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Teaching Staff

Carlos Álvarez artistic director (baritone)


 

Carlos Alvarez's operatic career is one of the greatest of the last three decades.
Doctor Honoris Causa by the University of Malaga, he has received numerous awards, such as the Award for Cultural Work, Grammys, Cannes Classical Award, National Music Award, Gold Medal for Merit in the Fine Arts, Gold Medal for Artistic Merit, Gold Medal of the Liceo Theatre, Kammersänger from the Vienna Opera, Best Opera Performer at the Campoamor Awards and the 21st Opera Awards, amongst others.
His most noteworthy recent performances include Giovanna d’Arco, Le nozze di Figaro and Madame Butterfly at La Scala; Rigoletto at the Arena de Verona; Falstaff, Don Giovanni and Rigoletto at the Teatro Regio de Turín; Rigoletto, La fille du régiment, Otello, Le nozze di Figaro, Samson et Dalila, Falstaff, Tosca o Don Giovanni at the Staatsoper de Viena; Pagliacci at the la Deutsche Oper Berlin; Simon Boccanegra, Otello and Rigoletto at the ROH Covent Garden; Gianni Schicchi at the NNTT; Rigoletto, Don Giovanni, Un ballo in maschera, Andrea Chénier, Hamlet and Otello at the Gran Teatro del Liceo; and Tosca and Aida at the Teatro Real.

Carlos Aragón musical director


 

CARLOS ARAGON is one of the most versatile musicians of the Spanish musical scene due to his double facet as orchestra conductor and pianist.
He has recently conducted the following operas: Otello, Suor Angelica and Manon at the Teatro Villamarta in Jerez; L'italiana in Algeri in Cordoba; La clemenza di Tito and Carmen in Valladolid; and La princesa árabe, a project initially conceived by the Baremboim-Said Foundation, at the Teatro Arriaga in Bilbao, at Baluarte in Pamplona and at Teatro de La Zarzuela in Madrid. Special mention should be made of his debut at the Grand Opéra d'Avignon with Le nozze di Figaro and at the Teatro Cervantes of Malaga with Il Trovatore. From the Spanish lyric repertoire, he has conducted La corte de Faraón at the Teatro Arriaga and in the Festival Veranos de la Villa de Madrid, and El trust de los tenorios and El puñao de rosas at the Teatro de La Zarzuela, amongst others.
As a regular accompanist of leading figures, he performs at concerts and recitals in such emblematic venues as the Royal Chapel of the Palace of Versailles, the Tchaikovsky Concert Hall and Bolshoi Theatre in Moscow, and at the Monteverdi Festival in Venice, amongst others.
As a musician closely linked to the preparation of young singers, he collaborates with the EPCASO Foundation of the United States in its annual summer course in Italy and with the Royaumont Foundation in Paris as director of Il viaggio a Reims, in the framework of its opera-study programme.

Pedro Mari Sánchez theatrical expression


 

