Concert at Teatro Real (Madrid)LA MADRILEÑA
La Madrileña, a period instrument orchestra conducted by José Antonio Montaño, is to perform another concert this coming 11th of November 2016 in the Teatro Real (Madrid). On this occasion, the orchestra will play different Arias by Vicente Martín y Soler and W. A. Mozart featuring the soprano Susana Cordón.
This concert is part of the Actividades Paralelas of the Teatro Real program themed around the opera La Clemenza di Tito by Mozart, and will take place this November 11th in the Gayarre hall right after the talk conducted by Enfoques which will discuss the main elements of music and the dramaturgy of the productions featured in the Teatro Real.
LA MADRILEÑA CONCERT AT TEATRO REAL (MADRID)
Conductor, José Antonio Montaño
Soprano, Susana Cordón
Martín y Soler:
La Madrileña or Il tutore burlato Overture
Arias from Pesnolubie (premiere in modern times)
– Inocentita y linda (Seguidilla)
– Chère hirondelle
– V svete ludi svoevolni
Mozart: “Chi sa, chi sa qual sia” from Il burbero di buon cuore
The music repertoire of Classicism is certainly the most widespread, known and much-requested by the international public. Haydn, Mozart and Beethoven are the three composers who greatly marked this period, as a consequence their works are performed on a regular basis turning into a cornerstone in numerous concert programmes. However, it is often forgotten that along these musicians there were many others who, although hardly remembered (or had completely fallen into oblivion), created in their lifetime admirable and successful works that were remarkable among their contemporaries. Such is the case of Vicente Martín y Soler (1754-1806), a Spanish composer with international fame; Mozart’s stage rival in Vienna during the premiers of their operas based on the Lorenzo Da Ponte’s librettos; and the cosmopolitan musician who performed on Europe’s most splendid theaters and courts during the last third of the XVIII century.
Born in 1754 in Valencia, and after having received his training in this city’s cathedral, Martín y Soler moved to Madrid where he made his debut with the opera buffa tutore burlato (1775). Due to his success, he then moved to Naples as a chapel master for The Royal Theater di San Carlo, at the service of “Príncipe de Asturias” (the future Charles IV). He composed several opere serie and opere buffe for this theater as well as numerous ballets between 1777 and 1782. In the following years and until his departure to Vienna in 1785, he was hired by theaters of other Italian cities, like Venice, Turin and Parma, and was met with great success. His move to the Vienna of Joseph II was decisive for his career: as he met there with Lorenzo Da Ponte, with whom he would start a successful collaboration that resulted in the operas trilogy which catapulted world fame for both– Il burbero di buon cuore (1786), Una cosa rara ossia belleza et honesta (1786) and L’arbore di Diana (1787). Their brilliant success turned the Spanish composer into one of the most in demand, gaining him the attention of the empress Catherine II of Russia, who offered him to become the chapel master of her court. Shortly after arriving in Saint Petersburg in 1788, the empress herself commissioned him with the composition of the music for her own operatic librettos, suggesting by this the Russian comic operas Gorebogatir Kosometovich (1789) and Fedul s detmi (1791), the later in collaboration with the Russian composer I. Pashkevich. The third title of this genre was written by Catherine’s personal secretary, Alexander Jrapovitsky, composer of the libretto for the opera Pesnolubie, whose fragments would be performed in this concert for the first time in more than 200 years.
Also, between 1792 and 1794, he composed various ballets that caused fury among the Russian public. In 1794, Martín y Soler left Russia moving to London. There, together with Da Ponte, he staged two more operas buffas –La capricciosa corretta and L’isola del piacere—, yet disagreement between both composers aroused and caused his return to Saint Petersburg in 1795, where he stayed until his death, having composed a considerable number of ballets, Russian operas and French comic operas, in addition to his last known opera buffa, La festa del villaggio (1798). He died in January of 1806 in Saint Petersburg. “Admired in Europe’s main cities and courts for his talent and sublime and noble moral qualities”, as reads his epitaph resting in the Smolensk cemetery.
His operas and ballets, that in the past crowned the theatrical scenes, faded into oblivion during many years – paradoxes of our interpretative history! — and only the efforts of international musicology of the last decades allowed the recovery of part of these works, in order to create the critical editions and gradually grant them the place they deserve: Spanish and international repertoires!
