Festival Cultural de Mayo Jalisco 2009
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Japón, País Invitado
Jalisco, Anfitrión
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| Programa general | Teatro Degollado |

June 3, 5 and 7
Opera “Madama Butterfly” by Giacomo Puccini” (1858-1924)
Japanesse tragedy in three acts
Script: Giuseppe Giacosa y Luigi Illica


Teatro Degollado
Wednesday June 3 and Friday June 5 at 20:30 Hrs
Sunday June 7 at 18:00 Hrs.

listen the overture

Produced by Festival Cultural de Mayo

Johannes Wildner, guest conductor

"… Visible for anyone, this interesting Austrian conductor shows a precise and clear, always secure technique, also in Ravel's complex compositional structures. He illuminates it with light, elegant phrasing which resists any temptation of superficial orchestral coloring and he succeeds in illustrating the incredible modernity of this work.... " This is how the "Giornale di Verona" judged Johannes Wildner's performance of Ravel's "Daphnis and Chloë" and herewith only joins into the many opinions who consider Johannes Wildner as one of the best conductors of his generation.

After positions as chief conductor of the State Philharmonic Orchestra of Košice (Slovakia, 1990-93) of the Prague State Opera (1994-95), and as First Permanent Conductor of the Leipzig Opera (1996-98), Johannes Wildner, former violinist of the Vienna Philharmonic Orchestra and musicologist, was "Generalmusikdirektor“ of the New Philharmonic Orchestra of Westphalia from 1997-2007, an orchestra based in Recklinghausen (Germany) which also is the opera orchestra of the opera house in Gelsenkirchen.

As a guest conductor Johannes Wildner has conducted major orchestras all over the world such as the Royal Philharmonic Orchestra London, the St. Petersburg Philharmonic, the Russian State Symphony Orchestra, the orchestra of the Arena di Verona, the Tokyo Philharmonic Orchestra, the Danish National Symphony Orchestra Copenhagen, the Odense Symphony, the BBC-Orchestra London, the National Symphony Orchestra of Ireland, the Zagreb Philharmonic Orchestra, the New Zealand Symphony Orchestra, the National Symphony Orchestra of Taiwan or the China Philharmonic or the recently founded Symphony Orchestra of India in Mumbai. 

In Germany and Austria he performed with orchestras like the MDR-Symphony-Orchestra, the Dresden Philharmonic, the State Philharmonic of Rhineland-Palatinate, the Radio Symphony Orchestra and the State Orchestra of Saarbruecken, the Vienna Symphony, the Radio Symphony Orchestra Vienna, the Tonkuenstler Orchester Niederoesterreich, the Bruckner-Orchestra Linz, the Mozarteum-Orchestra Salzburg.

Johannes Wildner has recorded more than 60 CDs and videos and DVDs, including the integral version of “The Bat” and “Così fan tutte”, "Carmen", Bruckner’s 3rd (in all versions) and 9th symphony (with the reconstructed finale by Samale, Philips, Mazzuca and Cohrs). In 2007 cpo released his recording of music by Erich Zeisl played by the RSO Vienna. This successful cooperation was continued in 2007 with a recording of symphonic pieces of Josef Marx and in 2008 with Symphonies no. 2 and 4 by Johann Nepomuk David with the RSO Vienna and the cpo label.

Johannes Wildner has always devoted an important part of his activity to opera. Great successes of recent years have been Peter Maxwell Davies' "The Martyr of St. Magnus" and John Taverner's "Mary of Egypt" in the Austrian Festival "Carinthian Summer", Bizet's "Carmen" in the Arena di Verona, Johann Strauss' "The Bat" at the New National Theatre Tokyo, Mozart's "Don Giovanni" at the Croatian National Theatre Zagreb and Puccini's "Tosca" at the Czech State Theatre of Brno.

Recently, he assumed a series of opera new productions, such as at the Landestheater Salzburg ("Haensel and Gretel", Humperdinck), the opera house of Zagreb ("Carmen"), the first opera production of the Symphony Orchestra of India in Mumbai ("Madama Butterfly") and "Fidelio" at the Teatro Degollado in Guadalajara in the framework of the "Festival de Mayo" and "Abduction from the Serail" at the Landestheater Salzburg.

