Beautiful singing and a moving success: Juan Diego Flórez and Sabina Puértolas in La Traviata in Madrid.

Madrid, July 20, 2025.

For two decades, Juan Diego Flórez has been one of the favorite divos of Madrid audiences. Almost every year, he sings in the capital on one or another venue, especially at the Teatro Real, where he always delights the audience. However, most of these glorious nights have been recitals. Throughout his opera career in Madrid, his performances of complete operas have been few; unlike in Barcelona, where he has sung the best of his repertoire on stage during his prime. Even if he did sing several complete operas in Madrid, it has mostly been in concert versions: at the Teatro Real he sang Gluck's Orpheé and Eurydice in 2008, which was recorded on CD, I Puritani in 2010, and Les Pécheurs de Perles in 2013. But we have to go back to 2005 to remember his only run of performances in a staged opera in Madrid: Rossini's Barber of Seville, which he sang with María Bayo, Pietro Spagnoli, and Ruggero Raimondi, which was recorded on DVD, now considered a classic. He was close to singing in 2009 in a staged Rigoletto alongside Leo Nucci, but ultimately canceled and instead gave two recitals to compensate. 

For this reason, when he was announced for three performances of  Verdi's La Traviata in the Teatro Real 2024-2025 season, it was a huge surprise: for the first time in twenty years, he was to be seen performing in an staged opera in Madrid again with this opera, which he debuted in 2018, whose grand scene at the beginning of the second act is a regular feature in his recitals. 

On Flórez's Alfredo Germont, some people has stated that he doesn't have neither the voice for the role, nor does he have enough volume. However, the 52-year-old Peruvian tenor's beautiful voice and stage experience help him carry the performance and to win over the audience. That elegant, refined singing, those beautiful high notes, that youthful tone are still present, even with a slightly more mature voice after three decades of career ,despite the fact that there are moments when the orchestra's volume is louder than his voice, drowning him out a bit. On the other hand, his ability to flatten certain notes and hold them for a long time in phrases like "Vi fia grato" before the toast, or in "Ah sí, da un anno"; or then to add a high note in "croce, croce e delizia" (cross, cross, and delight), lend a touch of vocal pyrotechnics to his rendition. It was to be expected that he would save his voice for his grand moment, the beginning of the second act: his voice sounded brilliant and vigorous in the phrase "E le pompose feste ove, agli omaggi avvezza" in the previous recitative, conveying the character's joy and enthusiasm. In the beautiful aria "De miei bollenti spiriti," his legato and ability to flatter into phrases like "io vivo quasi in ciel" (I live almost in heaven) were striking. In the following cabaletta that closes his grand scene, "O mio rimorso," he continued in his brilliant vein, closing the scene with a grand final high note in "Quest' onta laverò" (Quest' onta laverò). In the second half of the second act, the orchestra somewhat drowned him out, yet at the end of that act, his voice regained beauty in "Ah si che feci, ne sento orrore" (Ah si che feci, ne sento orrore), which he sang exquisitely, conveying the character's regret. His other great moment was the third act, where he was brilliant throughout, especially in the duet with the soprano, the famous "Parigi, o cara," in which he was splendid and sang exquisitely.

I had a hard time imagining how Flórez would perform in such an unconventional staging, especially in the second act, where his underwear is visible in one scene and is harassed by the chorus in another. But his personality is unmistakable: the tenor's vocal elegance also translates into elegance, gallantry, and sensitivity on stage. His Alfredo is a very refined and sensitive young man, not yet mature enough, who on the other hand doesn't measure the consequences of his actions. 

For this performance, American soprano Nadine Sierra was scheduled to sing Violetta; however, unfortunately, due to a health problem, she had to cancel the performance and was replaced at the last minute by the Spanish Sabina Puértolas. Few imagined that the initial disappointment caused by Sierra's absence would give way to one of the most moving personal successes remembered at the Teatro Real. Puértolas, with her stage temperament and devotion, achieved enormous success. Her voice has a tone that ranges from youthful to dark, and in the first act, she seemed more consistent than Sierra's. In more dramatic moments, such as Alfredo, Alfredo di questo core, at the end of the second act, she was at her best. But the third act was yet to come. Already during the reading of the letter, she sounded heartbreaking, but during the Addio del Passato, that great aria, Puértolas unleashed her full dramatic potential in a moving version, especially in the two refrains she sang, "Ah, della traviata sorridi al desio," where her voice sounded beautiful and dramatic, conveying the character's profound sadness at her imminent death. And it was then, at the end of the aria, that the audience erupted in a loud and prolonged ovation for Puértolas, which caused her to finally break out of character and thank the audience, weeping because of the high excitement. The possibility of an encore was very close, and I could hear some people asking for it, but ultimately it didn't happen. Several possibilities reached my ears: that he didn't do it so as not to overshadow Sierra, or even that the director tried but couldn't because the performance continued. Throughout the rest of the performance, she continued at her inspired level. At the end, she continued to receive enthusiastic applause and ovations.

The role of Giorgio Germont was sung by the Albanian baritone Gëzim Myshketa, with a powerful and consistent voice, although somewhat guttural. Nevertheless, he did his best in the aria Di Provenza , the first half of which was beautifully sung. 

