2019/20 SEASON

Ópera de Tenerife opens the 2019 – 2020 season with titles sailing from ‘the innocence of love’ to ‘the corruption of power’ signed by great composers like Donizetti, Verdi or Handel, although there is also room for more avant-garde authors like Ullmann and Krenek, offering a total of eight titles. The season raises the curtain with the seventh Opera (e)Studio, the comprehensive training academy to develop young artists, which this year is funded by the European Commission through their Creative Europe scheme. The title chosen by the project’s artistic director, maestro Giulio Zappa, is Donizetti’s melodramma giocoso, L’elisir d’amore. It will be followed by Rigoletto by Verdi. The first quarter will be closed with a double programme, concert version: Der Diktator, by Krenek, and Ullmann’s Der Kaiser von Atlantis. Lucrezia Borgia by Donizetti is the title chosen for March to be followed in the Ópera en Familia format by Handel’s Rinaldo. Verdi’s The Traviata returns to Ópera Pocket which like in previous seasons, is travelling to other municipalities on the island. Sorozábal’s zarzuela La tabernera del puerto and the Concurso Internacional de Canto de Ópera de Tenerife [Opera de Tenerife International Singing Competition] will close the season.

Make the most of our discounts and to experience opera the best way possible, join Club Ópera or Club Ópera Joven and enjoy all our advantages.

If you have any doubts, please contact us on +34 902317327

Season 19/20 program pdf

Opera
Opera de Tenerife
Thu 24Oct19
Fri 25Oct19
Sat 26Oct19
Opera
Opera de Tenerife
Tue 19Nov19
Thu 21Nov19
Sat 23Nov19
Opera
Opera de Tenerife
Tue 17Mar20
Thu 19Mar20
Sat 21Mar20
Opera
Opera de Tenerife
Sat 25Apr20
Sun 26Apr20
Opera
Opera de Tenerife
Sat 20Jun20

 

Previous seasons

SEASON 18/19

SEASON 17/18

SEASON 16/17

SEASON 15/16

SEASON 14/15

SEASON 13/14

 

News

Actualidad

El Cabildo de Tenerife presenta la ópera Lucrezia Borgia, de Gaetano Donizetti, que se representará en la Sala Sinfónica del Auditorio de Tenerife con tres funciones los días 17, 19 y 21 de marzo a las 19:30 horas. Se trata de una coproducción de Ópera de Tenerife, una de las mayores que ha puesto en pie, junto al Teatro Comunale di Bologna, Ópera de Oviedo y Teatro de la Maestranza de Sevilla

Los detalles del estreno fueron dados por la consejera de Cultura, Educación, Juventud y Deportes del Cabildo de Tenerife, Concepción Rivero; el director general de Cultura del Gobierno de Canarias, Rubén Pérez Castellano; el director artístico del Auditorio de Tenerife, José Luis Rivero; la soprano canaria Yolanda Auyanet; el tenor Francesco Castoro; la directora de escena, Silvia Paoli, y el director musical, Andriy Yurkevych.

La consejera presentó esta “importante obra que tenemos el honor de producir y en la que contamos con una de las grandes voces canarias que destaca en el panorama internacional como es Yolanda Auyanet”. Concepción Rivero destacó, además, “el gran esfuerzo económico y de equipos que requiere un proyecto de esta envergadura”.

El director general habló de la renovación de la colaboración del Gobierno de Canarias con el Auditorio de Tenerife y reconoció que “esto es un ejemplo de proyecto internacional que asume riesgos y animamos a todos a ver este espectáculo en el que se reivindica la mujer”. “Es un orgullo tener a Yolanda Auyanet, que ahora recorre los grandes teatros del mundo”, añadió Rubén Pérez.

