Opera in Oviedo
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The operatic history in Oviedo started in the Casa de Comedias of El Fontán in the XVII century. The old building, reformed in the XIX century, maintained the lyrical activity of the city until the end of the century. In 1876, a municipal initiative to project a new theatre emerged. The coliseum was inaugurated on the 17th of September of 1892 and was renamed Teatro Campoamor in tribute to the Asturian poet and playwright D. Ramón Campoamor.
This first phase was extended until 1934. During this time, operas like La Bohème, Lohengrin or Aida were released.
From 1948, after the revolutionary events of 1934 and the Civil War, a new phase mostly characterized by the representation of French and Italian titles of the romantic repertory was opened.
This second period of the history of the Opera in Oviedo enabled the presence of a whole generation of stars of the bel canto in the city.
With the arrival of the current century, a profound transformation is produced: the management of the season becomes more professional and the operatic activity has been expanded from September to February.
Simultaneously, a great effort to improve the global quality of the spectacles has been made: Expansion of the rehearsals period, careful selection of the batons, and profound renovation of the scenic section accordingly with the criteria that regulate the principal European coliseums. The scenic forefront has been represented by stage directors like David McVicar, Robert Carsen, David Alden, André Engel, Philippe Arlaud, Mariame Clément, Gilbert Deflo, Giancarlo Del Monaco and Tim Carroll or the Spanish Emilio Sagi, Curro Carreres or Susana Gómez.
As a consequence of this scenic renovation our shows have been awarded by the Spanish criticism in the category of “Best New Production” in several occasions: The Turn of the Screw in 2006, Peter Grimes in the year 2012, or more recently the double program composed of Bluebeard’s Castle/Last four lieder, work that will receive the award this March.
Regarding the vocal part, following a tradition in the Campoamor, the most important soloists of the international circuit have passed through our scenario.
In order to conclude this brief historical review we will add a set of complementary activities that have enriched the cultural offer around the opera: shows specifically designed for infantile audiences, conferences, opera meetings at the University of Oviedo, The Opera Cinema cycle and live retransmissions in giant screens of some of our operas in more than seven Asturian populations and this season, also in various neighborhoods of Oviedo. This cultural commitment continues with the rich historical tradition of the Opera in Oviedo and contributes to increase the national and international prestige of our city.
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