9 musical theater titles, 4 recoveries of lyrical heritage, 5 grand repertoire productions and 6 new productions will be presented. All shows canceled by the pandemic have been rescheduled.
The Teatro de la Zarzuela presents the 2020/2021 season which features 173 represent an increase of 50% since Daniel Bianco call at the Coliseum Madrid Jovellanos Street in 2015. Regarding the A new reality that inevitably stems from the health crisis, the theater director is optimistic, confident in the future and assures that “yes, these are very difficult times, but here we are to present a season that will make them brighter“. A season that, according to his words, “aims to be a great hug that offers us that warmth in the heart that always ignites Spanish music.”
And despite optimism, the manager continues to be cautious, because this is what the complex circumstances that we must face impose: “Beyond our illusion and desire, we have chosen the path of prudence, which is a better adviser than haste. ” In this sense, he stresses that he sincerely believes that “facing a future with optimism, hope and prudence paves the way and somehow dissipates its difficulties, however great they may be.”
Bianco, who has always been an outspoken defender of public theater, maintains that, as such, “this is our first responsibility and our priority commitment: that prudence be what the Theater opens on October 1 with the beginning of this new season, thus guaranteeing strict compliance with all the recommendations and standards that protect us from the coronavirus. ” And it is categorical when insisting that “we must have all the guarantees not only to be able to offer shows of the highest excellence, but also the protection of our artists, our workers and our public against any risk.”
The 2020/2021 Season, whose first lyrical title will be presented on October 1 and will run until July 18, presents 9 musical theater titles, 4 recoveries of lyrical heritage –‘Marianela’, ‘Las calatravas’,’ Benamor ‘and’ I Tre Gobbi ‘-, 5 productions of great repertoire –‘ La tempranica ‘,’ La vida breve ‘,’ La del bunch of roses’, ‘Luisa Fernanda’ and ‘El rey que rabió’– and 6 new ones productions –‘La tempranica’, ‘Luisa Fernanda’, ‘Amores en Zarza’, ‘Benamor’, ‘El rey que rabió’ and ‘I Tre Gobbi’–.
Likewise, both the concert cycle (with 13 proposals) and the Ambigú Notes (with 12 recitals) grew, and the was consolidated cycle Sundays of Chamber cycle starring musicians from the Titular Theater orchestra, ORCAM,. Likewise, the veteran collaborations continue with the National Center for Musical Diffusion (CNDM) in the Lied cycle, and with the Fundación Juan March in the Chamber Musical Theater cycle.
As for the tickets, are maintained popular prices (from € 4 to € 50), and significant discounts (between 20 and 60% of the RRP) for young, old, unemployed, large families, groups or last minute. Daniel Bianco states in this regard that this is one of the essential functions of a public theater: to be “truly” everyone’s theater. Maintaining this price scale “involves a huge effort, a sacrifice that is absolutely necessary,” he says.
The season will begin with 14 performances of the show Granada, that gathers and unites two especially representative titles of our lyrics: On one hand, La Tempranica, zarzuela in an act by Gerónimo Giménez in a new production of the Teatro de la Zarzuela, and on the other, that lyrical drama that is La Vida Breve by Manuel de Falla in a production of the Palau de les Arts Reina Sofía in Valencia. The two titles have a lot in common: A love story, Granada as a landscape and that La vida breve looked at itself in the mirror of La tempranica due to the admiration that Falla professed for Giménez. The text by the playwright Alberto Conejero tells the story of La Tempranica through three imaginary encounters of the two composers throughout their lives. Both stage proposals are signed by Giancarlo del Monaco, and will have Miguel Ángel Gómez-Martínez in the musical direction, set design by William Orlandi, costumes by Jesús Ruiz and some casts led by Nancy Fabiola Herrera, Ainhoa Arteta, Ana Ibarra, Virginia Tola, Rubén Amoretti, Javier Franco, Jorge de León or Francesco Pio Galasso; Granada will be on the poster from October 1 to 18.
After this singular start, it will be the turn for the replacement of one of the most successful productions in the contemporary history of the Plazuela de Jovellanos Theater: the production of La del manojo de Rosas devised by Emilio Sagi in 1990, which meant (among many other joys) the stellar debut and the discovery of that unique singer who is Carlos Álvarez. To commemorate the 30 years since then, the Malaga baritone himself will play the character of Joaquín in 6 of the 12 performances of indisputable lyrical sainete Pablo Sorozábal’s, scheduled from November 10 to 22; with the musical director of the Theater, Guillermo García Calvo on the podium of the pit, the cast, in addition to Carlos Álvarez, will include, among others, Ruth Iniesta, Raquel Lojendio, Gabriel Bermúdez, Vicenç Esteve, Enrique Baquerizo and Ángel Ruiz. The scenery is by Gerardo Trotti and the costumes by Pepa Ojanguren.
