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

Introduction Rosa KRAUS LEY Chair Fundación Internacional

The international career of Alfredo Kraus has a highly qualified jury at an event hosted in the city of always been a point of pride for his home island of his birth. This initiative had taken shape by 2016 and Gran Canaria and the city of his birth, became a reality in 2017, when the sixth Competition de Gran Canaria. From the mid-1950s to 1999, the was organised with backing from local institutions name Alfredo Kraus was renowned at the greatest and funding from the Gran Canaria Island Council in theatres and concert halls, resulting in an an ongoing tribute to the island’s cultural ambassador extensive range of recordings that can be heard today par excellence. on films, radio and television. After his death, Kraus became a legend, a status few artists achieve. For new As the guardian of the tenor’s artistic legacy, the generations of singers who missed the opportunity to Fundación Internacional Alfredo Kraus has sought to hear him live, he remains a figure of reference. And ensure the new Competition follows the ideals of its for professional singers and his countless admirers, founder. Eighteen years after the last event, the sixth Kraus is closely identified with Gran Canaria. Competition will host the semi-final and final rounds in the Auditorio Alfredo Kraus, the iconic auditorium Alongside his artistic activity, Alfredo Kraus was opened by Kraus in 1997. Following Kraus’ original intensely involved in teaching, initially giving master idea, the preliminary rounds will be held in different classes and finally holding a Chair at the Queen Sofía cities every year. The venues for 2017 are , School of Music, in Madrid. After experiencing the Florence and Las Palmas de Gran Canaria. ups and downs of every beginner singer during his studies in Las Palmas de Gran Canaria, To resolve organisational issues from past events, the and , Kraus harboured a strong desire to help three official prizes on this occasion will be for Opera young people make their way in this field. In 1989 he and , as this is a more feasible option today brought this idea to fruition through a long dreamed for young singers, many of whom will be performing of project: the creation of an international singing with an orchestra for the first time. competition on his island of Gran Canaria, hosted in the city of his birth. The rules have also been updated in accordance with the standards of today’s international competitions, The first competition,I Concurso Internacional de allowing candidates to register online and contact the Canto Alfredo Kraus (Alfredo Kraus International organisers if they have any queries. The Opera and Singing Competition), was held in Las Palmas de Zarzuela repertoire has been revised and extended, Gran Canaria in May 1990. Conceived as a biennial particularly for Zarzuela, a genre that Kraus strongly event, primarily because of the artist’s limited free upheld and frequently performed. As the founder time between performances, the Competition was intended, the jury will be made up exclusively of held in 1992, 1994, 1996 and 1999, after the 1998 artistic directors of international theatres. The position event was cancelled due to a family bereavement. The of Chair, originally held by Kraus, will be occupied by first five Competitions were made possible with the a singer with international experience. constant support of the Gran Canaria Island Council, which paid tribute through the event to Kraus’ Through the sixth Competition,VI Concurso achievements, contribution as a cultural ambassador Internacional de Canto Alfredo Kraus, the Foundation of the island, and involvement in teaching younger is reviving a major achievement in culture, education generations. and tourism for Gran Canaria. Eighteen years after the last Competition was held, the Gran Canaria The early death of Alfredo Kraus in 1999 marked the Island Council is breathing new life into one of the end of an era in the organisation of the Competition. most cherished creations of the great tenor, the island’s In the following years, the Fundación Internacional most internationally renowned artist. Alfredo Kraus (Alfredo Kraus International Foundation) set out to revive the tenor’s original intentions: a competition for young singers judged by History 1990 – 1999: The first five competitions