This is one of the main objectives of La Madrileña, a period instrument orchestra founded and conducted by maestro José Antonio Montaño, that emerged around the figure of Martín y Soler, and takes its name from his first opera buffa – Il tutore burlato— after its transformation into zarzuela. Considering Martín y Soler’s works as a cornerstone for its project, the aim is to implement a labor of recovery and spreading, not only of the works by the Valencian composer, but also of other Spanish composers and foreigners related to Spain, giving great impetus to the revival of the spanish musical heritage.
Martín y Soler’s versatile character as a composer of lyric theater operas of diverse genres and ballets, as well as his residency in such varied European spaces in addition to performing on the most famous Italian theaters, the Viennese court of Joseph II, the King’s theater in London and the Russian court of Catherine II and her successors Paul I and Alexander I, all permit delving into the stage and music repertoires of this historic period and to the composers’ works that directly or indirectly were connected to this international and versatile Spaniard.
Noteworthy are the three fragments from Martín y Soler’s three Russian operas, Pesnolubie, premiered between September of 1789 and January of 1970, a unique piece in the current repertoire. This opera has remained forgotten for more than two centuries, until its partial recovery by the Russian-spanish musicologist Vera Fouter, specializing in Martín y Soler, who together with José Antonio Montaño achieved the critical edition of the arias to be heard in this programme. This stage recovery is, therefore, a premier in modern times, a pure luxury for the enjoyment of the listeners and an important step in the recovery of the musical heritage created by one of the most outstanding and international spanish composers of the XVIII century.
Overture La Madrileña or Il tutore burlato
Il tutore burlato is Martín y Soler’s first success both inside the genre of the opera buffa in particular and in his composing career in general, since it boosted its internationalization. The premiere of this “drama giocoso” has as a date the year 1775 in the Real Sitio de San Ildefonso, and due to its favorable reception back in 1778 it was transformed into zarzuela; performed under the title of La Madrileña. It is worth mentioning that by that date Martín y Soler had already settled in Naples, suggesting that this adaptation must have been done without his participation.
The libretto is based on La finta semplice ossia Il tutore burlato by Pasquale Mililotti, performed in the lyric theater during previous decades, operas by which the young Spaniard surely was influenced when giving his opera prima its form.
The Overture that we will hear is structured in three movements that share one same tonic. The first movement is formed based on the beginning of the ritornello and the construction is based on short repeated motifs, a clear reminiscent of the baroque concert. It is followed by a central movement in tempo di minueto, followed by a final presto.
It is, as a result, the first stage experiment by Martín y Soler, in which in his state as a new composer, he was guided by patterns and schemes deeply rooted in the lyric Italian tradition buffa.
Seguidilla “Inocentita y linda” from Pesnolubie
This seguidilla was one of Martín y Soler’s most requested works; he did not confine himself to inserting it in one of his operas, yet in three –Il tutore burlato (1775), In amor ci vuol destrezza (1782) and Pesnolubie(1790)— effecting light alteration depending on each case, in the accompaniment as in the verses. The version that will be heart belongs to the Russian opera Pesnolubie [Love of music], composed by the Spaniard in 1789 based on Alexander Jrapovitsky’s libretto; Jrapovitsky was the personal secretary of the empress Catharine II of Russia and one of the directors of the Imperial Theatres during those years. After a first staging in 1789 in Moscow, the official premiere was in January the following year in the Hermitage Theatre of Saint Petersburg court. This opera did not last on the Russian stages due to several political and social factors at the time, to which should be added the lack of reserved sources, one of the reasons why the opera was not performed for more than two centuries. This is, therefore, the premiere in modern times of three of these arias, recovered from the only score preserved deposited in the Central Musical Library of Saint Petersburg.
This comic Russian opera, whose plot ridicules the Italian love of music of the Russian aristocracy, was actually composed by Martín y Soler on the style of the Italian buffa, adjusting it to the Russian genre of the end of the XVIII century. This opera was structured as a series of dialogues spoken with sang interspersed numbers.
The seguidilla “Inocentita y linda” is the first of three songs of national mood introduced as a kind of a beginning in the development of the dramatic action: an element of Spanish “exoticness”, a French arietta and a Russian song. These brief yet painteresque numbers are introduced by the heroine, Allegra, who finding herself in front of a group of peasants among which her beloved Ruslan was, makes an exhibition of her vocal virtues: “Isn’t here a guitar?, she asks; – I would happily sing guispañol [sic], and by this you would know what is a seguidilla”, to which Ruslan responds: “Ah! It has been long since I wanted to hear guispañolessongs and a voice, my lady; you grant me a great gift with your seguidilla”.