2007/08/09 concert invitations have taken Johannes Wildner to the Symphony Orchestra of the Bavarian Radio, the St. Petersburg Philharmonic, the Taiwan National Symphony Orchestra, the China Philharmonic and the Guangzhou Symphony, the RSO Saarbruecken, the Royal Danish Academy, the Mozarteum Orchestra Salzburg, the Orchestra of the Arena di Verona. Het Gelders Orchestra (Arnheim, NL), Aarhus Symphony Orchestra, BBC Concert Orchestra and Zagreb Philharmonic, Guangzhou Symphony, China Philharmonic and the NSO of Taiwan.

Future plans include "Madama Butterfly" again in Guadalajara (Mexico), as well as in the symphonic field: St. Petersburg Philharmonia, Vienna Symphony Orchestra, RSO Vienna, the Vienna Johann Strauss Orchestra, the orchestras of the Arena di Verona, of Padova, and of Bolzano, Hongkong Philharmonic, Guangzhou Symphony and Shanghai Philharmonic Orchestra.

Svetlana Ignatovich, soprano

This young soprano, Svetlana Ignatovich, first studied at the Rimsky-Korsakov Conservatory in Saint Petersburg, where she was born. She continued at the Giuseppe Verdi Conservatory in Milano, Italy, obtaining an outstanding mention in 2007 at the Music Academy in Basel, Switzerland.

She took Magister courses under, among others, Mirella Freni, Renata Scotto, Bruno Cagli and Galina Vishnevskaja.
As a member of the Young Singers Studio at the Rimsky-Korsakov Conservatory, this very young singer had her first stage experiences as Iolanta in the opera with the same name by Tchaikovsky, conducted by A. Alekseev; she was Annina in Verdi´s “La Traviata” and the First Witch in Purcell´s “Dido and Aeneas”.

She was soon signed to appear in Italy at the G. Verdi Opera Festival, in Parma´s Teatro Reggio as Clotilda in Bellini´s “Norma”, where June Anderson sang the role of Norma under F. Biondi´s conduction –and it was transmitted on television and recorded in DVD as a cover for the “Luogo Immaginary Festival” de Novo Ligure as Mimi in Puccini´s “La Boheme”.

Between 2006 /07, Svetlana Ignatovich was signed by the Basel Theater to sing the role of Nicolette in Prokofief´s Love for Three Oranges conducted by A. Jordan. In 2007/2008, she became a member of the Young Singers Studio (Operaveinr) in that theatre, interpreting Marguerite in Gounod´s “Faust”, Meroe in O. Schoek´s “Pentiselea”, and Speranza in Monteverdi´s “L’Orfeo”. Miss Ignatovich has by now become a steady member of the Basel Theater and sings there, among other operas, Puccini´s “La Boheme” as Mimi, and Soeur Blanche in Poulenc’s “Dialogues des Carmelites”. 

In 2008, she appeared at the Roseto Theatre in Milano as Nedda in Leoncavallo´s “I Pagliacci”, and will debut as Donna Elvira in Mozart´s “Don Giovanni”, singing for the Opera Obliqua du Jura.

Svetlana Ignatovich also has a vast concert music repertoire covering from Vivaldi’s Gloria, Pergolesi’s Stabat Mater and Misa Pastoralis; Brixi’s Magnificat, Beethoven´s Mass in C Major. She has also sung The Solemn Mass by Berlioz, Bizet´s Te Deum, Shostakovich and Dvorak´s Stabat Mater, covering even Mahler´s Fourth Symphony.

Valentina Kutzarova, mezzo-soprano

Born in Varna/Bulgaria, Valentina Kutzarova had her first musical training in her hometown, before she moved on to graduate from the Music Academy of Sofia. Her first engagement took her to Pleven/Bulgaria where she sang roles like Suzuki ("Madama Butterfly"), Fidalma ("Il Matrimonio Segreto") and Fenena ("Nabucco").

In 1992 she became a member of the International Opera Studio in Zurich, soon singing roles like Contessa di Ceprano ("Rigoletto"), Tebaldo ("Don Carlos") and Lucretia ("The Rape of Lucretia"). From 1993-99, she was a member of the theatres in St. Gallen (Switzerland) and Linz (Austria) where she made her debut in some of the most important roles for mezzo-soprano: Charlotte ("Werther"), Annio ("La Clemenza di Tito"), Dorabella ("Così fan tutte"), Hänsel ("Hänsel und Gretel"), Cherubino ("Le Nozze di Figaro"), Amastre ("Serse", Händel), Prinz Orlofsky ("Die Fledermaus"), Rosina ("Il Barbiere di Siviglia"), Octavian ("Der Rosenkavalier") or Niklausse ("Les Cotes d'Hoffmann"), as well as the title roles in "Carmen" and Rossini's "L'Italiana in Algeri".

