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DANIELLE DE NIESE Soprano JULIUS DRAKE Piano XXII CICLO Teatro de la Zarzuela Centro Nacional de Difusión Musical DANIELLE DE NIESE soprano JULIUS DRAKE piano coproducen: XXII CICLO DE LIED RECITAL VI TEATRO DE LA ZARZUELA | LUNES 04/04/16 20:00h Pantone 186c cmyk 100/81/0/4 pantone: 258C | cmyk 42/84/5/1 pantone: 144C | cmyk 0/50/100/0 pantone: 144C | cmyk 0/50/100/0 pantone: 2995C | cmyk 100/0/0/0 pantone: 370C | cmyk 50/0/100/25 pantone: 2935C | cmyk 100/46/0/0 pantone: 131C | cmyk 0/32/100/9 pantone:104C | cmyk 0/3/100/30 Pantone 186c | cmyk 100/81/0/4 pantone: 328C | cmyk 100/0/45/32 pantone: 370C | cmyk 65/0/100/42 pantone: 208C | cmyk 0/100/36/37 Centro Centro Nacional Nacional CONTRAPUNTO de Difusión de Difusión DE VERANO Musical Musical Tradición y presente de la música alemana AUDITORIO NACIONAL DE MÚSICA UNIVERSO Sala Sinfónica 20:00h BARROCO LUNES 27/06/16 Robert Schumann AUDITORIO NACIONAL DE MÚSICA Obertura de Manfred, op. 115 Sala Sinfónica JOVEN ORQUESTA Concierto para piano y orquesta NACIONAL DE ESPAÑA en la menor, op. 54 Jörg Widmann Aria, para cuerdas CHRISTIAN Johannes Brahms ZACHARIAS piano y dirección Sinfonía nº 3 en fa mayor, op. 90 VENTA DE ENTRADAS PARA ESTE CONCIERTO Público general: 5€ - 20€ Butaca Joven: 3€ (zona E, menores de 26 años) Último Minuto: 2€ - 8€ (menores de 26 años y desempleados, solo en taquillas del ANM, una hora antes del concierto) © Orchestre de Chambre de Lausanne und Nicole Chuard de Lausanne und Nicole de Chambre © Orchestre AUDITORIO NACIONAL DE MÚSICA | Sala de Cámara | 20:00h 01/06/16 | MIÉRCOLES 03/06/16 | VIERNES CUARTETO DE LEIPZIG CUARTETO DE LEIPZIG CHRISTIAN CHRISTIAN ZACHARIAS piano ZACHARIAS piano Obras de Wolfgang Rihm, Obras de Robert Schumann, Johannes Brahms, Jörg Widmann Aribert Reimann y Johannes Brahms y Robert Schumann DOMINGO 24/04/16 19:30h 16/06/16 | JUEVES LA CAPELLA REIAL DE CATALUNYA 14/06/16 | MARTES CUARTETO DE LEIPZIG CUARTETO DE LEIPZIG OLGA GOLLEJ piano Obras de Robert Schumann, HESPÈRION XXI Obras de Robert Schumann, Bernd Franke Steffen Schleiermacher y Johannes Brahms JORDI SAVALL viola da gamba y dirección y Johannes Brahms Miguel de Cervantes: viajes, sueños y utopías. ABONOS PARA TODO EL CICLO hasta el 30 de abril | 5 conciertos (4 en Sala de Cámara y 1 en Sinfónica) En el 400 aniversario de la muerte de Miguel de Cervantes (1547-1616) Público en general: 40€ - 80€ | Abono Joven (<26 años): 32€ - 60€ Taquillas del Auditorio Nacional y Teatros del INAEM | www.entradasinaem.es | 902 22 49 49 ENTRADAS: 15€ - 40€ | Butaca Joven (zona E): 5€ www.cndm.mcu.es síguenos en Colabora: www.cndm.mcu.es síguenos en Último Minuto* (<26 años y desempleados): 4€ - 8€ * solo en taquillas del ANM , una hora antes del concierto Taquillas del Auditorio Nacional y Teatros del INAEM www.entradasinaem.es | 902 22 49 49 Pantone 186c Pantone 186c cmyk 100/81/0/4 cmyk 100/81/0/4 pantone: 258C | cmyk 42/84/5/1 pantone: 258C | cmyk 42/84/5/1 pantone: 144C | cmyk 0/50/100/0 pantone: 144C | cmyk 0/50/100/0 pantone: 144C | cmyk 0/50/100/0 pantone: 144C | cmyk 0/50/100/0 pantone: 