Being in a better seat than i had on June 29, or perhaps because they had become more experienced as the performances progressed, I heard the orchestra and chorus better. I've already mentioned that Maestro Henrik Nánási 's conducting is more about accompanying the characters than shining with personality, but the slowness of his tempo allows us to enjoy the beauty of the preludes. The orchestra's strings are familiar with them, and a certain brilliance is evident when hearing them to play these two pieces. I found the clarinet accompanying the soprano in Sempre Libera equally inspired. And the chorus was extremely powerful this time in the middle of the first act, except when it's supposed to sing above, as it's hard to hear.

There is little to add to the rest: the supporting actors are equally good, especially the veteran Giacomo Prestia as the here sinister Death-Doctor Grenvil and Tomeu Bibiloni , a Baron Douphol with a powerful voice. 

There's not much more to add about Willy Decker 's staging, as I told all about it in my review of June 29th. Decker's production is perhaps the Traviata of our time, taking the essence of the story and bringing it to modern times, where it remains relevant. The tragedy of an objectified woman, set in a vast, almost empty stage, which contributes to reveal the characters' feelings. It remains a tough yet fascinating production that has aged well.

There are only two performances left in this run of Traviatas, which have been a success for the Teatro Real, with first-class casts and a large audience. Saturday's performance (featuring Xabier Anduaga and Adela Zaharia) was broadcast on live streaming to many town halls, squares, and cultural centers in many Spanish cities and villages, in addition to the telecast in National Television. But those of us who attended last night, will remember the moving success of Sabina Puértolas, accompanied by the great Juan Diego Flórez, in a beautiful opera evening.

My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.

Most of the photographs are from the internet and belong to its authors. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.

Elegancia, sorpresa y emoción: Juan Diego Flórez y Sabina Puértolas en La Traviata en Madrid.

Madrid, 20 de julio de 2025.

Juan Diego Flórez es desde hace dos décadas, uno de los divos favoritos del público de Madrid. Casi todos los años, canta en la capital en uno u otro escenario, especialmente en el Teatro Real, donde hace las delicias del público. Sin embargo, la mayoría de estas noches gloriosas han sido recitales. A lo largo de su trayectoria lírica en Madrid, sus actuaciones en óperas completas han sido pocas; al contrario que en Barcelona, donde ha cantado lo mejor de su repertorio en sus años de plenitud. Incluso, cuando ha sido en óperas completas, la mayoría de las veces ha sido también en versión concierto: en el Teatro Real cantó Orfeo y Eurídice en 2008, que fue grabado en disco, I Puritani en 2010, y Los Pescadores de Perlas en 2013. Pero habría que remontarse al año 2005 para recordar su única ópera escenificada en Madrid: el ya clásico Barbero de Sevilla rossiniano que cantó con María Bayo, Pietro Spagnoli y Ruggero Raimondi, que fue grabado en DVD. A punto estuvo de cantar en 2009 en un Rigoletto escenificado junto a Leo Nucci, pero finalmente canceló y como compensación dio dos conciertos. 

Por ese motivo, cuando se le vio anunciado en tres funciones de esta Traviata escenificada que cierra esta temporada, la sorpresa fue mayúscula: por primera vez en veinte años, se le veía actuar en una ópera en Madrid. Y además con esta ópera que debutó en 2018, y cuya gran escena del inicio del segundo acto es pieza habitual de sus recitales. 

Se ha dicho de Flórez que no tiene la voz para el personaje de  Alfredo Germont, ni el volumen suficiente. Sin embargo, la bella voz del tenor peruano y su experiencia en escena consiguen que saque adelante la representación y se siga metiendo al público en el bolsillo. Esa elegancia, ese refinamiento, esos bellos agudos, ese timbre juvenil, siguen presentes a sus 52 años, aun con la voz un poco más madura, tras tres décadas de carrera. Durante el primer acto, el canto es impecable pese a que hay momentos en los que la orquesta le tapa. Por otro lado, su capacidad para apianar algunas notas, y de mantenerlas durante un largo tiempo  en frases como "Vi fia grato" antes del brindis, o en "Ah sí, da un anno"; o luego meter un agudo en "croce, croce e delizia", le dan un toque de pirotecnia vocal. Era de esperar que se reservara para su gran momento, el inicio del segundo acto: la voz brilló y se dejó oír  como en "E le pompose feste ove, agli omaggi avvezza" en el recitativo anterior, frase cantada por Flórez con una brillantez que transmite la alegría del personaje. En la preciosa aria "De miei bollenti spiriti", en la que su legato y su capacidad para apianar en frases como "io vivo quasi in ciel". En la cabaletta siguiente que cierra su gran escena, "O mio rimorso", siguió en su línea brillante, cerrando la escena con un gran agudo final en "Quest' onta laverò". En la segunda parte del segundo acto la orquesta le tapaba un poco, aun así en el final de dicho acto se resarció, en "ah si che feci, ne sento orrore", que cantó con exquisitez, transmitiendo el arrepentimiento del personaje. Su otro gran momento fue el tercer acto, donde estuvo brillante en todo momento, especialmente en el dúo con la soprano el famoso "Parigi, o cara",  en el que estuvo espléndido y cantó exquisitamente.

Me costaba imaginar cómo se desenvolvería Flórez a nivel actoral en una producción tan poco convencional, especialmente en el segundo acto, donde va en calzoncillos en una escena y en otra es acosado por el coro, pero la personalidad es inconfundible: la elegancia vocal del tenor se traduce también en una elegancia, gallardía y sensibilidad en escena. Su Alfredo es un joven muy refinado y sensible, aún no lo suficientemente maduro, que no mide las consecuencias de sus acciones. 

