concerned indicate their full, express acceptance of the purposes of the treatment indicated. Therefore, if the person concerned does not consent to the treatment of their data, they must refrain from participating. Notwithstanding the foregoing, at any time the person concerned may exercise their rights of access, rectification, erasure (right to be forgotten), limitation of treatment, portability and opposition in writing by sending a communication to the registered office of Fundación Internacional Alfredo Kraus, Plaza Tenor Stagno, 1 - 35002 Las Palmas de Gran Canaria, providing proof of their identity and stating Data Protection as a reference.

11.4. Data updating.

The person concerned is informed that, as the owner of the data provided to Fundación Internacional Alfredo Kraus, they are obliged to notify Fundación Internacional Alfredo Kraus as soon as possible of any change in their data to enable the aforementioned Foundation to update their data. Unless otherwise notified, Fundación Internacional Alfredo Kraus will understand that the data provided by the person concerned are accurate and up to date.

11.5. Storage of data.

The data will be stored for the statutory retention periods or while the persons concerned continue to consent to their use by the entity.

- FUNDACIÓN INTERNACIONAL ALFREDO KRAUS may publish the image and the name of the persons who are winners through the communication medium that FUNDACIÓN INTERNACIONAL ALFREDO KRAUS considers appropriate, without limitation. For these purposes, the winners, by accepting the prize, automatically authorise FUNDACIÓN INTERNACIONAL ALFREDO KRAUS to publish their personal data, including their image, for the purpose of informing the other participants and the general public who the winners of the VII CICAK 2019 are.

11.6. Legal basis of the treatment.

The treatment of the data provided will be based on the consent of the persons agreeing with the articles of the Rules of the VII CICAK 2019. For further information, the person concerned may visit the FIAK website: https://www.fiak.es/aviso-legal. ANNEX I - OPERA Repertoire

BELLINI LA SONNAMBULA Atto II - Scena ed Aria finale Amina: “Ah! non credea mirarti…Ah, non giunge...” (S). Atto I - Scena e Cavatina Rodolfo: “Vi ravviso, o luoghi ameni…” (Bbr & B). I CAPULETI E I MONTECCHI Atto I - Scena e Cavatina Romeo: “Se Romeo t’uccise un figlio…” (Ms). I PURITANI Atto I - Cavatina Arturo: “A te, o cara…” (T). Atto I - Cavatina Riccardo: “Ah! Per sempre io ti perdei…” (Br). Atto II - Aria Giorgio: “Cinta di fiori…” (Bbr & B).

BIZET LES PÊCHEURS DE PERLES Acte II - Récit et Cavatine Léïla: “Me voilà seule…Comme autrefois…” (S). Acte I - Récit et Romance Nadir: “À cette voix…Je crois entendre encore…” (T). CARMEN Acte III - Air Micaëla: “Je dis que rien ne m’épouvante…” (S). Acte I – Havanaise Carmen: “L’amour est un oiseau rebelle…” (Ms). Acte I - Séguédille Carmen: “Près des remparts de Séville…” (Ms). Acte II - Air Don José: “La fleur que tu m’avais jetée…” (T). Acte II - Couplets Escamillo: “Vôtre toast…” (Bbr).

CILEA ADRIANA LECOUVREUR Atto I - Romanza Adriana: “Io son l’umile ancella…” (S). Atto II - Aria Principessa: “Acerba voluttà…” (Ms).