(Ciudad Real, 1954) has been involved in the world of film, television, music and theatre since he was a child. His experience in these fields is vast and has allowed him to work with the most important directors.
Since his first work at the age of six in the film La gran familia, in which he played the swindler Críspulo, his career has continued to grow. He has starred in numerous films, such as Otra vuelta de tuerca, by Eloy de la Iglesia, and Juan Carlos Fresnadillo's debut film, Esposados, nominated for an Oscar in 1997.
He made his theatre debut in 1965, co-starring with Francisco Rabal in Miles de payasos, directed by José Luis Alonso. Since then, he has starred in a large number of productions that have taken him to the Piccolo Teatro di Milano with Lorca's El público, directed by the great Lluís Pasqual, and as Segismundo in Calderón's La vida es sueño, with the Compañía Nacional de Teatro Clásico directed by Ariel García Valdés. He also performed in La asamblea de las mujeres, by Aristophanes, the last production in which he and Lolita participated as leading couple, directed by Juan Echanove and whose performance at the Festival de Mérida recorded the festival’s largest audience attendance in its 60-year history.
Due to his innumerable interventions in programmes such as Novela, Estudio 1, Historias para no dormir and in series such as El olivar de Atocha and Cuéntame, his name is linked to the history of television in Spain. His last work in Fugitiva (TVE, Netflix) and La verdad (Mediaset, HBO, Amazon Prime), speak of his long standing connection to that medium.
As director and producer he has worked with leading figures of the film industry, such as Yvonne Blake (costume designer winner of two Oscars). In The Broken Jug by Heinrich von Kleist, he directed Agustín González and Anna Lizarán. Likewise, he  directed the show Concierto para clave y poesía, with Juan Echanove in the leading role, for the Festival de Otoño of Madrid. He has directed and starred in The Night Just Before the Forests, by Bernard Marie Kòltes, at the Centro Dramático Nacional; La divina Filotea, by Calderón de la Barca with music by José de Nebra, which inaugurated the Week of Religious Music of Cuenca in 2007, the International Festival of El Escorial and was also performed at the International Festival of Classic Theatre of Almagro, and at the Festival Huella de España in Havana and Miami.
He also had a very close connection with classical and modern music. He has recorded with labels such as Philips and Polygram, having had great success with ‘Soñé que te quería’, a single from the record Encuentro, which he composed himself. In Madrid he starred in the The Rocky Horror Show, the most innovative musical of that time. He directed the spoken parts of  Filemón et Baucis, with Europa Galante conducted by Fabio Biondi (Fundación Caja Madrid), just to name some of his work in this field.
His most recent work includes two shows in which he had leading roles: one of his own creation for the Festival Clásicos in Alcalá and another directed by Sergi Belbel, together with Gonzalo de Castro, as well as two film projects.
For more than 20 years he has been teaching courses on orality as a means for comprehension of language and its correct expression. His first workshops were held at the Unión de Actores, AISGE and the Centro Andaluz de Enseñanzas Escénicas. At present his teaching activity is geared at the business world (where he trains top executives of Spain’s most important companies) and academic institutions, with a course on a method he has developed called La articulación de la palabraÒ, at the School of Economics and Business of the University of Zaragoza (2017).

Bruno de Simone baritone (master class)


 

