Ópera de Tenerife
Packages on sale from 28 May to 27 October
In the 2018-2019 season, Ópera de Tenerife is bringing a programme that includes essential Italian classic composers like Rossini, Donizetti or Puccini, in addition to a wide range of activities related to different fields of artistic production and learning.
The Italian in Algiers by Rossini is the first production which, as usual, will be performed by the students at Opera (e)Studio, the academy directed by Giulio Zappa. It will be followed by Lucia di Lammermoor by Donizetti; Rossini’s The Journey to Reims; Turandot by Puccini and as part of the continued support to zarzuela, Penella’s classic The Wildcat is also in the programme. It will be closed by the sixth Tenerife International Opera Singing Competition, where, once again, we will have the chance to enjoy great international voices. In 2019 the seventh Masterclass in vocal and performing improvement for young talents will be held.
There is also the itinerant Opera Pocket -with a revival of the Auditorio de Tenerife production, The traviata- to be put on at different venues on the island; and the learning activity Ópera en Ruta, that brings to new audiences the secrets of the world of opera and of the titles performed.
For the under 27 we offer a special rate of just 20€ (Young Club Ópera Package). To adapt to your needs and circumstances, we also offer different options to become a member of Club Ópera: Ambassador Package, First-timer Package, Group/Association Package and Large Families Package.
Please see below the whole programme for the new season and information about our different types of package. If you have any queries please contact us on +34 902317327 or via Twitter @operadetenerife.
The package renewal period for the 18/19 Ópera de Tenerife season is now open. From 9 to 30 April.
This year, subscribers to Ópera de Tenerife can either renew their packages online or at the Box Office as in previous years.
If you bring a new subscriber you can benefit from the Ambassador Package and the newcomer from the First-timer Package. Please see all our promotions at the section 18/19 Rates on Club Ópera Package.
Remember that if someone else is renewing for you, they must bring an Authorization to Third Parties signed by you together with a copy of your ID. You can find a model of «AUTHORIZATION TO THIRD PARTIES» at the box office or download it here.
NOTICE: Please come to the Box Office and DO NOT RENEW ONLINE if during the 17/18 season you have made seat or date changes by calling or contacting Auditorio directly (for instance changing your ticket to another date because you could not come on your package date). The system would have allotted you these changes by default, so you need to come to the Box Office to renew.
The period to renew your Ópera de Tenerife Package for the 18/19 season is open from 9 to 30 April. You can find a step-by-step guide to renew online here.
How do I get my subscriber’s card?
When you renew, they will tell you the date you can pick up your personalized card at the Box Office.
Renewing at the Box Office
Opening hours: Monday to Saturday from 10 am to 7:30 pm
What do I need?
- ID card
- Your last season subscriber’s card
- Fill in the subscriber form provided at the box office
- If you are renewing on someone else’s behalf, you must bring a signed authorization (download it here), subscriber’s ID card, and his/her last season subscriber card.
How can I pay?
In cash or by credit/debit card. You can also pay by direct debit by filling in the authorization form we will give you at the box office (we need your personal details and account number).
How do I get my subscriber’s card?
When you renew, they will tell you the date you can pick up your personalized card at the Box Office.
If you wish to change your seat or the dates in your package, you must come to the box office to make the changes from 8 to 21 May 2018.
What do I need?
- · ID card
- · Your last season subscriber’s card
Changes in a package on behalf of someone else:
You must bring a signed authorization you can download here, a photocopy of the subscriber’s ID and a photocopy of his/her last season subscriber card.
Package renewal: FROM 9 TO 30 APRIL
Online or at the box office.
If you are bringing a new subscriber (Ambassador Package) you can only renew at the box office.
Period to make changes: FROM 8 TO 21 MAY
Only at the Box Office
General sale of new packages: FROM 28 MAY TO 27 OCTOBER
Online or at the box office.
Priority period for subscribers to buy single tickets: FROM 19 TO 25 JUNE
Online or at the box office.
If you want to give someone a great gift, Club Ópera members can purchase additional tickets ahead of non-members during this period. This gives you access to choose from the best seats and enjoy a 10% discount.
General sale of single tickets: FROM 26 JUNE
Online or at the box office.
The new packages for the 18/19 season will be on sale from 28 May to 27 October.