On November 27 and 29, the public will be able to enjoy Marianela,opera in three acts, Jaime Pahissa’s premiered at the Gran Teatre del Liceu in 1923, whose libretto is an adaptation of the theatrical work written by Serafín and Joaquín Álvarez Quintero based on the famous novel of the same name by Benito Pérez Galdós, precisely in this year in which the centenary of the death of the Canarian and universal writer occurred in Madrid when he was 76 years old. Today’s fan will face for the first time this more than interesting title that, like so many others, fell into the most unfair of oblivions and is presented in a concert version. Jaime Pahissa, It belongs to that generation of musicians who, despite their quality, have been practically forgotten. Like so many others, he had to leave Spain during the Civil War, and in his case the destination was Argentina. Óliver Díaz will assume the musical direction, and the cast will be made up of Adriana González, Paola Leguizamón, Alejandro Roy, Luis Cansino, Simón Orfila, Luis Méndez Silvagnoli and María José Suárez.
Next, the stage will revive the Madrid of the mid-19th century (also that Extremadura that closes the story) to welcome the comings and goings of one of the undisputed masterpieces of our lyrics: Luisa Fernanda by Federico Moreno Torroba, with a script by one of the most prolific, successful and enlightened couples of the genre, such as Federico Romero and Guillermo Fernández-Shaw. Originally scheduled for the 2019/2020 Season, it finally had to be postponed due to the health crisis. The premiere of this new production promises to be quite an event, especially considering that the Teatro de la Zarzuela and this work have been closely linked since 1934, two years after its premiere at the Teatro Calderón in Madrid. Musically directed by Karel Mark Chichon and David Gómez-Ramírez, another of the many attractions of this project is the vision of this popular and beloved play given by the Turin stage director Davide Livermore. The scenography is by Giò Forma and the costumes by Mariana Fracasso. Yolanda Auyanet, Maite Alberola, Jorge de León, Alejandro del Cerro, Juan Jesús Rodríguez, Javier Franco, Rocío Ignacio or Leonor Bonilla are some of the voices that make up a double distribution of absolute bells. The 14 scheduled functions will run from January 28 to February 14.
The statutes that govern the spirit and operation of the Teatro de la Zarzuela make it clear: the coliseum erected in 1856 must, without any pretext, safeguard and spread the Spanish lyrical genre. Therefore, as it happened in the previous season, a second title will be recovered in a concert version. On this new occasion it will be ‘Las calatravas’, a lyrical comedy in three acts by Pablo Luna. It will be directed musically by Guillermo García Calvo, with a cast made up of Miren Urbieta-Vega, Lola Casariego, Lucía Tavira, David Menéndez, Andeka Gorrotxategi or Carlos Cosías and with the young playwright and actor Paco Gámez adapting the script by Federico Romero and José Tellaeche in the form of a narration. Two passes will be offered, on March 12 and 14.
The opportunity to see and hear will be cause for celebration ‘Benamor’. The recovery of this operetta in three acts by Pablo Luna (whose masterful music is one of the indisputable protagonists of the season), completes what is known as the “oriental trilogy” along with “The wonder of Damascus” and “The Jewish boy” . With a libretto by Antonio Paso and Ricardo González del Toro, this time in a version by Enrique Viana who also assumes the stage direction, the play that premiered at the Teatro de la Zarzuela 97 years ago now will have among the many values of this new production the baton by José Miguel Pérez-Sierra, the scenography by Daniel Bianco, the costumes by Gabriela Salaverri or the choreography by Nuria Castejón, in addition to a luminous double cast with Vanessa Goikoetxea, Susana Cordón, Carol García, Cristina Faus, Damián del Castillo, César San Marín, Gerardo Bullón, Irene Palazón, Amelia Font, Gerardo López, Francisco Javier Sánchez, Emilio Sánchez and Enrique Viana himself. There will be ten functions from April 14 to 25.
