Name: Merlin
Start: 2003-05-28T00:00:00.000Z
End: 2003-06-12T00:00:00.000Z
Location: Teatro Real

Organization

Chanteur

Baryton

David Wilson-Johnson

Merlin

Ténor

Stuart Skelton

King Arthur

Soprano

Eva Marton

Morgan le Fay

Angel Rodríguez

Gawain

Direction d'orchestre

Jose de Eusebio

Mise en scène

John Dew

Décors

Heinz Balthes

Costumes

José-Manuel Vázquez

Lumières

Eduardo Bravo

Teatro Real de Madrid

Madrid

Espagne

Teatro Real

We find ourselves near the east end of St. Paul’s Cathedral in London, just before dawn. We can hear the monks singing in the cathedral. Near the wall is a block of marble with a richly decorated sword set in it. Merlin greets Christmas Day with a request: for Arthur to be crowned King of England before the day ends. With the help of her sisters, Nivian, a Saracen slave, beguiles the Gnomes so that Merlin can steal their gold. Nivian asks Merlin to keep his word and set them free when the King is crowned. Merlin threatens Nivian with terrible punishment if she tells Morgan le Fay of his plans.

The widespread recognition of Isaac Albéniz (born in Camprodon, Girona, on 29 May 1860, died in Cambo-les-Bains on 18 May 1909) as one of the essential figures of Spanish music is at odds with the lack of interest shown in his work as a whole until quite recently. Apart from the undisputed status of his piano pieces, especially his masterpiece Iberia, practically all his work was unknown. It seemed Albéniz had paid the price for following the main European cultural trends of his era —indeed, the narrow-minded, parochial milieu of his native country once led him to express his indignation and heartache in a famous phrase: “I have decided to ignore what is happening and what will happen in Spain.”  In effect, the nationalist aesthetic, traditionally associated with his musical language and stimulated by his studies with Felipe Pedrell, was based on a much more cosmopolitan range.

The first staged production (in May 2003) of an opera of the scale of Albéniz’ Merlin, a century after its composition, was both an event to celebrate and a subject worth serious consideration. After the long history of the work, its partial performances and general lack of interest, it is truly a privilege to see the first full staging of one of Albéniz’ most ambitious projects.

Merlin Albéniz

Valide

Accordionist

Instrument

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Acteur

Autre

Choeur

Chorus Director

Chorégraphie

Coach vocal

Coiffure

Compositeur

Danse

Diffusion

Direction de choeur

Dramaturgie

En charge de la production

Extra

Illustrator

Livret

Maquillage

Orchestra Operations

Orchestre

Photographer

Poet

Prof

Répétiteur

Stage Manager

Traduction

Video

Wig & Makeup Designer

Writer

Writing and performance

Baryton-basse

Contre-ténor

Mezzo-soprano

Basse

Contralto

Alto

Continuo

Rôle muet

Rôle parlant

Voix d'enfant

Merlin by Albéniz, I., Du (2003/2003), Dirigé par John Dew,, Chef d'orchestre Jose de Eusebio, Teatro Real, Madrid, Espagne

Crédits de représentation (Distribution et équipe de production )

Distribution

Équipage

Programme, À Propos & Synopsis

Photos

Lectures complémentaires

Dates et lieux de représentation

Salles