Ever since that time, Valentina has been a very demanded concert singer: Beethoven's "Phantasy in C major" with David Zinman at the Tonhalle Zürich, Beethoven's 9th Symphony at the Brucknerhaus in Linz, in Denmark and Italy under the baton of Frans Brüggen, Carmela (La Vida Breve), Grimgerde (Die Walküre) were only some examples.

Since 2000, guest engagements have taken her to the Teatro La Fenice in Venice as Cherubino ("Le Nozze di Figaro") and as Siroe ("Re di Persia"), a production which was also shown in Paris in 2004, to the Teatro San Carlo in Napoli as Dorina in Cimarosa's "Un Marito Disperato", to the Teatro Verdi in Sassari as Adalgisa ("Norma"), the Bregenz Festival as 2. Herr in Martinu's "Julietta" and to the Opera of Montpellier as Romeo in "I Capuleti e I Montecchi", back to St. Gallen with Oktavian ("Rosenkavalier") and Angelina ("La Cenerentola") and to the Opera of Geneva as Cherubino ("Le Nozze di Figaro"), Polina ("Pique Dame") and Messaggiera ("Orfeo", Monteverdi); to the Theatre of Las Palmas as Elisabetta ("Maria Stuarda") and to the Grand Théâtre de Bordeaux as Rosina ("Barbiere di Siviglia"), to the Opera National du Rhin in Strasbourg as Zerlina ("Don Giovanni") and to the theatre Bilbao as Giulietta ("Les Contes d'Hoffmann").

In 2006, Valentina Kutzarova made her debut as Donna Elvira ("Don Giovanni") at the Croatian National Opera of Zagreb, directed by Olivier Tambosi, under the baton of Johannes Wildner. In April 2007, she has returned to Linz to sing Rosina in "Il Barbiere di Siviglia". The Bavarian State Opera in Munich invited her for the role fo Zaida in "Il Turco in Italia", a role which she sang again in 2007/08, followed by the role of Suzuki in "Madama Butterfly" in Mumbai (India) and a revival of "Don Giovanni" in Zagreb

José Luis Duval, tenor

Exciting Mexican tenor José Luis Duval has thrilled audiences in some of the best theatres in his native country, South America, the United States, and Europe, in both opera and zarzuela.

Born in Guanajuato, Mr. Duval began his musical studies at an early age with Maestros Pedro Magaña and Gilberto Avalos, and received a scholarship from SIVAM, which allowed him to work with Maestros Enrique Patrón, Teresa Rodriguez, Nico Castel, Denise Massé, Joan Dornemann and Linda Hall. He has sung under the direction of such conductors as Maestros Plácido Domingo, Enrique Patrón, Alfredo Silipigni, Miguel Roa, Ronald Zollman, and Jorge Mester. Mr. Duval was conducted by Plácido Domingo in the zarzuela Luisa Fernanda in México, and was invited by Maestro Domingo to perform the zarzuela Doña Francisquita with The Washington Opera.

At the Bellas Artes, he has sung such roles as Manrico in Il Trovatore, and Loris in Fedora, alternating with Placido Domingo. He sang Rodolfo in La Boheme with the Pittsburgh Opera, and throughout Mexico, he has sung Calaf in Turandot, Pinkerton in Madama Butterfly, Cavaradossi in Tosca, and Don José in Carmen, among others. He has sung Orff’s Carmina Burana, Handel’s Messiah, the Verdi Requiem, the Beethoven Ninth Symphony, Paulus, and the St. Matthew Passion. Mr. Duval has also starred as The Phantom of the Opera, and appeared in Master Class.

Recent engagements in Mexico included Carmina Burana, the Verdi Requiem, Don José in Carmen, and Alfredo in La Traviata in Guadalajara. He then sang Cavaradossi with the Fresno International Grand Opera, Pollione in Norma with the Orquesta Filarmónica de Gran Canaria, Pinkerton in Madama Butterfly with the Palm Beach Opera, and Turiddu in Cavalleria Rusticana at the Bellas Artes. In September 2002, Mr. Duval was invited by Placido Domingo to be his cover as Dick Johnson in La Fanciulla del West, to cover the role of Calaf in Turandot, and to sing the role of Ismaele in Nabucco with the Los Angeles Opera. Immediately after that, he sang Calaf in Turandot with the Connecticut Opera, and then Rodolfo in La Bohème with the Houston Grand Opera.