Subscribing to Ópera de Tenerife is an all-round experience: in addition to enjoying opera at a reduced rate, you become a member of CLUB ÓPERA. You have access to Ópera BUS, a free bus service available on Saturday performances, and visits to the backstage are just a few of the advantages and benefits you get when you are a member.
Ópera de Tenerife is always searching for new ways of offering better deals: people under 27 can purchase the Young Club Ópera Package which gives access to the package programme for just 20 Euros. If you’ve never taken part in CLUB ÓPERA the First-timer Package welcomes you with 30% discount. If you belong to an association, conservatory, or music school, you will be happy to hear that you’ll get 30% off if you buy from 1 to 4 packages and 35% if you buy 5 or more.
Learn about all the information on our packages, how to purchase them, our rates and discounts. And if you have any questions, let us know at the Auditorio’s Box Office or call us on 902 317 327.
Welcome to Ópera de Tenerife, an institution that is far more than a schedule of performances. It encompasses a wide range of options for audiences of all ages (Manos a la Ópera o la Ópera en familia) or initiatives to attract young audiences (Abono Joven), among many others.
We have just presented the shows and new features for 2017/2018, a thrilling season that includes great titles like I Capuleti e i Montecchi by Bellini, which is also part of the project Opera (e)Studio, a programme to bridge the academic and the professional worlds and discover great talents. Faust by Gounod, Don Carlo by Verdi or Mozart’s The Magic Flute round off our offer. To further our support to zarzuela, we are also putting on Torroba’s Luisa Fernanda. Our offer includes Verdi’s Requiem with Tenerife Symphony Orchestra and Tenerife International Opera Singing Competition, which is on to its fifth year and is led by Giovanna Lomazzi, President of ASLICO.
Please find out more about our packages, their advantages and other useful information. If you have any doubts or comments do share them with us.
We believe opera to be the best example of western culture as it is the art form where different cultural manifestations and processes converge, which must be conveyed to society coherently. That is why, together with the Learning and Community Area of Auditorio de Tenerife, we carry out ongoing multidisciplinary outreach work.
Manos a la Ópera [Hands-on Opera] and Ópera en Familia [Family Opera] are two in-house schemes related to our commitment to bring opera and culture to Tenerife people. Our aim is to create an unforgettable experience open to people of all ages, in which literature, music, painting, performing arts or human values go beyond the stage of Auditorio de Tenerife.
Ópera (e)Studio is the prestigious comprehensive training school for young opera singers directed by maestro Giulio Zappa. After five years, many of its former members have established an outstanding career performing in the best opera stages worldwide: Na'ama Goldman, Giovanni Romeo, Giuliana Gianfaldoni, Leonor Bonilla, Pablo Ruiz, David Astorga, Lamia Beuque, Riccardo Fassi, Pablo Gálvez, Arianna Venditelli, Danielle Terenzi, Eugenio di Lieto, Antoinette Dennefeld, etc.
In this programme students create an opera from scratch. The main issue here is the creative process as the students are involved in different artistic areas: literary creation, music, theatre, visual arts and body language. Children learn through their own experience as they participate in the creative process and the performance of the opera, making it part of their collective and individual imagination.
Ópera de Tenerife pone en escena Lucía de Lammermoor, la obra más representada de Gaetano Donizetti. Una coproducción de Ópera de Tenerife con el Teatro Colón de Buenos Aires y Fundación Ópera de Oviedo. El segundo título de la temporada nos transporta a uno de los dramas líricos más icónico del romanticismo, Lucía de Lammermoor.
Los detalles de esta propuesta fueron dados a conocer hoy [jueves 15] por el director insular de Cultura del Cabildo, José Luis Rivero; el intendente de Ópera de Tenerife, Alejandro Abrante; el director musical, Christopher Franklin; el director de escena, Nicola Berloffa, y los cantantes Irina Lungu y Celso Albelo, en representación de un elenco en el que también intervienen Andrei Kymach, Mariano Buccino, David Astorga, Vittoria Vimercatti y Klodjan Kaçani.
