2026 Program

Black and white portrait of tenor Juan Diego Flórez
Black and white portrait of conductor Pablo Mielgo
Cap Rocat Festival Choir.jpg
Balearic Islands Symphony Orchestra performing on stage at the Festival Cap Rocat Mallorca, with musicians reading sheet music and a conductor directing the orchestra, in a black and white image.

Friday, July 31, 2026

Opera gala

Cast

Tenor Juan Diego Flórez

Director Pablo Mielgo

Choir Director Joan Company

Symphony Orchestra of the Balearic Islands

Festival Cap Rocat Choir

“Quell’alme pupille” —from The Turk in Italy

Overture to La gazza ladra

Aria by Don Ramiro. "Yes, I swear I will find her again." —from La Cenerentola

End of Act III. Ritornello from the ballet —from Il viaggio a Reims

Aria by Arnold. "Asile héréditaire" —from William Tell

Gioachino Rossini

INTERMEDIATE

“Beautiful in Love” —from The Last Romantic

Reveriano Soutullo and Juan Vert

“Suena guitarrico” —from El guitarrico

Agustín Pérez Soriano

"Here is the one who has everything and has nothing" —from The Joy of the Battalion

José Serrano

Prelude —from La revoltosa

Ruperto Chapí

“Once upon a time at the court of Eisenach” —from Les contes d’Hoffmann

Jacques Offenbach

Prelude —from La Traviata

“I hate the vote” - “I despise life” —from Ernani

Giuseppe Verdi

  • 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.

Black-and-white portrait of pianist Rudolf Buchbinder

Saturday, August 1, 2026

Rudolf Buchbinder

Piano recital

Twelve Variations on the theme — “Ah vous dirai-je Maman” K. 265

Wolfgang Amadeus Mozart

Sonata in F Minor —Op. 57 “Appassionata”

Ludwig van Beethoven

INTERMEDIATE

Franz Schubert

Sonata in B-flat Major —D. 960

  • Wolfgang Amadeus Mozart
    Twelve Variations on “Ah vous dirai-je, Maman,” K. 265

    Beneath the apparent naivety of a children's melody—universally known as Twinkle, Twinkle, Little Star—Mozart displays a refined exercise in imagination and elegance. Composed in Paris around 1778, these twelve variations reveal not only the composer's ingenuity, but also his ability to elevate the everyday to the category of art. Each variation subtly transforms the theme: brilliant ornamentation, delicate rhythmic games, changes of character, and piano writing that alternates between gallant grace and light virtuosity. This is not a simple divertimento, but an expressive laboratory where Mozart demonstrates that even simplicity can contain depth. The result is a small universe of light and transparency, in which irony, delicacy, and classical balance coexist with extraordinary musical intelligence.

    Ludwig van Beethoven
    Sonata in F minor, Op. 57 “Appassionata”

    If Mozart represents classical balance, Beethoven embodies rupture and visionary intensity. Composed between 1804 and 1805, at the height of his "heroic" period, the Appassionata is one of the pinnacles of the piano repertoire and one of the most radical statements of the emerging Romantic spirit. From the somber initial murmur, the first movement establishes an atmosphere of contained tension that evolves into dramatic explosions of almost orchestral energy. Beethoven expands the sonata form to its limits, transforming the piano into an instrument of unprecedented power. The second movement offers a moment of almost metaphysical contemplation: a series of variations on a serene theme that seems to suspend time. But this calm is not definitive. Without pause, the final movement bursts forth with relentless force, driven by an obsessive rhythm that leads to a dizzying coda of revolutionary expressive violence for its time. The Appassionata is not simply a passionate work; it is an exploration of destiny, inner conflict, and indomitable will.

    Franz Schubert
    Sonata in B-flat major, D. 960

    Composed in 1828, a few weeks before the composer's death, Sonata D. 960 is Schubert's pianistic testament and one of the most sublime works in the entire repertoire. The first movement opens with an expansive, almost contemplative serenity. The famous low vibration that appears in the bass—like an underground tremor—introduces a barely perceptible dimension of unease, reminding us that Schubertian beauty is never without shadow. The Andante sostenuto is a space for deep introspection, where time seems to expand and the music takes on an almost transcendental quality. The Scherzo brings momentary lightness, before the Finale recovers a luminous and vital energy, as if the work were affirming life in the face of human fragility. In this sonata, Schubert achieves an extraordinary synthesis between classical architecture and infinite poetic expansion. There is no theatrical drama in the manner of Beethoven; instead, there is an intimate contemplation of time, memory, and existence.

Black and white portrait of a man with a thoughtful expression, looking up and slightly to the right, with dark hair combed upward, wearing a dark suit with shiny details against a dark background with light creating shadows and r
Young woman with dark hair, smiling, wearing a jacket, against a blurred background.
Black and white portrait of a young man smiling, with a beard and dark hair combed back, wearing a watch on his left wrist and a dark sweater, against a black background.
Black and white portrait of a man with dark curly hair, light beard, serious expression, wearing a jacket and T-shirt
Black and white portrait of a man wearing a formal suit and bow tie, with dark hair and a serious expression, against a dark background.
Black and white portrait of a smiling man with dark hair, wearing a jacket and shirt, posing in front of a gray background.
Man in a formal suit and bow tie smiling in an old theater with ornate decor.

Sunday, August 2, 2026

Tosca

Opera in concert version

Director Giacomo Sagripanti

Cast

Tosca Lise Davidsen

Cavaradossi Freddie de Tommaso

Scarpia Ludovic Tézier

Angelotti Sebastià Serra

Sacristan Tomeu Bibiloni

Spoletta Francesco Domenico Doto

Director Joan Company Choir

Symphony Orchestra of the Balearic Islands

Choir Festival Cap Rocat

Giacomo Puccini

Tosca

  • 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.