If it is necessary to highlight the best and most influential composers of the zarzuela genre, on all the lists without exception the name of will appear between neons Ruperto Chapí. The stage of the Teatro de la Zarzuela will once again host a new production of El rey que rabió, 130 years after its premiere on these same tables. The emotion is served, pure Chapí (that dominating monster with equal parts of the theatrical and the musical to the point of turning his creations into an explosive all-stage) and a satirical libretto by Miguel Ramos Carrión and Vital Aza with veiled allusions and not so much to the Spain of the moment, which explains the reasons why the zarzuela audience so often leaves the room with a bright smile. It will be hard to wait a whole year to have the opportunity to enjoy the surplus charms of this title, and even more so if the artistic team is made up of names such as that of maestro Iván López Reynoso – who conducted the Zarzuela concert at this theater several seasons ago. Javier Camarena-, Bárbara Lluch, the stage director who made the operatic miracle of ‘La casa de Bernarda Alba’ possible – with music and direction by Miquel Ortega and winner of the Ópera XXI Award for the best opera production of the 2018 season / 2019-, that of the stage designer Juan Guillermo Nova, that of the figurine designer Clara Peluffo or that of the master of illuminating masters Vinicio Cheli. The double cast is also not wasted: Enrique Ferrer, Jorge Rodríguez-Norton, Rocío Ignacio, Sofía Esparza, María José Suárez, Carlos Chausson, Miguel Sola, José Manuel Zapara, Carlos Cosías, Igor Peral or José Julián Frontal. There will be 14 functions from June 3 to 20.
With the presentation of these 8 titles, the theater will continue to be a unique example in the preservation, dissemination and exhibition of our lyrics, as fruitful as it is heterogeneous.
After the success obtained in its first four seasons (the latter irreparably diminished by the pandemic), the CYCLE OF CONCERTS in the main room increases its offer, and offers 13 concerts with some of the most outstanding voices in the lyrics, the popular song, flamenco and pop. Among the proposals are the concerts that have not been held in the current academic year due to the health crisis: this is precisely the case of the Maria Bayo. ‘Baroque echoes’, in which the always surprising and charismatic soprano Navarra will present a program that ranges from José de Nebra, Sebastián Durón or Emanuele Ricón de Astorga, to Alessandro Scarlatti, Antonio Lotti, Händel or Vivaldi, accompanied by the Baroque orchestra Vespres D’Arnadì (September 27); Celso Albelo, Tenor of poignant highs and admirable projection, In this concert, the public will also be able to discover one of its most unknown facets. And it is that this Tenerife born and convinced, will alternate a program of immortal zarzuela romances with traditional songs from his venerated land (October 5); Singer Sole Giménez presents ‘Mujeres de Música’, a project that brings together great songs composed and written by women with the intention of making women’s work in the world of music visible (October 6); The tenor Ismael Jordi, one of our most international singers, invited to the most important opera houses in Europe, will celebrate his 20-year career with this concert by reviewing some of the great titles of our lyrical heritage and will be accompanied at the piano by Rubén Fernández Aguirre (November 28); Rodrigo Cuevas is one of the artists with the greatest impact in recent years in the field of popular music who, with his groundbreaking and avant-garde concept of folklore, combines the popular of yesterday and today, the rural and the urban. On this occasion, his show ‘Barbián’ will change folklore for zarzuela (November 30); the traditional Christmas Concert, with Maestro Víctor Pablo Pérez as musical director, who will be accompanied by soprano Yolanda Auyanet and mezzo-soprano Nancy Fabiola Herrera (December 30); Amancio Prada. ‘Voces y huellas’, an anthological recital that shows the wide and varied horizon of Spanish poetry of all time. Encounter and revelation of the traces and voices that beat in their own song and that according to the interpreter have twisted the thread of their artist life (February 2); In ‘Navarra is music’, the soprano Sabina Puértolas, the mezzo-soprano Maite Beaumont and the tenor José Luis Sola, accompanied by the pianist Rubén Fernández Aguirre, will lead the public through an intense and profound journey through the music of that prolific land (March 13); Saioa Hernández and Francesco Pio Galasso, accompanied by the pianist Vincenzo Scalera: the soprano baptized by her teacher Montserrat Caballé as “the diva of the 21st century”, returns together with the Italian tenor to the Teatro de la Zarzuela after her debut on this stage with ‘El Gato Montés’ in 2012 and the resounding success of ‘Curro Vargas’ in 2014, and he does so after having carved out a high-rise international career embodying the leading figures of opera in the most relevant theaters in the world (28 of March); Argentina. ‘The artist’s life’: from its conception of flamenco and the possibilities that this art allows, from joy to melancholy, passing through other states of infinite depth, Argentina claims art and the true artist in a hard time. In this project, flamenco, song, fado, tango, theater, painting, literature, classical music come together and in this concert, also, zarzuela (April 20); Sonya Yoncheva, with the musical direction of Miquel Ortega: the Bulgarian soprano, one of the most acclaimed voices currently by international critics and the public of the most famous opera venues in the world, has developed an intrepid and successful artistic itinerary embodying the main and riskier opera characters, from Baroque to Verismo. With this concert, Yoncheva makes her debut in this theater, unique in the world, and adds the Zarzuela Grande to her exquisite repertoire, thus highlighting the growing attraction and recognition that our lyrical genre arouses outside our borders (April 29); Joaquín Achúcarro: the universal pianist celebrates at the Teatro de la Zarzuela the 75 years of his career since his debut as a concert pianist, being just a 13-year-old boy (May 8); Lucero Tena and Xavier de Maistre: two masters come together in this concert to delight us with some of the most beautiful pearls of Spanish music. With the passionate and bizarre sound of castanets, in irresistible conversation with the sweet and evocative sound of the harp (May 23).