Para José Luis Rivero, “este título supone un punto de inflexión para Ópera de Tenerife importantísimo porque significa una muestra palpable de madurez y del nivel de producción y artístico que hemos conseguido con los años, fruto del trabajo de un equipo extenso”. “Desde Ópera de Tenerife salen las mejores óperas de Canarias y de primer nivel nacional y en un muy buen puesto a nivel internacional”, añadió el responsable insular de Cultura, quien apunta que “Lucía de Lammermoor es un título icónico en el repertorio donizettiano y de un gran dramatismo”.
Irina Lungu, que se encuentra por primera vez en Tenerife, indicó que “estoy feliz por estar aquí debutando en el Auditorio de Tenerife, que es un lugar con una acústica y energía fantástica donde me siento a gusto, y que está siendo todo un descubrimiento; le agradezco al equipo de profesionales de Ópera de Tenerife el trato que estoy recibiendo”. Sobre el rol que interpretará la próxima semana, apunta que “todas las soprano deberían cantar esta Lucia porque es como el inicio del canto, una base para todo” y desvela que “este rol tiene dos partes: la escrita por Donizetti y la cadencia del área que le dieron los primeros intérpretes y que ha llegado hasta nuestros días a través de la tradición” y considera que su momento favorito “es el de la locura, donde se unen el virtuosismo vocal con mi parte más de actriz”.
Por su parte, Celso Albelo reconoce que “es un honor volver a casa con la responsabilidad que eso implica; me siento especialmente orgulloso porque en el escenario de Tenerife nos encontramos ahora mismo artistas que han abierto la presente temporada en grandes teatros del mundo. Ópera de Tenerife ha conseguido mucho en muy poco tiempo. La Lucía de Lammermoor desprende elegancia musical y escénica” y reconoce que su Irina Lungu “tiene una de las voces más bonitas de las soprano líricas del momento”.
El director musical de esta producción es Christopher Franklin, quien se estrena en Ópera de Tenerife después de haber dirigido en las principales casas de ópera del mundo. Franklin destacó la calidad de la Sinfónica de Tenerife. “Es una orquesta fantástica, muy virtuosa” y sobre la ópera que se ha programado para la próxima semana apunta que “estamos abordando uno de los repertorios más difíciles del mundo” y considera que “Donizetti escribió sonidos efervescentes, que tienen que ver con la vida”.
El director de escena, Nicola Berloffa, vuelve a ponerse al frente de la Ópera de Tenerife tras su presencia en Die Zauberflöte (2012 y 2018), Cosí fan tutte (2013) y Carmen (2016), para transportarnos con esta Lucía de Lammermoor a la Escocia de finales de la década de los cuarenta del siglo pasado, en plena postguerra. Berloffa señala que “este título tiene una grandísima dificultad para cualquier director de escena por ser una obra maestra. Hay que respetar tanto el libreto como la dramaturgia, que no se puede cambiar.
El argumento de esta obra con libreto de Salvadore Cammarano, basado en la novela The Bride of Lammermoor de Sir Walter Scott, y con música de Gaetano Donizetti, a través del virtuosismo vocal y la dificultad de la partitura, nos introduce en las vicisitudes y tribulaciones entre los lazos de sangre y el amor. Esta historia de confabulaciones entre dos familias enfrentadas y un destino por decidir se estrenó el 26 de septiembre de 1835 en el Teatro San Carlo de Nápoles.
El vestuario, diseñado por Justin Arienti, que también debuta en la Ópera de Tenerife, tendrá un corte parco en sus líneas y una gama cromática baja en intensidad. De esta forma, mantiene una esencia de precariedad en la indumentaria después de la contienda mundial, pero manteniendo las referencias a la cultura escocesa, como es el uso del kilt, la falda tradicional para hombres.
En la dirección de iluminación estará Valerio Tiberi, que debuta en Ópera de Tenerife, y que reflejará por medio de los claros oscuros la esencia romántica de este drama. Tiberio, profesor de diseño de iluminación en la Accademia Teatro alla Scala de Milán, tiene una consolidada trayectoria en títulos musicales y operísticos.
Las funciones tendrán lugar el martes 20, jueves 22 y sábado 24 y comenzarán a las 19:30 horas en la Sala Sinfónica de Auditorio de Tenerife. Las entradas pueden adquirirse en los canales habituales de Auditorio de Tenerife, en taquilla de 10:00 a 19:30 horas, de lunes a sábado; a través de la página web www.auditoriodetenerife.com o por teléfono en el 902 317 327.
