After an unforgettable ‘Luisa Fernanda’ in 2006, the Castell de Peralada Festival will once again count, this Sunday, with the company of the Teatro Real de Madrid that, once the season is over on its stage in the Plaza de Oriente, it moves, divos included, to the Empordà stage.
And if his successful debut focused on the Zarzuelistic repertoire with a great and applauded montage, this time it will do so with one of the opera masterpieces, ‘Tosca’, by Giacomo Puccini, whose passionate score will sound in the gardens of the castle of Peralada led by three great lyrical divos, Sondra Radvanovsky, Jonas Kaufmann and Carlos Álvarez .
Real lands on the Costa Brava backed by no less than 16 functions of the Puccini title that were shelled in Madrid with three deliveries of bells from July 4 to 24, a party that ended, on several occasions, with the encores of the American soprano.
An old acquaintance of the Peralada public, Sondra Radvanovsky was forced to repeat the famous ‘Vissi d’arte’ in up to five performances, the aria that the protagonist sings before murdering her torturer; In those almost half a dozen evenings to remember, in one of them, on July 19, he was joined in the encore by the also acclaimed Jonas Kaufmann, who made his debut in this show.
The German tenor, another great favorite of the Peralada public, returned to Madrid as Mario Cavaradossi and gave the public – who did not stop applauding him – a second ‘E lucevan le stelle’, the bitter goodbye to the life of the long-suffering protagonist .
A historical moment
Both singers, in this way, made history in the Madrid coliseum creating a complicity that was obvious when the Munich tenor and the American soprano celebrated the feat with the curtain down. Kaufmann, who received the press on the 20th at the Teatro Real, with the hangover of this ‘Tosca’ by the encores, did not hide his satisfaction in this regard: “It was very special.
You think that it will never happen to you because it is not something that happens to you every week, although Sondra is on the way to make this become a tradition, “she said smiling about that rare record of the singer, without a doubt the one who most encores has given away in the recent history of the Madrid opera scene .
In Peralada, devoid of the high school production of Paco Azorín that they starred in at the Real – the opera will be offered in concert version -, both divos will meet again with the Catalan public to raise the temperature of the summer nights with the teacher Nicola Luisotti on the podium in command of the Titulares Choir and Orchestra of the Teatro Real, that is, the Intermezzo Choir and the Madrid Symphony.
The bad guy
Between Kaufmann and Radvanovsky sparks already jumped on the stage of the Liceu in February 2018 when they both performed Giordano’s ‘Andrea Chénier’, an opera in which they triumphed alongside a third interpreter of absolute exception , an international star with whom they also shared their recent success at Real: the Malaga baritone Carlos Álvarez. Medal of Honor of the Festival for his talent and fidelity, the Spanish singer loves to play the baddie of the film , precisely the role that he will play in this ‘Tosca’ under the stars by giving life to the sinister Baron Scarpia, who violates the protagonist and he has his hero shot.
Álvarez has made his versatility clear to the Madrid public, since just before taking on this terrible villain he cut his beard and dressed as a woman to perform Donizetti’s comic opera ‘Viva la Mamma!’ , now turning a dramatic 360 degree turn.
Recognized as one of the best baritones in the world, he cannot help but hide his pride at being at the same level as divos such as Kaufmann and Radvanovsky, as he stated in Madrid to the specialized magazine ‘Ópera Actual’: “Of course I hope to be at the same level. of all, who are tall. When I look at the cast I say to myself: ‘but they are my friends’ …
That’s how I see them. With Jonas I recorded ‘Otello’ in Rome. The first surprised to be in this group of chosen ones is me, but let it be clear that I say it without showing off and with great pride ”.
From Cavaradossi to Tristan
In his meeting with the Madrid press on Tuesday, Kaufmann assured that the secret of his success – and also of not getting bored if he sings many functions of the same role – is to create “a different character each time, as now happens with Cavaradossi.
Each function is different, as is the emotion you feel, which is what makes your voice change ”. An evolution that on July 2 reached one of its limits when he debuted at the Bayersische Staatsoper in Munich no less than the Wagnerian Tristan .
The only function of this ‘Tosca’ in Peralada –which has been hanging the “all sold” sign for weeks and for which there is a waiting list– will raise the curtain with the highest expectations. And these first three swords of the lyric will be accompanied by Valeriano Lanchas as Sacristán, Gerardo Bullón in the role of Angelotti, Mikeldi Atxalandabaso as Spoletta, David Lagares as Sciarrone, the Pastor of Inés Ballesteros and the Little Singers of the Community of Madrid.