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 the 1998 Antonio Campó. event was cancelled due to a family bereavement. In line with Kraus’ wishes, the first five competitions With the presence of Alfredo Kraus and the added were hosted in the city of his birth, Las Palmas de attraction of a competition held in the city of his Gran Canaria, backed by the Gran Canaria Island birth, an average of 85 contestants signed up for the Council, an unfailing supporter of this initiative. preliminary rounds of the first five competitions. The archives reveal that contestants were of 30 Held on every occasion under the guidance of nationalities and entries came from , Portugal, Alfredo Kraus as Chair, the Competition became France, Italy, Germany, the United Kingdom, a hallmark among international events of its kind, Belgium, Switzerland, Austria, Holland, Sweden, earning international renown not only among Norway, Romania, Bulgaria, Poland, Hungary, Czech conservatories, theatres, auditoriums and orchestras, Republic, Slovenia, Russia, the United States, Mexico, but also in the context of cultural tourism to Gran Venezuela, Colombia, Brazil, Argentina, Chile, Canaria. Other institutions joined the Gran Canaria Australia, Japan, China and South Korea. Island Council and the Philharmonic Orchestra Foundation as collaborators: the Spanish Ministry The competitions held from 1990 to 1999 included of Culture – INAEM; the Spanish Ministry of two categories: Opera and Lied (including Zarzuela), Foreign Affairs - Directorate General of Cultural and Oratorio. The six official prizes (three winners and Scientific Relations; the per category) were complemented by special prizes Government – Regional Ministry of Tourism and from institutions and private patrons, in addition to Transport, Deputy Ministry of Culture and Sports; the audience prize. The prize-giving took place after Las Palmas de Gran Canaria City Council; Madrid the televised concert of the final round with the Gran City Council - Education Department; SOCAEM Canaria Philharmonic Orchestra, held at Pérez Galdós - Canary Islands International Music Festival; Gran Theatre from 1990 to 1996 and in the Symphonic Canaria Philharmonic Orchestra Foundation; Hall of the Alfredo Kraus Auditorium in 1999. RTVE Symphonic Orchestra and Choir; SGAE (Spanish Society of Authors and Publishers) – Author Foundation; University of Music and Performing Arts, Vienna; Conservatory, Milan; Queen Sofía School of Music, Madrid; Madrid School of Singing; and the London Royal Opera House. The Competition is sponsored by UNELCO, with the collaboration of IBERIA, the International Federation of Friends of Alfredo Kraus, local firms Domnel and Óptica Jaén, and private benefactors.

From 1990 to 1999 the preliminary rounds were held in Milan, Vienna, New York, London and Madrid, with Las Palmas de Gran Canaria hosting the semi- final and final rounds. Kraus acted as Chair and was joined by jury members who travelled to Gran Canaria, including sopranos Edda Moser, Ingrid Bjoner, Ángeles Gulín, Tatiana Menotti and Marcella

IV CICAK 1996 - Teatro Pérez Galdós Biography Alfredo Kraus

Alfredo Kraus Trujillo was born in Las Palmas de Gran Canaria on 24 November 1927, second son of journalist Otto Kraus Polensky, from Austria, and Josefina Trujillo Mújica, 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 became a member of his primary school choir, Coro del Colegio Corazón de María. As a teenager he took classes from María Suárez Fiol de León and at 16 he joined the Philharmonic Society Choir, later moving on to local choral society Coral Polifónica de Las Palmas.

Following his father’s wishes, Kraus spent three years studying Technical Engineering, although that did not stop him continuing his vocal training, in Barcelona with Gali Markoff, in Valencia with Francisco Andrés, and especially in Milan, with . In 1956 he was a finalist in theGeneva International Singing Competition, where he signed his first contract for the Opera of , making his début there with and Tosca. In 1958, performing in La Traviata opposite at ’s Sao Carlos Theatre, Alfredo Kraus began a brilliant career appearing at the world’s most important theatres and concert halls. His popularity resulted in two roles in full feature films in 1959 and 1960:Gayarre and El Vagabundo y la Estrella. The extensive recordings he released bear witness to his vocal mastery.

With his keen intelligence and insistence on daily study, Alfredo Kraus knew how to choose an appropriate repertoire for his voice, and by developing a superlative technique, was able 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 Contes d’Hoffmann. His extensive concert repertoire, which included classical chamber pieces and popular The international singing competition that bears the songs, was complemented by a broad repertoire of tenor’s name, Concurso Internacional de Canto Alfredo zarzuela, a genre he not only performed on stage Kraus, held in Las Palmas de Gran Canaria and one and recorded in the studio, but also disseminated in of Kraus’ most cherished aspirations, became a reality concerts around the world. in 1990 with the first competition and continued until 1999, when it was held posthumously. The In 1991, Alfredo Kraus celebrated 35 years in his event was revived for the sixth competition, in 2017, profession with a recital in the National Music at the express wishes and on the initiative of the Auditorium, in Madrid, and received a tribute in Las Fundación Internacional Alfredo Kraus (chaired by the Palmas de Gran Canaria. In the same year he was tenor’s daughter, Rosa Kraus Ley) and Gran Canaria awarded the Prince of Asturias Art Prize, which he Island Council, which is joined by other institutions shared with six other Spanish opera singers. In January in tribute to this illustrious Gran Canarian and his 1996, for the celebration of 40 years in his profession, universal legacy. Kraus began a two-year tour performing on the world’s greatest opera stages. The following year, he took a nine-month break from the stage after the death of his wife and faithful companion throughout his career, Rosa Ley Bird.

Determined to pass his knowledge on to younger generations, in his final years Alfredo Kraus alternated performing with teaching, giving master classes around the world and holding a Chair in singing at the Queen Sofía School of Music, in Madrid. In 1999 the Chair was named after him. The name Alfredo Kraus also appears in the Chair of Singing at Barcelona Conservatory, University of Las Palmas de Gran Canaria Conservatory, the Opera Season in the city of his birth, streets and squares across Spain, and the auditorium he opened in 1997 with Prince Felipe of Spain.

