The Center for Performing Arts and Music (CAEM) of Salamanca premiered this Saturday with a stellar staging the opera ‘Commoners’, promoted by the Castilla y León Foundation, whose president, Luis Fuentes, did not miss the appointment, and co-produced by Patrimonio Inteligente, within the framework of the commemorative project ‘The time of freedom. Comuneros V centenario ‘. Nor did the Minister of Culture and Tourism miss it, Javier Ortega, who was also part of the good entrance in the Salamanca auditorium. Among the prominent authorities, together with the President of the Cortes, their counterparts in La Rioja, Jesús María García, and in Castilla-La Mancha, Pablo Bellido.
The prestigious Asturian tenor Alejandro Roy, one of the main exponents of the tenor spinto vocality in Spain, heads the cast of opera singers. Together with Roy, the opera project brings together some of the best professionals in Castilla y León in the artistic and technical fields. Thus, the team has the participation of Valladolid Javier Sanz, choirmaster, and Alfonso Baruque, baritone, as well as the soprano from Zamora Conchi Moyano, also responsible for the Artistic Direction of the opera.
They are joined by the baritone and tenor Fernando Campero and José Concepción, both from Canaries; the baritones from Barcelona Ferrán Albrich and Xavier Casademont i Cases; the choirs Vox Vitae and Primo Tempo, both based in Valladolid, and the Leonese Gratie d ‘Amore, who sign the choreography and costume design.
The Castilla y León Symphony Orchestra, considered one of the great formations on the Spanish scene and which this year celebrates its 30th birthday, performs the score under the baton of José Luis López Antón from Segovia. The technical team, for its part, is made up, among others, by the technical head of production, Cristian Santos from Salamanca, or Adelaida Galán, from Bercia, production assistant.
‘Communards’, that does not find a backdrop in this historical process, but rather sets it up as the protagonist of its three acts, It starts in 1517 centered on the figure of the old Cardinal Cisneros and the gestation of the revolt regarding the arrival of Carlos. The second act travels to Tordesillas, the town where the rebels arrive to meet with Queen Juana, who, isolated since 1509, has not even known the death of her father.
The opera stops in a special way in the development of the revolt, of which it provides all the keys before the beginning of the third act, set in Villalar, where the defeat and execution of the leaders of the movement took place. The two historical episodes take on special relevance in the score, which masterfully recreates the confrontation between the two armies and the subsequent execution. This third act, that of the battle, includes the armed conflict, focusing on the defeat suffered by the community members, rescuing the minutes of the summary trial and the execution.
After this appointment, the assembly will begin a tour of all the provinces of Castilla y León with stops in Zamora (Ramos Carrión Theater, day 3), Ávila (Lienzo Norte Auditorium, day 8), Segovia (Juan Bravo Theater, 9), Soria (Palacio de la Audiencia, 10), Ponferrada (Teatro Bergidum, 13), Valladolid (Teatro Calderón, 14), Palencia (Teatro Ortega, 15) and Burgos (Forum Evolución, 16 October).