2026 Program
See the full program for the sixth edition of the Festival Cap Rocat.
Friday, July 31, 2026
Opera Gala
Cast
Tenor Juan Diego Flórez
Pianist Vincenzo Scalera
“Melancholy, gentle nymph”
“O wandering moon that casts a silvery glow“
“The Memory”
Vincenzo Bellini
“The Distance”
“The Exile”
“Une bagatelle” —from Péchés de vieillesse ( for solo piano)
Gioachino Rossini
“Ah! Remember, O beautiful Irene”
Gaetano Donizetti
“Yes, I swear I’ll find her” —from La cenerentola
Gioachino Rossini
INTERMEDIATE
“Beautiful in Love” —from The Last Romantic
Reveriano Soutullo and Juan Vert
“Play on, my little guitar” —from *The Little Guitar*
Agustín Pérez Soriano
“Here’s the one who’s got it all… The Moorish king himself” —from The Joy of the Battalion
José Serrano
Mazurka Glissando —for solo piano
Ernesto Lecuona
“Why wake me up?” —from Werther
Jules Massenet
“Love!… Ah, rise, sun” —from Romeo and Juliet
Charles Gounod
“Berceuse” —by Jocelyn ( arrangement for solo piano)
Benjamin Godard
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This concert offers a broad overview of European opera tradition, from the refinement of Rossini's bel canto to Verdi's passion and the popular lyricism of Spanish zarzuela. The common thread is the figure of the tenor, the protagonist of some of the most demanding and exciting pieces in the operatic repertoire, capable of embodying the romantic hero, the passionate lover, the idealistic dreamer, or the popular heartthrob.
The program is conceived as a stylistic journey that shows the evolution of vocal and theatrical language throughout the 19th and early 20th centuries, combining the virtuosity of bel canto with the dramatic intensity of romanticism and the expressive intimacy of Spanish lyrical theater.
Part One: Rossini and the splendor of bel canto
The first part is entirely devoted to Gioachino Rossini (1792–1868), a central figure in Italian bel canto and one of the most influential composers of the first half of the 19th century. His music is characterized by a balance between melodic elegance, rhythmic vitality, and vocal writing of extreme technical precision.
The overture to La gazza ladra, one of Rossini's most popular symphonic works, introduces the listener to his sound universe. The famous initial drum roll and the progressive crescendo that runs through the entire piece are paradigmatic examples of the so-called "Rossinian formula," a technique that combines repetition, accumulation of energy, and orchestral brilliance to create a sense of theatrical anticipation.
The aria "Quell'alme pupille" from Il turco in Italia showcases Rossini's melodic refinement and gallant character. It is a piece of great elegance, in which the vocal line unfolds with grace and lightness, reflecting the seductive and carefree spirit of the work.
Don Ramiro's famous aria, "Si, ritrovarla io giuro" from La Cenerentola, represents one of the greatest challenges in the bel canto tenor repertoire. Its composition requires perfect coordination between agility, rhythmic precision, and brilliance in the high register. Musically, the aria expresses the prince's determination in love, with a noble and luminous character that culminates in a cabaletta of great virtuosity.
The end of Act III of Il viaggio a Reims, with its ballet ritornello, belongs to a work conceived for a festive occasion: the coronation of Charles X of France. In this score, Rossini displays a brilliant, almost ceremonial style, full of orchestral color and theatrical spirit. It is music conceived for spectacle and celebration, reflecting the opulence of the context for which it was created.
The first part culminates with Arnold's great scene, "Asile héréditaire" from Guillaume Tell, a work that marks Rossini's transition to a more dramatic and romantic aesthetic. Here, the composer partly abandons the lightness of bel canto to delve into a style of writing with greater emotional intensity. The aria demands not only extraordinary technical virtuosity from the tenor, but also great expressive ability, culminating in the famous final section, one of the most heroic moments in the repertoire.
Part Two: From Popular Lyricism to Romantic Passion
The second part broadens the stylistic and geographical range, transporting the listener from Spanish lyric theater to French and Italian Romanticism.