Director musical: Christopher Franklin
Director de escena: Nicola Berloffa
Escenógrafo y diseñador de vestuario: Justin Arienti
Coproducción: Auditorio de Tenerife, Teatro Colón de Buenos Aires y Fundación Ópera de Oviedo
Coro de la Ópera de Tenerife
Sir Edgardo di Ravenswood(tenor)
Lord Enrico Ashton (barítono)
Lord Arturo Buklaw (Tenor)
Ópera de Tenerife Choir faces the new productions in the 2018-2019 season, which is starting this week with Rossini’s The Italian in Algiers. The group, founded in 2004 by Carmen Cruz, who is also its director, plays their role in these productions. To reinforce the choir, a call has been opened to take part in a selection process to recruit new voices. The audition will take place at Sala de Cámara del Auditorio de Tenerife Adán Martín on 9 November at 5:00 pm.
People interested in taking part in the audition must choose one piece in the following styles: opera aria, zarzuela, chamber, oratory or bien ‘Italian songs’ (old arias).
The Coro de Ópera de Tenerife, who has fifty members, was presented in El elixir de amor, by Donizetti, conducted by Víctor Pablo Pérez. They have sung in more than 35 productions in the Ópera de Tenerife seasons.
On Friday, 19 October, Cabildo de Tenerife presented the opera The Italian in Algiers, to be performed at Sala Sinfónica in Auditorio de Tenerife from 25 to 28 October with students from the 6th Opera (e)Studio. The details of the production were revealed by the Island Director for Culture and Education, José Luis Rivero, the artistic director of Opera (e)Studio, Giulio Zappa; the stage manager Giorgia Guerra; and musical director, Nikolas Nägele.
This new show by Ópera de Tenerife pays tribute to the composer Gioachino Rossini, on the 150th anniversary of his death. This opera opens the new season on the Island and narrates, in a beautiful climate full of lovely and complex musical tessituras, how Isabella makes the most of her charm and intelligence to free her boyfriend, Lindoro, a prisoner of the King of Algiers.
José Luis Rivero said that “it is a pleasure to present the sixth Opera (e)Studio, the star project in the Ópera de Tenerife season” and added that “it’s very important for us to see what happens in the process; we have young professionals who are extraordinarily trained, who can perform an opera like this”.
Rivero pointed out that The Italian in Algiers is a co-production of Auditorio de Tenerife and Teatro Comunale di Bologna, which will be put on in Italy in June next year. Although this is the first time Giorgia Guerra directs an Opera (e)Studio show, this is actually her fourth production with Ópera de Tenerife. Ópera de Tenerife’s co-productions show the power, capability and scope of the project, which is possible thanks to the great team behind it.
On his part, Giulio Zappa was “very grateful to my production and music staff who help us to improve every year, to be better”. Opera (e)Studio director also stated that “we’re very happy to have been chosen by Creative Europe because it means they acknowledge our opera”. Zappa points out that “rather than being a violent language, opera joins us together, and proof of this is the different nationalities we have at Opera (e)Studio this year, they come from nearly all the continents in the world”.
Finally, Zappa highlighted that “this year marks the 150th anniversary of Rossini’s death and I’m honoured to have Opera (e)Studio paying tribute to him with The Italian in Algiers, followed by The Journey to Reims on 15 December where the cast is made up of former Opera (e)Studio students. Rossini is very useful for young singers in musical terms. Every year I try to teach them things but the truth is I also learn a lot from them”. “This is a wonderful thing in our job, you feel like a student your whole life, you’re always learning”, Giulio Zappa concluded.
Giorgia Guerra said that “it’s my first experience with Opera (e)Studio” and “we’re celebrating the 150th anniversary of Rossini’s death with this perfect gift: The Italian in Algiers.” “Rossini helped me a great deal to put together the stage management: listening to him made me close my eyes and let the music flow… This is how the concept for this opera came about. Being loyal to what the music demands, produced this little crazy thing as a result. The setting is a great hammam, which is like a wellness centre or a spa”.
“Sometimes the staging is surreal and it can even look like a musical, but we’ve always followed what Rossini’s music suggested. The costumes are very colourful but coherent with the Arab world, as for the Italian side, we got our inspiration from the 1990s fashion”, Guerra explained.
