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TEATRO REAL / TEMPORADA 2014 - 2015 / Número 30 14 15 5& intermezzo TEATRO REAL / TEMPORADA 2014 - 2015 / número 30 14 15 5&"5303&"- 5&.103"%" i-BSBJ[GVFSUFIBDFFM¸SCPMT§MJEPw INTERMEZZO es una publicación de la Asociación de Amigos de la Ópera de Madrid Editor: Alfredo Flórez Coordinación editorial: Julio Cano Redacción: Fernando Fraga, José Luis Téllez, Luis Suñén, Blas Matamoro, Laia Falcón, Santiago Sa- laverri, Rafael Banús y Andrés Ruiz Tarazona, Arturo Reverter y Juan Lucas. Diseño, maquetación e imágenes: Equipo Kapta La Asociación de Amigos de la Ópera de Madrid, no necesariamente comparte el contenido de los artículos publicados en esta revista, ya que son responsabilidad exclusiva de sus autores. Información: [email protected] Editor: [email protected] Depósito Legal: M-26359-2005 © de los artículos: los autores 1SFTFOUBDJ§O Este número de Intermezzo, continuando lo General anual, en la que unánimemente nues- que ya es costumbre en estas fechas, tiene como tros socios han ratificado las actuaciones lleva- finalidad básica ofrecer a sus lectores una pers- das a cabo por la Junta Directiva, así como los pectiva general de la temporada que en el próxi- proyectos presentados por ésta. Ha quedado así mo septiembre dará comienzo en nuestro Teatro delineado el escenario en que van a desenvol- Real (obviamente, empleo el posesivo “nuestro” verse las actividades de la Asociación desde aho- en una acepción puramente emocional y afectiva; ra, en el presente, desde luego, pero mirando al bien sabemos que, por fortuna, se trata de un bien futuro. El pasado no queda público, que no posee propietarios “físicos”, si se atrás; simplemente, se halla me permite la expresión, aunque sí administrado- incorporado a nuestra res). Al hilo de este objetivo, teniendo en cuenta razón de ser y explica con que se trata de una publicación de la Asociación claridad el papel que de Amigos de la Ópera de Madrid, y cumplien- desempeñamos. Hace do con el amable encargo que los editores me algo más de cincuenta años formulan, trataré de aprovechar la ocasión para realizar algunas reflexiones sobre nuestra Asocia- ción (aquí si utilizo deliberadamente el posesivo, pues no a ninguno en particular pero sí a todos en general pertenece), reflexiones que referiré a su presente y, sobre todo, a su futuro (claro que sin olvidar el pasado). Viene ello a cuento porque hace algunas semanas hemos celebrado nuestra Asamblea nació la AAOM. Sin ella resulta difícil entender responsabilidad nos ha hecho ya adquirir la vuelta a escena de la ópera en Madrid; nadie notable experiencia en este capítulo). Es más que ella ha pugnado por la reapertura del decir, para apoyar a la Ópera, en general, y Teatro Real (por eso suelo repetir que “nadie a las instituciones que específicamente de más amigo del Real que nosotros”). Mas, siendo ella se encargan, en particular, en Madrid; todo esto cierto (no sé si bien conocido por to- pero desde la independencia, no a través de dos los que algo tienen que decir sobre la ópera la subordinación. y su público en nuestra ciudad; desde luego, va- lorado- ¿o minusvalorado?