"Bella enamorada" (Beautiful in Love), from El último romántico (The Last Romantic) by Soutullo and Vert, is one of the most popular romances in zarzuela. Its broad, passionate melody, almost operatic in inspiration, reflects the sentimentality characteristic of the genre in the first third of the 20th century, where singing became a vehicle for direct emotion that resonated with the audience.
In "Suena guitarrico" by El Guitarrico de Agustín Pérez Soriano, the musical language is imbued with local color. The writing evokes a festive and popular atmosphere, with lively rhythms and a lighthearted character that connects with Spanish tradition.
The romance "Aquí está quien lo tiene tó y no tiene ná" (Here is the one who has everything and has nothing) from José Serrano's La alegría del batallón combines humor, lyricism, and a certain sentimental tone. It strikes a balance between the comic and the emotional, a characteristic feature of many zarzuelas in the repertoire.
The Prelude to La revoltosa by Ruperto Chapí is one of the most representative orchestral pieces of its kind. In just a few minutes, the composer condenses the atmosphere of traditional Madrid with music full of rhythm, color, and vitality, demonstrating his orchestral mastery.
Kleinzach's aria, "Il était une fois à la cour d'Eisenach" from Jacques Offenbach's Les contes d'Hoffmann, introduces a change of atmosphere. The protagonist, oscillating between grotesque humor and poetic reverie, alternates between two psychological worlds in the same scene. Here, Offenbach combines his talent for satire with melancholic lyricism, anticipating the opera's fantastical and tragic tone.
Giuseppe Verdi's Prelude to La Traviata offers one of the most intimate moments of the program. Its delicate orchestral transparency and introspective character anticipate Violetta's drama, making it one of the most moving pieces in the operatic repertoire.
The great scene "Odi il voto – Sprezzo la vita" from Ernani represents the Verdi of his youth, full of dramatic impulse and romantic passion. Here, the tenor embodies the hero who defies fate, driven by love and honor. The intense and ardent vocal writing demands great expressive power and broad phrasing.
Giuseppe Verdi
“To instill my joy... As an angel might” —from I Lombardi
Saturday, August 1, 2026
Jan Lisiecki
Piano recital
Three Czech Dances —H. 154
I. Okročák
II. Dupák
III. Polka
Bohuslav Martinů (1890–1959)
Spanish Dance —Nos. 2 & 1 (from *La vida breve*)
Manuel de Falla (1876–1946)
Four Polish Dances —M60
Mazurka. Tempo di Mazurka, animato
Polonaise. Moderato. Festive, pompous
Krakowiak. Allegretto, graceful
Oberek. Vivace and agitato
Karol Szymanowski (1882–1937)
16 German Dances —D. 783
Franz Schubert (1797–1828)
Romanian Folk Dances —Op. 56
I. Jocul cu bâtă (The Dance with the Stick). Allegro moderato
II. Brâul (The Belt Dance). Allegro
III. Pe loc (The Stomp). Andante
IV. Buciumeana (Dance from Butschum). Molto moderato
V. Poarga românească (Romanian Polka). Allegro
VI. Mărunţel (Fast Dance). Allegro
Béla Bartók (1881–1945)
Alberto Ginastera (1916–1983)
Argentine Dances —Op. 2
I. Dance of the Old Cowherd (Tanz des alten Rinderhirten)
II. Dance of the Graceful Maiden (Tanz des anmutigen Mädchens)
III. Dance of the Wild Gaucho (Tanz des wilden Gauchos)
INTERMEDIATE
Grand Valse Brillante in E-flat Major —Op. 18
Frédéric Chopin (1810–1849)
Waltz in G-sharp minor —Op. 39, No. 3
Johannes Brahms (1833–1897)
Waltz —Op. 34
I. A-flat major. Vivace
II. A minor. Lento
Frédéric Chopin (1810–1849)
Waltz in A-flat Major —Op. 39, No. 15
Johannes Brahms (1833–1897)
Libertango —Arrangement for piano: Nikolai Kuznetsov
Astor Piazzolla (1921–1992)
Spain —Op. 165
II. Tango. Andantino
Isaac Albéniz (1860–1909)
Ritual Fire Dance —from *El amor brujo*
Manuel de Falla (1876–1946)
Polonaise in A-flat Major —Op. 53
Frédéric Chopin (1810–1849)
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The history of Western music is deeply intertwined with dance. Long before the symphony or the concerto established themselves as independent forms, instrumental music found its purpose in bodily movement. From Renaissance courts to popular celebrations, dancing meant participating in a collective identity. Over the centuries, composers began to bring these dances to the concert stage, preserving their rhythmic energy while elevating them to a more complex artistic dimension. Tonight’s recital explores precisely that transformation. Through a journey spanning from Bohemia to Argentina, via Poland, Hungary, Spain, and Austria, Jan Lisiecki invites us to discover how dance can become poetry, a nostalgic evocation, a national affirmation, or a spectacular display of virtuosity.