Para esta representación estaba previsto que la soprano estadounidense Nadine Sierra hubiera interpretado a Violetta; pero desgraciadamente debido a un problema de salud, tuvo que cancelar la función y fue sustituida en el último momento por la española Sabina Puértolas. Pocos imaginaban que la decepción inicial por la ausencia de Sierra diera paso a uno de los éxitos personales más emocionantes que se recuerdan en el Teatro Real. Y es que Puértolas, con su temperamento escénico y su entrega cosechó un enorme éxito. La voz tiene un timbre que va de lo juvenil a lo oscuro, y en el primer acto parecía la voz más consistente que la de Sierra. En momentos más dramáticos como el Alfredo, Alfredo di questo core, en el final del segundo acto, se mostró desenvuelta. Pero tenía que llegar el tercer acto. Ya durante la lectura de la carta sonó desgarradora, pero durante el Addio del Passato, esa gran aria, Puértolas sacó todo su potencial dramático, en una conmovedora versión, muy especialmente en las dos veces que canta el estribillo "Ah, della traviata sorridi al desio", donde la voz sonó bella, dramática, transmitiendo la tristeza profunda del personaje ante su propia muerte. Y fue entonces cuando al terminar el aria, el público estalló en una fuerte y prolongada ovación a Puértolas, que hizo que terminara por salirse del personaje y agradecer al público, llorando de emoción. La posibilidad del bis estuvo muy cerca, y se escuchaba cómo algunos lo pedían, pero finalmente no se dio. Varias posibilidades llegaron a mis oídos: que si no lo hizo para no eclipsar a Sierra, o incluso que el director lo intentó pero que no pudo ya que la función siguió. Durante el resto de la representación siguió en su inspirado nivel. Al terminar la obra siguió recibiendo aplausos y ovaciones muy entusiastas.

En el rol de Germont padre, estaba el barítono albano Gëzim Myshketa, de enorme y consistente voz, aunque un tanto gutural. No obstante se defendió lo mejor que pudo en el aria Di Provenza, cuya primera mitad fue cantada bellamente. 

Al estar en un asiento más cercano al escenario, o quizá porque con el transcurrir de las representaciones, ya estaban más rodados he escuchado mejor a la orquesta y el coro. Ya he mencionado que la dirección de orquesta del maestro Henrik Nánási es más de acompañamiento a los personajes que de brillar con personalidad, pero la lentitud de sus tempi permite disfrutar de la belleza de los preludios. Las cuerdas de la orquesta los conocen y se nota cierta brillantez en estas dos piezas. Igualmente inspirado vi al clarinete acompañando a la soprano en el Sempre Libera. Y el coro esta vez potentísimo en la mitad del primer acto, salvo cuando le toca cantar arriba, ya que no se le oye bien.

Poco hay que añadir de lo demás: los comprimarios al mismo buen nivel, especialmente el veterano Giacomo Prestia como el aquí siniestro Doctor Grenvil y Tomeu Bibiloni, un Barón Douphol de potente voz. 

Tampoco hay que decir mucho más sobre la puesta en escena de Willy Decker que no haya dicho ya en mi crítica del día 29 de junio. La producción de Decker es quizá la Traviata de nuestros días al coger la esencia de la historia y llevarla a tiempos modernos, donde sigue siendo vigente. La tragedia de una mujer objeto, en un enorme y casi vacío escenario que contribuye a desnudar los sentimientos de los personajes. Sigue siendo una producción dura y fascinante al mismo tiempo y que no envejece mal.

Quedan solo dos funciones para que termine esta serie de Traviatas que han sido un éxito para el Teatro Real, con elencos de primer nivel y con gran afluencia de público, pues la función del sábado fue transmitida en directo para muchos ayuntamientos, plazas y centros culturales en diversas ciudades españolas, además de emitirse por televisión. Pero los que hemos asistido hoy recordaremos el emotivo éxito de Sabina Puértolas, acompañada por el gran Juan Diego Flórez en una bella tarde de ópera.

Las fotografías y vídeos no son de mi autoría, si alguien se muestra disconforme con la publicación de cualquiera de ellas en este blog le pido que me lo haga saber inmediatamente. Cualquier reproducción de este texto necesita mi permiso.

Memories from a captive teenager, in an old theater: Grigori Frid's The Diary of Anne Frank is premiered in Spain.

Alcalá de Henares, July 12, 2025.

Last year, a new opera festival was created, called the Festival de ópera de cámara de Madrid  (Madrid Chamber Opera Festival), or Ópera a Quemarropa (opera at point blank range), in which short-form operas are programmed at various theaters in near small cities around Madrid . Its first edition last year featured Wolf Ferrari's Il segreto di Susanna in Aranjuez, and a medley of songs from Weill's Mahagonny and Seven Deadly Sins in El Escorial. One of the highlights of this year's edition is the Spanish premiere of Grigori Frid's mono-opera, The Diary of Anne Frank , based on the famous diary of the Dutch-Jewish girl who perished in the Holocaust. The venue was the historic Corral de Comedias in Alcalá de Henares, a theater built in 1602, with a capacity for around 200 people, and which retains its classical structure. 

