La Madrileña is a period instrument orchestra, founded and conducted by José Antonio Montaño with a list of renowned musicians, habitual collaborators in prestigious historicist European orchestras.
Featuring particular instruments from the baroque and the classic repertoires, it aims at an authentic period performance by applying precise historical criteria of interpretation. Their performances have been broadcasted by the National Radio of Spain and took place in such outstanding theaters and auditoriums such as the Teatro Real of Madrid (the Royal Theater), the Real Academia de Bellas Artes de San Fernando (the Royal Academy of Fine Arts of San Fernando) and the Palacio de Cibeles (Cibeles Palace) of Madrid.
La Madrileña takes its name from Vicente Martín y Soler´s first opera Il tutore burlato after it was converted in zarzuela. It focuses its work on recovering and spreading the musical heritage of the XVII and XVIII centuries with special attention to the opera and zarzuela of Spanish composers as well as foreign composers related to Spain.
Since its inception, La Madrileña and José Antonio Montaño have collaborated with stage director Ignacio García. The close and successful collaboration between both artists has become customary on Spain’s celebrated theaters such as the Teatro Real, Teatro Español, María Guerrero of Madrid, Teatro Arriaga of Bilbao, Teatro Principal of Mahón, Teatro Colón of La Coruña, Auditorio Ciudad of León, as well as in emblemic historical sites such as the Corral de Comedias of Almagro, Corral de Comedias of Alcalá, Carlos III’s Real Coliseo of San Lorenzo de El Escorial and the Teatro Alexandrinsky of Saint-Petersburg.
Since 1998, they have merged music and theater in numerous titles such as Dido & Aeneas by H. Purcell, La serva padrona by G. B. Pergolesi, La contadina by J. A. Hasse, Il sacrifizio di Abramo by C. de Rossi, Las labradoras de Murcia by A. Rodríguez de Hita, Il tutore burlato by V. Martín y Soler, Don Giovanni and Le nozze di Figaro by W. A. Mozart, Don Giovanni Tenorio by R. Carnicer and The little Sweep by B. Britten.
In December of 2010, they perform the concerts for the reopening of the Carlos III’s Real Coliseo of San Lorenzo de El Escorial with the orchestra La Tropa Barroca de Madrid and the singers María Espada and José Hernández Pastor. The programme of these concerts was composed of pieces by some of the most distinguished Spanish authors of the XVIII century such as Vicente Martín y Soler, Juan Francés de Iribarren, Domènec Terradellas, as well as one of the most related composers to this Coliseo, the Italian-born but Spanish by adoption, Luigi Boccherini.
In its endeavors to respect the original essence of the stage works, the concerts are prepared with a genuine theatrical sense. A good illustration of this was the performance at the Teatro Alexandrinsky of Saint-Petersburg of the burlesque zarzuela Las Labradoras de Murcia by Antonio Rodríguez de Hita and Ramón de la Cruz, within the activities of the Choir Festival of this city celebrated in June 2011, in which spoken texts, stage games and dance scenes of the original were included. This performance attained an undeniable success among critics and audience.