Mozart & Martín y SolerLA MADRILEÑA
La Madrileña, an orchestra conducted by José Antonio Montaño, will make its first public appearance on the 15th of January in Madrid, in the concert hall of the Real Academia de Bellas Artes of San Fernando.
The programme of this first concert exclusively includes works by Vicente Martín y Soler and Wolfgang Amadeus Mozart performed with period instruments.
The programme includes the famous Mozart’s Symphony No. 40 in G minor with several overtures by the Spanish composer Martín y Soler. It also features diverse arias and duos of operas by both composers, in particular, the revival in modern times of three arias belonging to the opera Pesnolubie by Martín y Soler, a score first performed in 1790 and conserved in the Central Music Library of the Mariinsky Theater, whose critical edition has been done by José Antonio Montaño along with the musicologist Vera Fouter, specializing in this composer.
The invited singers are the soprano Susana Cordón and the baritone Borja Quiza. The orchestra also collaborates with the actor Emilio Gavira and the stage director, Ignacio García.
La Madrileña Period Instrument Orchestra
INAUGURATION CONCERT PROGRAMME
Conductor, José Antonio Montaño
Soprano, Susana Cordón
Baritone, Borja Quiza
Stage Director, Ignacio García
Martín y Soler: La festa del villaggio Overture
Mozart: Symphony nº 40 in G Minor, K. 550 (Second version)
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
Baritone, Borja Quiza
Martín y Soler:
“Deponete lo scacchiero” Aria of Dorval from Il burbero di buon cuore
“Dovè dunque il mio ben?” Recitativo & Aria of Lubino from Una cosa rara
Martín y Soler: L’isola del piacere Overture
Mozart: “Madamina, il catalogo è questo” Aria of Leporello from Don Giovanni
Soprano, Susana Cordón
Martín y Soler: “Povere donne!”Recitativo & Aria of Ciprigna from La capricciosa corretta
Soprano, Susana Cordón
Baritone, Borja Quiza
“A me vieni o gioia bella” Dúo of Bonario and Ciprigna from La capricciosa corretta
Mozart: “Crudel! Perchè finora” from The marriage of Figaro
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.
Therefore, the inaugural concert of La Madrileña includes in first place works by Martín y Soler – three of his operatic overtures, among them the one that gives name to this orchestral formation, in addition to several arias of his Russian, Viennese and London operas— and relates them to his most famous contemporary, colleague and rival W. A. Mozart through the performance of his symphony Nº 40 and some of the arias and duos of his marvelous operas. Through the combination of both composers’ repertoires performed with period instruments for which the music was originally written, a voyage through time and space is initiated bringing the public to the stages of the last years of the XVIII century.
Among these numbers, 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.
La festa del villaggio
It is Martín y Soler’s last known opera buffa, created in Saint Petersburg in 1798 and commissioned by the Russian emperor Paul I. Till this day there is still no guarantee as to its literary authorship, attributed in many resources to Ferdinando Moretti, official poet of the Russian court during the final years of the XVIII century.
Composed in the peak of his artistic career, during his second and last stay in Russia, Martín y Soler assimilates in this opera all that he had learnt in the genre buffo, in addition to some elements acquired from his Russian experience. In spite of complying with the stylistic models and the complicated plot of the Italian opera buffa, the atmosphere of a Spanish village and the happy ending, thanks to the intervention of the royal power, recall the Viennese opera that secured to the Valencian international fame, Una cosa rara. This way, in words of Leonardo J. Waisman, composer of the critical edition of this opera published by the ICCMU, with La festa del villaggio “One might speak of an achievement that crowns the composer’s trajectory”.
In the overture, Martín y Soler presents the melodies that would be heart during the development of the dramatic action. It is formed in one movement, divided in three sections: Allegro con brio, Larghetto and Allegretto vivace. The themes of these three parts reappear in different moments during the opera, thus following the Russian operatic traditions that dictate that the overtures should present melodies of national character. In this way, the central theme of the central section refers to a song from the Russian tradition, while the final section has an unmistakable Spanish taste. As a consequence, this overture heralds an opera that mixes national musical elements of the two countries that had major influence over Martín y Soler: his maternal Spain and the Russia where he spent the last eighteen years of his life.
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.