Like Anne Frank, and like his compatriot Mieczysław Weinberg, author of another Holocaust opera, The Passenger, Grigori Frid is Jewish. In the late 1960s, Frid read the diary and decided to condense it into a short opera, a one-hour "mono-opera" for soprano and chamber orchestra, composed of 21 scenes. During this time, Frid began experimenting with twelve-tone and atonal music. Although the original libretto is in Russian, a German translation was chosen for its Spanish premiere, as the production comes from the Vienna Musiktheater. Although he composed it with orchestral accompaniment, this time it is performed with piano accompaniment only, as in its Moscow premiere in 1972. The staging is by German director Bruno Berger-Gorski . The musical team features Israelis Miriam Hajiyeva, soprano, and  Almog Aharoni, pianist. 

On stage, we only see the soprano, dressed as Anne Frank, a chair, and a suitcase. At certain moments, when she fears deportation (which unfortunately eventually occured), she dresses in a coat embroidered with a yellow star with the word "Jood" (Jew) in German, or a striped shirt, typical of concentration camps. The piano is hidden behind the stage, unseen to the audience.

Hajiyeva didn't have an easy task: standing alone on stage for nearly an hour, trying to fill it with her presence and voice. And yet, judging by the final applause and comments heard when leaving the theatre, she seems to have succeeded. She is a lyric soprano, with a youthful and pleasant tone. She successfully conveyed to the audience the innocence, reinforced by her youthful appearance, and the forced growing maturity of her character.

Frid's music, reduced to the piano, has a different impact than it would have with a full orchestra. The score conveys the teenager's different moods, as well as the ambiance of the descriptions of situations or environments, and even her feelings of love toward a boy hiding with the family, Peter van Pels. Although one misses seeing the work as the composer composed it, the piano can also convey all these emotions in a more intimate way, fitting with the small theater: examples can be found when she describes the Gestapo approaching, and especially her feelings toward Peter, and also in the abrupt ending. Pianist Aharoni echoed all of this, playing the score in a way that allows one to appreciate this range of details, making them to serve the protagonist's feelings. 

The small theater was almost full. At the end, there was a discussion with the artists and the audience, in which a woman spoke of how wonderful the performance was and how the spirit of Anne Frank was present. Others asked the artists how it was possible to perform Wagner and be Jewish, but the stage director responded with a big true: that many Jews were and are excellent Wagnerians. 

The programming of this work was a must. Few operas about this terrible historical period have found their place on the international opera scene, but this short opera by Grigori Frid is on its way to becoming one of them. In fact, this one and The Passenger are the best known, and both come from Russia, expanding its vast operatic repertoire. The theme is universal even today, because in many countries experiencing conflict, and especially in the two major ones which attract the attention of the West—I needn't mention which ones are—there are many Anne Franks who perhaps no longer keep diaries, but instead post stories in social media that show us the horror they cannot escape.

We must thank the Chamber Opera Festival for bringing this opera to Spain, where a work of this nature is so necessary, especially in these times, filled with polarization, prejudice, and violence against those who are different, stemming from every ideology.

My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.

Most of the photographs are from the internet and belong to its authors. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.

Una tragedia contemporánea en el viejo Corral de Comedias: El Diario de Ana Frank de Grigori Frid.

Alcalá de Henares, 12 de julio de 2025.

El año pasado, se creó un nuevo festival de ópera, llamado Festival de Ópera de Cámara de Madrid, u Ópera a Quemarropa, en el que en diversos teatros en los alrededores de Madrid, se programan óperas de pequeño formato. En su primera edición el año pasado, se destacaron Il segreto di Susanna de Wolf Ferrari en Aranjuez, o una mezcla de canciones del Mahagonny y los Siete pecados capitales de Weill en el Escorial. Este año, uno de los puntos fuertes de esta edición es el estreno en España de la mono-ópera de Grigori Frid, El Diario de Ana Frank, basado en el celebérrimo diario de aquella niña judía holandesa víctima del Holocausto. El escenario elegido es el histórico Corral de Comedias de Alcalá de Henares, un teatro que data de 1602, con capacidad para unas 200 personas, y que conserva su estructura clásica. 

Al igual que Ana Frank, y que su compatriota Mieczysław Weinberg, autor de otra ópera sobre el Holocausto, La Pasajera, Grigori Frid es judío. A finales de los años 60, Frid lee el diario y decide condensarlo en una ópera corta, una "mono-ópera" para soprano y orquesta de cámara, de una hora de duración, compuesta por  21 escenas. En esta época, Frid empezó a probar con música dodecafónica y atonal. Aunque el libreto original es en ruso, para su estreno en España, se ha optado por una traducción al alemán, ya que la producción procede del Musiktheater de Viena. Si bien compuso con acompañamiento orquestal, en esta ocasión se interpreta solo con acompañamiento de piano, como en su estreno en Moscú en 1972. La puesta en escena corre a cargo del regista alemán Bruno Berger-Gorski. El equipo musical está formado por los israelíes Miriam Hajiyeva, soprano, y Almog Aharoni, pianista. 

La puesta en escena se basta únicamente con la presencia de la soprano, vestida como Ana Frank, una silla y una maleta. En algunos momentos, cuando teme la deportación (que terminaría ocurriendo por desgracia), se viste con un abrigo en el que está bordada la estrella amarilla con la palabra "Jood" (judío) en alemán, o una camisa de rayas, de los campos de concentración. El piano no se ve, está escondido detrás de escena. 