Musical director Nikolas Nägele -his first time in Tenerife- said that “we’ve been working with this wonderful team for three weeks now, including Sinfónica de Tenerife, the Choir and the thirteen young singers. Dealing with a great masterpiece is complicated as this is a great composition”.
The opera, along with the unmistakable Rossini style with energetic, dizzy melodies, is about a rescue mission led by Isabella. The Italian heroine manages to trick his captors and devices an escape plan in addition to leaving her imprint in this Mediterranean city. The libretto deals with current and universal issues like interculturality or gender conflicts. The Italian in Algiers is one of the most difficult of Rossini’s operas to sing, especially the roles of Isabella and Mustafa.
The thirteen members of Opera (e)Studio were selected at auditions held last May in Bologna, Madrid and Tenerife. 113 artists from different cities in Europe, America or Asia competed for the roles. The singers are grouped in twos, so that two of them play the same role on alternate performances, on 25th and 27th, and 26th and 28th.
The singers performing in this production are the following: Maria Ostroukhova (mezzosoprano); Vittoria Vimercati (mezzosoprano); Milos Bulajic (tenor); Biao Li (tenor); Matías Moncada (bass); Aleksandr Utkin (bass); Gianni Giuga (baritone); Jorge Eleazar Álvarez (baritone); Francesco Samuele Venuti (bass/baritone); Esteban Baltazar (bass/baritone); Inés Lorans (soprano); Anna Kabrera (soprano) and Sophie Burns (mezzosoprano), who is present in all 4 performances.
The costumes, designed by Lorena Marin, have an amusing style in tune with the period, are brightly colourful intermixing European and north-African styles. Marin returns to work in Ópera de Tenerife, after participating in Werther in 2016. The Italian designer has worked in such well-known shows as Un ballo in maschera (Verdi) which opened the Festival dell'Opera dell'Arena in Verona; the Tabarro, Suor Angelica and Gianni Schicchi trilogy (Puccini) at the Festival Puccini de Torre del Lago Nabucco (Verdi) or Nabucco (Verdi) at Shangai Opera House.
Opera (e)Studio is an Ópera de Tenerife project whose goal is to train singers by providing them with a comprehensive artistic improvement process, which started last September.
One of the main features of this initiative is its versatility as singers work on different aspects, from different music and stage performing techniques to style, diction, body language and drama combined with rehearsals at the pace set by professional theatre: costume fitting, make up, rehearsing with the orchestra.
Performances on Thursday, 25, Friday 26 and Saturday 27 start at 7:30 pm. The one on Sunday, 28 is at 6:00 pm at Sala Sinfónica in Auditorio de Tenerife.
Tickets can be purchased via the usual sale channels of Auditorio de Tenerife, at the box office from 10:00 am to 7:30 pm, Monday to Saturday; on the website here or by phone on 902 317 327.
Maria Ostroukhova and Vittoria Vimercati are playing the part of Isabella, the young Italian who has the leading role in Rossini’s The Italian in Algiers, which opens the new Ópera de Tenerife season next October. Both singers agree it is “an amusing and intelligent opera”.
Ostroukhova and Vimercati are arriving on the Island next week to join the new group at Opera (e)Studio where the Russian mezzo soprano hopes to “gain a good command of her vocal skills and deepen her knowledge of Rossini’s brilliant style”, whom she greatly admires. On her part, the Italian singer admits that the great challenge for her in Tenerife is “facing a difficult task that challenges my musical and stage skills”. However, she affirms it is precisely that what “will allow me to grow as an artist”.
Vimercati, who is currently studying at Conservatorio di Musica Verdi in Milan, knows about the work with new talents carried out in Tenerife and thinks that “it’s a great opportunity as young singers get the chance to make their debut in an important season”. Ostroukhova, who trained at Moscow State Tchaikovsky and at London’s Royal College of Music, admits that “I was in my own little bubble in the British musical scene” unaware of “European opera programmes”.
It is clear for both of them that The Italian in Algiers is an “amusing and intelligent opera”. Ostroukhova points out that it is “concise, entertaining and full of successes”, while in Vimercati’s opinion, the construction of the opera is “extremely intelligent both in terms of music and stage”. They think that the plot is still valid today and the characters are very funny.