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Bohuslav Martinů (1890–1959)
Three Czech Dances, H. 154
Composed in 1926, the Three Czech Dances reflect Martinů’s deep connection to the folk traditions of his country. Although written during the years when the composer was living in Paris and absorbing the influences of French neoclassicism, these pieces preserve the spirit of the rural festivals of Bohemia and Moravia.
The collection begins with the Okročák, a lively, asymmetrical dance that seems to move forward with irregular, spontaneous bursts of energy. It is followed by the Dupák, characterized by stomping and energetic accents that evoke a peasant celebration. Finally, the Polka—perhaps the most internationally recognized Czech dance—is imbued with Martinů’s characteristic harmonic brilliance and rhythmic imagination.
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Manuel de Falla (1876–1946)
Spanish Dances No. 1 and No. 2 from *La vida breve*
*La vida breve* was Manuel de Falla’s first great masterpiece. Set in Granada and deeply influenced by Andalusian flamenco, the opera contains two dance interludes that soon took on a life of their own on concert stages.
Spanish Dance No. 1 displays a musical language full of sensuality and elegance, while Spanish Dance No. 2 incorporates more pronounced rhythms and a more extroverted character. Both pieces embody one of the most admired aspects of Falla’s artistry: his ability to transform elements of Spanish folk music into refined and universal music.
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Karol Szymanowski (1882–1937)
Four Polish Dances, Op. 60
In the final stage of his life, Szymanowski sought a genuinely Polish voice, drawing inspiration from the folklore of the Tatra Mountains and ancient national traditions. The Four Polish Dances represent this synthesis of modernity and tradition.
The Mazurek retains the characteristic rhythm of the mazurka, which has been so closely linked to Polish identity since Chopin. The Polonaise brings a sense of ceremonial solemnity and aristocratic nobility. The Krakowiak, associated with the Kraków region, is distinguished by its light elegance and almost theatrical grace. Finally, the Oberek closes the collection with dizzying energy and a piano part of tremendous brilliance.
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Franz Schubert (1797–1828)
16 German Dances, D. 783
For Schubert, dance was an inseparable part of everyday life in Vienna. These brief miniatures were conceived for domestic gatherings and social evenings, where the composer would improvise at the piano for friends and family. Despite their apparent simplicity, the German Dances reveal an extraordinary melodic richness. Each piece has its own personality: some are cheerful and carefree; others, melancholic or contemplative. In them we find the essence of Schubert at his most intimate, capable of evoking an entire emotional universe in just a few measures.
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Béla Bartók (1881–1945)
Romanian Folk Dances, Op. 56
Few works better represent Bartók's ethnomusicological work. Fascinated by the traditional music of Eastern Europe, the composer traveled through remote villages, recording and transcribing thousands of folk melodies.
The Romanian Folk Dances comprise six short pieces based on authentic melodies collected in Transylvania. From the vigorous “Tanz mit dem Stabe” to the electrifying final “Mărunţel,” Bartók preserves the authenticity of the folk sources while integrating them into a modern and sophisticated harmonic language. The result is one of the most beloved and accessible works in his entire catalog.
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Alberto Ginastera (1916–1983)
Argentine Dances, Op. 2
Composed when the composer was barely twenty years old, the *Danzas argentinas* represent one of the earliest expressions of Argentina’s national musical identity in 20th-century piano music.