In May 2003, he sang the role of the Duke in Rigoletto with the New Orleans Opera, Pinkerton in Madama Butterfly with the Baltimore Opera in June, and in July, Don José in Carmen at the Bellas Artes, where he also did a gala concert at the Bellas Artes singing excerpts from Aida, Mefistofele, Faust, and Lucia di Lammermoor. He then sang Cavaradossi in Tosca with the Piedmont Opera Theatre and Ismaele in Nabucco with Opera Carolina. In January 2004, he sang the role of The Voice in the Forge and the Flamenco Singer in La Vida Breve with The Dallas Opera, starring Denyce Graves. He also sang the role of Paco in their student performances. In May 2004, he sang the role of Don José in Carmen with the Baltimore Opera and in June, Radames in Aida at the Bellas Artes, where that September, he also sang the role of Cavaradossi in Tosca.

On May 25th, 2005, Placido Domingo asked Mr. Duval, on very short notice to replace Marcello Giordani as Cavaradossi in Tosca with The Washington National Opera. He had a personal triumph and received a glowing review in The Washington Post, devoted almost entirely to his performance, with a headline that read, “Duval Shines in Washington Opera’s ‘Tosca’.

Mr. Duval made his Metropolitan Opera debut on February 9th, 2005 as Rodolfo in La Bohème and his Met broadcast debut in the same role on February 19th, 2005. In July 2005, he sang the role of Calaf in Turandot at the Bellas Artes and in October 2005, the role of Riccardo in Un Ballo in Maschera with the Piedmont Opera Theatre. In March 2006, he sang Pinkerton in Madama Butterfly with Opera Columbus. In March and April 2006, he returned to the Metropolitan Opera for performances of Alfredo in La Traviata, and in July 2006, he sang Rodolfo in La Bohème in Monterrey, Mexico. He then sang the role of the Duke of Mantua in Rigoletto in Central Park with the Met in the Parks in August 2006, and in September and October 2006, he traveled to Prague for performances of Radames in Aida, Cavaradossi in Tosca, and the Duke in Rigoletto. In November 2006 he sang the role of Ismaele in Nabucco with The Dallas Opera. In January 2007, he sang the role of Pinkerton in Madama Butterfly with Arizona Opera. Performances at the Met in the 2006-2007 Season included Alfredo in La Traviata, and Rodolfo in La Bohème. In May 2007, he sang Alfredo in La Traviata at Teatro Colón and in July 2007, the Teatro di San Carlo invited him to sing Turiddu in Cavalleria Rusticana and Don José in Carmen. He then sang Manrico in Il Trovatore with Teatro Jerez de la Frontera in Spain in October 2007, the role of Rinaldo in L’Incantesimo opposite Aprile Millo with Teatro Grattacielo in November 2007 at Avery Fisher Hall, and in December 2007, Edgardo in Lucia di Lammermoor in Mexico City. In addition to other performances in Mexico, including Cavaradossi in Tosca, he sang the role of Pinkerton in Madama Butterfly with the Baltimore Opera in May 2008. Upcoming performances include Andrea Chenier in Italy, Cavaradossi in Tosca, and Carmina Burana in Mexico, as well as Calaf in Turandot in Brazil. He returns to the Met next season for La Traviata, Lucia di Lammermoor and La Bohème.

Marco Nistico, barítone

Career highlights have included Sharpless in Madama Butterfly, Pallante in Handel's Agripina, Prudenzio in Il Viaggio a Reims, Schaunard in La Boheme, and Dancairo in Carmen with New York City Opera; Francesco Foscari in Verdi's I Due Foscari with Sarasota Opera; Antonio in Donizetti's Linda Di Chamounix with the Caramoor Festival; Buffo in Mozart's The Empresario with L'Opéra de Monte Carlo; Figaro in Il Barbiere Di Siviglia with Toledo Opera, in Bologna, in Amsterdam, and on tour throughout the Netherlands with Eurostage Productions; Figaro in Il Barbiere Di Siviglia and both Durozeau and Renaud in Auber's Manon Lescaut with Ireland's Wexford Festival; Malatesta in Don Pasquale with Connecticut Grand Opera; Taddeo in Li Italiana in Algeri at Milan's Aslico; Tarquinius in The Rape of Lucretia and Marcello in La Boheme with Tel Aviv's International Vocal Arts Institute; Marcello in La Boheme with Connecticut Grand Opera and Western Plains Opera; Bruschino in Rossini's Il Signor Bruschino with Gotham Chamber Opera; Starveling in A Midsummer Nigt´s Dream with the Teatro di San Carlo; Sharpless in Madama Butterfly with Cedar Rapids Opera Theatre; Somarone in Berlioz's Beatrice Benedict with the European Union Opera at Germany's Baden-Baden Theater and in Paris at the Théâtre des Champs-Élysées; Sir John Gotch and the Curato Mendham in Rota's La Visita Meravigliosa in Fermo, Italy; Ben in Menotti's The Telephone at New York's Florence Gould Hall; and Enrico in Donizetti's Il Campanello at New York's Symphony Space. Concert highlights have included Fra Melitone in La Forza del Destino with the Caramoor Festival; Schaunard in La Boheme with the Southwest Florida Symphony Orchestra; and a Carnegie Hall debut as baritone soloist in the Faure Requiem and Schubert's Mass in C with Mid America Productions.