Hajiyeva no tenía una tarea fácil. Estar sola en el escenario durante casi una hora, tratando de llenarlo con su presencia y su voz. Y sin embargo, parece que lo logró a juzgar por los aplausos y comentarios oídos. Es una soprano lírica, con timbre juvenil (aunque con agudo que aún le cuesta), y en general agradable. Pudo transmitir con éxito al público la inocencia, reforzada por su aspecto juvenil, y la creciente madurez forzada de su personaje.

La música de Frid, reducida al piano, tiene un impacto distinto del que habría sido con orquesta completa. La partitura relata los distintos estados de ánimo de la adolescente, así como la ambientación de la descripción de situaciones o ambientes, e incluso sus sentimientos amorosos hacia un muchacho que se escondía con la familia, Peter van Pels. Aunque se eche de menos ver la obra como la compuso el autor, el piano puede también transmitir de forma más íntima, al tratarse además de un pequeño teatro, todas esas emociones: por ejemplo, cuando describe a la Gestapo acercarse, y muy especialmente aquellas hacia Peter y también en el abrupto final. De todo esto el pianista Aharoni se hizo eco, interpretando la partitura de forma que se pudiera apreciar esta gama de detalles, y poniéndola al servicio de los sentimientos de la protagonista. 

El pequeño teatro estaba prácticamente lleno. Al final hubo un coloquio con los artistas y el público, en el que una señora habló de lo maravilloso de la interpretación y que el espíritu de Ana Frank estuvo presente. Otros preguntaron a los artistas que cómo era posible interpretar a Wagner y ser judío, pero el director de escena respondió algo cierto: que muchos judíos eran y son excelentes wagnerianos. 

La programación de esta obra era una cita ineludible. Pocas óperas sobre este terrible período histórico han encontrado su sitio en la escena operística internacional, pero esta pequeña ópera de Grigori Frid va camino de ser una de ellas. De hecho, esta y La Pasajera son las más conocidas, y ambas proceden de Rusia, ampliando su vastísimo repertorio. El tema es universal incluso hoy, porque en muchos países con conflicto, y muy especialmente en los dos que más despiertan la atención de Occidente, no necesito mencionar cuáles son, hay muchas Anas Frank que quizá ya no escriban un diario, sino que lo hagan en redes sociales donde publican historias que nos muestran el horror del que no pueden escapar.

Hay que agradecer al Festival de Ópera de Cámara que haya traído esta ópera a España, donde tan necesaria es una obra de esta característica, y más en estos tiempos que corren, llenos de polarización, prejuicio y violencia contra el diferente, provenientes de cualquier ideología, desde la más abiertamente violenta hasta la más insospechada.

Las fotografías y vídeos no son de mi autoría, si alguien se muestra disconforme con la publicación de cualquiera de ellas en este blog le pido que me lo haga saber inmediatamente. Cualquier reproducción de este texto necesita mi permiso.

The beautiful Verdi's "prison years" : successful I Lombardi alla prima crociata in Madrid.

Madrid, July 6, 2025.

The 1840s were a period of tireless activity for Giuseppe Verdi, during the so-called "prison years," or "anni di galera" in Italian. After the success of "Nabucco" in 1842 at La Scala, another success followed in 1843 with "I Lombardi alla prima crociata" (The Lombards at the First Crusade), another epic opera, whose success continued to establish the young composer's fame. There was even a revision of this opera for Paris, called Jérusalem, in the style of the grand opera that was fashionable then. During this decade, and also during the following decade, Verdi composed using the bel canto forms that had established Rossini, Bellini, and Donizetti: demonic ranges for the singers, and aria and cabaletta structures for the major characters. However, Verdi went a step further and evolved; instilling in the music an increasing degree of theatrical tension, a deeper exploration of the characters' emotions, and a brilliant ability to describe atmospheres through the music; one of the composer's skills, already present at this time. 

The Teatro Real has been producing concert performances of Verdi's operas from this period, with the exception of the most popular ones, such as Nabucco. This has been the case with Luisa Miller (2016), Macbeth (2017), Giovanna d'Arco (2019), Attila in May of this year, and I Masnadieri next season. This summer, in parallel with the La Traviata performances, two concert performances of these Lombardi have been scheduled, with a top-notch musical team.

Daniel Oren is synonymous with high standards when it comes to Italian opera. The veteran Israeli maestro returns to the Teatro Real to offer his outstanding work. His interpretation of the score, leading the Teatro Real Orchestra, is dynamic and agile, conveying both the passion and dramatic tension of the music. Oren draws from the orchestra a range of sounds, from the sensitive, such as the string introduction in the first act, which sounds like a caress on the piano here, through the rich sound of the horns, to the spectacular in the concertantes, where the orchestra sounds powerful and festive. Oren knows Verdi, knows this style, and demonstrates it, making the performance enjoyable and imprinting his personality on the orchestral performance, making it stand out rather than becoming a mere accompaniment. The third act begins with a virtuoso violin solo that anticipates the famous final trio, here well delivered by soloist Gergana Gergova , who received a resounding applause. 