Alfredo Kraus received many awards and distinctions throughout his career, including the Grand Cross of the Order of Alfonso X the Wise; Order of Isabella the Catholic, Commander by Number; Knight of the French Legion of Honour; Austrian Grand Cross of Honour for Science and Art; Enrico Caruso Prize, Italy; House Prize, New York; and the title of Kammersänger from the Opera of Vienna. He received a number of awards from the Canary Islands: the Gold Medal, distinction as Favourite Son of the City of Las Palmas de Gran Canaria, and the Canary Islands Fine Arts and Performance Prize. Gran Canaria’s artistic ambassador par excellence, Alfredo Kraus died in Madrid on 10 September 1999. RULES RULES

1.- APPLICANTS

1.1. The VI CONCURSO INTERNACIONAL de CANTO ALFREDO KRAUS de LAS PALMAS DE GRAN CANARIA 2017 (hereinafter VI CICAK 2017) is open to singers of all nationalities aged:

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

• 18 to 35 years, inclusive, for Mezzo-soprano, Contralto, , -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 VI CICAK 2017, which can be downloaded from the website www.cicakraus.com

2.2. The closing date for applications will be:

• 10 June 2017 for participants in the Preliminary Round in Madrid.

• 1 July 2017 for participants in the Preliminary Round in Florence and Las Palmas de Gran Canaria.

• 1 July 2017 for participants directly entering the Semi-final Round in Las Palmas de Gran Canaria in accordance with the conditions laid down in Article 4.4. of these Rules.

2.3. The competition entry fee is €30 (thirty euros). Applicants must pay this amount and any corresponding bank charges 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

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 entry 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 (Soprano, Mezzo-soprano, Contralto, Countertenor, Tenor, Baritone, Bass-baritone or Bass). • The city where the applicant wishes to participate in the Preliminary Round.

• The works to be submitted in the three rounds, to be chosen from the list included in Annexes I & II of these Rules.

2.6. After completing and signing the application form, applicants must send it by email to concurso@ cicakraus.com, 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 entry fee indicated in point 2.3.

2.7. Applicants agree to accept the rules of the VI CICAK 2017 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 will award a grant of €900 (nine hundred euros) to finalists who are not residents of Gran Canaria and who do not obtain a prize in the Final Round, towards the travel and subsistence expenses for their stay in Las Palmas de Gran Canaria.

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 organisers intend to change the venue cities for the Preliminary Round for each competition; the venues for the VI CICAK 2017 are:

MADRID Escuela Superior de Canto – Calle San Bernardo, nº 44. 15 and 16 June 2017, 11.00 am.

FLORENCE Opera di Firenze – Piazzale , 1. 5 and 6 July 2017, 11.00 am.

LAS PALMAS DE GRAN CANARIA Auditorio Alfredo Kraus – Avenida Príncipe de Asturias 21 and 22 September 2017, 11.00 am.

4.2. Applicants participating in the Preliminary Round will be judged by a panel comprising persons involved in the organisation of the VI CICAK 2017 and directors from the institutions collaborating with the competition.

4.3. At the Preliminary Round, with piano accompaniment, applicants must perform a work of Opera of their choice, which must not exceed six minutes in duration. The work 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 submitted. Applicants who wish to enter the Semi-final and Final Rounds with the Zarzuela repertoire must perform one work of Opera and one work of Zarzuela, 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 competition organisers, that they were finalists in another international singing competition in 2015, 2016 and up to May 2017 will be exempt from taking part in the Preliminary Round. These applicants may directly participate in 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 entry fee as per point 2.

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 ascending alphabetical order of their first surnames.

4.9. The organisers of the VI CICAK 2017 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 25 and 26 September 2017, 11.30 am.

5.2. Contestants entering the Semi-final Round will be judged by the Jury of the VI CICAK 2017.

5.3. In the Semi-final Round, contestants must submit four works of Opera. Contestants who wish to choose from the Zarzuela repertoire must submit two works of Opera and two of Zarzuela. No work may exceed eight minutes in duration. Works are to be chosen from the list of works included in Annexes I & II of these Rules and must be indicated on the application form submitted. The works submitted in this round must not be among those already submitted in the Preliminary Round. Contestants who choose any of the Zarzuela pieces included in Annex II and do not have the necessary song or piano material may request a PDF copy from the organisers when submitting their application.

5.4. Contestants must sing in at least two languages and works must be sung from memory in the original language.

5.5. The Jury may ask contestants to perform one or more of the four works submitted, at its discretion.

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 ascending alphabetical order of their first surnames.

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 29 September 2017, 8.00 pm.