L’ARLESIANA Atto II - Lamento Federico: “È la solita storia del pastore…” (T). DONIZETTI LUCIA DI LAMMERMOOR Parte I - Cavatina Lucia: “Regnava nel silenzio…” (S). Parte I - Cavatina Enrico: “Cruda, funesta smania…” (Br). Parte III - Recitativo & Cantabile Edgardo: “Tombe degli avi miei…Fra poco…” (T). Parte III - Aria Raimondo: “Dalle stanze ove Lucia…” (Bbr & B). LA FILLE DU RÉGIMENT Acte I - Air Tonio: “Ah! mes amis…” (T). Acte I - Romance Marie: “Il faut partir…” (S). Acte II - Romance Tonio: “Pour me rapprocher de Marie…” (T). L’ELISIR D’AMORE Atto II - Aria Adina: “Prendi, per me sei libero…” (S). Atto II - Romanza Nemorino: “Una furtiva lagrima…” (T). Atto I - Cavatina Belcore: “Come Paride vezzoso…” (Br). DON PASQUALE Atto I - Cavatina Norina: “Quel guardo il cavaliere…So anch’io la virtù mágica…” (S). Atto II - Recitativo & Aria Ernesto: “Povero Ernesto…Cercherò lontana terra…” (T). Atto I - Cantabile Malatesta: “Bella siccome un angelo…” (Br).

GIORDANO ANDREA CHÉNIER Quadro III - Racconto Maddalena: “La mamma morta…” (S). Quadro I - Improvviso Chénier: “Un dì all’azzurro spazio…” (T). Quadro III - Monologo Gérard: “Nemico della patria?...” (Br).

GLUCK ORFEO ED EURIDICE Atto III – Aria Orfeo: “Che farò senza Euridice…” (Ms & Contratenor).

GOUNOD FAUST Acte III - Air des bijoux Marguerite: “Oh Dieu! que des bijoux!...Ah! je ris…” (S). Acte III - Cavatine Faust: “Un trouble inconnu…Salut! Demeure chaste et pure…” (T). Acte II - Invocation Valentin: “Avant de quitter ces lieux…” (Br). Acte II - Ronde Méphisto: “Le veau d’or…” (Bbr & B).

ROMÉO ET JULIETTE Acte I - Ariette Juliette: “Ah! Je veux vivre…” (S). Acte IV – Scène et Air Juliette: “Dieu! quel frisson…Amour, ranime mon courage…” (S). Acte II - Cavatine Roméo: “L’amour…Ah, lève-toi, soleil!...” (T).

HÄNDEL GIULIO CESARE Atto I – Nº 3, Aria Cesare: “Empio, dirò, tu sei…” (Ms & Contratenor). Atto I – Nº 5, Aria Sesto: “Svegliatevi nel core…” (Ms & Controtenore). Atto I - Nº 14, Aria Cesare: “Va tacito e nascosto…” (Ms & Contratenor). Atto II – Nº 25, Aria Cesare: “Al lampo dell’armi...” (Ms & Contratenor). RODELINDA Atto III – Aria Bertarido: “Vivi tiranno…” (Ms & Contratenor). ORLANDO Atto I – Aria Orlando: “Fammi combattere…” (Ms & Contratenor). ALCINA Atto II – Nº 26, Aria Ruggiero: “Verdi prati, selve amene…” (Ms & Contratenor). ARIODANTE Atto II – Aria Ariodante: “Scherza infida in grembo al drudo…” (Ms & Contratenor). SERSE Atto I – Nº 2, Arioso Serse: “Ombra mai fu…” (Ms & Contratenor).

LEONCAVALLO PAGLIACCI Atto unico – “Vesti la giubba…” (T). Atto unico – Prologo: “Si può?...(Br). LA BOHÈME Atto III – Scena Musette: “È destin!...Devo andarmene…” (Ms). MASCAGNI CAVALLERIA RUSTICANA Atto unico - Racconto Santuzza: “Voi lo sapete, o mamma…” (S & Ms).

