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Synopsis
Giuseppe Verdi, Claude Debussy or Hector Berlioz had all tried previously, but none of them was able to successful conclude their vision of the aged monarch created by William Shakespeare.
To Aribert Reimann, the suggestion – at the instance of a persevering Dietrich Fischer-Dieskau– to create an opera based on King Lear also overwhelmed him at the beginning, but that was not an impediment to his head being filled with music; to the extent that he took the step to live the composing process as if it were an absolute obsession. He made an agreement with his librettist to maintain the essence of the original text, reducing it substantially to leave space for the music as the true germ of the drama.
The score is almost abrasive in its chromatic effects, most radical for its period, and undoubtedly more than appropriate to take on questions such as filial ingratitude, mental health, the passing of time or the loss of power.
Lear is a savage and pessimistic work, in which man’s most basic instincts are running high and dominate the characters, taking them to their limits to finally provoke a grand massacre.
Credits
Conductor Simone Young
Director Calixto Bieito
Sets Rebecca Ringst
Costumes Ingo Krügler
Lighting Franck Evin
Video Sarah Derendinger
Chorus master Andrés Máspero
~
El Rey Lear Bo Skovhus
El Rey de Francia Torben Jürgens
El Duque de Albany Andreas Scheibner
El Duque de Cornualles Michael Colvin
El Conde de Kent Kor-Jan Dusseljee
EL Conde de Gloucester José Antonio López
Edgar Andrew Watts
Edmund Andreas Conrad
Goneril Ángeles Blancas
Regan Erika Sunnegårdh
Cordelia Susanne Elmark
Bufón Ernest Alisch

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  • Seating Chart
    Teatro Real, Madrid
  • Synopsis

    Giuseppe Verdi, Claude Debussy or Hector Berlioz had all tried previously, but none of them was able to successful conclude their vision of the aged monarch created by William Shakespeare.

    To Aribert Reimann, the suggestion – at the instance of a persevering Dietrich Fischer-Dieskau– to create an opera based on King Lear also overwhelmed him at the beginning, but that was not an impediment to his head being filled with music; to the extent that he took the step to live the composing process as if it were an absolute obsession. He made an agreement with his librettist to maintain the essence of the original text, reducing it substantially to leave space for the music as the true germ of the drama.

    The score is almost abrasive in its chromatic effects, most radical for its period, and undoubtedly more than appropriate to take on questions such as filial ingratitude, mental health, the passing of time or the loss of power.

    Lear is a savage and pessimistic work, in which man’s most basic instincts are running high and dominate the characters, taking them to their limits to finally provoke a grand massacre.

  • Credits

    Conductor Simone Young
    Director Calixto Bieito
    Sets Rebecca Ringst
    Costumes Ingo Krügler
    Lighting Franck Evin
    Video Sarah Derendinger
    Chorus master Andrés Máspero
    ~
    El Rey Lear Bo Skovhus
    El Rey de Francia Torben Jürgens
    El Duque de Albany Andreas Scheibner
    El Duque de Cornualles Michael Colvin
    El Conde de Kent Kor-Jan Dusseljee
    EL Conde de Gloucester José Antonio López
    Edgar Andrew Watts
    Edmund Andreas Conrad
    Goneril Ángeles Blancas
    Regan Erika Sunnegårdh
    Cordelia Susanne Elmark
    Bufón Ernest Alisch

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