The Teatro Real Choir , led by José Luis Basso,  once again demonstrates its versatility in an opera that offers them several performances to show their abilities. Thus, in many of the choruses, some of them  being prayers and evocative of sacred music, the female voices sang on a beautiful piano voice, lending a touch of angelic mysticism. Similarly, at the end of Act I, the male voices once again made an impact with their powerful voices. The chorus of Act IV, when the Lombards are about to enter Jerusalem, they nostalgically evoke their homeland, recalling the famous chorus of Nabucco (especially in the attack of voices and brass, or in the moments when they duet with the flute). In this number, the chorus shone as a whole, earning a big applause. 

The role of Giselda was scheduled to be sung by Italian soprano Anna Pirozzi, but she had to cancel shortly before the premiere, and was replaced by the young Russian soprano Lidia Fridman . Fridman has a dark voice for this role. She made a great effort to sing the difficult score, especially in her powerful high notes in the famous trio that closes the third act, but her nerves took their toll in the final act. Even so, she was applauded by the audience, who recognized her noble intentions. 

Francesco Meli returns to the Madrid with an Oronte in which he was at his best, as far as his vocal means allow. His voice is extremely powerful, sounding youthful and vigorous, although there are moments when it appears somewhat fragility amidst such power. This was the case in the otherwise powerful performance of the aria "La mia letizia infondere". He maintained this high level for the rest of the performance, rendering a beautiful performance in his final aria in Act Four.

The young Peruvian tenor Iván Ayón-Rivas played Arvino, Giselda's father. This tenor's voice has a darker tone. The role he plays is full of presence, but few moments of brilliance. However, in his scene with the chorus in Act III, he surprised everyone with a powerful final high note that earned him much applause and even a smile from his colleague Meli, who was sitting nearby.

Marko Mimica played Pagano, with a light tone, yet at the same time with a noticeable low voice. Miren Urbieta-Vega was an excellent Vicinda . David Lagares was a remarkable Pirro, and Mercedes Gancedo was a pleasant-voiced Sofia. Manuel Fuentes was correct as Acciano as well as Josep Fadó as the Prior.

The theater wasn't full; it was probably half full, or maybe sixty percent full, seventy percent being generous. In fact, there were still a good number of tickets still on sale. Nevertheless, those present applauded wildly during this incredible evening of opera, with a very well-served Verdi performance. 

My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.

Most of the photographs are from the internet and belong to its authors. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.

El maravilloso Verdi "de prisión": I Lombardi alla prima crociata en el Teatro Real

Madrid, 6 de julio de 2025.

La década de 1840 fue una etapa de incansable actividad para Giuseppe Verdi, en los años llamados "de prisión", o "anni di galera" en italiano. Tras el éxito de "Nabucco" en 1842 en La Scala, siguió otro éxito en 1843, con "I Lombardi alla prima crociata" (Los lombardos en la primera cruzada), otra ópera épica, cuyo nuevo éxito continuó consagrando al joven compositor. Incluso hubo una revisión de esta ópera, para París, llamada Jérusalem, al estilo de la grand-opéra que estaba de moda por esa época. Durante esta década, y también durante la siguiente década, Verdi componía usando las formas del belcanto que habían consagrado Rossini, Bellini y Donizetti: tesituras endemoniadas para los cantantes, y estructura de aria y cabaletta para los grandes personajes. Sin embargo, Verdi da un paso más allá y evoluciona; dejando en la música cada vez más tensión teatral, una exploración más profunda en las emociones de los personajes y una brillante capacidad para describir ambientes a través de su música; una de las especialidades del autor, ya presente desde esta época. 

El Teatro Real tiene la costumbre de programar en concierto las óperas de este período del compositor, a excepción de las más populares como Nabucco. Así ha sido con Luisa Miller (2016), Macbeth (2017), Giovanna d'Arco (2019),  Attila en mayo de este año, e I Masnadieri en la próxima temporada. Este verano, en paralelo a las funciones de La Traviata, se han programado dos funciones en concierto de estos Lombardi, con un equipo musical de nivel.

Daniel Oren es sinónimo de buen nivel, cuando de ópera italiana se trata. El veterano maestro israelí regresa al Real, para ofrecer su buen hacer. Su interpretación de la partitura, al frente de la Orquesta del Teatro Real es dinámica, ágil, haciendo que se sienta tanto la pasión como la tensión dramática de la música. Oren saca de la orquesta una gama de sonidos que va desde lo sensible, como la introducción de cuerdas del primer acto, que suena aquí en piano, como una caricia, pasando por el buen sonido de las trompas, hasta lo espectacular de los concertantes, donde la orquesta suena potente y festiva. Oren conoce a Verdi, conoce este estilo y lo demuestra, haciendo que la función sea amena e imprima su personalidad a la interpretación orquestal, haciéndola destacar y no ser un mero acompañamiento. El tercer acto inicia con una destacada intervención del violín, un solo virtuoso  que anticipa el conocido terceto final, aquí bien defendido por la solista Gergana Gergova, quien se llevó un fuerte aplauso. 

El Coro del Teatro Real al frente de José Luis Basso vuelve a ofrecer su buen hacer, haciendo gala de su versatilidad, en una ópera que les da varias intervenciones para demostrar sus capacidades. Así, en muchos de los coros, que se tratan de plegarias, que evocan la música sacra, las voces femeninas cantaron en un bellísimo piano, dandole un toque de misticismo angelical. Del mismo modo, en el final del primer acto, las voces masculinas volvieron a impactar con sus potentes voces. El coro del acto cuarto, cuando los lombardos están a punto de entrar a Jerusalén, evocan nostálgicamente su patria, recordando el celebérrimo coro de Nabucco (especialmente en el ataque de voces y metal a mitad del número, o en los momentos en los que van a dúo con la flauta). En este número el coro brilló en todo su conjunto, siendo aplaudido por ello. 