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

6.3. As soon as contestants learn that they are finalists, they must inform the organisers of the works they intend to submit for the Final Round. They must submit two works of Opera or two works of Opera and two of Zarzuela if they are participating with this genre. The works must be chosen from those already submitted in the Semi-final Round. The Jury will select only one work from each genre for the Final Round based on its own criteria, the availability of orchestral material and other considerations of a technical nature.

6.4. Contestants in the Final Round must be available on 28 September 2017 for rehearsals with the 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 Competition will be chaired by the Chair of Fundación Internacional Alfredo Kraus. The Jury will be made up of seven members with voting rights: one 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 to vote. The Secretary of the Jury will be appointed by the Chair of the VI CICAK 2017. 8.- POWERS OF THE JURY

8.1. To decide whether or not contestants will perform more than one work; to interrupt a performance or ask contestants to repeat part of the work or the whole work 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 1 to 10, eliminating the highest and lowest points.

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.

Invitations to Perform

Orquesta Filarmónica de Gran Canaria (Gran Canaria Philharmonic Orchestra) The winner of the 1st prize in the competition will be invited to perform with the Gran Canaria Philharmonic Orchestra during one of the following two seasons (2018 or 2019), including travel and subsistence expenses.

Auditorio Alfredo Kraus One of the competition prize winners will be invited to perform a recital with piano accompaniment during one of the following two seasons (2018 or 2019), including travel and subsistence expenses.

Teatro Real de Madrid, de Madrid, Rossini Opera Festival, Opera di Firenze, Amigos de la Ópera de La Coruña and Amigos Canarios de la Ópera. One or more of the competition prize winners will be invited to an audition, with the chance to secure a position.

9.1. Cash prizes 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. The Fundación Internacional Alfredo Kraus and the organisers of the VI CICAK 2017 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 VI CICAK 2017.

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

Secretary Fundación Internacional Alfredo Kraus May, 2017 ANNEX I - OPERA Repertoire

BELLINI I Capuleti e i Montecchi Atto I - Scena e Cavatina Romeo: “Se Romeo t’uccise un figlio…” / Mezzo-soprano La Sonnambula Atto II - Scena ed Aria finale Amina:“Ah! non credea mirarti…” / Soprano Atto I - Scena e Cavatina Rodolfo: “Vi ravviso, o luoghi ameni…” / Bass I Puritani Atto I - Cavatina Arturo: “A te, o cara…” / Tenor Atto I - Cavatina Riccardo: “Ah! Per sempre io ti perdei…” / Baritone Atto II - Aria Giorgio: “Cinta di fiori…” / Bass-baritone & Bass

BIZET Les Pêcheurs de perles Acte II - Récit et Cavatine Léïla: “Me voilà seule…Comme autrefois…” / Soprano Acte I - Récit et Romance Nadir: “À cette voix…Je crois entendre encore…” / Tenor Carmen Acte III - Air Micaëla: “Je dis que rien ne m’épouvante…” / Soprano Acte I - Habanera Carmen: “L’amour est un oiseau rebelle…” / Mezzo-soprano Acte I - Séguédille Carmen: “Près des remparts de Séville…” / Mezzo-soprano Acte II - Air Don José: “La fleur que tu m’avais jetée…” / Tenor Acte II - Couplets Escamillo: “Votre toast…” / Bass-baritone & Bass

BOITO Mefistofele Atto III - Aria Margarita: “L’altra notte in fondo al mare…” / Soprano Atto I - Aria Faust: “Dai campi, dai prati…” / Tenor

CILEA L’Arlesiana Atto II - Lamento Federico: “È la solita storia del pastore…” / Tenor Adriana Lecouvreur Atto I - Romanza Adriana: “Io son l’umile ancella…” / Soprano Atto II - Aria Principessa: “Acerba voluttà…” / Mezzo

DONIZETTI L’elisir d’amore Atto II - Aria Adina: “Prendi, per me sei libero…” / Soprano Atto II - Romanza Nemorino: “Una furtiva lagrima…” / Tenor Atto I - Cavatina Belcore: “Come Paride vezzoso…” / Baritone Atto I - Cavatina Dulcamara: “Udite, udite o rustici…” / Bass-baritone & Bass Lucia di Lammermoor Parte I - Cavatina Lucia: “Regnava nel silenzio…” / Soprano Parte III - Recitativo & Cantabile Edgardo: “Tombe degli avi miei…Fra poco…” / Tenor Parte I - Cavatina Enrico: “Cruda, funesta smania…” / Baritone Parte III - Aria Raimondo: “Dalle stanze ove Lucia…” / Bass-baritone & Bass La fille du régiment Acte I - Romance Marie: “Il faut partir…” / Soprano Acte I - Air Tonio: “Ah! mes amis…” / Tenor Acte II - Romance Tonio: “Pour me rapprocher de Marie…” / Tenor Don Pasquale Atto I - Cavatina Norina: “Quel guardo il cavaliere…So anch’io la virtù mágica…” / Soprano Atto II - Recitativo & Aria Ernesto: “Povero Ernesto…Cercherò lontana terra…” / Tenor Atto I - Cantabile Malatesta: “Bella siccome un angelo…” / Baritone