El director artístico del Auditorio de Tenerife explicó que este proyecto sin la unión de instituciones púbicas es imposible y agradeció el trabajo de todo el equipo. “Esta es una de las producciones más ambiciosas de Ópera de Tenerife y para ello contaremos con nuestra soprano preferida, Yolanda Auyanet, a la que acompañaremos en su estreno en el rol de Lucrezia”, comentó Rivero, quien además hizo hincapié en que gran parte del elenco comenzó su carrera siendo cantera de la academia vocal Opera (s)Studio.

Por su parte, Auyanet aseguró que se trata de una “gran oportunidad participar en esta megaproducción, como lo es cantar en Ópera de Tenerife, un proyecto al que estoy unida desde 2012 y de cuya internacionalidad me enorgullezco”. Castoro confesó que “volver a Tenerife es como volver a casa y esta es la cuarta vez con compositores diferentes”.

La directora de escena, que ha convertido la Sala Sinfónica en un matadero de los años 40, “un contenedor de violencia e injusticia”, dio las gracias “de todo corazón al equipo del Auditorio de Tenerife y en especial al equipo de vestuario”. “Esta es mi casa artística”, sentenció la directora, quien explicó que la historia de Lucrezia Borgia se ha tergiversado. “Su padre la vendía para conseguir beneficios, sobre todo que le dieran poder; es una víctima y no una envenenadora, es por eso que elegí el fascismo italiano para ambientar la obra, me parece importante hablar de esto en los tiempos que corren”.

Se trata del cuarto título de Paoli en Ópera de Tenerife después de La Cenerentola (2014), Le nozze di Figaro (2015) e I Capuleti e i Montecchi (2017), producciones dentro del programa de Opera (e)Studio. Paoli traslada este melodramma que relata las aventuras y desventuras de la hija del Papa a la Italia fascista del Duce para reforzar el sentido de opresión y claustrofobia que sugiere la historia. Recientemente ha dirigido Otello (Verdi) en el Teatro Sociale de Como y Enrico di Borgogna (Donizetti) en el Festival Donizetti de Bérgamo.

Finalmente, el director musical recordó que “el bel canto es muy difícil musicalmente”. Yurkevych explicó que esa dificultad también se palpaba en la época en la que Donizetti compuso esta ópera. “Las orquestas de las galas para las que se hizo se llegaron a quejar e incluso el propio Donizetti tuvo que interceder en uno de los actos y recolocar a la orquesta, una disposición de músicos que se mantiene hoy en día”, recordó el director musical del Teatr Wielki Opera Norodowa (Ópera Nacional de Polonia), una de las batutas más solicitada en el panorama internacional

El maestro Yurkevych debuta en Ópera de Tenerife al frente de la Orquesta Sinfónica de Tenerife y Coro de Ópera de Tenerife. después de una extensa carrera como director residente en el Teatro de Ópera y Ballet Solomiya Krushelnitska, director principal del Teatrul Naţional de Operă şi Balet din Republica Moldova y en el Teatr Wielki de Polonia. También, ha sido director musical en el Teatro de Ópera y Ballet de Odessa. Es invitado regularmente a importantes teatros, festivales e instituciones musicales de todo el mundo.

Al frente del diseño de vestuario estará Valeria Donata Bettella siendo Lucrezia Borgia su segunda producción en la isla. Debutó en la temporada pasada con el título Il viaggio a Reims de Rossini. Como diseñadora de vestuario ha trabajado para diversas producciones operísticas en importantes teatros y festivales líricos como en el AsLiCo, Festival della Valle d'Itria, Wexford Festival Opera, Teatro Regio di Parma, Opéra de Nice, Fondazione Teatri di Piacenza, Theatre St. Gallen, Teatro Massimo di Palermo, Teatro Nacional de Croacia en Zagre, Teatro Comunale di Modena o, próximamente, en el Innsbrucker Festwochen der Alten Musik, entre una larga lista.