L’isola del piacere
This overture belongs to Martín y Soler’s second London opera buffa and the last of his famous collaborations with the librettist Lorenzo Da Ponte. First performed in the King’s Theater in Haymarket in 1795, its creation is driven by the success of its precursor La capricciosa corretta, which encouraged Da Ponte and Martín y Soler to undertake this new “drama giocoso” of pastoral theme in two acts, on the style of the Viennese L’arbore di Diana. During its composition process, the relationship between the two composers got complicated because of the Spaniard’s love affairs, which resulted in the definite breakup and the Spaniard’s later return to Petersburg.
The overture is titled “Tempesta”, as a hint to the storm at the end of the opera –in an analogous way to its precedent— and it reminds us of similar scenes created for his ballets. Contrary to the success of the previous four operas, result of Martín and Da Ponte’s collaboration, L’isola del piacere had a less of a positive impact as well as some incisive criticism: “the overture was Arbore di Diana; a lot of old remnants of Una cosa rara. “His charity concert did not enjoy any success”, declared Haydn after attending its premiere. However, the opera enjoyed some success as to make the Italian soprano Anna Morichelli take it with her to Italy, while Da Ponte would decide to make a premiere in London, for which modifications were carried out both in the libretto and in the musical numbers.
Symphony Nº 40 in G Minor, Kv 550 (Second version):
W. A. Mozart’s three last symphonies— Nº 39 in Mi flat, K. 543; Nº 40 in Sol minor K. 550 and nº 41 in Do, K.551 (‘Jupiter’)— constitute one of the most celebrated symphonic trilogies, and are even more enigmatic when considering the details of their creation and premieres. Created in a period of time of only six months, they seem to encompass all the personality traits and the experience of the genius of Salzburg.
As a central piece of this trilogy, we find Symphony Nº 40 in Sol minor, one of only two created in minor keys (together with the Nº25, in Sol minor), where Mozart explores the moving and emotional qualities that he usually reserved for his operas.
It consists of four movements: Molto allegro – Andante – Menuetto: Allegretto – Allegro assai. It is characterized by its introspective nature tinted with dark tonality. The date of its composition together with this gloomy tonality give reasons to link this symphony to the death of the composer’s daughter, Theresia, on the 29th of June of 1788.
Although the main motive behind composing these operas and the dates of their first performances are still unknown, there is a lot of speculation regarding the matter. Some facts demonstrate that he thought of introducing the operas in a series of concerts previous to the summer of 1788; although no evidence of this have been found. The most applauded theory suggests the works were composed as a trilogy with publication in mind, even if this did not see the light during the composer´s life.
The innovation in the richness and the generosity of the themes, the intense chromatic effect and the expressiveness of the orchestration of the Symphony N º 40 allow one to speak of a fusion of the Classicism of the XVIII century with the incipient Romanticism of XIX.
The nervous agitation that the initial Molto allegro introduces radically breaks with classical norms: since in the first two compasses the accompaniment momentarily replaces the melody of the violin that later materializes from the nothingness. This was a really daring beginning for the last years of the XVIII century, and the music would have seemed profoundly disturbing to that audience. Based on this, the XIX romantics considered the symphony in Sol minor as a proof that Mozart was the precursor of Romanticism. It is without doubt more exciting than any other ordinary symphony of the classical period. There are bursts of volume, chromatic harmonies and an emphasis on the melodic writing that is centered in short motifs almost like the Beethovenian style.
The second movement is an elegant Andante that explores the delicate differences between the wind instruments and the persuasive force of the irregular rhythmic patterns. Mozart here is more daring, with chromatic lines that collide, taking the public of the last years of the XVIII century through paths until then unexplored.
El Minuetto moves further from the courtesan dance that gives it its name, defining itself as sever and aggressive, with rough accents, although the Trio, a bit softer, endows it with certain balance.
The final Allegro assai is harmonically animated and dramatic. Structured on a growing passage of typical arpeggios of the Mannheim school, introduces in the development modulations uncustomary for the period. These extremes of dramatic daring and the high emotional charge situate this symphony among the first romantic works. However, and at the same time, it formal perfection and its elegant proportions are constant reminders that the Classicism reached with Mozart its climax.
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 guispañoles songs 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.