- como a cual parece 2. Para ayudar a proyectos culturales y artís- oportuno), no debemos quedarnos en ello; un ticos con los medios de que dispongamos: pasado positivo puede dar origen a un futuro programas educativos, becas para la forma- inexistente. Por eso la pregunta que formulamos ción de jóvenes cantantes, difusión de la a nuestros socios en la citada Asamblea Gene- ópera… Es decir, para acciones concretas, ral: ¿creen Vds. que debe continuar existiendo alejadas de pretensiones –por legítimas que la Asociación o, por el contrario, ha de estimarse puedan ser- cuya “última ratio” no sea la que ha cumplido sus fines fundacionales y de- del fomento del arte lírico al servicio de los bería desaparecer?. Naturalmente, expusimos intereses generales del público que como nuestras ideas sobre lo que, cumplido con am- propio lo siente. plio y generoso reconocimiento de muchos –no 3. Para organizar actividades –siempre den- de todos, desde luego- nuestro quincuagésimo tro de nuestras posibilidades- que nues- aniversario, justificaría la continuidad, actuali- tros socios apetecen y demandan; sirva zada para los nuevos tiempos sin merma de fide- como ejemplo la Gala del L Aniversario, lidad a los antiguos. celebrada a finales del pasado noviembre Y la respuesta fue cálida y contundente. Si- en el Teatro de la Zarzuela. Manejamos gamos, se nos dijo. ¿Para qué? Expresándolo de ya proyectos específicos que, confío, po- manera muy sucinta –es conveniente que el espa- drán ver la luz dentro del segundo semes- cio de este número se destine a su fin fundamen- tre del año en curso o, a más tardar, en tal, hablar de la próxima temporada-, al menos los inicios del próximo año. Es decir, para para lo que sigue: proporcionar representaciones –en el for- mato de “gala”- que siempre apetecemos 1. Para que siga existiendo una entidad in- volver a disfrutar quienes compartimos la dependiente, capaz de elogiar cuando afición por la Lírica, sin condicionarnos proceda (sin necesidad de orientaciones por criterios –sin duda respetables- de interesadas), criticar cuando parezca ne- oportunidad. cesario hacerlo (pocas veces hemos hecho uso de este principio lógico) y guardar si- 4. Para continuar realizando publicaciones lencio cuando sea necesario (espero que como ésta, prueba evidente de nuestro se recuerde que nuestro sentido de la propósito de servir al interés de la Ópera. Es decir, para seguir manifestando opinio- nes expertas de quienes sólo buscan el rigor y la excelencia, sin dejarnos influir por mo- tivos coyunturales. No es ésta una relación exhaustiva de ac- tividades; constituye un pequeño “muestrario” de lo que tratamos de hacer (mejor diría “seguir haciendo”). De todo, lo que se haga, lo que se proyecte, lo tradicional, lo nuevo, seguiremos dando cumplida cuenta. Transmitiremos lo que sepamos, escucharemos lo que nos manifiesten (sobre todo lo que nuestros socios nos manifies- ten), propondremos lo que creamos pueda inte- resar a los miembros de nuestra Asociación. Es decir, seguiremos haciendo lo que durante cin- cuenta años hicieron quienes nos precedieron, renovando métodos, teniendo presente la evolu- ción de la sociedad, siendo fieles a una concep- ción del arte –en este caso de la Ópera- que sea capaz de asumir la realidad coetánea sin reescri- bir las obras. Como pueden ver Vds., ánimo no nos falta. Si alguna duda hubiésemos tenido, Vds., nuestros socios, nos la despejaron en la última Asamblea. Gracias por su aliento, pero, sobre todo, gracias por su apoyo a las actividades de la Asociación, que permiten a ésta coadyuvar al desarrollo de la Lírica en nuestro ámbito natural. Manuel López Cachero Presidente de la Asociación de Amigos de la Ópera de Madrid JOUFSNF[[P QSFTFOUBDJ§O.BOVFM-§QF[$BDIFSP MFOP[[FEJmHBSP "SHVNFOUP'FSOBOEP'SBHB -BTCPEBTEF'­HBSP -PCVGPTVCMJNBEP "SUVSP3FWFSUFS MBmMMFEVS±HJNFOU "SHVNFOUP'FSOBOEP'SBHB -BmMMFEVSFHJNFOU4BOUJBHP4BMBWFSSJ EFBUIJOWFOJDF "SHVNFOUP'FSOBOEP'SBHB &MBVUPSFUSBUPmOBMEF#SJUUFO+VBO-VDBT SPN±PFUKVMJFUUF "SHVNFOUP'FSOBOEP'SBHB $JUBEFBNBOUFTFOFMTFQVMDSPGBNJMJBS#MBT.BUBNPSP IµOTFMVOEHSFUFM "SHVNFOUP'FSOBOEP'SBHB 6OQFSWFSTPDVFOUPJOGBOUJM3BGBFM#BO¡T*SVTUB WFSBOP O¡NFSP FMQ¡CMJDP MBUSBWJBUB "SHVNFOUP'FSOBOEP'SBHB 4JFNQSFIPZMBUSBWJBUB-BJB'BMD§O mEFMJP "SHVNFOUP3BGBFM#BO¡T 'JEFMJPPMB§QFSBDPNPQSPCMFNB+PT±-VJT5±MMF[ HPZFTDBT "SHVNFOUP'FSOBOEP'SBHB (PZFTDBT VOBFWPDBDJ§O"OES±T3VJ[5BSB[POB HJBOOJTDIJDDIJ "SHVNFOUP'FSOBOEP'SBHB +VTUJDJBQP±UJDB-VJT4V©±O MBDJVEBEEFMBTNFOUJSBT QUE PASA CON LA OPERA EN MADRID? Hazte socio... y ven con nosotros a difundir, disfrutar Y amar la OPEra Nuestra AsociacIOn: Edita la revista Intermezzo y la guía más completa para seguir la temporada de ópera en Madrid Ofrece un servicio de biblioteca y fonoteca con más de 5000 referencias Concede las Becas Amigos de la Ópera para Jóvenes Cantantes Promueve un programa escolar de acercamiento a la ópera Organiza un Ciclo de Jóvenes Cantantes Organiza conferencias y coloquios Organiza galas y conciertos líricos... ... y ofrece un exclusivo servicio a nuestros socios de intercambio, compra y venta de entradas para la temporada de ópera Amigos de la Ópera es una asociación cultural sin ánimo de lucro cuyo objetivo es la promoción y difusión de la ópera en Madrid &%."(#&'(('%$% $%(*( #!%'(&'0) ($(&3.$"'()%"#*$% # ) %') 6%($#0( &2((*)'% %$) $$)((&')$%$)%%(""%("# (#%$6$/ $% $%'(,,,$%'( $%' $)'$ %$" $%'%# '( "5*"' 5 "5*%'5""+%'5)" 5''*%(51- %5'45%"%$ 5%')*"5&4" %# $ $ $%"*"'" #!! #!# "#) ! &&& $#! ( $#! # ! )% ! $(%! ' ! & $ ### ! " # !! ## #! !()#!)!" !' &# "# (!! $! # # ! " (" -FOP[[FEJ'JHBSP 8PMGHBOH"NBEFVT.P[BSU o $0130%6$$*Ä/%&-5&"5303&"- -""40$*"$*Ä/#*-#"Ê/"%&".*(04%&-"Ä1&3" &-5&"5301Î3&; ("-%Ä4%&-"41"-."4%&(3"/$"/"3*":&-5&"530/"$*0/"-%&Ä1&3":#"--&5%&-*56"/*" Director musical: Ibor Bolton Director de escena: Emilio Sagi Escenógrafo: Daniel Bianco Figurinista: Renata Schussheim Iluminador: Eduardo Bravo Coreógrafa: Nuria Castejón Director del coro: Andrés Máspero El conde de Almaviva: Luca Pisaroni Andrey Bondarenko (18, 22, 26 de septiembre) La condesa de Almaviva: Sofía Soloviy Anett Fritsch (18, 22, 26 de septiembre) Figaro: Andreas Wolf Davide Luciano (18, 22, 26 de septiembre) Susanna: Sylvia Schwartz Eleonora Buratto (18, 22, 26 de septiembre) Cherubino: Elena Tsallagova Lena Belkina (18, 22, 26 de septiembre) Marcellina: Helene Schneiderman
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