“Chère hirondelle” from Pesnolubie
This French arietta is successive to the previous seguidilla, part of the speech of the same character, the young Allegra. Its sentimental and pre-romantic nature corresponds to the first ten verses of the Ode 33 “Sur ses Amours” from Les Odes d’Anacreon et de Sapho published in 1712 by François Gacon, a satiric French poet known as “Le poete sans fard” [The Unadorned poet]. It is about a simple arietta, with a bucolic rhythm of pastorella and a love subject matter. It is inserted in the opera Pesnolubie as a kind of a division –in a similar way to the previous seguidilla— in which the heroine sings as an answer to the servants’ request to show her lyrical abilities within the national styles, highly fashionable in the Russia of the end of the XVIII century.
“V svete ludi svoevolni” [In the world people are capricious] from Pesnolubie
As a closure to the three fragments of different origin introduced in the opera Pesnolubie, its librettist and composer opted for introducing this Russian-style short song in order to adjust it to the norms of the incipient Russian opera and so that the public could identify with some of its elements.
In this way, Allegra, after having exhibited her knowledge of the foreign lyrical genre, sings a song of a popular Russian style. On this occasion, the librettist did not use pre-existing verses, but created his own, following the characters’ line of dialogue. From a musical perspective, it is a pseudo-folkloric fragment not based on a given popular Russian song, but on recreating what the Russian style meant for Martín y Soler.
“Chi sa, chi sa qual sia” from the Il burbero di buon cuore Nº 9 Aria Lucilla: Mozart
The Premiere in 1786 of the first opera, result of collaboration between Martín y Soler and Lorenzo Da Ponte, Il burbero di buon cuore, marked the starting signal for the Viennese operas trilogy that enabled the Spaniard to reach international stardom. The public’s admiration for this opera as for Una cosa rara and L’arbore di Diana (1787), led to the permanence of the operas in the theatrical repertoire of the city even after Martín y Soler’s departure to Russia. And as was the fashion at the time, some of their arias got substituted by new ones. Such is the case with the aria “Chi sa, chi sa qual sia”, commissioned by Louise Villeneuve to W. A. Mozart in 1789 as to replace Martín y Soler’s original aria. Inserted in Act I, Lucilla has increasing concerns about her husband Giocondo and the destiny of Angelica, the husband’s sister, and the later’s lover Valerio.
This aria combines so many serious tastes such as mezzo carattere (Aria of Half Character), through which Mozart tried to provide the character with a more dramatic and heroic temperament. Its graceful accompaniment and the simplicity of its start contrast with the sforzando-piano contrasts, concluded with an emphatic coda that bestows on them a passionate character, on the style of Donna Elvira in Don Giovanni.
She has a Phd in Musicology, a BA in History and Music Science and a Master in Music, Communication and Institutions in the Contemporary Spain from Oviedo University. Her Phd thesis “La estancia en Rusia de Vicente Martín y Soler (1754-1806). Nuevas aportaciones musicológicas” tutored by Doctor María Encina Cortiza Rodríguez and defended at the Oviedo University, got the highest marks (Sobresaliente Cum Laude) as well as the International Mention.
She has been benefited from the prestigious scholarship for Teacher Training University (FPU) from the Ministerio de Educación, Cultura y Deporte of Spain. Also, she has been part of the inter-university research project “Música y prensa en España: Vaciado, estudio y difusión online” (MICINN-12-HAR2011-30269-C0302) tutored by María Encina Cortizo Rodríguez. Along with all that, and as part of his predoctoral training, she has done teaching work at the University of Oviedo between the years 2012-14.
Her research lines are around the musical relations between Spain and Russia, focused for years on the compositional activity in St. Petersburg by the composer Vicente Martin y Soler between the last decade of the eighteenth century and early nineteenth century. In this context, she has made several research visits to musical and documentation centers of Moscow and St. Petersburg, performing a job search and retrieval of new musical, literary and bibliographical sources. These include the work in the P. I. Tchaikovsky State Conservatory in Moscow, and her travels to several musical archives in St. Petersburg, including the National Library of Russia and the Central Library of the Mariinsky Music Theatre.