2995C | cmyk 100/0/0/0 pantone: 2995C | cmyk 100/0/0/0 pantone: 370C | cmyk 50/0/100/25 pantone: 370C | cmyk 50/0/100/25 pantone: 2935C | cmyk 100/46/0/0 pantone: 2935C | cmyk 100/46/0/0 pantone: 131C | cmyk 0/32/100/9 pantone: 131C | cmyk 0/32/100/9 pantone:104C | cmyk 0/3/100/30 pantone:104C | cmyk 0/3/100/30 Pantone 186c | cmyk 100/81/0/4 Pantone 186c | cmyk 100/81/0/4 pantone: 328C | cmyk 100/0/45/32 pantone: 328C | cmyk 100/0/45/32 pantone: 370C | cmyk 65/0/100/42 pantone: 370C | cmyk 65/0/100/42 pantone: 208C | cmyk 0/100/36/37 pantone: 208C | cmyk 0/100/36/37 DANIELLE DE NIESE soprano* JULIUS DRAKE piano * Presentación en el Ciclo de Lied XXII CICLO DE LIED RECITAL VI TEATRO DE LA ZARZUELA | LUNES 04/04/16 20:00h PROGRAMA PRIMERA PARTE SEGUNDA PARTE JOHN DOWLAND (1563-1626) FRANCIS POULENC (1899-1963) Come again! Sweet love doth now Fiançailles pour rire, FP. 101 (1939) FRyDERyK CHOPIN (1810-1849) What if I never speede? La dame d’André , op. 74 (1829/41) (selección) Pies´ni Dans l’herbe Nº 5. Gdzie lubi Il vole WOLFGANG AMADEUS MOZART (1756-1791) Nº 14. Piers´cien´ Mon cadavre est doux comme un gant Nº 10. Wojak Giunse alfin il momento… Al desìo, K. 577 (1786) Violon Nº 16. Piosenka litewska Fleurs Nº 8. S´liczny chłopiec EDVARD GRIEG (1843-1907) GEORGES BIZET (1837-1875) Haugtussa, op. 67 (1895) FRANZ JOSEPH HA yDN (1732-1809) Det syng Vingt mélodies pour chant et piano, op. 21 (hacia 1880) (selección) , Hob.XXVIb:2 (1789) Cantata Arianna a Naxos Veslemøy Chanson d’avril Recitativo: “Teseo mio ben, dove sei? Dove sei tu?” Blåbaer-li Adieu de l’hôtesse arabe Aria: “Dove sei, mio bel tesoro” Møte La coccinelle Recitativo: “Ma, a chi parlo? Gli accenti Eco ripete sol” Elsk Tarantelle Aria: “A che morir vorrei in sì fatal momento” Killingdans Vond dag Ved Gjaetle-Bekken Duración Aproximada primera parte: 45 minutos Descanso de 20 minutos Segunda parte: 45 minutos Se ruega al público no aplaudir hasta el final de cada bloque El recital será transmitido por Radio Clásica de RNE en fecha que la emisora anunciará oportunamente: www.rne.es/radio/radioclasica El recital será transmitido por Radio Clásica de RNE en fecha que la emisora anunciará oportunamente: www.rne.es/radio/radioclasica 4 5 AMOR, nostalgia DOWLAND, MOZART Y GRIEG El viaje comienza con el gran maestro del laúd renacentista, el compositor británico John Dowland. Como es sabido, Dowland es un compositor íntimo y exquisito, amante Y HUMOR, de la poesía y del ingenio, que seleccionaba cuidadosamente breves poemas de hondo calado como textos, amén de métricamente impecables. pero ante todo Dowland es un alquimista que, con la precisión de un cirujano, logra sumir rápidamente EN SUS justas DOSIS al oyente en la reflexión y la nostalgia. Y sin embargo, su enorme talento deviene en ligereza, consiguiendo que música y texto fluyan con naturalidad e hipnoticen al espectador. Escuchándolo, parece fácil experimentar con la ornamentación, la dinámica y la tensión armónica. probablemente sea porque su música es potente sin permitir estridencias. Ésta combina admirablemente unas líneas melódicas de una extraordinaria sencillez y