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Destacados De Programación – Agosto 2017 Allegro HD – Destacados de Programación – Agosto 2017 Destacados de Programación – Agosto 2017 235 Lincoln Road #201 Miami Beach, FL 33139 USA - +1 305-531-1315 1 Allegro HD – Destacados de Programación – Agosto 2017 Destacados de Programación Agosto 2017 ÓPERA – Manon Lescaut, ópera en cuatro actos de Giacomo Puccini: Plácido Domingo & Kiri Te Kanawa – Estreno 5 de agosto – Pág. 3 CONCIERTO – Las estaciones, de Franz Joseph Haydn: Nikolaus Harnoncourt & Filarmónica de Viena – Estreno 6 de agosto – Pág. 5 CONCIERTO – Ciclo Brahms-Thielemann: Lisa Batiashvili & Orquesta Estatal de Dresden – Estreno 12 de agosto – Pág. 7 CONCIERTO – Bad Boys, con Bryn Terfel – 12 de agosto – Pág. 9 BALLET – La consagración de la primavera, de Igor Stravinsky: coreografía de Jean-Claude Gallotta – Estreno 13 de agosto – Pág. 11 Aniversario Claude Debussy ÓPERA – Pelléas et Mélisande, ópera en cinco actos de Claude Debussy – Estreno 19 de agosto – Pág. 13 ÓPERA – Macbeth, ópera en cuatro actos de Giuseppe Verdi – 20 de agosto – Pág. 15 DOCUMENTAL – Re-sonando Beethoven, documental de Michael Sturminger: Wiener Akademie & Martin Häselbock – Estreno 20 de agosto – Pág. 17 ÓPERA – Los cuentos de Hoffmann, ópera en tres actos de Jacques Offenbach – Estreno 26 de agosto – Pág. 19 CONCIERTO – Tesoros Barrocos: Messiah, de Georg Friedrich Händel – Estreno 27 de agosto – Pág. 21 ÓPERA – La traviata, ópera en tres actos de Giuseppe Verdi – 27 de agosto – Pág. 23 235 Lincoln Road #201 Miami Beach, FL 33139 USA - +1 305-531-1315 2 Allegro HD – Destacados de Programación – Agosto 2017 Ópera: Manon Lescaut Ópera en cuatro actos de Giacomo Puccini: Plácido Domingo & Kiri Te Kanawa Estreno 5 de agosto 17:00 Argentina/Uruguay | 15:00 Ecuador Magnífica producción del Royal Opera House londinense, con el dúo protagonista encarnado por las legendarias voces de Domingo y Te Kanawa. Género: ópera, música clásica, música romántica, bel canto. Intérpretes: Kiri Te Kanawa, Plácido Domingo, Thomas Allen, Forbes Robinson, Robin Leggate, George Macpherson, John Fryati, Anna Cooper, Handel Thomas, Mark Curtis, Roderick Earle, Paschal Allen; Coro del Royal Opera House; Günter Schneider-Siemssen [dirección de escena], Aliute Meczies [vestuario], Robert Brian [iluminación], Romayne Grigorova [coreografía]. Director: Giuseppe Sinopoli. Orquesta: Orquesta del Royal Opera House. Año: 1983. Lugar: Royal Opera House, London. Duración: 130 minutos. Manon Lescaut, ópera en cuatro actos con música de Giacomo Puccini (1858-1924), su libreto en italiano fue escrito de manera sucesiva por diversos autores: Ruggiero Leoncavallo, Domenico Oliva, Marco Praga, Giuseppe Giacosa, Luigi Illica, el propio Puccini y Giulio Ricordi –editor de la partitura–. Su texto se basa en la obra L'historie du chevalier des Grieux et de Manon Lescaut [1731], del Abad Prévost, que a su vez sirvió de inspiración 235 Lincoln Road #201 Miami Beach, FL 33139 USA - +1 305-531-1315 3 Allegro HD – Destacados de Programación – Agosto 2017 para la ópera Manon, de Jules Massenet. Tan confusa fue la autoría del libreto que ninguno de los autores aparece mencionado en la portada de la partitura original. Su estreno tuvo lugar el 1 de febrero de 1893 en el Teatro Regio de Torino. Supuso el primer gran triunfo del autor italiano, en una ópera con evidentes referencias wagnerianas, en la que la orquesta dialoga de manera directa con los personajes, ayudando a subrayar sus emociones y psicología. La escritura orquestal está dotada de una fluidez melódica realmente brillante e inacabable, que no hace sino remarcar la degradación moral de los personajes, a pesar de que Puccini prefiere no olvidar que el amor siempre prevalece. El uso de leitmotiv resulta recurrente desde el inicio al final del drama, ayudando a construir toda la intrincada trama. Puccini tomó además algunos elementos musicales previos para ayudar a elaborar su ópera. Así, el madrigal Sulla vetta tu del monte [acto II] es un reflejo de Agnus Dei de su Misa a cuatro voces de 1880. Otros elementos de Manon Lescaut provienen de algunas obras para cuerda: el cuarteto Crisantemi [enero de 1890], tres Minuetos [probablemente de 1884] y un Scherzo [¿1883?] o el tema de amor, que procede del aria Mentia l'avviso [1883]. El editor de Puccini, Ricordi, había mostrado su disconformidad con todo proyecto que tuviera como base la historia de Prévost, ya que Massenet ya la había usado con éxito en su Manon [1884]. Incluso –posiblemente sin ser conocida entonces por ambos–, el compositor francés Daniel Auber también había escrito ya una ópera con el mismo título, Manon Lescaut, en 1856. Puccini pasó por alto todos los precedentes a priori poco alentadores y continuó con la composición de su ópera. Manon es una heroína en la que creo y por lo tanto no puede dejar de ganar el corazón del público. ¿Por qué no van a existir dos óperas sobre Manon? Una mujer como Manon puede tener más de un amante. Massenet la siente como francés, empolvada y con minués. Yo la sentiré como italiano, con una pasión desesperada. Con estas palabras defendió el autor su interés por continuar con el drama. Se trata de la tercera ópera de Puccini y su primer gran éxito. Tanto el público como la crítica aceptaron con entusiasmo la ópera. Se presentó ese mismo año en San Petersburgo, Madrid, Hamburgo y Sudamérica. En 1894 llegó a Londres, Lisboa, Praga, Budapest, Filadelfia y México. Tardaría algo más en llegar a Francia, por la evidente rivalidad con la obra de Massenet, primero en Nice, en 1909, y finalmente en Paris, en 1910. Se mantiene como una de las óperas más respetadas de Puccini. Entre 2005-2010 fue la 40.