She has presented the results of their research at conferences nationally and internationally, including the Congress of the Association of Young Musicologists (JAM) conducted between the years 2011-14, the Ibero-American Meetings of Young Musicologists Musicología Criativa group, the IV International Congress of the Spanish Society of Popular Culture Literary Studies (SELICUP) in 2014, the Second National Congress of the Working Group Music Press and the Spanish Society of Musicology in 2014, the Manuel de Falla International Course at the University of Granada in 2014, the IV International Congress on Dance Research and Education at the University of Málaga in 2015, International Congress MIMV – 2015 “Paseo por la Valencia Musical” and Congress “Music and press in Spain (1868-1936): opera, drama lírico and Zarzuela” in 2015.
She has published articles in the highly regarded magazine Cuadernos de Música Española e Iberoamericana around the Russian stays of Vicente Martin y Soler – “The balletic production of Martin y Soler in Russia, in the light of the latest research” and “Russian stage Vicente Martin y Soler: historiographical myths and historical truth”. Soon will appear several texts written by her in the book “Violencia de género en el teatro lírico” by Miriam Perandones (editor) and in the minute books of various congresses and interdisciplinary musical in which she has recently participated.
As a complement to her research, she has been coordinator and member of the Scientific Committee of the VII Conference of Young Musicologists of JAM Asturias and member of the editorial group of the minutes of the same meeting. She is part of Musicología Criativa group and a member of the III Ibero-American Youth Musicologists Scientific Committee. She has also participated in various activities undertaken by JAM Asturias as a lecturer and collaborating in various training initiatives and dissemination of Spanish music.
Currently she is dedicated to the preparation of musicological texts research focused on musical performance for various online projects.
The Madrilenian José Antonio Montaño is considered “among Spain´s orchestra conductors with the highest renown at the moment”, according to the specialized music press. Trained by great masters such as Jesús López Cobos, Evelino Pidò, Pinchas Steinberg and Arturo Tamayo, he made name for himself in theaters and auditoriums of international prestige, performing all genres (opera, ballet, symphony and chamber music), and covering an extensive repertoire starting with his first baroque performance until utterly contemporary debuts.
Since 1998, he has been highly active in opera conducting, with a special emphasis on 18th century works, performing in top-ranked theaters, both nationally and abroad. Among many others, we mention these outstanding titles: La vera costanza and Il mondo della luna by F. J. Haydn, W. A. Mozart’s Don Giovanni, D. Cimarosa’s Il matrimonio segreto, V. Martín y Soler’s Il tutore burlato, C. Monteverdi’s L’Orfeo, H. Purcell’s Dido & Aeneas, J. A. Hasse’s La contadina, G. B. Pergolesi’s La serva padrona, C. de Rossi’s Il sacrificio di Abramo, A. Rodríguez de Hita’s Las labradoras de Murcia, Il barbiere di Siviglia and Il viaggio a Reims by G. Rossini, Don Pasquale and Rita by G. Donizetti, R. Carnicer’s Don Giovanni Tenorio, Bellini’s I Puritani, Puccini´sLa Bohème, X. Montsalvatge’s El gato con botas (Puss in Boots), C. del Campo’s Fantochines and The Little Sweep by B. Britten.
In Spain he has conducted in such renowned national theaters such as Teatro Real, Teatro de la Zarzuela, Teatro Monumental, Teatros del Canal, Teatro Español, Teatro María Guerrero, Fundación Juan March and Auditorio Nacional de Música in Madrid; Teatro Arriaga in Bilbao; Palacio de Festivales in Santander; Auditorio Baluarte in Pamplona; Teatro Romano de Mérida; Auditorio Ciudad in León; Teatro Principal in Mahón; Teatro Colón in La Coruña. In Italy he has conducted in Teatro Carlo Felice in Geneve, Teatro Valli in Reggio Emilia, Teatro Comunale in Ferrara, Teatro Comunale in Treviso and Palazzo Reale in Naples. In France he has conducted in the Opéra Théâtre de St Etienne. In Russia he has conducted in the Alexandrinsky Theatre in Saint Petersburg, and in Belgium he has conducted in the Opéra Royal de Wallonie-Liège.
He participated in many festivals such as the Mozart Festival in La Coruña, Festival Internacional de Santander, Festival Internacional de Teatro Clásico in Mérida, Almagro, Lírico de Real Coliseo Carlos III in San Lorenzo de El Escorial, Clásicos in Alcalá, Festival de Arte Sacro de la Comunidad de Madrid, Festival Vía Magna de Caja Madrid, Veranos de la Villa, Festival de Música de Vigo ARE-MORE, Semana de Música de Caja-Asturias in Gijón, Fifth International Choir Festival in Saint Petersburg, and many others.