MASSENET MANON Acte II - Scène et Air Manon: “Allons, il le faut…Adieu, nôtre petite table…” (S). Acte IV - Air Des Grieux: “Je suis seul…Ah, fuyez douce image…” (T). WERTHER Acte III - Air des lettres Charlotte: “Werther! Qui m’aurait dit…Ces lettres!...” (Ms). Acte III - Air Werther: “Pourquoi me réveiller?...” (T). THAÏS Acte II - Air Thaïs: “Dis-moi que je suis belle…” (S). Acte I - Air Athanaël: “Voilà donc la terrible cité! Alexandrie…” (Br & Bbr). MOZART DIE ENTFÜHRUNG AUS DEM SERAIL Akt II – Rezitativ & Arie Konstanze: “Welcher Wechsel…Traurigkeit…” (S). Akt II - Arie Blonde: “Welche Wonne…” (S). Akt II - Arie Pedrillo: “Frisch zum Kampfe!...” (T). Akt III - Arie Osmin: “Ha! wie will ich triumphieren…” (B). LE NOZZE DI FIGARO Atto III – Recitativo & Aria Contessa: “E Susanna non bien…Dove sono…” (S). Atto IV - Recitativo & Aria Susanna: “Giunse alfin…Deh vieni, non tardar…” (S). Atto I - Aria Cherubino: “Non sò più…” (Ms). Atto III - Recitativo & Aria Conte: “Hai già vinto la causa…Vedrò mentr’io sospiro…” (Br). Atto I - Aria Figaro: “Non più andrai…” (Bbr & B). DON GIOVANNI Atto I - Recitativo & Aria Donna Anna: “Don Ottavio, son morta…Or sai chi l’onore…” (S). Atto I - Recitativo & Aria Donna Elvira: “In quali eccessi, o Numi…Mi tradì…” (S). Atto II - Aria Don Ottavio: “Il mio tesoro…” (T). Atto I - Aria Don Giovanni: “Fin ch’han dal vino…” (Br, Bbr & B). Atto I - Aria Leporello: “Madamina, il catalogo è questo…” (Bbr & B). COSÌ FAN TUTTE Atto I - Recitativo & Aria Fiordiligi: “Temerari!...Come scoglio…” (S). Atto I - Recitativo & Aria Dorabella: “Ah! Scostati…Smanie implacabili!...” (Ms). Atto I - Aria Ferrando: “Un’aura amorosa…” (T). Atto II - Aria Guglielmo: “Donne mie…” (Br & Bbr). LA CLEMENZA DI TITO Atto I - Aria Sesto: “Parto, ma tu ben mio…” (Ms). DIE ZAUBERFLÖTE Aufzug II - Arie Königin: “Der Hölle Rache…” (S). Aufzug II - Arie Pamina: “Ach, ich fühl’s…” (S). Aufzug I - Arie Tamino: “Dies Bildniβ ist bezaubernd schön…” (T). Aufzug I – Arie Papageno: “Der Vogelfänder bin ich ja…” (Br). Aufzug II - Arie Sarastro: “In diesen heil’gen Hallen…” (B).

PUCCINI LA BOHÈME Quadro I - Racconto Mimì: “Sì, mi chiamano Mimì…” (S). Quadro II - Valzer Musetta: “Quando me’n vo’…” (S). Quadro I - Racconto Rodolfo: “Che gelida manina…” (T). MADAMA BUTTERFLY Atto II - Aria Cio Cio San: “Un bel dì vedremo…” (S). MANON LESCAUT Atto II - Aria Manon: “In quelle trine morbide…” (S). TOSCA Atto II - Aria Tosca: “Vissi d’arte…” (S). Atto I - Aria Cavaradossi: “Recondita armonia…” (T). Atto III - Aria Cavaradossi: “E lucevan le stelle…” (T). GIANNI SCHICCHI Atto Unico - Aria Lauretta: “O mio babbino caro…” (S). TURANDOT Atto III - Aria Calaf: “Nessun dorma…” (T).

ROSSINI IL BARBIERE DI SIVIGLIA Atto I - Cavatina Rosina: “Una voce poco fa…” (Ms). Atto I - Cavatina Figaro: “Largo al factotum…” (Br). Atto I - Aria Don Basilio: “La calunnia…” (Bbr & B). L’ITALIANA IN ALGERI Atto II - Aria Isabella: “Per lui ch’adoro…” (Ms). Atto I - Cavatina Lindoro: “Languir per una bella…” (T). Atto II - Rondò Angelina: “Nacqui all’affanno…Non più mesta…” (Ms). Atto II - Aria Ramiro: “Sì, ritrovarla io giuro…” (T). Atto II - Aria Don Magnifico: “Sia qualunque delle figlie…” (Br & Bbr).