Lucrezia Borgia es un melodrama en un prólogo y dos actos con música de Gaetano Donizetti y libreto de Felice Romani basado en el drama, con el mismo nombre, del escritor francés Victor Hugo basada libremente sobre la figura histórica de Lucrecia Borgia. Se estrenó en el Teatro alla Scala de Milán el 26 de  diciembre de 1833. El compositor hace una radiografía del mito morboso de la hija del papa Alejandro VI, crecida en una familia rodeada de rumores de incesto, adulterio, infidelidad, traición, asesinato y horror, creando un potente retrato psicológico de una mujer poderosa y frágil a la vez.

El elenco se completa con Mirco Palazzi (Alfonso I d’Este); Na’ama Goldman (Maffio Orsini); Jorge Franco (Jeppo Liverotto); Lorenzo Barbieri (Don Apostolo Gazella); Matías Moncada (Ascanio Petrucci); Biao Li (Oloferno Vitellozzo); Borja Molina (Gubetta); Mario Méndez (Rustighello) y Eugenio di Lieto (Astolfo).

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 excepto festivos; a través de la web o por teléfono en el 902 317 327.

Actualidad

*Updated April 2020: https://bit.ly/2RXuV1K

Ópera de Tenerife has opened the call to take part in the eighth Opera (e)Studio, the high specialization academy for young artists, a scheme shared with two theatres in Italy: the Teatro Regio di Parma and the Teatro Massimo di Palermo. This time Ópera de Tenerife has chosen the title Il matrimonio segreto by Domenico Cimarosa. At the auditions, to take place at the two Italian theatres, at the Auditorio de Tenerife and at the Escuela Superior de Canto de Madrid, the young artists will have the chance to show the talent, quality and excellence of their work.

Ópera de Tenerife’s team of professionals will start working with the selected singers in September through to the production of the opera which is to be put on four times from 22 to 25 October 2020 at Auditorio de Tenerife’s Sala Sinfónica. The same cast will also perform Il matrimonio segreto at theTeatro Regio di Parma and at the Teatro Massimo di Palermo in 2021.

Opera (e)Studio will be holding the auditions in four cities - on 11 and 12 May at the Escuela Superior de Canto de Madrid; on 14 and 15 May at the Teatro Regio di Parma; on 17 May at the Teatro Massimo di Palermo and finally, at the  Auditorio de Tenerife on 19 May.

The candidates entering the selection process will have to perform, according to the role they are applying for, the compulsory arias of Il matrimonio segreto by Domenico Cimarosa; and two arias of other comic operas (or intermezzi) in Italian by Pergolesi, Galuppi, Piccinni, Paisiello, Cimarosa, Haydn, Salieri, Mozart or Rossini, one of which must include a recitative. All the arias, including the excerpts of the role in Il matrimonio segreto, are to be sung by heart.

Candidates can enter for more than one role. The titles requested for the five roles are the following: Geronimo (bass, baritone or bass-baritone) the aria Udite, tutti, udite, the recitative Questa invero è curiosa and the duet Se fiato in Corpo avete; Elisetta (soprano or mezzo soprano) the aria Se son vendicara; Carolina (mezzo soprano or contralto) the aria E vero che in casa; Conte Robinson (bass, baritone or bass-baritone) the introduzione entitled Cara, non dubitar, the recitative Or sappi, sposa mia and the aria Pria che spunti in ciel l’aurora.

For further information, please see the Regulations on Opera (e)Studio website www.operaestudio.eu . The call is open for opera singers who were born on or after 1 January 1988 and the deadline is on 19 April 2020 before 6:00 pm.

The aim of Ópera de Tenerife’s scheme for young artists is to provide holistic, highly specialized training in international opera singing. In these eight years singers from more than 24 different countries have taken part. Ópera (e)Studio has been the showcase and springboard for artists who are nowadays part of the opera world.

This programme by Ópera de Tenerife has also highlighted the work done at Auditorio de Tenerife’s production workshops, having been recognised by the European Commission’s Creative Europe scheme, which shows the development, sustainability, job creation and training in 2019 and 2020.