ª ópera más representada, lo que da muestra de que, aunque valorada, no se encuentra entre los títulos más presentes en los teatros, ocupando el quinto puesto entre las óperas del propio Puccini. Ópera: Manon Lescaut Ópera en cuatro actos de Giacomo Puccini: Plácido Domingo & Kiri Te Kanawa Estreno 5 de agosto 17:00 Argentina/Uruguay | 15:00 Ecuador Sinopsis: Manon Lescaut es una de las grandes óperas de Giacomo Puccini, que sin embargo ha sido ensombrecida por algunos de sus inmensos títulos operísticos. Les invitamos a disfrutar de esta magnífica y ya clásica producción desde el Royal Ópera House de Londres, que cuenta con un elenco vocal de primer nivel: Kiri Te Kanawa, Plácido Domingo, Thomas Allen, Forbes Robinson, Robin Leggate, George Macpherson, John Fryati, Anna Cooper, Handel Thomas, Mark Curtis, Roderick Earle, Paschal Allen, además del coro y la orquesta del Royal Opera House, bajo la dirección de Giuseppe Sinopoli. Enlaces de imágenes: www.eurochannel.com/pictures/Allegro/A00403_Manon_Lescaut_1.jpg www.eurochannel.com/pictures/Allegro/A00403_Manon_Lescaut_2.jpg 235 Lincoln Road #201 Miami Beach, FL 33139 USA - +1 305-531-1315 4 Allegro HD – Destacados de Programación – Agosto 2017 Concierto: Las estaciones, de Franz Joseph Haydn Nikolaus Harnoncourt & Filarmónica de Viena Estreno 6 de agosto 19:30 Argentina/Uruguay | 17:30 Colombia/Ecuador Uno de los grandes oratorios del siglo XVIII, servido de la mano de uno de los mejores directores en la historia y la excepcional orquesta vienesa. Género: concierto, oratorio, música clásica. Intérpretes: Dorothea Röschmann, Michael Schade, Florian Boesch; Coro de la Sociedad de Conciertos de la Ópera Estatal de Viena. Director: Nikolaus Harnoncourt. Orquesta: Orquesta Filarmónica de Viena. Año: 2013. Lugar: Grosses Festspielhaus, Viena. Duración: 150 minutos. Die Jahreszeiten [Las Estaciones] Hob. XXI:3 es el segundo gran oratorio de Franz Joseph Haydn (1732-1809), compuesto entre 1799 y 1801, dentro del último y gran período de madurez del genial compositor austríaco. Supone junto a Schöpfungsmesse Hob. XXII:13 y Harmonienmesse Hob. XXII:14 las últimas obras de gran envergadura de su autor. Tras su doble estancia en Inglaterra, donde fue galardonado con el título de Honoris Causa por la Universidad de Oxford, Haydn es considerado por sus compatriotas vieneses como el compositor vivo más importante. Durante esta época es también liberado de sus obligaciones en Esterházy. Por esta razón puede dedicar su tiempo a encargos privados. Impresionado por la cantidad de público que atraían los oratorios de Händel en Londres, siente el deseo de componer obras de este género. Aborda entonces la composición de La Creación entre 1796 y 1798, con la que obtiene un éxito rotundo. 235 Lincoln Road #201 Miami Beach, FL 33139 USA - +1 305-531-1315 5 Allegro HD – Destacados de Programación – Agosto 2017 El Barón Gottfried van Swieten, traductor y libretista de esta pieza, propone a Haydn trabajar sobre el poema Les Saisons, de James Thomson. En un principio, a Haydn no le convence la idea de no trabajar sobre un texto religioso, como es habitual en los oratorios clásicos, pero al final se deja convencer. La composición durará dos años en difíciles condiciones, tanto por los roces con las indicaciones de von Swieten como por la debilidad que le iban causando sus enfermedades. Haydn comenzó a trabajar, pues, en este segundo gran oratorio, contando de nuevo con la colaboración en el libreto del Barón van Swieten, al que una vez más tuvo que aguantar su vanidad y las permanentes instrucciones de cómo debía ser la música. Desde el inicio, el oratorio levantó notables críticas debido a sus excesivas descripciones en la partitura, elemento al que van Swieten era muy aficionado. Quizá por ello, Haydn cargó el peso de la culpa a este. A pesar de sus permanentes discusiones y de permanecer un tiempo sin dirigirse la palabra, la obra terminó siendo un éxito total en su estreno el 24 de abril de 1801, causando una profunda impresión en público y crítica, como así se pudo comprobar en los años siguientes. Surgieron algunas críticas con respecto al texto, pero el planteamiento de Haydn fue unánimemente alabado. Hoy día, disfrutando de la perspectiva histórica que da el tiempo, sería difícil escoger entre Las estaciones y La Creación como el mejor ejemplo en el ámbito del oratorio.
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