Recognised as a benchmark of the bel canto repertoire, Bruno de Simone is one of the most appreciated singer-actors in the world of opera at the international level. Born in Naples, he combined his school years and subsequent university education with the study of music and singing under the guidance of Sesto Bruscantini. He began to stand out as the ideal performer of playful eighteenth-nineteenth century drama and comic opera, particularly in the Donizetti and Rossini repertoire, with sixteen roles, soon being considered as an indispensable singer of this genre. After winning numerous singing competitions, including the Teatro lirico sperimentale Adriano Belli in Spoleto, he began his career in eighteenth- and nineteenth-century dramma giocoso and opera buffa, of which he rapidly became a choice performer thanks to his theatrical predisposition and vocal agility.
In consequence, as the most prolific singer of this repertoire, Bruno de Simone has participated in many of the productions of opera buffa that have been staged in recent years.
Compositions by Salieri, Haydn, Galuppi, Pergolesi, Paisiello, Tritto and Cimarosa (in which he performed nine roles) form the initial core of his vast repertoire.
In the course of his long career he has also participated in important revivals of rare 18th century compositions, including Lo frate 'nnamorato by Pergolesi (Teatro alla Scala in Milan, 1990) where he achieved an extraordinary personal success.
However, Bruno de Simone’s international career is built mainly around Rossini and Donizetti: Don Bartolo in Il barbiere di Siviglia, Don Magnifico in La Cenerentola, Taddeo in L'Italiana in Algeri, Raimbaud in Le Comte Ory, Pacuvio in La pietra del paragone, Isidoro in Matilde di Shabran, Germano in La scala di seta, Don Pasquale and Malatesta in Don Pasquale, Marchese Boifleuri in Linda di Chamounix, Dulcamara and Belcore in L'Elisir d'Amore.
He has been a regular guest of the most prestigious Italian and international theatres, festivals and institutions: Alla Scala, Maggio Musicale Fiorentino, Regio di Torino, La Fenice in Venice, San Carlo in Naples, Teatro dell'Opera di Roma, Comunale di Bologna, Accademia Nazionale of Santa Cecilia, ROF of Pesaro and the Festival dell'Arena of Verona (where he performed the role of Don Bartolo for five seasons).
He regularly participates in the opera seasons of cities such as Vienna, Tokyo, Barcelona, Madrid, Washington, San Francisco, Amsterdam, Berlin (Deutsche Oper and Staatsoper), Munich, Geneva, Zurich, amongst many others.
He has collaborated with the greatest conductors, including Abbado, Chailly, Gatti, Maag, Metha, Muti, Oren and Zedda.
As a Rossini specialist, Bruno de Simone was awarded the Rossini d'Oro prize in 2007 for his exemplary interpretations of characters such as Don Bartolo in Il barbiere di Siviglia, Don Magnifico in La Cenerentola, and Taddeo in L'Italiana in Algeri.
In the Donizetti repertoire he has performed Don Pasquale numerous times, both in the title role and as Doctor Malatesta, and L'elisir d'amore (Dulcamara and Belcore).
Thanks to his vocal and acting skills, his performances in the serious and semi-serious repertoire have also been noteworthy: Lescaut in Puccini's Manon Lescaut, Marcello in La Bohème, Le Roi in Prokofiev's L'amour des trois oranges, Varbel in Cherubini's Lodoïska, Kyoto in Iris by Mascagni, Falstaff in both the title role and that of Ford, Michonnet in Cilèa's Adriana Lecouvreur. Of particular interest were his performances of Puccini's Gianni Schicchi in the title role (the last one in 2019 at the Maggio Fiorentino) and Fra' Melitone in La Forza del Destino. Also noteworthy are his Mozart performances, including the role of Don Alfonso in Così fan tutte, the roles of Figaro and the Count of Almaviva in Le nozze di Figaro and his Leporello in Don Giovanni, sung a few years ago at the Verona Arena in Franco Zeffirelli's historic staging and production.
In 2000, on occasion of the reopening of the Teatro dell'Aquila in Fermo, he made his debut as  director in a new production of Donizetti's Il campanello and Il Maestro di Cappella by Cimarosa, of which he was also the protagonist. The show had excellent reviews and was repeated in several other Italian cities.
Encouraged by his own teachers, in 2001 he managed to find time in his busy schedule of artistic commitments for master classes geared at transmitting part of his great artistic experience to his young colleagues.
In 2009 he was the artistic and educational architect of the relaunch of the Accademia del Maggio Musicale Fiorentino (Maggio Formazione) where he has taught for six years.
He has made numerous CD and DVD recordings for the most important record labels, including EMI, DECCA, SONY BMG, NAXOS, TDK, ARTHAUS MUSIK and DYNAMIC.
Bruno de Simone is the winner of the following awards: Tiberini d'Oro (2005) San Lorenzo in Campo (PS), Rossini d'Oro (Pesaro, 2007), Alfredo Catalani (Lucca, 2008), Domenico Cimarosa (Aversa, 2009), ‘LE MUSE’ (Florencia, 2013) and ‘ENZO DARA’, 1st edition (Mantua, 2022).

Barbara Frittoli soprano (master class)


 