Actualidad

Ópera de Tenerife presents Der Diktator and Der Kaiser von Atlantis, a double programme in concert version to be performed on Saturday, the 14th at 7:30 pm in Auditorio de Tenerife’s Sala Sinfónica. This event consists of two operas that were written by Austrian composers in the first half of the 20th century. Through sarcasm they deal with the issue of totalitarian power.

Maestro Pedro Halffter, who is making his debut with Ópera de Tenerife, will be the musical director of this production by Sinfónica de Tenerife. The show features the voices of Bruno Taddia, baritone; Melody Louledjian, soprano; César Arrieta, tenor; Carmen Acosta, soprano; Nicolò Donini, bass; David Astorga, tenor; Francisco Crespo, bass; and Laura Verrecchia, mezzo soprano.

When Ernst Krenek composed Der Diktator (The Dictator) in 1928 fascism already ruled in Italy and it would soon reach Germany. This tragic opera in one act with music and libretto in German by Ernst Krenek, premiered at Hessisches Staatstheater in Wiesbaden on 6 May 1928. This short work with a tremendous rhythm and composed in a melodic style, portrays the irresistible attraction of populist power, represented by a character who many thought to be inspired by Mussolini.

Der Kaiser von Atlantis (The Emperor of Atlantis) is a one-act opera with music by Austrian composer Viktor Ullmann and libretto in German by poet Peter Kien. It was composed in 1943 while at Theresienstadt concentration camp in the Czech Republic, where they were both taken because of their Jewish origin.   The work, which has certain elements of Viennese Expressionism, is about a tyrant -satirical portrait of Hitler- who is leading humanity to a cruel massacre, pushing Death himself to go on strike.  Ullmann died in a gas chamber at Auschwitz-Birkenau. Der Kaiser von Atlantis was premiered in Amsterdam in 1975.

Maestro Halffter has been artistic director at Teatro de la Maestranza in Seville, Real Orquesta Sinfónica de Sevilla, Orquesta Filarmónica de Gran Canaria, principal guest conductor at the Nürnberger Symphoniker and principal conductor of the Bayreuth Festival Youth Orchestra. Other orchestras he has led include London Philharmonia Orchestra, Symphonieorchester des Bayerischen Rundfunks, Deutsches Symphonie-Orchester Berlin, Staatskapelle Berlin, Dresdner Philharmonie and the main Spanish orchestras.

Tickets can be purchased at Auditorio de Tenerife box office from 10:00 am to 7:30 pm, Monday to Saturday except holidays; calling 902 317 327 or clicking here

Actualidad

Ópera de Tenerife is taking Der Diktator and Der Kaiser von Atlantis, a double programme in concert version, to nine municipalities of the island through the programme Ópera en Ruta [Itinerant Opera]. In sixty-minute talks the audiences will learn about the main features of these two operas.

There will be a total of nine talks to be held in the afternoon at different venues of the island’s Public Library network. The talks, that started in La Orotava, will be held in Candelaria on Friday, the 29th, at the Biblioteca Pública de Garachico on 2 December, at Biblioteca Adrián Alemán de Armas, in La Laguna on the 3rd; at Biblioteca Pública del Estado de Santa Cruz on the 4th; at Biblioteca Municipal de la Villa de Adeje on the 5th; at Biblioteca de Tabaiba on the 9th; at Biblioteca Municipal de Santa Úrsula on the 10th and finally, at  Biblioteca Tomás de Iriarte in Puerto de la Cruz on 11 December.

This double programme brings together two operas that were composed by Austrian authors in the first half of the 20th century. Through the use of sarcasm, they tackle the issue of totalitarian power. When Ernst Krenek composed Der Diktator in 1928 fascism already ruled in Italy and it was to reach Germany soon. Viktor Ullmann’s Der Kaiser von Atlantis was composed in 1943 at a concentration camp.