“Deponete lo scacchiero”from Il burbero di buon cuore Nº 11 Aria Dorval
Aria of Dorval of Act I from Il burbero di buon cuore, in which the character explains to the cantankerous Ferramondo that each person is different: some are irritable, others are calm concerning what happens in their surroundings. It is the first solo intervention of this character which endeavors to stem his friend’s frenzy of irritation and indignation because of the interruption of the chess game.
This aria endeavors to follow the action course of the literary text. It is based on a variety of styles which include yet also modify the majestic beginning, mellowed by the accompaniment and the ending of the phrase concerning the sweet nature of this character.
“Dovè dunque il mio ben?” from Una cosa rara Nº 9 Recitativo and Aria Lubino
Una cosa rara was with no doubt the opera that made Martín y Soler reach international operatic stardom. Premiered in Vienna in 1787, this opera buffa with a Lorenzo Da Ponte’s libretto was one of the most requested and performed on the European level during the last decade of the XVIII century, to the point of being quoted by Mozart in the banquet scene of Act II of Don Giovanni.
What would be heard in this programme are the recitative and the aria of the hero, Lubino, from Act I of the opera. Lubino, angry because of the disappearance of Lilla (who escaped from her brother Tita’s confinement by jumping from the balcony) sings “Vo’ sall’ infami viscere”, serious aria originating from acompaggnato “Dovè dunque il mio ben?”, in which he finds his beloved’s veil and thinks she is dead. The cruelty of the text, in which he pronounces horrible vengeance threats, is expressed by the orchestra through persistent reiterations of motifs, arresting strikes of tutti and kettledrum strikes. Its dramatic quality turns it in one of the most powerful numbers in the opera, and one of the European public’s delights even long after Martín y Soler’s death.
“Madamina, il catalogo è questo” from Don Giovanni
One of the most famous arias of Mozart’s operas, this aria from the catalogue part of Leporello’s speech is one of the public’s delights thanks to its special appeal. The plot about Don Juan, based on one of the major myths of Spanish literature, has been the basis over which Lorenzo Da Ponte created his masterly libretto that together with Mozart’s music turned this opera immortal. Curiously enough, Da Ponte’s taste for the Spanish subject matter coincides with his Viennese collaboration with Martin y Soler, for whom he wrote librettos simultaneously with those intended for Mozart.
Masterly created, this aria placed in the first act of Don Giovanni (1787) has as an objective to disillusion and confuse Donna Elvira in her search for the elusive libertine Don Giovanni, whose love adventures in different countries are narrated by Leporello.
The aria is divided in two parts. In the first three stanzas, the women whom Don Giovanni have conquered are enumerated, a section for which it is chosen an allegro which is a typical buffo. The second part of the aria, with an unhurried rhythm of andante con moto; Leporello describes to Donna Elvira her master’s (immense) variety of tastes regarding women.
“Povere donne!” from La capricciosa corretta Nº 17 Rec. Accompagnato and Ciprigna Aria (Polaca)
La capricciosa corretta ossia la scuola dei maritati, is the first London opera buffa, a result of the reinitiated collaboration between Martín y Soler and Lorenzo Da Ponte. It was created to showcase famous soprano Anna Morichelli talent’s, and premiered in the King’s Theater in Haymarket the 27th of January of 1795. This diva also encouraged its staging in different Italian theaters, with the consequential extension to the stages of Spain, Portugal and Vienna among many others, turning it into one of the most performed works of Martín y Soler’s lyric theater.
This bourgeois opera, created in only two months, enjoyed an extraordinary success, being one of the most performed in the London theater during the final years of the XVIII century. The polacca de Ciprigna, Nº 17 from Act II, serves the function of an aria seria. Originating form a recitative acompagnato, its text is made to measure the dramma per música and to defend the female gender in comparison to men’s vileness. The musical setting in polonaise style is linked to the moralistic function of the text, as, near the end of the XVIII, this was the favorite meter for the odes and the moralistic songs.
“A me vieni o gioia bella” Duet Bonario and Ciprigna from La capricciosa corretta
A love duo by the hero and the heroin, inserted at the finale of Act II that preceded the denouement of the last scene. Its two homophonic parts bring the dramatic action to a halt. Ciprigna’s appearance is calculated to such a degree as to call the listener’s attention, reminding him/her with the overture and emphasizing the joy caused by the reconciliation. The melody, thought for the soprano Anna Morichelli, has its virtuous mark, and recalls the duo “Pace mio caro sposo” from Una cosa rara, with which it shares a lot of its arrangement as well as the outline of some motifs.