He has conducted many orchestras as the Orquesta Sinfónica de Madrid, l’Orchestra Sinfonica di Milano “La Verdi”, l’Orchestra del Teatro Carlo Felice de Génova, Orquesta de la Comunidad de Madrid, Sinfónica de Galicia, l’Orchestre de l’Opera Royal de Wallonie, l’Orchestre Symphonique de Saint-Étienne, Orquesta de Extremadura, Sinfónica de Navarra, Sinfónica de la Región de Murcia, l’Orchestra Filarmonia Veneta, la Orquesta Escuela de la Orquesta Sinfónica de Madrid (principal conductor 2003-2013), Orquesta de la Universidad Carlos III de Madrid (principal conductor 2007-2009), the period instrument orchestras La Madrileña and La Tropa Barroca de Madrid, among others.
He has worked closely with such internationally-renowned directors as Emilio Sagi, Ignacio García, Italo Nunziata, Elio De Capitani, Alessandra Panzavolta, Tomaz Pandur and Tomás Muñoz.
Between 2003 and 2013 he worked as principal conductor of the Orquesta Escuela de la Orquesta Sinfónica de Madrid in the Teatro Real, where he was in charge of the musical direction of diverse opera productions, such as La vera costanza by J. F. Haydn, L’Orfeo by C. Monteverdi, La serva padrona by G. B. Pergolesi, The Little Sweep by B. Britten and El gato con botas by X. Montsalvatge. The Teatro Real entrusted him with many other productions as well, such as the world premiere of the ballet El laboratorio del Dr. Fausto by F. Palacios and concerts of such works as I. Stravinsky’s The Firebird (Crearte 2011 Prize, Ministry of Culture), Peter and the Wolf by S. Prokofiev, L´histoire du petit tailleur by Tibor Harsányi, El canto de Orfeo, El humor en Haydn, A propósito de la danza y el ballet, Cifras y cuerdas, and Tres familias vecinas, not to mention the tribute concert in commemoration of the 10th anniversary of the reopening of the Teatro Real.
He has made several recordings, including Fantochines by Conrado del Campo for Televisión Española and Radio Clásica of Radio Nacional de España, the Suite Sevilla for Ballet Nacional de España and for the Centro Cultural de la Villa the soundtrack for the theatrical work Barroco under the stage direction of Tomaz Pandur, which was recorded with the Orquesta Escuela de la Orquesta Sinfónica de Madrid and soloists of the Orquesta Sinfónica de Madrid, gaining him the nomination for a MAX award as best musical director.
Again collaborating with the Ballet Nacional de España, Maestro Montaño conducted the following productions: Clásicos de la danza española at the Teatro de la Zarzuela in Madrid with the Orquesta de la Comunidad de Madrid in 2012, Medea at the Teatro Romano de Mérida with the Orquesta de Extremadura inaugurating the Festival Internacional de Teatro Clásico de Mérida in 2013, Suite Sevilla at the Teatro Carlo Felice in Genoa (Italy) with his resident Orchestra in 2014, Zaguán & Alento again at the Teatro de la Zarzuela in Madrid with the Orquesta de la Comunidad de Madrid in 2015, and with the Orquesta Sinfónica de la Región de Murcia at theTeatro Víctor Villegas in 2016.
As a composer, Montaño won second prize in the European composition competition Opera J his children’s opera Hamelin City. The Centro Dramático Nacional commissioned him to write the music for the drama Flor de Otoño by J. M. Rodríguez Méndez, with stage directing by Ignacio García, which was performed in Madrid at the Teatro María Guerrero. The Coro de Cámara de Madrid commissioned him with the composition of Arrión on the occassion of the XVI Canto Coral Great National Prize.
His interest and love for historical interpretation saw the light with the creation of La Madrileña, an orchestra of period instruments, with which he has recovered some excellent examples of the repertoire of 18th Century Spain; special attention being paid to baroque opera and zarzuela by composers born in or with close relationships to Spain. After his debut concert in the Real Academia de Bellas Artes of San Fernando, broadcasted on Spain´s National Radio, he conducted La Madrileña in eminent venues such as the Teatro Real de Madrid and the Palacio de Cibeles.