Der Diktator [The dictator] is a tragic opera in one act with music and libretto in German by the composer and was premiered at Hessisches Staatstheater in Wiesbaden on 6 May 1928. This short work with a tremendous rhythm and composed in a melodic style that resembles Puccini’s, portrays the irresistible attraction of populist power, represented by a character who many thought to be inspired by Mussolini.

Der Kaiser von Atlantis [The Emperor of Atlantis] is a one-act opera by Austrian composer Viktor Ullmann and libretto in German by Peter Kien. It was composed while in prison at Theresienstadt concentration camp, where they were both jailed for being Jewish. In fact, Der Kaiser von Atlantis, a surrealist legend of a tyrant that is leading humanity to a cruel massacre, pushing Death himself to go on strike, was composed with all the characteristics the Nazis considered as ‘degenerate music’ (atonality, jazz...). When the camp authorities realized the figure of Emperor Overall was a not very veiled parody of Adolf Hitler, they forbade its premiere. Ullmann was deported to Auschwitz in 1944 where he was killed in the gas chamber.

In addition to the learning experience, Ópera en Ruta will also seek to undo some myths about the world of opera such as its supposed elitism or language barriers in performances; dress code and Auditorio de Tenerife’s ticket sale channels will also be dealt with.

Ópera en Ruta is part of the communication strategy of Ópera de Tenerife and Auditorio de Tenerife for the new 2019-2020 season. In addition to spreading opera, it also adds to the economic drive of this Tenerife project, which encourages the local cultural industry.

Opera de Tenerife

Ópera Fórum es una nueva vía de comunicación para acercar la ópera a todos los ciudadanos. Este nuevo proyecto pretende descubrir los entresijos de la lírica a través de diversos encuentros que tendrán lugar durante toda la temporada y de una forma holística poder entender los diferentes aspectos que abarca la una producción de ópera. Estas sesiones serán impartidas por diferentes profesionales relacionados con el mundo de la lírica y, a través de ellos, poder derribar los mitos que ensombrecen la lírica y derribar prejuicios.

 Próxima encuentro

Der Diktator & Der Kaiser von Atlantis

'Los totalitarismos aparecen con el miedo, sólo los necios pueden llegar al poder’

Ópera de Tenerife

Auditorio de Tenerife

Martes 3 de diciembre, 19:30 horas

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 Ópera de Tenerife te invita al segundo encuentro de Ópera Fórum de la temporada bajo el título ‘Los totalitarismos en las obras de Krenek y Ullmann’ en relación a la première del programa doble en versión concierto de Der Diktator (Krenek) y Der Kaiser von Atlantis (Ullmann). Las obras tendrán una única función el 14 de diciembre a las 19: 00 horas en la Sala Sinfonica del Auditorio. La conferencia estará impartida por Paolo V. Montanari, Departamento de Producción de Ópera de Tenerife, y tendrá lugar el martes 3 de diciembre a las 19:30 horas en la Sala Alisios del Auditorio de Tenerife [acceso por la puerta anterior al parking]. El acceso al acto será libre hasta completar aforo.

Actualidad

Ópera de Tenerife presents Giuseppe Verdi’s Rigoletto, to be performed on the 19, 21 and 23 November at Auditorio de Tenerife’s Sala Sinfónica. The details of this production were revealed today, Wednesday the 13th by the Cabildo’s Director of Culture, Leopoldo Santos; Auditorio de Tenerife’s artistic director, José Luis Rivero; stage director Mario Pontiggia; musical director Giuseppe Finzi, and the singers Luis Cansino and Leonor Bonilla on behalf of the cast.

Leopoldo Santos pointed out that this Ópera de Tenerife’s production “is valid today”; he highlighted the work done by all the people involved in staging Rigoletto and said that “bringing together the Sinfónica de Tenerife and Ópera de Tenerife is always a pleasant cooperation”.  José Luis Rivero said that “the three performances will pay tribute to Alfredo Kraus, on the occasion of the twentieth anniversary of his decease”.