GIORDANO Andrea Chénier Quadro III - Racconto Maddalena: “La mamma morta…” / Soprano Quadro I - Improvviso Chénier: “Un dì all’azzurro spazio…” / Tenor Quadro III - Monologo Gérard: “Nemico della patria?...” / Baritone

GLUCK Orfeo ed Euridice Atto III – Aria Orfeo: “Che farò senza Euridice…” / Mezzo-soprano & Countertenor GOUNOD Faust Acte III - Air des bijoux Marguerite: “Oh Dieu! que des bijoux!...Ah! je ris…” / Soprano Acte III - Cavatine Faust: “Un trouble inconnu…Salut! Demeure chaste et pure…” / Tenor Acte II - Invocation Valentin: “Avant de quitter ces lieux…” / Baritone Acte II - Ronde Méphisto: “Le veau d’or…” / Bass-baritone & Bass Roméo et Juliette Acte I - Ariette Juliette: “Ah! Je veux vivre…” / Soprano Acte IV – Scène et Air Juliette: “Dieu! quel frisson…Amour, ranime mon courage…” / Soprano Acte II - Cavatine Roméo: “Ah, lève-toi, soleil!...” / Tenor Acte I - Ballade Mercutio: “Mab, la reine des mensonges…” / Baritone

HÄNDEL Giulio Cesare Atto I – Nº 5, Aria Sesto: “Svegliatevi nel core…” / Mezzo-soprano & Countertenor Atto I - Nº 14, Aria Cesare: “Va tacito e nascosto…” / Mezzo-soprano & Countertenor Atto I – Nº 3, Aria Cesare: “Empio, dirò, tu sei…” / Mezzo-soprano & Countertenor Atto II – Nº 25, Aria Cesare: “Al lampo dell’armi...” / Mezzo-soprano & Countertenor Rodelinda Atto III – Aria Bertarido: “Vivi tiranno…” / Mezzo-soprano & Countertenor Orlando Atto I – Aria Orlando: “Fammi combattere…” / Mezzo-soprano & Countertenor Alcina Atto II – Nº 26, Aria Ruggiero: “Verdi prati, selve amene…” / Mezzo-soprano & Countertenor Ariodante Atto II – Aria Ariodante: “Scherza infida in grembo al drudo…” / Mezzo-soprano & Countertenor Serse Atto I – Nº 2, Arioso Serse: “Ombra mai fu…” / Mezzo-soprano & Countertenor Atto II – Nº 28, Aria Serse: “Se bramate d’amar…” / Mezzo-soprano & Countertenor

MASCAGNI Cavalleria Rusticana Acto Unico - Racconto Santuzza: “Voi lo sapete, o mamma…” / Soprano & Mezzo-soprano MASSENET Manon Acte II - Scène et Air Manon: “Allons, il le faut…Adieu, nôtre petite table…” / Soprano Acte II - Air Des Grieux: “En fermant les yeux…” / Tenor Werther Acte III - Air des lettres Charlotte: “Werther! Qui m’aurait dit…Ces lettres!...” / Mezzo-soprano Acte III - Air Werther: “Pourquoi me réveiller?...” / Tenor Thaïs Acte II - Air Thaïs: “Dis-moi que je suis belle…” / Soprano Acte I - Air Athanaël: “Voilà donc la terrible cité! Alexandrie…” / Baritone & Bass-baritone