“Crudel perchè finora” from Le nozze di Fígaro, Nº 16 Duet Conde Almaviva and Susana
Le nozze di Figaro is one of W. A. Mozart’s most known and requested opera buffa. Like the arias of the previous operas in the programme, its literary text is composed by Lorenzo Da Ponte, and its premier in Vienna was parallel to Una cosa rara by Martín y Soler, in the spring of 1786. The parallelism with the Spaniard´s most known opera did not stop here, since both were created in Spain and the content of their storyline revolves around feminine virtue in face of powerful men´s dishonest pretensions.
In this duo between the Conte Almaviva and Susana, the aristocrat asks her for a date in the garden, while she continues the ambiguous game that characterizes the work and flirts with the Count.
The Count loses his patience – which the orchestra reflects in a phrase full of tension— and changes his strategy, with insinuating and repeated “Verrai?” Will you come?” The scene continues with the conflict between Susana’s yes and no, until the appearance of Figaro.
Born in Moscow, Vera Fouter has a Spanish musicological education mixed with russian roots, which makes her an ideal professional to work about musicological relations between Russia and Spain.
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.
Born in Ortigueira, La Coruña, in 1982, the Spanish lyric bariton began his singing education with Teresa Novoa, Mª Dolores Travesedo and Renata Scotto, deepening later in the study of the vocal technique with the Argentinian tenor Daniel Muñoz. He won the “Opera Actual” prize for best young lyric singer in 2009. In 2010 he has been awarded the “Premio Lírico Teatro Campoamor de Oviedo” for best zarzuela singer. In 2009 he took part in the film Io, Don Giovanni, from the well-known Spanish director Carlos Saura, where he plays the part of Don Giovanni.
He has performed at all the major opera houses in Spain: Real de Madrid, Liceo de Barcelona, Palau de les Arts de Valencia, Festival de Amigos de La Ópera and Festival Mozart in La Coruña, Arriaga and Euskalduna de Bilbao, Pérez Galdós de Las Palmas, Gayarre y Baluarte de Pamplona, Auditorio Nacional, Campoamor de Oviedo, Jovellanos de Gijón, Calderón de Valladolid, Palacio de Festivales de Santander, Villamarta de Jerez, Buero Vallejo de Guadalajara, Teatros del Canal de Madrid, Guimerá de Tenerife, etc.; and abroad: La Fenice di Venezia, Carlo Felice di Genova, Comunale di Bologna, Maggio Musicale Fiorentino, Reate Festival di Rieti, Accademia Nazionale di Santa Cecilia di Roma, Auditorium di Milano, Luciano Pavarotti di Modena, Vespasiano di Reggio Emilia, New Israeli Opera in Tel-Aviv, Belcanto Festival in Knowlton (Montreal), Opera de Colombia, etc.
Quiza has worked with such outstanding conductors as Jurowsky, López Cobos, Nagano, Rousset, Pons, Petrenko, Zedda, Inbal, Grazioli, Carminati, Montanaro, Allemandi, Ortega, Malheiro, Pehlivanian, Manacorda, Rizzari, Encinar, Giménez Carreras, etc.; and stage directors, such as Martone, Michieletto, Font, Abbado, Sagi, Grinda, Pasqual, Tambascio, Homoki, Dalla, etc.
The most remarkable roles of his operatic repertoire include Figaro (Il Barbiere di Siviglia), Conte di Almaviva (Le Nozze di Figaro), Guglielmo (Cosí fan Tutte), Don Giovanni (Don Giovanni), Papageno (Die Zauberflöte), Dandini (La Cenerentola), Belcore (L’Elisir d’Amore), Dott. Malatesta (Don Pasquale), Enrico (Il Campanello), Marcello (La Bohème), Sharpless (Madama Butterfly), Zurga (Le Pêcheurs de Perles), Mercutio (Romeo et Juliette), Pelléas (Pelléas et Mélisande), Ramiro (L`Heure Espagnole), etc.
He has also performed the Spanish zarzuelas La Verbena de la Paloma, La Revoltosa, El Barberillo de Lavapiés, La del Manojo de Rosas, La Viejecita, La Viuda Alegre, La Canción del Olvido, La Corte de Faraón, etc.