Mario Pontiggia, who is also artistic director at the Fundación Alfredo Kraus, stated that the president of the foundation was grateful for the homage paid to the Canarian tenor. “Kraus kept a great relationship with this island since the 1960s and one of his last activities was a recording with the Sinfónica de Tenerife in 1998”, the maestro explained. “Verdi managed to grasp Victor Hugo’s concept, which is about the relationship of a father with his daughter, who loved him out of compassion in a monstrous context”, concluded Pontiggia, who is the stage director of this Rigoletto.

For his part, Giuseppe Finzi, who is making his debut with the Orquesta Sinfónica de Tenerife, believes that this opera “is the most modern and interesting of Verdi’s trilogy, and it harshly criticizes power and vice”; “these are current issues for which Verdi created wonderful music, nearly expressionist”, the musical director added.

Luis Cansino disclosed that "I’ll offer my view on Rigoletto supported by Finzi’s view"; the part, in his opinion, “is one of the most wonderful roles for a baritone”. The singer also admitted that "I’m really happy to work again with someone who’s very dear to me, Mario Pontiggia.; he gave me my first opportunity to perform a first-rate role in this country”; and also being able to work with Leonor Bonilla, “who I worked with when she was a child and I’m thrilled with her successful career”.

Leonor Bonilla admitted that "gratitude is an understatement whenever I come to Tenerife". Regarding the phrase "chicharrera de adopción" [native of Santa Cruz by adoption] used by José Luis Rivero to refer to her at this press conference, the soprano explained that "it delights me because ever since I took part at the 2014Opera (e)Studio, coming here has always been a pleasure". Regarding her role as Gilda, she shared her personal satisfaction at having Luis Cansino as her father in fiction because she regards him as her father on the stage.

Rigoletto is a drama in three acts with music by Giuseppe Verdi and libretto in Italian by Francesco Maria Piave, based on the theatre play Le roi s’amuse (The King has Fun) by Victor Hugo. In this opera, Verdi portrays all the deep-rooted passions characteristic of man’s nature. Until it was premiered on 11 March 1851 at Teatro de La Fenice in Venice, the composer suffered agonies as he saw it clash against the censorship walls of the Lombardy-Venice state authorities [Austrian Empire], as it deals with topics which were far too thorny in Italian society before unification. After making some changes, which did not distort the characters or the colour of the work, it was finally premiered to great success.

Rigoletto is the first title of the famous “popular trilogy” by the Busseto maestro. Like the heroes in Il trovatore and La traviata, Rigoletto is a social outcast, a hunchbacked jester who worked at the corrupt court of Mantua in the late 16th century, ruled by the beautiful and young Duke of Mantua, a morbid seducer. When his efforts to safeguard the innocence of his daughter Gilda are shattered by the Duke’s lust, the jester will attempt an impossible revenge.

Giuseppe Finzi is the musical director of the production that features the Orquesta Sinfónica de Tenerife, and the voices of Luis Cansino (baritone); Leonor Bonilla (soprano); Yijie Shi (tenor); Simón Orfila (bass); Guadalupe Barrientos (contralto); Sophie Burns (mezzo soprano); Aleksandr Utkin (bass); Silvia Zorita (mezzo soprano); Jorge Franco (tenor); Matteo Mollica (baritone); Gianni Giuga (baritone) and Beatriz de Sousa (soprano).

The performances on Tuesday, the 19th, Thursday the 21st, and Saturday, the 23rd are taking place at 7:30 pm at Auditorio de Tenerife’s Sala Sinfónica. Tickets for this Ópera de Tenerife show are available through Auditorio de Tenerife usual sale channels, the box office from 10:00 am to 7:30 pm Monday to Saturday; via www.auditoriodetenerife.com or calling 902 317 327.