Manuel Von Senden, tenor

When Manuel von Senden, character tenor sang for the fist time with the Graz Opera interpreting Broucěk in Mr. Broucěk’s Excursion to the 15th Century, written by Leoš Janáček, the audience was enchanted, and the Wiener Presse said that “Mr. von Senden sang brilliantly in all the high registers, with an absolutely perfect pronunciation, which made the public understand each and every word during the 2 ½ hours of the opera.”

Manuel von Senden started his singing career as a rock singer and for 12 years, he was the main singer for the Dresden band, Electra, writing lyrics and songs of which many turned into hits. 7 CDs were produced and toured into many countries. His high, beautiful voice is perfectly adequate for rock ballads.

But being the son of a singer and an opera conductor, he was always attracted to the theater, to the opera.

He sang a Troubadour area just for fun on the TV show “Showkolade”, presented by Gunther Emmerlich, and all of a sudden the Berlin State Opera, as well as the Dresden one reacted favorably to him, as well as the Metropol ‘Theatre in Berlin, where Manuel von Senden interpreted on stage his first character: he was Tony for Bernstein’s “West Side Story”. Semperoper from Dresden granted him entrance to its Opera Studio after successful rehearsals and, shortly after, he began singing important roles as Pedrillo and David, for example.

Nowadays, Manuel von Senden continues studying in Dresden under the famous professor Johannes Kernter, who also found tenor Peter Schreier. Von Senden is now recognized as an important multi-talented artist and has been presented by La Scala de Milan, as guest interpreter in Vienna, Turin and Berlin. At the Berlin Komischen Oper, he presented his favorite music singing Hauptmann in Wozzek’s by Alban Berg.

One of his outstanding performances was as Mime in Wagner’s Rheingold and Siegfried, the latter offered in several performances in Graz and Turin.

Carlos Arturo Mendoza

Carlos Arturo Mendoza was born in Aguascalientes and studied with Professor José Guadalupe Briano. His debut was in Aguascalientes with La Traviata interpreting the Dottore.  Among many other operas, he has appeared in Rigoletto, Carmen, Madame Butterfly, el Gato con Botas, Elisir d’Amore, Samson and Delilah, The Barber of Seville. He obtained third place and a scholarship in the Carlo Morelli Competition. He has performed in different parts of the country in addition to Mexico City, Oaxaca, Chihuahua, Aguascalientes, Jalapa, Veracruz, Guadalajara, and Guanajuato.

He has been under the baton of Enrique Barrios, Enrique Patrón de Rueda, Héctor Guzmán, Carlos Prieto, Javier García Vigil, Gerard Oskamp, and many other distinguished conductors in the main theatres of the Country.

On stage, he has worked under José Antonio Morales, Cesar Piña, and Miguel Lonbana. His most famous opera presentations have been as Raimondo, Lucia de Lammermoor; Dulcamara in Elisir d’Amore; Sparafucille in Rigoletto; Don Basilio in The Barber of Seville; Leporello in Don Giovanni.

Among his most successful Oratorios are Mozart’s Coronation Mass in C Major (K 317); Mass in C Minor (K 257); Solemn Vespers of the Confessor (K 339). He has also interpreted Verdi’s Requiem, and Bach’s Passion according to St. Matthew. His symphonic repertoire includes Mahler’s Eighth Symphony and Beethoven’s Ninth.

Oliver Tambosi, stage director

Olivier Tambosi, who was born in Paris, studied philosophy and theology at Vienna University and opera directing at the Vienna Music Academy. He formed Austria’s first independent opera group, the Neue Oper Wien (N.O.W.) in 1989 and was Artistic Director of the company until 1993. His productions for N.O.W. included Bastien und Bastienne, Joseph & the Amazing Technicolor Dreamcoat, Idomeneo, Medea, Die Zauberflöte, Prima la Musica (Salieri), Macbeth, La Serva Padrona, Simplicius Simplicissimus (K. A. Hartmann), Il Segreto di Susanna, Pimpinone, Don Pasquale and Lulu.

