Name: Sinfónico 16
Start: 2023-04-21T00:00:00.000Z
End: 2023-04-23T00:00:00.000Z
Location: Auditorio Nacional de Musica

Organization

Direzione d'orchestra

Josep Pons

Cantante

Soprano

Miina-Liisa Värelä

Orquesta y Coro Nacionales de España

Sinfónico 16

Madrid

Spagna

Auditorio Nacional de Musica

Sinfónico 16: Tod und Verklärung op. 24 TrV 158 (+2 More)

Public

Morte e Trasfigurazione

Quattro ultime canzoni

Elettra

Approvato

Gossips say that there were two Richard Strauss: the young revolutionary who shook the concert –and opera– scene with the most daring and innovative music of his time, and the ordinary bourgeois who did not know how to adapt to the changes that occurred after World War I. and guarded until his death the last embers of Romanticism. This stimulating monographic program, which covers a whopping almost six decades of uninterrupted creative activity, includes one of his first great successes – Death and Transfiguration (1889) –, the definitive and most groundbreaking work of the first Strauss – Elektra (1909) – and his last and timeless swan song: the Four Last Songs (1948). Author himself of various selections for the concert halls of his operas –among the most performed, the batches of waltzes from The Knight of the Rose or the Symphonic Fantasy on The Woman Without a Shadow– Strauss left us orphans with respect to his most important score. incendiary Following this noble tradition, Elektra's symphonic suite recently put together by the conductor Manfred Honeck will allow us to enjoy from the safety of our seats the bloodthirsty deeds of the descendants of Atreus.

English

Las malas lenguas dicen que hubo dos Richard Strauss: el joven revolucionario que sacudió la escena concertística –y operística– con la música más atrevida e innovadora de su tiempo, y el adocenado burgués que no supo adaptarse a los cambios acaecidos tras la I Guerra Mundial y custodió hasta su muerte los últimos rescoldos del Romanticismo. Este estimulante programa monográfico, que abarca la friolera de casi seis décadas de ininterrumpida actividad creativa, incluye uno de sus primeros grandes éxitos –Muerte y transfiguración (1889)–, la obra definitiva y más rompedora del primer Strauss –Elektra (1909)– y su postrer y atemporal canto del cisne: las Cuatro últimas canciones (1948). Autor él mismo de diversas selecciones para las salas de concierto de sus óperas –entre las más interpretadas, las tandas de valses de El caballero de la rosa o la Fantasía sinfónica sobre La mujer sin sombra– Strauss nos dejó huérfanos con respecto a su partitura más incendiaria. Siguiendo esta noble tradición, la suite sinfónica de Elektra recientemente confeccionada por el director de orquesta Manfred Honeck nos permitirá disfrutar desde la seguridad de nuestras butacas las sanguinarias gestas de los descendientes de Atreo.

español

Crediti di rappresentazione (Cast e team di produzione )