MOZART Die Entführung aus dem Serail Akt II – Rezitativ & Arie Konstanze: “Welcher Wechsel…Traurigkeit…” / Soprano Akt II - Arie Blonde: “Welche Wonne…” / Soprano Akt I - Rezitativ & Arie Belmonte: “Konstanze…O wie ängstlich…” / Tenor Akt II - Arie Pedrillo: “Frisch zum Kampfe!...” / Tenor Akt III - Arie Osmin: “Ha! wie will ich triumphieren…” / Bass Le nozze di Figaro Atto III – Recitativo & Aria Contessa: “E Susanna non bien…Dove sono…” / Soprano Atto IV - Recitativo & Aria Susanna: “Giunse alfin…Deh vieni, non tardar…” / Soprano Atto I - Aria Cherubino: “Non sò più…” / Mezzo-soprano Atto III - Recitativo & Aria Conte: “Hai già vinto la causa…Vedrò mentr’io sospiro…” / Baritone Atto I - Aria Figaro: “Non più andrai…” / Bass-baritone & Bass Atto I - Aria Bartolo: “La vendetta…” / Bass Don Giovanni Atto I - Recitativo & Aria Donna Anna: “Don Ottavio, son morta…Or sai chi l’onore…” / Soprano Atto I - Recitativo & Aria Donna Elvira: “In quali eccessi, o Numi…Mi tradì…” / Soprano Atto II - Aria Zerlina: “Vedrai carino…” / Soprano Atto I - Aria Don Ottavio: “Dalla sua pace…” / Tenor Atto II - Aria Don Ottavio: “Il mio tesoro…” / Tenor Atto I - Aria Don Giovanni: “Fin ch’han dal vino…” / Baritone, Bass-baritone & Bass Atto I - Aria Leporello: “Madamina, il catalogo è questo…” / Bass-baritone & Bass Atto I - Aria Masetto: “Ho capito, signor sì!... / Bass-baritone & Bass Così fan Tutte Atto I - Recitativo & Aria Fiordiligi: “Temerari!...Come scoglio…” / Soprano Atto I - Recitativo & Aria Dorabella: “Ah! Scostati…Smanie implacabili!...” / Mezzo-soprano Atto I - Aria Ferrando: “Un’aura amorosa…” / Tenor Atto II - Aria Guglielmo: “Donne mie…” / Baritone Die Zauberflöte Aufzug II - Arie Pamina: “Ach, ich fühl’s…” / Soprano Aufzug II - Arie Königin: “Der Hölle Rache…” / Soprano

Aufzug I - Arie Tamino: “Dies Bildniβ ist bezaubernd schön…” / Tenor Aufzug II - Arie Sarastro: “In diesen heil’gen Hallen…” / Bass La Clemenza di Tito Atto I - Aria Sesto: “Parto, ma tu ben mio…” / Mezzo-soprano Atto II – Aria Tito: “Se all’impero…” / Tenor

PUCCINI Manon Lescaut Atto II - Aria Manon: “In quelle trine morbide…” / Soprano La bohème Quadro I - Racconto Mimì: “Sì, mi chiamano Mimì…” / Soprano Quadro II - Valzer Musetta: “Quando me’n vo’…” / Soprano Quadro I - Racconto Rodolfo: “Che gelida manina…” / Tenor Tosca Atto II - Aria Tosca: “Vissi d’arte…” / Soprano Atto I - Aria Cavaradossi: “Recondita armonia…” / Tenor Atto III - Aria Cavaradossi: “E lucevan le stelle…” / Tenor Madama Butterfly Atto II - Aria Cio Cio San: “Un bel dì vedremo…” / Soprano La Rondine Atto I - Aria Magda: “Chi il bel sogno di Doretta…” / Soprano Gianni Schicchi Atto Unico - Aria Lauretta: “O mio babbino caro…” / Soprano Atto Unico - Aria Rinuccio: “Avete torto!...Firenze è come un albero fiorito…” / Tenor Turandot Atto I - Aria Liù: “Signore, ascolta…” / Soprano Atto III - Aria Calaf: “Nessun dorma…” / Tenor ROSSINI L’Italiana in Algeri Atto II - Aria Isabella: “Per lui ch’adoro…” / Mezzo-soprano Atto I - Cavatina Lindoro: “Languir per una bella…” / Tenor Atto I - Aria Mustafà: “Già d’insolito ardore nel petto…” / Bass-baritone & Bass Il Barbiere di Siviglia Atto I - Cavatina Rosina: “Una voce poco fa…” / Mezzo-soprano Atto I - Cavatina Conte: “Ecco, ridente in cielo…” / Tenor Atto I - Cavatina Figaro: “Largo al factotum…” / Barítono Atto I - Aria Basilio: “La calunnia…” / Bass-baritone & Bass Atto II - Rondò Angelina: “Nacqui all’affanno…Non più mesta…” / Mezzo-soprano Atto II - Aria Ramiro: “Sì, ritrovarla io giuro…” / Tenor Atto II - Aria Don Magnifico:“Sia qualunque delle figlie…” / Bass-baritone & Bass Atto I - Aria Alidoro: “Là del ciel…” / Bass-baritone & Bass

TCHAIKOVSKY Yevgeny Onegin Acto I - Aria Olga: “Ach Tania, Tania…” / Mezzo-soprano Acto II - Aria Lensky: “Kuda, kuda…” / Tenor Acto I - Aria Oneguin: “Kogda bï zhizn domashnim krugom…” / Baritone Acto III - Aria Grémin: “Liubvi fse vozrastï pokornï…” / Bass