The bariton is also an accomplished concert singer, having performed numerous masterpieces such as Mahler´s Rückertlieder, Mozart´s Krönungsmesse and Requiem, Orff´s Carmina Burana, Bach´s Mattäus-Passion, etc.
At his young age, Borja Quiza has revealed himself as one of the most promising figures of the international stage, thanks to his deep study of the singing technique and interpretation.
Born in Madrid, Ignacio García is an established international stage director in the fields of opera and theatre. Earned a BA in Stage Direction from the Royal Dramatic Art School in Madrid and has being granted the Young Directors Award given by the Spanish Stage Directors Association (A.D.E) as well as the First Creative Stage Competition organized by the Teatro Real de Madrid.
Associate Director at the Español Theatre in Madrid from 2004 to 2009.
In the opera world, he has staged: Purcell´s Dido and Aeneas, Rossini´s La scala di seta, Stravinsky´s A soldier´s tale, Hasse´s La contadina, Camilla de Rossi´s Il sacrificio di Abramo, Monteverdi´s Il combattimento de Tancredi e Clorinda, Sorozábal´s La eterna canción y Black el payaso, Bach´s Kaffeekantate, Britten´sThe little sweep, Luis de Pablo´s Un parque, Jesús Rueda´s Orfeo, Albéniz´s Iberia, Martín y Soler´s Il tutore burlato, Pergolesi´sAdriano in Siria, La serva padrona and Livietta e Tracollo, Verdi´s Oberto conte di san Bonifacio, La forza del destino, Il trovatore, Otello, Macbeth and Aída, Donizetti´s Emilia di Liverpool, L’elisir d’amore, Rita and Poliuto; Puccini’sMadama Butterfly and La Bohème; Leoncavallo’s Pagliacci, Mendelssohn’s Die Hochzeit des Camacho, Boccherini´sClementina, Nin-Culmell´s La Celestina, Alessandro Solbiati´s Il carro e i canti, Ch. Gounod´s Faust, J. Massenet´sWerther, Carlisle Floyd´s Susannah, Gaztambide´s El estreno de una artista and Barbieri´s Gloria y Peluca, Rodriguez de Hita’s Las labradoras de Murcia and the successful productions of Thomas’s Hamlet and Arrieta’sMarina.
His stage work includes Hurtado de Mendoza y Quevedo´s Los empeños del mentir, Sor Juana Inés de la Cruz´s Los empeños de una casa, Rodríguez Méndez´s Flor de Otoño, Alonso de Santos´s En el oscuro corazón del bosque, Ernesto Caballero´s En la Roca, Ernesto Anaya´s Las Meninas, Enrique Jardiel Poncela’s Los habitantes de la casa deshabitada, Juan Carlos Rubio’s Arizona, José Bergamin’s La sangre de Antígona and Calderón de la Barca’s Enrique VIII y la cisma de Inglaterra.
García has staged productions at accomplished national and international venues such as The Real Theatre, Zarzuela´s National Theatre, Español, Albéniz and María Guerrero theatres in Madrid; Arriaga and Euskalduna theatres in Bilbao; Pergolesi Theatre in Jesi; Opera Theatre in Lasusanne; Teatro Carlo Felice in Genova, Alexandrinsky Theatre in Saint Petersburg; Leon´s Auditorium and Scandicci Theatre in Florence. He has participated in festivals like the London´s Flamenco Festival, La Biennale di Venezia, Liverpool 08 European Cultual Capital Celebrations at St. George´s Hall and DramaFest and Guanajuato in Mexico, as well as in opera seasons all around Europe and America (Bremen Schauspielhaus, Opera Baltycka in Gdansk, Utrecht, Kursaal in San Sebastián, Verdi´s Theatre in Trieste, Liverpool Philarmonic Hall, Herodes Atticus Theatre in Greece, Poznan Teatr Wielky, México Bellas Artes, Teatro Colón de Bogotá and Gran Teatro Nacional de Lima among others).
He has also created more than thirty theatre sound designs for renowned spanish theatre directors such as Mario Gas, Pérez de la Fuente, Helena Pimenta, Ernesto Caballero, J.A.Hormigón, Gonzalo Suárez, Alonso de Santos y Sanchís Sinisterra in plays produced by prestigious companies like Dramatic National Center, Nationarl Classical Theatre Company, Español Theatre and the National Theatre in Mexico City.