The Teatro Real orchestra hangs the no tickets signal on its third go to to New York | Culture | EUROtoday

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The second concert of the Teatro Real de Madrid Orchestra in New York, in October 2023 in the David Geffen Auditorium at Lincoln Center.
The second live performance of the Teatro Real de Madrid Orchestra in New York, in October 2023 within the David Geffen Auditorium at Lincoln Center.Cris Lee

The third go to of the Teatro Real orchestra to New York, with a live performance this Wednesday at Carnegie Hall entitled The eight stations of Vivaldi and Piazzolla, corroborates the progress of the strategic internationalization plan of the Spanish lyric coliseum, which began in September 2022 with its debut on this similar auditorium. China, Canada—a pleasing shock by way of viewers, in response to these answerable for the establishment—and the United States, amongst different nations, are already a part of the worldwide growth, which within the case of the United States has gone one step additional with the creation of the primary group of buddies of the Teatro Real outdoors of Spain, the American Fellows, with about 300 members, largely Spanish expatriates. Real's go to to the Big Apple additionally featured two string quartets this Tuesday at The University Club and on the headquarters of the Americas Society.

Unlike different worldwide establishments that attempted to penetrate the United States, Ignacio García-Belenguer, basic director of the Real, defined this Wednesday at a breakfast with the press, and that noticed their expectations pissed off, “the Teatro Real did it with low expectations, but aspiring to have a stable, continued presence; “Let the concert be the annual event of Spanish culture” within the Big Apple. The field workplace knowledge for at present's live performance on the Carnegie show him proper: the whole lot was bought, with a capability of 600 seats.

The live performance program, beneath the creative route of the violinist Leticia Moreno, who can be the primary soloist, is a double guess: the dialogue between the baroque Vivaldi and the modern Piazzolla; a head to head of epochs, continents and interpretations of the pure cycle of life; “more outward in the case of Vivaldi, and with an invitation to go deeper by Piazzolla, exploring the limits of sound,” Moreno defined hours earlier than the live performance. A dialogue between the baroque and tango and jazz, with an association that performs with the climatic inversion between hemispheres by inserting fragments of Vivaldi's well-known composition within the Porteñas by Piazzolla. Moreno can be a mirror of the musical provide, as a consultant of two worlds: the daughter of a Peruvian and a Spanish lady.

The orchestra that traveled to New York this yr has a medium format—about twenty musicians—as a result of the “dense programming” of the Real, within the phrases of its creative director, Joan Matabosch, makes it troublesome to seek out free dates. As on the 2 earlier events, it is a chance for musicians normally confined to the pit to play beneath the highlight: “I will be very busy as a soloist, but unlike other repertoires, in which there is no opportunity to shine, the other musicians [de Las ocho estaciones de Vivaldi y Piazzolla] They will alternate the leadership role with me during the concert,” defined the musical director. Musically, Real's proposal on the Carnegie “is also a path of search, following the indications of Vivaldi's arranger in the score about the sounds of nature and, in the case of Piazzolla, exploring the sound world of tango, which has other rules of gravity and where the true soloist is the double bass.”

The Real orchestra is therefore once again leaving its comfort zone, “for an orchestra that does a lot of opera, it is very stimulating to do symphonic concerts, and assume responsibilities that it does not have when it is in the pit. They are two complementary activities,” Matabosch stressed. Regarding the continuity that the Real's international project has achieved in the United States, those responsible for the institution, the first world theater to open in the pandemic, emphasize that the success of its landing in the United States, as the spearhead of the international plan, is due to “coming at the right time, and always with a distinctive offering, either with a very relevant soloist or the original score of The love wizard by Manuel de Falla, with a cantaora [Esperanza Fernández, en el segundo concierto del Real en Nueva York, en octubre pasado], or with pieces and authors that are not so common,” explains the artistic director. Offer a common repertoire in a city that has another temple of opera, “a Adriana Lecouvreurfor example, would not make sense.”

Since Real's internationalization plan started, more than 200 performances from a parallel program have been offered, Authentic Flamencoin the most important cities of the USA. “If excellence is provided by classical music, the commitment to flamenco is another strategy, simpler, with a lower cost – nothing to do with moving the production of an opera – and high impact. The fact that last year we sold 135,000 tickets [para los espectáculos flamencos] demonstrates success: the Teatro Real brand empowers flamenco artists, and they give it another dimension,” explained Borja Ezcurra, deputy general director of the Real and responsible for Authentic Flamenco.

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