SAINT-SAËNS SAMSON ET DALILA Acte II – Air Dalila: “Samson, recherchant ma presence…Amour! viens aider ma faiblesse…” (Ms). Acte II – Air Dalila: “Mon coeur s’ouvre à ta voix…” (Ms).

TCHAIKOVSKY YEVGENY ONEGIN Acto II - Aria Lensky: “Kuda, kuda…” (T). Acto III - Aria Grémin: “Liubvi fse vozrastï pokornï…” (B).

VERDI RIGOLETTO Atto I - Aria Gilda: “Caro nome…” (S). Atto II - Recitativo & Aria Duca: “Ella mi fu rapita…Parmi veder le lagrime…” (T). Atto III - Canzone Duca: “La donna è mobile…” (T). Atto II - Invettiva Rigoletto: “Cortigiani, vil razza dannata…” (Br). LA TRAVIATA Atto I - Scena & Aria Violetta: “È strano…Ah, forse lui…Sempre libera…” (S). Atto III - Aria Violetta: “Addio del passato…” (S). Atto II - Scena & Aria Alfredo: “Lunge da lei…Dei miei bollenti spiriti…” (T). Atto II - Aria Germont: “Di Provenza…” (Br). LA FORZA DEL DESTINO Atto IV - Melodia Leonora: “Pace, pace, mio Dio!...” (S). DON CARLO Atto III - Aria Eboli: “O don fatale…” (Ms). Atto III - Scena & Cantabile Filippo: “Ella giammai m’amò…Dormirò sol…” (Bbr & B). MACBETH Atto IV - Scena & Aria Macduff: “O figli…Ah, la paterna mano…” (T). Atto II - Scena & Adagio Banco: “Studia il passo…Come dal ciel precipita…” (B). LUISA MILLER Atto II - Scena & Aria Rodolfo: “Oh! Fede negar potessi…Quando le sere al placido…” (T). IL TROVATORE Parte I - Cavatina Leonora: “Tacea la notte placida…” (S). Parte III - Aria Manrico: “Ah sì, ben mio…” (T). Parte II - Recitativo & Aria Conte: “Tutto è deserto…Il balen del suo sorriso…” (Br). I VESPRI SICILIANI Atto V - Bolero Elena: “Mercè dilette amiche…” (S). Atto II - Aria Procida: “Oh Patria…O tu Palermo…” (B). UN BALLO IN MASCHERA Atto I - Invocazione Ulrica: “Re dell’abisso…” (Ms). Atto III - Scena & Romanza Riccardo: “Forse la soglia…Ma se m’è forza perderti…” (T). Atto III - Scena & Aria Renato: “Alzati…Eri tu che macchiavi…” (Br). AIDA Atto IV – Scena del Giudizio Amneris: “Ohimè!...morir mi sento…A lui vivo la tomba…”.

WAGNER TANNHÄUSER Aufzug II - Elisabeth: “Dich, teure Halle…” (S). Aufzug III - Wolfram: “Wie Todesahnung…O du, mein holder Abendstern… “ (Br). TRISTAN UND ISOLDE Dritter Aufzug - Isoldes Liebestod: “Mild und Leise…” (S). ANNEX II - ZARZUELA Repertoire

ALONSO LA CALESERA Acto III / Nº 15 - Racconto de Rafael: “Agua que río abajo marchó…” (Br). LA PARRANDA Acto I / Nº 6 b – Canto a Murcia [Miguel]: “En la huerta del Segura…” (Br).

ARRIETA MARINA Acto I / Nº 2 – Aria de Tiple [Marina]: “Pensar en él esa es mi vida…” (S). Acto I / Nº 3 bis - Aria de Jorge: “Costa, la de Levante…” (T).