VERDI Ernani Atto I – Scena & Cavatina Elvira: “Surta è la notte…Ernani, Ernani involami…” / Soprano Atto III - Recitativo & Aria Don Carlo: “Gran Dio!...Oh, de’verd’anni miei…” / Baritone Atto I - Scena & Cavatina Silva: “Che mai vegg’io?...Infelice...” / Bass-baritone & Bass Macbeth Atto II - Romanza Lady: “La luce langue…” / Soprano Atto IV - Scena & Aria Macduff: “O figli…Ah, la paterna mano…”/ Tenor Atto II - Scena & Adagio Banco: “Studia il passo…Come dal ciel precipita…” / Bass Luisa Miller Atto II - Scena & Aria Rodolfo: “Oh! Fede negar potessi…Quando le sere al placido…” / Tenor Rigoletto Atto I - Aria Gilda: “Caro nome…” / Soprano Atto II - Recitativo & Aria Duca: “Ella mi fu rapita…Parmi veder le lagrime…” / Tenor Atto III - Canzone Duca: “La donna è mobile…” / Tenor Atto II - Invettiva Rigoletto: “Cortigiani, vil razza dannata…” / Baritone Il Trovatore Parte I - Cavatina Leonora: “Tacea la notte placida…” / Soprano Parte II - Canzone Azucena: “Stride la vampa…” / Mezzo-soprano Parte III - Aria Manrico: “Ah sì, ben mio…” / Tenor Parte II - Recitativo & Aria Conte: “Tutto è deserto…Il balen del suo sorriso…” / Baritone La Traviata Atto I - Scena & Aria Violetta: “È strano…Ah, forse lui…Sempre libera…” / Soprano Atto III - Aria Violetta: “Addio del passato…” / Soprano Atto II - Scena & Aria Alfredo: “Lunge da lei…Dei miei bollenti spiriti…” / Tenor Atto II - Aria Germont: “Di Provenza…” / Baritone I Vespri Siciliani Atto V - Bolero Elena: “Mercè dilette amiche…” / Soprano Atto II - Aria Procida: “Oh Patria…O tu Palermo…” / Bass Simon Boccanegra Prologo - Recitativo & Aria Fiesco: “A te l’estremo addio…Il lacerato spirto…” / Bass Un Ballo in Maschera Atto I - Invocazione Ulrica: “Re dell’abisso…” / Mezzo-soprano Atto III - Scena & Romanza Riccardo: “Forse la soglia…Ma se m’è forza perderti…”/ Tenor Atto III - Scena & Aria Renato: “Alzati…Eri tu che macchiavi…” / Baritone La Forza del Destino Atto IV - Melodia Leonora: “Pace, pace, mio Dio!...” / Soprano Atto III - Recitativo & Romanza Don Alvaro: “La vita è inferno…O tu che in seno…” / Tenor Atto III - Scena & Aria Don Carlo: “Morir!...Urna fatale…” / Baritone Don Carlo Atto III - Aria Eboli: “O don fatale…” / Mezzo-soprano Scena & Aria Rodrigo: “Son io, mio Carlo…Per me giunto…” / Baritone Atto III - Scena & Cantabile Filippo: “Ella giammai m’amò…Dormirò sol…” / Bass-baritone & Bass WAGNER Der fliegende Holländer Erster Aufzug – Rezitativ & Arie Holländer: “Die Frist ist um…” / Bass-baritone & Bass Zweiter Aufzug – Ballade Senta: “Jo ho hoe! Traft ihr das Schiff…” / Soprano Tannhäuser Aufzug II - Elisabeth: “Dich, teure Halle…” / Soprano Aufzug III - Wolfram: “Wie Todesahnung…O du, mein holder Abendstern…“ / Baritone Lohengrin Dritter Aufzug - Lohengrin: “In fernem Land…” / Tenor Tristan und Isolde Dritter Aufzug - Isoldes Liebestod: “Mild und Leise…” / Soprano ANNEX II - ZARZUELA Repertoire

ALONSO La Calesera Acto III / Nº 15 - Racconto de Rafael: “Agua que río abajo marchó…” / Baritone La Parranda Acto I / Nº 6 b – Canto a Murcia [Miguel]: “En la huerta del Segura…” / Baritone

ARRIETA Marina Acto I / Nº 2 – Aria de Tiple [Marina]: “Pensar en él esa es mi vida…” / Soprano Acto I / Nº 3 bis - Aria de Jorge: “Costa la de Levante…” / Tenor Acto III / Nº 9 – Seguidillas [Roque]: “La luz abrasadora de tu pupila…” / Baritone

ASENJO BARBIERI El Barberillo de Lavapiés Acto I / Nº 2 - Canción de la Paloma: “Como nací en la calle de la Paloma…” / Soprano & Mezzo-soprano

CHAPÍ Las hijas del Zebedeo Acto II / Nº 8 – Carceleras Tiple [Luisa]: “Al pensar en el dueño de mis amores…” / Soprano & Mezzo-soprano El rey que rabió Acto II / Nº 9 a – Arieta [Rosa]: “Mi tío se figura…Yo que siempre de los hombres me burlé…” / Soprano

