Preparing amazing operas: An interesting work session with the Teatro Real Choir.

In 2009, the Intermezzo Choir became the new principal choir of the Teatro Real in Madrid, and one of its first appearances was in a Rigoletto staging. Since then, the choir has had a fruitful collaboration with the Teatro Real that continues to this day. From Gerard Mortier's tenure as the artistic director of the theatre, the group paved the way for its big present-day reputation, something that continued during the era of Joan Matabosch, the current artistic director. Since I began my journey on this blog, I have reported on the great performances of this choir, directed by José Luis Basso, whose quality is recognised within Spain and abroad. Here are some examples from international critics:

The Teatro Real's titular choir, which is also a character in its own right in the drama, leaves one speechless.

Opera Online (France), about the 2021 Peter Grimes staging.

The participation of the choir of Teatro Real was simply brilliant. The ensemble sang at full capacity, with 90 singers. Their interventions were strong, and their voices blended perfectly.

Operawire, on the 2022 Nabucco staging.

The orchestra under the baton of Pablo Heras-Casado played their hearts out, and the huge chorus sang splendidly.

The Article (United States) on the 2024 staging of Wagner's Meistersinger.

From their participation in these and other operas, I have fond memories in my mind. How can I forget them in "Peter Grimes", when the people powerfully invoke the name of the eponymous protagonist, to settle accounts with him;  the palpable emotion of an oppressed people in Nabucco, or the festive and joyful nature of an entire city celebrating in "Die Meistersinger".Of all these emotions, this choir has given memorable performances on the Teatro Real's stage. And I have enthusiastically described many of them in this blog. To my pleasant surprise, this enthusiasm reached the choir itself. That is why, in February 2020, I was offered the possibility of attending a rehearsal of the opera "Achille in Sciro", scheduled for the following month. However, the Covid-19 pandemic, which had just arrived in Spain, prevented it. Finally, after a few years of caution and frenetic activity, with the extremely intense 2023-2024 season, with such demanding operas, I was offered the invitation again.

So, on August 30th, after returning from vacation, I was finally able to enjoy this honor: I attended a work session, in which two works for this season were being prepared: Adriana Lecouvreur, and Theodora. The male and female sections did so separately. In the first hour, I attended a session with the male choir, in the imposing choir rehearsal room, presided over by the bust of conductor Luis García Navarro. I must say that sitting in front of the choristers, and observing their work, gave me a feeling of feeling small and not knowing what to say. Then, I was introduced to them, some of whom responded with a "welcome," which calmed my nerves. Led by maestro Abel Iturriaga , they worked on the powerful final choruses of the second and third acts of  Handel's Theodora, which premieres tomorrow and will be on the bill until the end of this month. Maestro Iturriaga started to play the piano, and the powerful voices began to sound as the music flowed. 

After the second pause, it was time to return to the first hall, where the first session took place. Now the two sections were rehearsing together the opera that premiered last September: Adriana Lecouvreur, by Francesco Cilea. The choir has a brief participation in this opera, only in the third act. Maestro Varas played Cilea's music on the piano, reminding me how beautiful, magical, and sweet verismo music can be when just reduced to the keyboard's sound.

After this last session, the work day ended, of which I attended three interesting hours in the afternoon. I was led to the exit, but I had a funny incident: the QR code they gave me at the entrance to enter did not work at the exit, which caught the attention of the choir members, who tried to help me at all times, but finally the security guard invited me to leave through another door.

I can only thank Intermezzo Promusic for this honour bestowed upon me, especially Lide Agirrezabala, who contacted me for the first time in 2020, Amaia Imaz for taking up the invitation and offering me all the comforts during my visit; the maestros Iturriaga and Arqued for their kindness and knowledge, and the members of the choir for welcoming me and for their kindness towards me.

Teatro Real Choir performance photo is propriety of the Juan March Foundation and Teatro Real.

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

The remaining photos are released under Teatro Real Choir authorization. My use of them is only cultural. If someone is uncomfortable with their use, just notify it to me.

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