Between 1993 and 1996 Olivier Tambosi was Artistic Director for Opera at the Stadttheater in Klagenfurt, where he directed L’Elisir d’amore, Manon Lescaut, La voix humaine, Death in Venice, Der Vetter aus Dingsda (Künnecke), Cosi fan Tutte, Cavalleria Rusticana, I Pagliacci, Dolores (Kaufmann), Rigoletto and Les Contes d’Hoffmann.

Since 1996 his engagements have included new productions of Rosenkavalier and Lulu at the Nationaltheater Mannheim, I Pagliacci and Le Pauvre Matelo (Milhaud) at the Liceo, Barcelona, Macbeth and La Traviata for the Opera du Rhin, Strasbourg, Hänsel und Gretel at the Nationaltheater Weimar, Jenufa at the Staatsoper Hamburg, Die Entführung aus dem Serail, The Rake’s Progress and Lulu in Klagenfurt, Tristan und Isolde in Bern, La Boheme in Hamburg, the Schönberg/Weill Chancons del Cabaret at the Liceo, Barcelona and Pelleas et Melisande and Orfeo ed Euridice in Nuremberg. In Berne he directed a new production of Saariaho’s l’Amour de Loin and for Opera Zuid in the Netherlands a new production of Rigoletto. At the Royal Opera, Covent Garden he directed productions of Jenufa and Luisa Miller, and at the Metropolitan Opera, New York, Jenufa. For the Lyric Opera of Chicago he has directed new productions of Falstaff (which he revived at the 2003 Saito Kinen Festival in Japan and in Houston), Un Ballo in Maschera and Manon Lescaut (also revived in Houston); Irrelohe at the Vienna Volksoper; Rigoletto in Dublin; Wozzeck in Mannheim; Pierrot Lunaire at Gidon Kremer’s Les Muséeiques festival in Basle at the Beyerlein Museum; Lucia di Lammermoor in Linz, Don Giovanni in Zagreb (Croatia) and a revival of Jenufa in Barcelona and

In 2007/08 his engagements included revivals of Manon Lescaut in San Francisco and Jenufa at the Metropolitan Opera, New York; and new productions of Wozzeck in Klagenfurt and a Zemlinsky double-bill of Der Zwerg and Eine Florentinische Tragödie at the Fisher Center for the Performing Arts, New York, new productions of Idomeneo at the Lucerne Festival and La Traviata in Linz, and revivals of Jenufa for Los Angeles Opera, Un Ballo in Maschera for Houston Grand Opera, and Falstaff for the Lyric Opera of Chicago. In 2008/09, Tambosi opened the season of the Vienna Volksoper with Eduard Künnecke's operetta Der Vetter aus Dingsda and did Le Nozze di Figaro in Linz; before staging Madama Butterfly for the Festival de Mayo in Guadalajara (Mexico).

Upcoming productions: 2009/10 J. Strauss' "The Bat" (Dortmund, Germany), Lucia di Lammermoor (Bregenz, Austria) Schreker's Die Gezeichneten (Los Angeles), Otello (Saabrücken, Germany), 2010/11: Wagners' Meistersinger von Nürnberg (Linz), Janacek's Macropoulos Case (San Francisco), Verdi's Falstaff (Hannover), and Milloecker's Gasparone (Volksoper Vienna)

Benhard Rehn, stage designer (Austria)

Bernhard Rehn was born in Austria (1968) and studied architecture and urbanism in Graz (Austria), Stuttgart (Alemania) and Mérida (Mexico).

Obtained the Erasmus scholarship in Stuttgart University, where he started intense studies on Latin American cities, particularly Mexico City and Rio de Janeiro, Brazil. He met the Mexican architect-urbanist Jorge Legorreta on the same year.

In the city of Mérida, Mexico, Rehn received a scholarship from the Austrian Cultural Department at FAUAD. He prepares an urban analysis of that Mexican city and travels with cultural purposes through the southeast of the Mexican Republic.

He gives a workshop on the design of Mexican cities at Stuttgart University intending to fuse two situations: German urbanism theory with the harsh reality of urban planning in Mexico City. Bernhard Rehn gets a Diploma based on the thesis of Mérida as a Market: social interphase ‘Mérida Mercado: interface social’, after conscientious research and in 2001, he starts research for his Doctorate thesis ‘Urban Transformation - City and Consumption. The Case of Mérida’, in which Billy Hillier’s Space Syntax theory, England, is basically applied.