This career, in collaboration with specialized orchestras in early music, began years before with the musical direction of La Tropa Barroca de Madrid, with whom he collaborated in such important events as the reopening of theReal Coliseo de Carlos III de San Lorenzo de El Escorial, with the renowned singers María Espada and José Hernández Pastor, as well as the premier of Antonio Rodríguez de Hita’s zarzuela, Las labradoras de Murcia (composed in 1769), performed at the Alexandrinsky Theatre in Saint Petersburg.
Among his latest performances, worthy of mentioning is his successful debut with l’Orchestra Sinfonica di Milano Giuseppe Verdi in October 2016, which he is to conduct again in August 2017 in the performance of Mussorgsky’s Pictures at an exhibition and Al-Andalus by Juan Manuel Cañizares. Noteworthy as well is his return to the Teatro Real de Madrid with I Puritani along Maestro Evelino Pidò and the Orquesta Sinfónica de Madrid, in addition to his most recent collaboration with the Ballet Nacional de España conducting the Orquesta Sinfónica of la Región de Murcia. Currently, he is recording their unpublished opera along La Madrileña, as well as conducting concerts at various music festivals.
Susana Cordón started her musical and technical training in Alicante and obtained her graduate degree at the Escuela Superior de Canto in Madrid. Her training was complemented by masterclasses received from the hands of Victoria de los Ángeles, Montserrat Caballé, Miguel Zanetti, Wolfgam Rieger, Dolora Zajick and Itsvan Cerjan. She has continued technical training in New York city.
Shortly after starting her studies, Susana made her debut at the Teatro de la Zarzuela with “Agua, azucarillos y aguardiente” and shortly later she debuted at the Teatro Real of Madrid with the rôle of Ines in “la Favorita”. Since this early start, her professional career has taken her to perform in the best theatres in Spain and abroad, having sung in Vienna, Paris, Bratislava, Lisbon, Rome, Naples or Mexico. Susana Cordón is particularly recognized and valued for her versatility, musicality and her innate acting skills.
Her most recent roles have been La Duchesse in ” La Grande Duchesse” by Offenbach in Madrid, Donna Anna in “Don Giovanni” at Teatro Campoamor Oviedo, Estella in “Tales of Hoffmann” at the Liceo of Barcelona, the Baroness Irene in “La Vera Constanza” in several theatres of Spain, Italy and France, Zerlina in “Don Giovanni” at the Opera of Oviedo (Spain), Violante in “Il Tutore Burlato”, Juliette in “Die Tote Stadt” and Femme Grecque in “Iphigenie in Tauride” (these last three at the Teatro Real in Madrid).
She has performed also important roles of zarzuela such as Rosario in “La chulapona”, Marola in “La Tabernera del Puerto”, Rosa in “El Rey que rabió”, Rosalia in “La Bruja”, Duchess Carolina in “Luisa Fernanda”, Marietta in “La Dogaresa” or Margot in “Los Alsacianos”.
Her repertoire also includes opera characters such as Micaela (Carmen), Mimi (La Bohème), Donna Anna (Don Giovanni), Susanna (Le Nozze di Figaro), Cleopatra (Giulio Cesare), Liù (Turandot) and Margarita (Fausto de Gounod).
Her discography and retransmissions includes titles such as Il Barbiere di Siviglia (Berta) with Juan Diego Flórez, “Voices of Zarzuela” with Placido Domingo, the Gomez songs “Spain, from the inside out”, the piece “No Seasons” with violinist Ara Malikian or “La Bruja” as Rosalía by Deutsche Grammophon. And thecontemporary works of J. Grundman “God Sketches” and the oratorio “Resurrection of Christ” together with the Brodsky Quartet and recorded by Chandos.
She has worked under the direction of J. R. Encinar, E. Martínez Izquierdo, M. Roa, E. García Asensio, A. Leaper, M. Galduf, C. Hogwood, G. Gelmetti, R. Rizzi Brignoli, M. Ortega, Fujioka S., V. Pablo Pérez, J. López Cobos, A. Zedda, P. Steinberg, T. Hengelbrock, Stéphane Denève and the stage of L. Olmos, A. García, E. Ichikawa, P. Arlaud, C. Loy, G. mesh, Emilio Sagi, Robert Carsen and Laurent Pelly.
La Madrileña Period Instrument Orchestra
Conductor and Harpsichordist
José Antonio Montaño