Estaba previsto que el rol de Giselda lo cantara la soprano italiana Anna Pirozzi, pero tuvo que cancelar poco antes del estreno, con lo que fue sustituida por la joven soprano rusa Lidia Fridman. Fridman tiene una voz oscura, un poco de más para este rol. Hizo un gran esfuerzo por cantar la difícil partitura, y eso se notó, especialmente unos potentes agudos en el famoso terceto que cierra el tercer acto, pero los nervios le pasaron factura en el acto final. Aun así fue aplaudida por el público que supo premiar su noble intención. 

Francesco Meli regresa al Real con un Oronte en la que estuvo pletórico, en la medida que sus medios le permiten. Su voz es potentísima, suena juvenil y vigorosa, aunque hay momentos en que la voz presenta alguna fragilidad en medio de tanta fuerza. Así sucedio en la por otra parte, poderosa interpretación del aria La mia letizia infondere. Durante el resto de la función se mantuvo a ese gran nivel, despidiéndose con dignidad en su aria final en el acto cuarto.

El joven tenor peruano Iván Ayón-Rivas interpretó a Arvino, padre de Giselda. La voz de este tenor tiene un toque más oscuro. El rol que interpreta tiene mucha presencia, pero pocos momentos de lucimiento, aun así en su escena  con coro del acto tercero, sorprendió a todos con un potentísimo agudo final que le valió muchos aplausos e incluso una sonrisa de su colega Meli, sentado cerca de él.

Marko Mimica interpretó a Pagano, con un timbre ligero, pero al mismo tiempo con un grave apreciable. Miren Urbieta-Vega fue una excelente Vicinda. David Lagares fue un notable Pirro, y Mercedes Gancedo una Sofia de voz agradable. Correctos Manuel Fuentes como Acciano y Josep Fadó como el prior.

El teatro no estaba lleno, posiblemente estuviera a la mitad o a un sesenta por ciento, setenta siendo generosos. De hecho, había aún un buen número de entradas a la venta. Sin embargo, los allí presentes aplaudimos a rabiar esta increíble tarde de ópera, con un Verdi muy bien servido. 

Las fotografías y vídeos no son de mi autoría, si alguien se muestra disconforme con la publicación de cualquiera de ellas en este blog le pido que me lo haga saber inmediatamente. Cualquier reproducción de este texto necesita mi permiso.

The desperate struggle of a dying woman: Willy Decker's Traviata at the Teatro Real.

Madrid, June 29, 2025.

Every time La Traviata is scheduled for a run of performances at the Teatro Real, it becomes a cultural and social event: mentions in the media, the local jet-set attending the premiere, all tickets sold-out, and sometimes even a telecast. This year, it also coincides with Opera Week, so there will be a live telecast on a giant screen in the Plaza de Oriente, attended by thousands of people, and in many cultural centers across Spain on July 19.

For this return, the famous Willy Decker staging, which premiered twenty years ago at the Salzburg Festival, featuring the Russian diva Anna Netrebko, is being brought. This production has toured major theaters around the world with great success and has become a classic. In the 2019-2020 season, the Teatro Real had scheduled it for two performance runs in May and July 2020. However, that year, the COVID-19 pandemic stopped every cultural activity, and confined people to their homes around the globe. There was no time to think about opera with so many people dying from the coronavirus. Having missed the May performances, when it was announced that twenty-eight performances of this opera would be scheduled for July of that year, with the initially planned casts (except for Nadine Sierra, Plácido Domingo as Germont Sr., due to the scandal surrounding him; and the legendary Luigi Roni as Doctor Grenvil, since he died of Covid in March of that year), the surprise was enormous. Finally, the performances took place, with strict security measures, in a semi-staged version (without the possibility of performing any production yet) that separated singers and chorus on stage, in a comeback for world-class opera.

Five years later, this acclaimed production finally arrives, alongside conductor Henrik Nánási and soprano Nadine Sierra , scheduled for performances in May 2020. In December 2022, Sierra and Spanish tenor Xabier Anduaga captivated audiences at the Teatro Real with La Sonnambula. Now these beloved singers are back on its stage to delight us with the world's most famous opera, of which they are renowned performers.

Willy Decker 's staging remains as powerful and shocking two decades later. It's a Traviata unlike how we're used to seeing it, and at the same time so faithful to the essence of the story that makes this old story to remain relevant, even 172 years after its premiere. What "well-to-do" family would welcome their son having relations with a courtesan, a high-class prostitute? These characters are victims of society's hypocrisy: they are used as pleasure toys, but denied the right to rebuild their lives if they try to abandon this life. The minimalist production echoes all of this: there is no romance, no gallantry, no baroque costumes, no luxurious salons, and no elegant bedrooms. What matters here is the tragedy of a soon-to-die woman,who suffers for daring to love and fight against her inevitable death, discarded by society after having taken advantage of her. One leaves the performance with a feeling of sadness for Violetta, and indignation at her suffering. 