He has been a guest speaker and educator at FAUADY in Mérida, at TU-Graz in 
Austria and at Gruber-Jez Foundation in Mérida. Javier Muñoz invited him to be a Guest critic (2001-2002 at the Marist University.

He lives in Mexico City since 2003 and works as an independent architect since 2004. He opened the ‘Archexperience’ bureau. His first jobs include the international company KHS in Zinacantepec, State of Mexico, as well as different projects in Tapachula, Mérida, Mexico City and Austria.

Since 2005 he has been Curator for art exhibitions for the May Cultural Festival, (Festival Cultural de Mayo) in Guadalajara, and ‘Austrian Art in Mexico’, 2005.

In 2006, at Instituto Cultural Cabañas, he organized the ‘Bullfighting Collection’ belonging to the J. Àlvarez del Castillo V. Foundation. In that same year, he takes part in the exhibition ‘Austrian émigrés in Latin America’ at AzW, Vienna, Austria.

‘Fundación Jesús Álvarez del Castillo V. Numismatics Exhibition’, Instituto Cultural Cabañas. The ‘Tijuana Crude’ exposition was organized by him at Ex-Convento del Carmen, in Guadalajara. He designs ‘La Ola’, by the Austrian artist Eduard Tauss, for being shown at the Experimental Museum El Eco, April to June, 2007 in Mexico City.
Stage design for the opera Ildegonda for the Tenth Festival Cultural de Mayo, 2007, Guadalajara.

He is now coordinating a temporary urban intervention program in conjunction with OSA (Office for Subversive Architecture), Europe and México.

Elvia Romero González, Professional Make-up Artist


  • 1995 ARIEL Award Winner (Mexican Academy of Film Award) for Best Make-up, El callejon de los Milagros
  • 2001 ARIEL Nomination for Best Make-up, Cronica de un Desayuno
  • 2006 Double ARIEL Nomination to the for Best Make-up, Las vueltas del Citrillo and Mezcal
  • 2006 ARIEL Award Winner for Best Make-up, Las vueltas del Citrillo
  • EXPERIENCE (Partial list)
    Personal Make-up &Hair Style Artist for:
    • Three past Presidents of México and two Gubernators (Carlos Salinas de Gortari, Dr. Ernesto Zedillo and Vicente Fox. Gubernators, Enrique Peña Nieto and Yvonne Ortega)
    • Ricky Martin, Luis Miguel and many other celebrities
    • Make-up & Hair Style and Wigs Artist for:
      • OPERA PACIFIC at DISNEYLAND Opera Disneyland Hotel (Anaheim, CA)
      • LADRON QUE ROBA A LADRON 35 mm Film to Lionsgate (USA)
      • DON GIOVANNI & EUGENE ONEGIN Opera, Orange County Performing Arts Center (Costa Mesa, CA)
      • RIGOLETTO Opera, Orange County Performing Arts Center (Costa Mesa, CA)
      • TRAUCO´S DAUGHTER 35mm Short Film (Los Angeles, CA)
      • AL RESCATE DEL SANTISIMA TRINIDAD 35mm Feature Film (México/Puerto Rico)
    • Selection for the Showtime Latino Filmmaker´s Showcase 2002
      • PAN, DULCE Y CHOCOLATE DVD Short Film (Los Angeles, CA)
      • FORGOTTEN VOICES DVD Short Film (Los Angeles, CA)
      • THE HALFWAY DINER 35mm Short Film (USA-MEXICO)
  • Jordu Shell Make-up School (Van Nuys, CA)
    • Advanced Courses in Sculpting & Air Brushing
  • Joe Blasco Make-up Center West (Hollywood, CA)
    • Advances Prosthetics with Gil Mosko & Medical Make-up
  • Joe Blasco Make-up Center West (Hollywood, CA)
    • Specialized Courses with Mr. Blasco in Make-up & Basic Special FX
    • Hair Dressing with Adele Taylor

Available upon request

Extensive 25 years carrier experience in TV, Films, Video, Opera, Theatre, Glamour, High Fashion, Clean Beauty Make-up, Specializing in Prosthetics, Basic Special FX, Airbrush, Body Make-up, Hair Styling &Wigs

Mario Alberto Cortés, asistente de dirección de escena (México)


• Part of an educational T.V. program about international students in the UK. Produced by the BBC, directed by Zoe Welsh.