CHUECA La Gran Vía Acto Único / Tango de La Menegilda: “Pobre chica la que tiene que servir!…” / Soprano & Mezzo-soprano

FERNÁNDEZ CABALLERO Gigantes y Cabezudos Acto Único / Nº 2 - Romanza de Pilar: “¡Esta es su carta!...” / Soprano GUERRERO Los Gavilanes Acto II / Nº 7 – Escena de la Flor [Gustavo]: “Flor roja…” / Tenor Acto I / Nº 1 – [Salida de Juan]: “¡Mi aldea! Cuánto el alma se recrea…” / Baritone

GURIDI El caserío Acto II / Nº 10 – Canción [José Miguel]: “Yo no sé qué veo en Ana Mari…” / Tenor

LUNA El niño judío Acto II / Nº 6 - Canción española [Concha]: “De España vengo…” / Soprano & Mezzo-soprano La pícara molinera Acto II / Nº 7 [Romanza de Juan]: “Paxarin tu que vuelas…” / Tenor

MORENO TORROBA La Marchenera Acto I / Nº 5 – Petenera [Valentina]: “Tres horas antes del día…” / Soprano Luisa Fernanda Acto I / Nº 2 – [Romanza de Javier]: “De este apacible rincón de Madrid…” / Tenor Acto II / Nº 10 – [Romanza de Vidal]: “Luché la fe por el triunfo…” / Baritone Maravilla Acto III / Nº 12 - Romanza de Rafael: “Adiós, dijiste…” / Baritone

SERRANO La canción del olvido Cuadro I - Canción del olvido [Rosina]: “Marinela, Marinela…” / Soprano Cuadro I / Nº 1 - Canción de Leonello: “Junto al puente de la peña…” / Baritone El carro del sol Acto Único / Nº 5 D - Canción veneciana [Angelita]: “Pensando en el que la quiere…” / Soprano El Trust de los tenorios Acto I / Nº 6 – Comparsa Española; Jota Tenor [Baturro I]: “Te quiero, Morena…” / Tenor La dolorosa Acto I / Nº 1 - Relato de Rafael: “La roca fría del Calvario…” / Tenor SOROZABAL La del manojo de rosas Acto I / Nº 4 - [Romanza de Ascensión]: “No corté más que una rosa…” / Soprano & Mezzo- soprano Acto II / Nº 9 - Romanza de Joaquín: “No, no me importa…Madrileña bonita…” / Baritone La Tabernera del puerto Acto II / Nº 9 - Romanza de Leandro: “¡No puede ser!…” / Tenor Acto II / Nº 8 – [Romanza de Simpson]: “Despierta, negro…” / Bass Black, el payaso Acto I / Nº 5 - Romanza de Bajo [White]: “Aunque todos nos daban por muertos…” / Bass

SOUTULLO & VERT La del Soto del Parral Acto I - Romanza de barítono [Germán]: “Ya mis horas felices…” / Baritone El último romántico Acto I / Nº 4 – Romanza [Enrique]: “Bella enamorada…” / Tenor

VIVES Doña Francisquita Acto I / Nº 5 - Canción del Ruiseñor [Francisquita]: “Era una rosa que un jardín…” / Soprano Acto II / Nº 8 – Romanza [Fernando]: “Por el humo se sabe…” / Tenor Maruxa Acto I / Escena IV - Coplas de Rufo: “¡¡Ganapanes!!...Gon, golondrón, golondrina…” / Bass 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 VI CICAK 2017 cuyas pruebas Semifinal & Final tendrán lugar en Las Palmas de Gran Canaria del 25 al 29 de septiembre de 2017. • Que está de acuerdo con las condiciones señaladas en el Reglamento del VI CICACK 2017. • Que acepta las decisiones y el fallo del Jurado del VI CICAK 2017.

POR FAVOR, FIRME SOBRE LA LÍNEA Enviar a [email protected] adjuntando la documentación solicitada en el artículo 2.6. PLEASE SIGN ON THE LINE

I declare:

• I wish to take part in the VI CICAK 2017, whose Semi-final & Final Rounds will be held in Las Palmas de Gran Canaria, Spain, from 25 to 29 September 2017. • I accept the conditions laid down in the Rules of the VI CICACK 2017. • I agree to accept the rulings and the decision of the Jury of the VI CICAK 2017. 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: MADRID FLORENCIA / FLORENCE I wish to take part in the Preliminary Round in: (SPAIN) (ITALY) LAS PALMAS DE GRAN 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

OPERA: 1.

2.

3.

4.

ZARZUELA: 1.

2.

3.

4.

PRUEBA FINAL | FINAL ROUND

OPERA: 1.

2.

ZARZUELA: 1.

2.