The first dance portrays the old herdsman, a figure closely associated with rural life in the Pampas. The second, “Dance of the Graceful Maiden,” offers a moment of suspended lyricism and delicate beauty. The third, “Dance of the Outlaw Gaucho,” has become an iconic piece in the piano repertoire thanks to its rhythmic power, its stark contrasts, and its spectacular virtuosity.
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Part Two: The second half of the recital focuses on some of the most famous dances from the Romantic and modern piano traditions. Here, dance ceases to be a folkloric evocation and becomes a symbol of urban elegance, passion, or heroic affirmation.
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Frédéric Chopin (1810–1849)
Grand Vals Brillante, Op. 18
Published in 1834, this waltz marked the birth of the grand concert waltz. Although it retains the refinement of the Parisian salons, its purpose is no longer to accompany dancing but to dazzle the listener. The work combines aristocratic elegance, technical brilliance, and an irresistible sense of melodic charm. Chopin transforms the Viennese waltz into a poetic and virtuosic form intended exclusively for the stage.
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Johannes Brahms (1833–1897)
Waltz, Op. 39, No. 3
The Waltzes, Op. 39, were originally conceived for piano four-hands. In them, Brahms pays homage to the Viennese tradition inherited from Schubert and Johann Strauss, but adds a very personal harmonic richness and expressive depth. No. 3, in G-sharp minor, stands out for its intimate and slightly nostalgic atmosphere.
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Frédéric Chopin
Waltzes, Op. 34, No. 1 and No. 2
These two waltzes reveal two complementary facets of Chopin’s world. The first, in A-flat major, radiates an elegant and festive brilliance. The second, in A minor, introduces a more introspective and melancholic dimension, revealing Chopin’s extraordinary ability to transform a social dance into a poetic confession.
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Johannes Brahms
Waltz, Op. 39, No. 15
Probably the most famous of all Brahms’s waltzes, this miniature packs extraordinary emotional intensity into just a few pages. Its apparent simplicity conceals a refined harmonic structure and a profound nostalgia that have made it one of the most beloved pieces in the Romantic repertoire. ⸻ Astor Piazzolla (1921–1992) Libertango Composed in 1974, Libertango symbolizes Piazzolla’s artistic emancipation from traditional tango. The title itself combines the words “freedom” and “tango.” The work encapsulates the essence of the nuevo tango: urban rhythms, jazz influences, contrapuntal complexity, and irresistible energy. In its piano version, it retains all the dramatic intensity and hypnotic power of the original.
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Isaac Albéniz (1860–1909)
Tango, from Spain, Op. 165
Paradoxically, one of the most famous Spanish pieces ever written is not an authentic tango. Albéniz uses the name to create an idealized evocation of Spain, full of nostalgia and melodic refinement. The simplicity of its main melody and the delicacy of its accompaniment have made this work one of the most universal pieces in the Spanish repertoire.
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Manuel de Falla
Ritual Fire Dance
Taken from the ballet *El amor brujo*, this piece depicts a magical ritual intended to expel an obsessive spirit.
The obsessive rhythms, the fiery repetitions, and the mounting intensity make this dance one of the most electrifying moments in all of 20th-century Spanish music.
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Frédéric Chopin
Polonaise in A-flat major, Op. 53, “Heroic”
The recital concludes with one of the most monumental works in the piano repertoire. Composed in 1842, the so-called “Heroic Polonaise” is the quintessential example of the Polish national dance, which has become a symbol of pride and resilience.
More than just a dance to be performed, it is a proclamation of collective strength. Its famous martial rhythm, sweeping chords, and extraordinary technical demands make the work a spectacular finale to this musical journey around the world.
Dance, which originated as a popular and collective form of expression, reaches its pinnacle here as a universal artistic statement. From the villages of Bohemia to the salons of Paris, from the Argentine pampas to the streets of Buenos Aires, this program demonstrates that the urge to dance is one of the most profound and universally shared languages of human experience.