• Executive producer of the Spanish Zarzuela Luisa Fernanda, With the Orquesta Filarmónica de Chihuahua, under the direction of Mtro. Armando Pesqueira.

• Co-produced and directed the musical reveu ANUNCIOS PERSONALES, from the creators of the hit TV show FRIENDS, 2008.

• Produced and directed Ana Regina Cuarón DECIDIDA, the concert, November2007.

• Produced and directed Eduardo Herrera ACUSTICO, the concert September 2007 and december 2008.

• In October 2003 co-produced the short film CHIH! which won the third place at the Haller Kurzfilmtage Shortfilm Festival in Tirol, Austria in december the same year

• In 2003 produced and directed two more short films at the NYFA: Dangling and Pure Insanity.


• In 2002 was selected by Richard Stilgoe to be part of the cast of his new musical Exit Allan, which opened at the First International Festival of Musical Theatre in Cardiff, Wales.

• Has worked as a singer and actor in shows around Europe, U.S.A. and México. HIs work Includes Coca-Cola Lifehouse in Berlin, On the Shelf at the 2002 Edinburgh Fringe Festival, Company, Best Little Whorewhouse in Texas and Jack and the Beanstalk in Guildford, England, Selena, el musical y Emperadores de la Antártida, el musical.

Daniel Linton - France, pianist

Born in 1973 in Sydney (Australia). In 1991 started to study piano with Christoph Lieske at the University of Music and Dramatic Arts "Mozarteum", Salzburg. After graduation with first piano diploma in 1996 he additionally took up studying conducting with Dennis Russell-Davies and Jorge Rotter (in 1999 first Diploma with Honors, graduation in 2001). From early youth award winner at numerous piano and composing competitions. Already during his studies assistant of Gustav Kuhn at his "Tirolean Festival", performances as conductor, soloist, chamber musician and vocal accompanist. Assistant at opera performances and symphonic concerts in Italy, Germany and Switzerland. Regularly engaged as accompanist at Bertelsmann Singing Competition "Neue Stimmen", Gütersloh. Concerts as a harpsichordist and pianist with solo programs and chamber music in Austria and Germany. He composes music for theatrical productions in Salzburg, Zurich und Ingolstadt. Since 2001 direttore musicale of the Convento dell'Angelo. Also composes church music.

Giacomo Puccini, composer

Puccini was born in Lucca in Tuscany, into a family with five generations of musical history behind them, including composer Domenico Puccini. His father died when Giacomo was five years old, and he was sent to study with his uncle Fortunato Magi, who considered him to be a poor and undisciplined student. Later, Puccini took the position of church organist and choir master in Lucca, but it was not until he saw a performance of Verdi'sAida that he became inspired to be an opera composer. He and his brother, Michele, walked 18.5 mi (30 km) to see the performance in Pisa.

In 1880, with the help of a relative and a grant, Puccini enrolled in the Milan Conservatory to study composition with Amilcare Ponchielli and Antonio Bazzini. In the same year, at the age of 21, he composed the Messa, which marks the culmination of his family's long association with church music in his native Lucca. Although Puccini himself correctly titled the work a Messa, referring to a setting of the full Catholic Mass, today the work is popularly known as his Messa di Gloria, a name that technically refers to a setting of only the first two prayers of the Mass, the Kyrie and the Gloria, while omitting the Credo, the Sanctus, and the Agnus Dei.

The work anticipates Puccini's career as an operatic composer by offering glimpses of the dramatic power that he would soon unleash on the stage; the powerful "arias" for tenor and bass soloists are certainly more operatic than is usual in church music and, in its orchestration and dramatic power, theMessa compares interestingly with Verdi's Requiem.

While studying at the Conservatory, Puccini obtained a libretto from Ferdinando Fontana and entered a competition for a one-act opera in 1882. Although he did not win, Le Villi was later staged in 1884 at the Teatro Dal Verme and it caught the attention of Giulio Ricordi, head of G. Ricordi & Co.music publishers, who commissioned a second opera, Edgar, in 1889.

From 1891 onwards, Puccini spent most of his time at Torre del Lago, a small community about fifteen miles from Lucca situated between the Tyrrhenian Sea and Lake Massaciuccoli, just south of Viareggio. While renting a house there, he spent time hunting but regularly visited Lucca. By 1900 he had acquired land and built a villa on the lake, now known as the "Villa Museo Puccini". He lived there until 1921 when pollution produced by peat works on the lake forced him to move to Viareggio, a few kilometres north. After his death, a mausoleum was created in the Villa Puccini and the composer is buried there in the chapel, along with his wife and son who died later.

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