Upon entering the hall, we are greeted by a curved white stage with a huge clock, representing the short time left to live, and close to it, Doctor Grenvil is seated, representing death. In the background, a mural of flowers can sometimes be seen. The only woman who matters here is Violetta, in her now-iconic red dress. The others are all randy men (even the women, here dressed as men except for the maid) who surround her lustfully. The clock moves quickly shortly before the first act finale, cutting short Violetta's life. The second act begins with Violetta and Alfredo playing tenderly, wrapped in flowery robes that merge with the sheets covering the sofa. The second scene of this act doesn't show gypsies and bullfighters dancing, but rather the masked chorus tormenting Alfredo with a man wearing the same red dress Violetta is wearing, harassing him relentlessly. Only when, in the now-classic scene in which Alfredo humiliates Violetta by throwing money at her to pay her for what she spent on him, does the chorus show some humanity and appear without masks. This will be short-lived: in the third act, they will appear to take the enormous clock and place another woman dressed in red on top of it: their next victim, much to Violetta's despair. In the tragic third act, the stage emptier than ever, we see a weak, agonizing Violetta under the watchful eye of Grenvil-Death, who is only slightly cheered by Alfredo's visit. In fact, in the end, the poor woman dies alone before everyone's apathetic gaze.

Henrik Nánási 's orchestral conducting has some brilliant moments, such as the slow tempo during the opening string section of the Act I prelude and the mournful prelude to Act III, two moments in which the Teatro Real Orchestra really gave nice renditions. But little more: the tempi were very slow, and just a mere accompaniment for singers. Furthermore, the performance began in Bayreuth style: the lights went down and the prelude began, while some conversations could still be heard. With the exception of the Addio del Passato,  which was sung complete, the score was presented with the known cuts in Ah, Fors'è lui , O mio rimorso and Non udrai rimproveri.

The Teatro Real Choir struggled to make itself heard due to the staging's structure, including singing behind masks in the second act and sometimes being placed high up on the stage. This also affected the supporting singers, which were often indistinguishable from the chorus. Even so, José Luis Basso 's ensemble reached its peak in the second half of the second act, and was thrillingly showcased in the final concertante, where it showed its full potential. Once again, their acting skills stood out, conveying the amorality imposed by the production.

Nadine Sierra was the undisputed star of the evening. Her acclaimed Violetta evolved both in her interpretation and her music throughout the performance, which, combined with her on-stage magnetism, turned her performance an emotional one. During the first act, she relied on pyrotechnics and her acting skills to compensate for some limitations, and even so, the aria and cabaletta at the end of the first act were striking. But from the second act onwards... Sierra gave the audience a succession of unforgettable moments. In the duet with Germont Sr. in the second act, she convincingly portrayed a desperate woman at the request of her beloved's father, saddened by his fate. The Dite alla giovine was sung exquisitely, with a moving piano line. The same was  at the end of the duet, with "Conosca il sacrifizio", and at the end of the second act, with "Alfredo, Alfredo di questo core". In the third act, her Addio del Passato, sung with passion, vehemence, with all her vocal means, with beautiful high notes, a velvety voice, and a moving rendition, was the high point of the performance. Her low notes are equally beautiful, appropriately sung at the most dramatic moments, which led her to a haunting version of the letter reading in the third act. As an actress, as she is a young, beautiful woman, she conveyed sensuality in the first act, the exhaustion of her struggle with death, as well as all the sadness of the character. If there's anything memorable in these performances, it is her.

Xabier Anduaga's voice is its prime in these performances. His Alfredo sounds vigorous and youthful, and as an actor he conveys the character's impulsiveness. His voice may sound a little nasal, but this is nothing compared to the beauty of his voice and its generous volume. For example, in the conclusion of Sempre Libera from Violetta, with the phrase "Amore è palpito dell'universo," which he sings on stage due to the production. His interpretation of the aria "De miei bollenti spiriti" impresses with its powerful vocal means, as does the caballetta "O mio rimorso." He sings very moving rendition of the "Parigi, o Cara" in the third act.

I remember I enjoyed seeing Luca Salsi in that Tosca he sang here in 2021 with Anna Netrebko. But Giorgio Germont is another story, and it's been four years since those remembered performances. Now his voice seems uneven to me. There are moments when it sounds guttural, but others when, with a more polished delivery, it's still capable of moving with still beautiful singing. His voice is still big-volumed. During the duet with Violetta, the piano's response to the soprano, "Supremo è il veggo, il sacrifizio," was very beautiful, but the rest of the performance was mixed, especially in the Di Provenza. 

The rest of the cast did their best, given their blend with the chorus and the setting. A special mention goes to Tomeu Bibiloni as a vehement Baron Douphol, with a big voice. The regular at this opera house Gemma-Coma Alabert was a well-sung Annina. The role of Doctor Grenvil, is short but extremely important here. Luigi Roni, who sang the role in this production all over the world, has died, but this  role is now played by veteran Giacomo Prestia , who still maintains a powerful voice, with spectacular low voice.

Many in the audience would probably have preferred a classic staging, but La Traviata is always moving and enjoyable, so the theater was full. There is also another segment of the audience who are already familiar with the production from the famous 2005 video or from other theaters, and are already convinced by it. In any case, there were generous ovations for Anduaga and Sierra in the end, in an evening that, if will not go down in the annals of the Teatro Real's history, was certainly moving due to the outstanding performance of its world-class starring soprano.

My reviews are not professional and express only my opinions. As a non English native speaker I apologise for any mistake.

Most of the photographs are from the internet and belong to its authors. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.

Any reproduction of my text requires my permission.