Sunday, August 2, 2026
Tosca
Opera in concert version
Conductor Pablo Mielgo
Cast
Tosca Lise Davidsen
Cavaradossi Freddie de Tommaso
Scarpia Ludovic Tézier
Angelotti Sebastià Serra
Sacristan Tomeu Bibiloni
Spoletta Francesco Domenico Doto
Jailer Yunho Eric Kim
Sciarrone Antimo Dell’Omo
Director Joan Company Choir
Symphony Orchestra of the Balearic Islands
Choir Festival Cap Rocat
Giacomo Puccini
Tosca
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Tosca (1900)
Premiered on January 14, 1900, at the Teatro Costanzi (now the Teatro dell'Opera di Roma), Tosca represents one of the high points of Italian verismo and, at the same time, one of Giacomo Puccini's most sophisticated dramatic and musical constructions. Based on the play of the same name by Victorien Sardou, the work articulates an intense theatrical concentration in three acts that unfold in less than twenty-four hours and in real locations in Napoleonic Rome in 1800. Far from being merely a passionate melodrama, Tosca is a work of extraordinary structural precision and orchestral refinement, where every musical gesture responds to a rigorous dramatic logic.
Aesthetic and historical context
Set in the turbulent aftermath of the Battle of Marengo, the opera contrasts political and moral forces: the repressive absolutism embodied by Scarpia versus the liberal idealism of Cavaradossi, while Tosca—an artist and believer—is caught between the two poles. Puccini absorbs the resources of verismo—emotional immediacy, theatrical intensity, discursive continuity—but transcends them through highly subtle orchestration and an elaborate use of leitmotifs, inherited from both the Wagnerian tradition and late Romantic Central European symphonism. The action does not stop at conventional closed numbers; it flows with an almost cinematic continuity, sustained by orchestral writing that does not accompany, but rather comments on, anticipates, and psychologically shapes the drama.
Musical architecture
Act I – Church of Sant’Andrea della Valle
The first act establishes the political and erotic tension that underpins the work. Scarpia's motif—built on dark chords and incisive chromaticism—bursts in with harmonic violence, creating an unmistakable sound identity for the antagonist. The imposing final Te Deum is one of Puccini's most masterful pieces: a superimposition of liturgical choir, organ, and Scarpia's solo voice in a sonic climax where the sacred and the perverse coexist in disturbing simultaneity. It is a perfect synthesis of theatricality and choral architecture.
Act II – Farnese Palace
This almost claustrophobic scene is the psychological core of the opera. The dramatic tension is concentrated in the confrontation between Tosca and Scarpia, with the orchestra acting as the underlying emotional space. "Vissi d'arte" is not a simple lyrical aria: it is a temporary suspension within the drama, an introspective prayer that interrupts the surrounding violence. Its vocal line, seemingly simple, rests on a harmony charged with expressive ambiguity. Scarpia's murder is accompanied by orchestral writing of increasing density, where the harmonic tension reaches its climax before dissolving into an unsettling stillness.
Act III – Castel Sant’Angelo
The third act opens with an almost impressionistic atmosphere: distant bells, Roman dawn, delicately transparent orchestral textures. "E lucevan le stelle" follows in the tradition of the Italian elegiac aria, but with a harmonic modernity that underscores the character's existential fragility. The melodic progression does not seek virtuoso display, but rather contained intensity. The abrupt ending, without transcendent redemption, confirms the absolute tragic nature of the work. Puccini eliminates any metaphysical consolation: Tosca's downfall is definitive, almost brutal in its theatrical economy.
Musical language and dramaturgy
In Tosca, Puccini constructs a compact symphonic fabric in which thematic motifs function as psychological nuclei rather than mere dramatic identifiers. The chromatic harmony, orchestral density, and attention to instrumental color place the score in dialogue with European post-Romanticism. The economy of time—three concentrated acts, without digressions—reinforces the narrative intensity. There are no accessory scenes: every moment is structural.
Conclusion
Tosca is not just a story of love and violence; it is a study of power, faith, morality, and human frailty. In it, Puccini achieves a unique balance between emotional immediacy and compositional sophistication. More than a verismo opera, it is a work of rigorous dramatic architecture, where the music does not illustrate the action: it creates it.