belleza, con los pasajes arpegiados, los acordes plaqué, algún que otro adorno y, en todo momento, un bajo sólido. De ahí el sutil virtuosismo AMELIA SERRALLER Calvo que exige a los intérpretes. Y es que todo en su música está medido al milímetro y funciona por contraste y contrapeso: sobrio e intenso, su fraseo es característico y sus principales motivos se recuerdan fácilmente. Enamorado de la voz humana y del laúd, su obra, consagrada a la música de cámara, parece quitar densidad a los grandes temas, al tiempo que invita a reflexionar. En concreto, Dowland compuso originalmente su pequeña joya Come again! Sweet love doth now invite para cuatro voces (soprano, alto, tenor y bajo) y laúd en 1597, aunque por su carácter homofónico y su contenido melancólico se suela interpretar con soprano y laúd. Algo similar ocurre con la segunda pieza del programa, titulada What if I never speede, cuyo interés le permite ser interpretada por un coro o un solista. no en vano su artífice es uno de los compositores más influyentes de la historia de la música, cuyo influjo se proyecta hasta nuestros días gracias a Nocturnal, homenaje que le brindó Benjamin Britten y al renacer que ha experimentado la música antigua desde los años setenta del pasado siglo. De hecho, el universo de Dowland atrae tanto a escrupulosos intérpretes historicistas (sirva como ejemplo el gran laudista Según reza el refranero popular, “la primavera, la sangre altera”. Será por eso que en y vihuelista norteamericano Hopkinson Smith) como a estrellas de la cultura pop este recital, sexto de la actual temporada y primero del mes de abril, Danielle de niese como el cantante Sting o la banda de rock progresivo Focus. y Julius Drake nos proponen un completo paseo por la historia del repertorio lírico europeo de temática amorosa, que abarca el norte y el sur de Europa. La siguiente parada supone un cambio de estilo y de siglo. Así, al despojamiento de Dowland se le opone el magnífico espectáculo que son las óperas de mozart, Así pues, la primera parte nos lleva a otras latitudes, climatológicamente más frías. compositor en el que De niese es especialista. Ella y Julius Drake nos presentan el Y lo hace de la mano de tres gigantes visionarios, que encarnan la quintaesencia de aria rondó Giunse al fin il momento, de su archifamosa ópera Le nozze di Figaro (1785- la música de su país y período correspondientes (John Dowland o el Renacimiento 1786). ni qué decir tiene que estamos ante uno de los momentos más inspirados inglés; el inseparable binomio Clasicismo y mozart, que ya en su época traspasa las del tándem entre el salzburgués y su libretista de referencia, el italiano Lorenzo Da fronteras austríacas para incorporar a su obra Italia, praga, el Imperio otomano y ponte. Ambos nos ofrecen su vertiente más intimista sin perder por ello un ápice de toda Europa; finalmente, Edvard Grieg y el Romanticismo o nacionalismo noruego). teatralidad y frescura. presentados en orden cronológico, los tres compositores plasman musicalmente la espera amorosa, en toda su riqueza y ambivalencia de matices.
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