Acto III / Nº 9 – Seguidillas [Roque]: “La luz abrasadora de tu pupila…” (Br).

ASENJO BARBIERI EL BARBERILLO DE LAVAPIÉS Acto I / Nº 2 - Canción de la Paloma: “Como nací en la calle de la Paloma…” (S & Ms).

CHAPÍ LAS HIJAS DEL ZEBEDEO Acto II / Nº 8 – Carceleras Tiple [Luisa]: “Al pensar en el dueño de mis amores…” (S & Ms). EL MILAGRO DE LA VIRGEN Acto I / Nº 5a – Romanza de tenor: “Flores purísimas…” (T).

CHUECA LA GRAN VÍA Acto único / Tango de La Menegilda: “Pobre chica la que tiene que servir!…” (S & Ms).

FERNÁNDEZ CABALLERO GIGANTES Y CABEZUDOS Acto único / Nº 2 - Romanza de Pilar: “¡Esta es su carta!...” (S). GUERRERO LOS GAVILANES Acto II / Nº 7 – Escena de la Flor [Gustavo]: “Flor roja…” (T). Acto I / Nº 1 – [Salida de Juan]: “¡Mi aldea! Cuánto el alma se recrea…” (Br).

GURIDI EL CASERÍO Acto II / Nº 10 – Canción [José Miguel]: “Yo no sé qué veo en Ana Mari…” (T). LA MEIGA Acto I / Nº 4 – Romanza [Ramón]: “Yo te vi pasar…” (T).

LUNA EL NIÑO JUDÍO Acto II / Nº 6 - Canción española [Concha]: “De España vengo…” (S & Ms). LA PÍCARA MOLINERA Acto II / Nº 7 [Romanza de Juan]: “Paxarin tu que vuelas…” (T).

MORENO TORROBA LA MARCHENERA Acto I / Nº 5 – Petenera [Valentina]: “Tres horas antes del día…” (S). LUISA FERNANDA Acto I / Nº 2 – [Romanza de Javier]: “De este apacible rincón de Madrid…” (T). Acto II / Nº 10 – [Romanza de Vidal]: “Luché la fe por el triunfo…” (Br). MARAVILLA Acto III / Nº 12 - Romanza de Rafael: “Adiós, dijiste…Amor, vida de mi vida…” (Br).

SERRANO LA CANCIÓN DEL OLVIDO Cuadro I - Canción del olvido [Rosina]: “Marinela, Marinela…” (S). Cuadro I / Nº 1 - Canción de Leonello: “Junto al puente de la peña…” (Br). EL CARRO DEL SOL Acto Único / Nº 5 D - Canción veneciana [Angelita]: “Pensando en el que la quiere…” (S). EL TRUST DE LOS TENORIOS Acto I / Nº 6 – Comparsa Española; Jota Tenor [Baturro I]: “Te quiero, Morena…” (T). LA DOLOROSA Acto I / Nº 1 - Relato de Rafael: “La roca fría del Calvario…” (T).

SOROZÁBAL LA TABERNERA DEL PUERTO Acto II / Nº 9 - Romanza de Leandro: “¡No puede ser!…” (T). Acto II / Nº 8 – [Romanza de Simpson]: “Despierta, negro…” (B). LA DEL MANOJO DE ROSAS Acto I / Nº 4 - Romanza de Ascensión: “No corté más que una rosa…” (S). Acto II / Nº 9 - Romanza de Joaquín: “No, no me importa…Madrileña bonita…” (Br).

SOUTULLO & VERT LA DEL SOTO DEL PARRAL Acto I - Romanza de barítono [Germán]: “Ya mis horas felices…” (Br). EL ÚLTIMO ROMÁNTICO Acto I / Nº 4 – Romanza [Enrique]: “Bella enamorada…” (T).

