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and conventional point of view, and who want to leave the theatre at all costs). A Christ painted in red appears on the bed of a hospital. When he exhales his last breath, we see that he is
Gonzalo, the First Man. Gonzalo, the inspiration behind the Theatre under the Sand, ends up being a victim of the audience's fury.
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another way of living that acknowledges the complete truth of the individual, including the deep, dark parts, represented by the BLACK HORSE. The climax of the
Theatre under the Sand, and maybe the whole play, is the dance of the empty costumes (Pierrot, Ballerina and Pyjamas), while Juliet goes back to her grave.
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Back in his office, the
Director faces a MAGICIAN, an expert in trickery and swapping, whose falseness is rejected by the Director who says: “But that’s a lie, that’s theatre!”. The Director has assumed his love for Gonzalo, and has discovered that “To sleep is to sow seed”. Gonzalo's mother appears
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The
Director stages a new version of Romeo and Juliet, this time in its form as “theatre under the sand”. The scene unfolds in Juliet's grave, underground. The fascinating character of JULIET appears the embodiment of the tensions between the bourgeois lifestyle (false, conventional and external) and
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Enrique, a theatre DIRECTOR, has just premiered a version of Romeo and Juliet. He is visited by
Gonzalo, his former lover (FIRST MAN), who recriminates him for the lack of risk in his artistic design, and insists that the true theatre is that “under the sand”. Gonzalo pressures Enrique to remove his
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was premiered at the Teatro Real in Madrid on
February 24, 2015, and had 8 performances, with the last performance taking place on February 13. King Don Felipe and Queen Doña Letizia attended this last representation, being this the first time they visited Teatro Real as Royals. The event was echoed
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In the new version of Romeo and Juliet, the
Director has cast a boy as Juliet. When discovered, this sparks a revolution that seems to envelop the whole city. The choir is divided in Students (supporters of the revolution who celebrate the freedom of love) and the Ladies (who represent the bourgeois
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A scene set in Roman ruins that bring back the memory of the past relationship between the
Director and Gonzalo, who are presented as the Characters in Vine Leaves and in Bells, who argue, love each other, and fight. The scene also goes into the dark and violent side of sex. The EMPEROR rapes and
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was reviewed by numerous international media, as well as by specialized critics. The eight performances hosted, according to data from the
Theater, a total of 11,697 spectators with an average of 88% occupation, which can be described as a success for a production of a contemporary opera. The
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2 Flutes (2º doubling piccolo & alto) • Oboe • 3 Clarinets (3º doubling Bass
Clarinet) • Bassoon (doubling Contrabassoon) • Saxophone tenor (doubling Saxophone alto)
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journalist Rubén Amón reviewed "The audience acclaims " The Public "(...) Sotelo, acclaimed as a composer of our time» The audience acclaims "The Public"
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2 Horns • Trumpet • 2 Trombones (1º Trombone tenor, 2º Trombone bass) • Tuba (Tuba contrabass)
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to demand the body of her dead son. The play closes with a melancholic rain of empty gloves.
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Second Man / First White Horse / Centurion: Josep Miquel RamĂłn (baritone)
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Director (Enrique) / Figure in Vine Leaves: José Antonio López (baritone)
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181:, artistic director of the Teatro Real de Madrid between 2010 and 2013.
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Los Reyes Felipe y Letizia acuden por primera vez a la Ăłpera en el Real
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4 Violins (Vl. 1º soloist) • 3 Violas • 3 Violoncellos • 1 Double bass
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in the first scene and third scene – second man in the third scene)
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Third Man / Black Horse / Idiot shepherd: Antonio Lozano (tenor)
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The Public (El pĂşblico), opera in five scenes with a prologue
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177:, Spain. This creation was a new production commissioned by
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Children: Daniel Kone and Samuel Echardour (dancers-actors)
161:. The libretto was written by Andrés Ibáñez, based on
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by the national press, as it appears in the newspaper
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Ballerina costume: Leonardo Cremaschi (dancer-actor)
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Manservant / Male nurse: José San Antonio (baritone)
251:First Man (Gonzalo) / Figure in Bells / Red nude:
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341:2 Harps • Piano • Chromatic button accordion
280:Pierrot costume: Haizam Fathy (dancer-actor)
169:. It premiered on February 24, 2015, at the
286:Pyjamas costume: Carlos Roda (dancer-actor)
530:https://www.teatroreal.es/en/show/publico
214:Electronic music preparation: Mauro Lanza
66:Learn how and when to remove this message
473:Third Scene | The Theatre under the Sand
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29:This article includes a list of general
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274:Juliet / Boy: Isabella GaudĂ (soprano)
271:Emperor / Magician: Eric Caves (tenor)
211:Choreographer: Darrell Grand Moultrie
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382:in the first scene and third scene)
205:Costume designer: Wojciech Dziedzic
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35:it lacks sufficient corresponding
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541:Mauricio Sotelo Official web site
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239:Second White Horse: JesĂşs MĂ©ndez
208:Lighting designer: Urs Schönebaum
459:First Scene | The Folding Screen
431:PYJAMAS COSTUME (mute character)
407:FIGURE IN VINE LEAVES (Director)
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245:Third White Horse: Rubén Olmo
220:Choir director: Andrés Máspero
125:February 24th- March 13, 2015.
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546:Teatro Real official web site
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480:Fourth Scene | The revolution
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217:Sound engineering: Peter Böhm
196:Stage director: Robert Castro
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404:FIGURE IN BELLS (First man)
314:Percussion: AgustĂn Diassera
304:Coro Titular del Teatro Real
233:First White Horse: Arcángel
141:https://www.teatroreal.es/en
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487:Fifth Scene | The Magician
362:IDIOT SHEPHERD (THIRD MAN)
338:Timpani • 2 Percussionists
163:the play of the same name
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422:BLACK HORSE (Third man)
357:(in order of appearance)
157:by the Spanish composer
86:Opera by Mauricio Sotelo
561:Spanish-language operas
466:Second Scene | The ruin
327:(as shown in the score)
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50:more precise citations.
437:ENFERMERO (Manservant)
416:CENTURION (Second man)
576:Operas based on plays
309:Instrumental soloists
167:Federico GarcĂa Lorca
115:Federico GarcĂa Lorca
434:RED NUDE (First man)
378:SECOND WHITE HORSE (
392:FIRST MAN (GONZALO)
385:THIRD WHITE HORSE (
371:FIRST WHITE HORSE (
294:Orchestra and choir
516:. The premiere of
446:MAGICIAN (Emperor)
365:DIRECTOR (ENRIQUE)
192:Pablo Heras-Casado
428:BALLERINA COSTUME
317:Guitar: Cañizares
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190:Music director:
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449:LADY (Elena)
443:LADIES CHOIR
410:BOY (Juliet)
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113:, a play by
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566:2015 operas
512:Paris Match
347:Electronics
268:: (soprano)
171:Teatro Real
129:Teatro Real
48:introducing
555:Categories
525:References
518:El PĂşblico
500:El PĂşblico
498:The opera
395:SECOND MAN
368:MANSERVANT
352:Characters
255:(baritone)
111:The Public
91:Librettist
81:The Public
31:references
494:Reception
398:THIRD MAN
247:(bailaor)
241:(cantaor)
235:(cantaor)
56:June 2019
454:Synopsis
121:Premiere
107:Based on
99:Language
413:EMPEROR
387:Bailaor
380:Cantaor
373:Cantaor
137:Website
102:Spanish
44:improve
571:Operas
419:JULIET
175:Madrid
153:is an
33:, but
401:ELENA
155:opera
225:Cast
173:in
165:by
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