Regarding the role of Isabella, they are going to perform from 25 to 28 October at Sala Sinfónica of Auditorio de Tenerife, Maria Ostroukhova says that since her graduation, she has only performed Baroque opera and she “is looking forward to going on stage”. She defines Isabella as “a rare example of a strong, sexually free woman every feminist would be proud of”. The main difficulty of the character lies on “her conflictive and contrasting personality” as it is deemed to be “a strong but seductive character, sarcastic but sincere and shy but challenging”.
In contrast with her colleague, this is not the first time Vittoria Vimercati is facing this role. In fact, at the Festival de Música de Ticino last July, she played the Italian heroine. In general terms, she says that “every character you approach must be tailor-made to your individuality”. In her view, the greatest difficulties in the performance are “in the virtuosities sung at great speed and the vocal range needed to perform them”.
Ostroukhova believes that “as long as there is music there is life”, so regarding future projects, she hopes “to be immersed in music and on the stage as long as she can”. She hesitates when it comes to choosing the role of her dreams although she mentions “Carmen or Rosina”, and amusingly concludes that “one day, when I’m old and wise, Isolde... who knows?”. Also, being a geology lover, she hopes to visit El Teide soon, as “I´ve admired it for years”.
Vimercati has no specific projects either, but she hopes to be able to take on “new roles and start her musical career after making her debut”. Although she admits that “every mezzo soprano usually dreams of singing Carmen”, she also says that she’d like to play “the role of Charlotte in Werther and Dalila in Samson and Dalila”.
Next week the young singers, along with eleven other artists, are starting the sixth Opera (e)Studio in Tenerife, where they will spend two months in a process of comprehensive artistic improvement, under the supervision of Giulio Zappa, which concludes with four performances of The Italian in Algiers to be held at Sala Sinfónica of Auditorio de Tenerife from 25 to 28 October. Musical director Nikolas Maximilian Nägele is working at Ópera de Tenerife for the first time this year and Giorgia Guerra is returning to the Island as stage manager.
Tenors Matías Moncada Albarrán and Alexander Utkin are sharing the role of King Mustafa in the Auditorio de Tenerife production The Italian in Algiers, by Rossini, which opens the Ópera de Tenerife season on 25 October. Their performance is part of the sixth Opera (e)Studio, whose training period is starting on 7 September.
Chilean tenor Matías Moncada, who studied at Universidad de Chile and obtained a grant from Fundación Ibáñez Atkinson and from Corporación Amigos del Teatro Municipal de Santiago, is “looking forward to coming to the Island”, as he has had “good references about the opera work done at Ópera de Tenerife”. Born in Russia, Alexander Utkin studied choral direction at Bryansk Regional College and at Rimsky-Korsakov Conservatoire in St. Petersburg, and describes the island’s Auditorio “as one of the most beautiful in Spain”. The Russian singer, who in his early years took up rock, has personal references about the training that has been carried out on the island in the last years.
Regarding Opera (e)Studio, which is starting in September and lasts two months, Utkin has purposefully prepared for it and believes “it’s a great chance to take part in an exciting production and gain stage experience by playing one of the leading roles”. He also highlights “the feedback you get when working with major musicians and young performers”, something Moncada also points out, as he hopes to have “many experiences that will enrich me and make me grow as an individual”.
Neither of them has performed the The Italian in Algiers before but they both believe it is “energetic”. Moncada likens it to “a wave that gets hold of you from the overture all the way to the end”. For his part, Utkin adds that Rossini’s classic “is full of humour and vital power”.
The character of Mustafa “is a real challenge” according to Moncada, as, “you can’t fall off, you must keep active not to lose the audience attention”. He adds that “this histrionics, Rossini’s typical sparkle, means that if one of the characters doesn’t keep up the energy, the whole thing fades”. Utkin, refers to the different aspects of Mustafa’s multi-faceted personality to describe the difficulty of the role, “he’s a serious guy but behaves like a child; I think the most difficult thing is to combine these two features to make him interesting and amusing to the audience”.