VIVES DOÑA FRANCISQUITA Acto I / Nº 5 - Canción del Ruiseñor [Francisquita]: “Era una rosa que un jardín…” (S). Acto II / Nº 8 – Romanza [Fernando]: “Por el humo se sabe…” (T). APPLICATION FORM Formulario de inscripción Application form Hoja 1 de 2 Page 1 of 2

Apellidos: Surname(s):

Nombre: Given name(s):

Nacionalidad: Nationality:

Fecha de nacimiento: Lugar de nacimiento: Date of birth: Place of birth: DÍA MES AÑO DAY MONTH YEAR

Dirección de residencia: Residential address:

Correo electrónico: Teléfono: Email address: Telephone:

Firma y aclaración: El firmante declara: Sign and print name:

• Que desea participar en el VII CICAK 2019 cuyas pruebas Semifinal & Final tendrán lugar en Las Palmas de Gran Canaria del 23 al 28 de septiembre de 2019. • Que está de acuerdo con las condiciones señaladas en el Reglamento del VII CICACK 2019. • Que acepta las decisiones y el fallo del Jurado del VII CICAK 2019.

POR FAVOR, FIRME SOBRE LA LÍNEA Enviar a [email protected] adjuntando la documentación solicitada en el artículo 2.6. PLEASE SIGN ON THE LINE Acepto recibir informaciones y noticias de la Fundación Internacional Alfredo Kraus de acuerdo a su política de privacidad. I agree to receive information and news from I declare: Fundación Internacional Alfredo Kraus in accordance with its privacy policy. • I wish to take part in the VII CICAK 2019, whose Semi-final & Final Rounds will be held in Las Palmas de Gran Canaria, Spain, from 23 to 28 September 2019. • I accept the conditions laid down in the Rules of the VII CICACK 2019. • I agree to accept the rulings and the decision of the Jury of the VII CICAK 2019. Fecha / Date:

Send the completed form, signed and dated, to [email protected], attaching the DÍA MES AÑO documentation required in point 2.6 of the Rules. DAY MONTH YEAR Formulario de inscripción Application form Hoja 2 de 2 Page 2 of 2

Apellidos: Surname(s):

Nombre: Given name(s):

Tipo de voz: SOPRANO MEZZOSOPRANO CONTRALTO CONTRATENOR Voice type: SOPRANO MEZZO-SOPRANO ALTO COUNTERTENOR TENOR BARÍTONO BARÍTONO-BAJO BAJO TENOR BARITONE BASS-BARITONE BASS

Desea realizar la Prueba Preliminar en la ciudad de: FLORENCIA / FLORENCE MADRID I wish to take part in the Preliminary Round in: (ITALY) (SPAIN) NÁPOLES / NAPLES LAS PALMAS DE GRAN (ITALY) CANARIA (SPAIN) Desea llevar pianista acompañante propio: I wish to provide my own piano accompanist:

OBRAS ELEGIDAS | WORKS CHOSEN

PRUEBA PRELIMINAR | PRELIMINARY ROUND

OPERA: 1.

ZARZUELA: 1.

PRUEBA SEMIFINAL | SEMI-FINAL ROUND OPCIÓN 1 | OPTION 1 OPCIÓN 2 | OPTION 2 OPERA: 1. OPERA: 1.

2. 2.

3. ZARZUELA: 1.

4. 2.

Se deberá cantar 1 obra de Ópera, ó 1 obra de Ópera + 1 de Zarzuela a elección del Jurado. Candidates must sing 1 Opera piece or 1 Opera piece + 1 Zarzuela piece, at the discretion of the Jury.

PRUEBA FINAL | FINAL ROUND OPCIÓN 1 | OPTION 1 OPCIÓN 2 | OPTION 2 OPERA: 1. OPERA: 1.

2. 2.

3. ZARZUELA: 1.

4. 2.

Se deberá cantar 2 obras de Ópera, ó 1 obra de Ópera + 1 de Zarzuela a elección del Jurado. Candidates must sing 2 Opera pieces or 1 Opera piece + 1 Zarzuela piece, at the discretion of the Jury.