Born in Milan, she graduated from the Giuseppe Verdi Conservatory in Milan under the guidance of Giovanna Canetti.
She won numerous international competitions and, thanks to her exceptional vocal qualities,  began an extraordinary career with performances the most important theaters in the world, including Teatro alla Scala in Milan, Metropolitan Opera in New York, War Memorial Opera House in San Francisco, Royal Opera House London, Bastille, Opera Garnier and Chatelet in Paris, Staatsoper Unter den Linden and Deutsche Oper in Berlin, National Theater in Munich, Teatro Real in Madrid, Liceu in Barcelona, Opernhaus Zürich, Staatsoper Vienna and Salzburg Festival, amongst others.
She has collaborated with conductors such as Riccardo Muti, Claudio Abbado, Zubin Mehta, Daniel Barenboim, James Levine, Sir Charles Mackerras, Georges Prêtre, Gianandrea Noseda, Daniele Gatti, Lorin Mazel, Sir Colin Davis, Antonio Pappano, Michael Tilson Thomas, Valery Gergiev, Bernard Haitink and Riccardo Chailly.
Trained as a Mozart specialist, she performed Così fan tutte (Fiordiligi and Despina), Le nozze di Figaro (Condesa), Don Giovanni (Donna Anna and Donna Elvira), Idomeneo (Elettra), La clemenza di Tito (Vitellia) and Mitridate, Re di Ponto (Sifare).
Her performances include: from the 18th century repertoire, Flaminio (Flaminio / Pergolesi) and El ídolo chino (Ergilla / Paisiello); from the Verdi repertoire,  Otello (Desdemona), Il corsaro (Medora), Il trovatore (Leonora), Don Carlo (Elisabetta), Simon Boccanegra (Amelia), Luisa Miller (Luisa) and Falstaff (Alice Ford); in the bel canto genre, Beatrice di Tenda (Agnese), Maria Stuarda (Donizetti) and Mosè in Egitto (Rossini); from the French repertoire, Les contes d'Hoffmann (Antonia /Hoffenbach), Faust (Marguerite / Gounod) and Carmen (Micaela / Bizet).
Puccinian repertoire, La bohème (Mimì), Turandot (Liù), Tosca (Floria Tosca), Suor Angelica (Suor Angelica) and Il tabarro (Giorgetta), as well as Adriana Lecouvreur (Adriana / Cilea) and Mefistofele (Margherita / Boito). In 2016 she made her debut with Cavalleria Rusticana in the United States.
Barbara Frittoli’s concert activity is also brilliant and intense. She has collaborated with the most prestigious orchestras and with the greatest conductors in the world. She has performed Verdi's Requiem on numerous occasions, under the direction of Riccardo Muti, Claudio Abbado, Riccardo Chailly, Zubin Mehta, Valery Gergiev, Gianandrea Noseda together with ensembles such as the Berliner Philharmoniker, the Wiener Philharmoniker, the Chicago Symphony, the Orchestra Filarmonica della Scala and the Boston Symphony Orchestra. Her repertoire also includes Brahms' Ein Deutsches Requiem, Mozart's Mass in C minor K.427, Pergolesi's Stabat Mater, Strauss' Fier Lezte Lieder, Rossini's Stabat Mater, Mahler's Fourth Symphony, Mahler's Second Symphony and Gounod’s Mors et Vita.
She is the winner of the 1995 Luciano Pavarotti Competition, 2001 Echo Klassik Award for Singer of the Year (Don Giovanni, Mozart / Mackerras), 2004 ABBIATI Award and 2003 Grammy nominee for Best Opera Recording (Idomeneo, Mozart / Mackerras), 2010 Grammy for Best Classical Album (Requiem, Verdi / Muti) and 2022 Puccini Award.



Curriculum

Production

Title: El gitano por amor
Music and Libretto: Manuel García (Seville 21 January 1774 – Paris 10 June 1832)
Stage direction: Emilio Sagi
Conductor: Carlos Aragón
Performances: 20 and 22 September 2024
Venue: Teatro Cervantes de Málaga


Characters

Hernando [tenor] Marquis´ son, Inés' fiancé
Rosita [soprano] Girl of gypsy appearance in love with Hernando, Corregidor´s daughter
Laura [mezzo-soprano] Rosita's friend
Baldaquín [baritone] Hernando's servant
Inés [soprano] Beautiful and rich Hernando's cousin, with whom she is in love
Manolo [tenor] Rosita´s brother
Marqués del Pino [baritone] Hernando's father
Corregidor [baritone] Magistrate of Seville, Rosita and Manolo´s father
Pablo [actor] Baldaquín´s partner

Act I  Baldaquín / Manolo / Hernando / Rosita / Laura*
Act II  Inés* / Manolo / Rosita / Hernando / Baldaquín / Marqués
* Characters present in a single act



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