With their eyes in the future, they are both realistic and take it step by step, as Utkin says “it wouldn’t be very original to say that my goal is to become a top-level professional, have an international career and sing across the world”. For the time being, he feels “very comfortable with Rossini, my commitment in Tenerife looks like a good start for a long successful path”. Moncada also focuses on the present and wishes “to go on learning as much as I can” as “whatever the future brings depends on how I live the present time”, he reflects.
When asked about the roles they would like to play in the future, Alexander Utkin recognises that when he discovered the beauty of Verdi’s The Troubadour, he was certain that it was “the role of my dreams”; although he admits that because he has a bass-baritone tessitura “it could be a problem”, so he goes for “Garibaldo in Rodelinda by Händel or Igor in Prince Igor by Borodin as the most suitable roles in my career at the moment”. Matías Moncada says that “he likes Mozart very much and the character of Leporello”. He claims to be enjoying every performance “to the full, as if each of them were the role of my dreams”.
Moncada and Utkin are two of the thirteen singers in this year Opera (e)Studio, where they will start a process of comprehensive artistic improvement, under the supervision of Giulio Zappa, to conclude with four performances of The Italian in Algiers to be held at Sala Sinfónica of Auditorio de Tenerife from 25 to 28 October. This production is bringing musical director Nikolas Maximilian Nägele to the Island and has Giorgia Guerra as stage manager.
Australian mezzosoprano Sophie Burns will perform as Zulma, Elvira’s slave and confidant, in the hilarious opera The Italian in Algiers by Rossini. The show opens the 2018-2019 Ópera de Tenerife season. She is the only singer from the Opera (e)Studio academy that is playing her role in all four performances to take place at Sala Sinfónica del Auditorio de Tenerife between 25 and 28 October.
Burns, born in Melbourne (Australia) and trained at the Monash and Melbourne universities, made her debut aged 20 in Italy, playing the role of Stabat Mater by Pergolesi. She then went on to sing on stages across Europe and Australia, performing in operas, concerts or competitions. The singer, who received an Elizabeth Luxton grant from Berlin Opera Academy, has never been to Tenerife although she highlights that “the nature of the island, the privileged by the sea location of the Auditorio and the interesting productions made”. She is “proud to sing in this company and in such an incredible place”, she also said she feels “honoured to join their ranks”.
Her coach told her about the academic Project Opera (e)Studio and encouraged her to take part in a “programme that works with the best of the best and allows young artists to reach a further step in their careers”. Appealing to the simile “this opportunity is what dreams are made of” Burns talks about what she considers to be “the chance to perform in one of the major opera houses in Europe”. Also, “I’m singing one of my favourite operas”, she said.
Burns wishes “to grow as an artist in all the capacities” in her next participation in Opera (e)Studio and she hopes to “learn constantly through performance, the intensive study of my role, and the time shared with my colleagues”. To this aim, she trusts she “will be challenged every step of the way”.
Sophie Burns thinks that The Italian in Algiers is a “very funny” opera, defining it as a composition with “charming and impressive music to sing and experiment with.” She also points out that “the characters are rich and alive”, which means the audience will have “exceptional entertainment”. Regarding her role, she is certain that Zulma “has a strong personality, which also makes her be a schemer in the shadows.” She thinks that one of the main issues she could face when approaching the character “is portraying the nuances in her personality and her relationship with Elvira”. That is why she points out that it will be “a challenge to keep my energy up in order to deliver maximum quality in every single performance”.
As far as future projects are concerned, Burns states that one of her dreams is “to work in the best opera companies.” One of the roles she would like to play is that of Dalila, in addition to the “Italian repertoire”, as “it suits my personality and voice colour.”
The sixth Opera (e)Studio academy is starting in early September where thirteen singers will begin a process of comprehensive improvement. This initiative, directed by Giulio Zappa, will end with four performances of The Italian in Algiers, which will take place at Sala Sinfónica del Auditorio de Tenerife from 25 to 28 October.
The Italian in AlgiersThe Italian in Algiers opens the 2018-2019 season which includes the debut of Maximilian Nägele in Ópera de Tenerife. This new coproduction of Auditorio de Tenerife and Teatro Comunale di Bologna will have Giorgia Guerra as stage manager. The plot develops in the surreal atmosphere of a spa located in late 1980s Algiers and characters are dressed with the colourful, funny costumes of that period.