Since its creation, four seasons ago, all the concerts of the NOTES DEL AMBIGÚ CYCLE have hung the ‘sold out places’ poster. That is one of the reasons why in the next season it continues to offer more than double the number of concerts that it did at the beginning of the cycle: this time the protagonists will be guitarist Ricardo Gallén with ‘Guitarra romantica’ (October 12), soprano Raquel Lojendio and the pianist Rubén Fernández Aguirre who pay tribute to Lorenzo Palomo, one of our most international composers (October 20), the baroque ensemble La Ritirata directed by the cellist Josetxu Obregón with ‘Il Spiritillo Brando’ (November 1), the Trío Arbós with the third installment of ‘Chamber Music’ (November 9), the violinist and violist Cecilia Bercovich, the pianist and bandoneon player Claudio Constantini and the cellist and guitarist Sergio Menem, who offer a concert dedicated to the pulsating and imperishable music of the maestro José Padilla (November 24), the soprano Berna Perles and Rubén Fernández Aguirre, who in turn pay tribute to the sublime music of Joaquín Turina (December 3), the Jerónimo de Carrión Chapel led by Alicia Lázaro, with whom We will undertake a journey from the Renaissance to the Spanish Baroque through the influences that profane and sacred music exerted on each other at a time when theatrical performances, which were previously attached to the liturgical field, began to take on a more profane character for, little by little shortly, go ‘From the temple to the theater’ (February 15), the soprano Cristina Toledo Accompanied by the pianist Aurelio Virivay, she will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women’s Day. The Teatro de la Zarzuela thus wants to give visibility to women who, despite the difficulties in doing so and the ingratitude of oblivion, dedicated themselves to the composition of zarzuelas and Spanish music (March 8), Lamentatio. Recorded music, unknown works representative of the Spanish baroque, more specifically of the Valencian school of sacred music. These are the lamentations of the Prophet Jeremías composed by the prolific chapel master of the Valencia Cathedral, Pasqual Fuentes i Alcàsser (March 22), the mezzo-soprano María Antúnez, accompanied by Rubén Fernández Aguirre at the piano, will offer a recital dedicated to the ‘Uruguayan music’ (April 19), the soprano Rocío Pérez and the pianist Ramón Grau will present the Integral of the cycle ‘Spanish classical songs’ by Fernando Obradors (May 10) and the artist Ángel Ruiz, accompanied by the pianist César Belda, will pay tribute to those artists, musicians and lyricists who, on the other side of the Atlantic, seduced and inspired him as part of his life and artistic baggage in ‘Tribute to Ibero-America’ (June, 15).
CYCLE CAMERA SUNDAYS: WOMEN WITH soloists of the Community of Madrid Orchestra, Orchestra of the Teatro Titular and dedicated exclusively to Spanish music,bursts with strength and personality in its second season.The cycle is dedicated this time to music composed by women. For the Teatro de la Zarzuela, it is important to give visibility to women composers who rarely received the deserved recognition for their musical work and whose works have remained ingratitude of oblivion. With this, the Theater wants to value some of our composers of the XX and XXI centuries such as María Rodrigo, María Teresa Prieto, Pilar Jurado, Teresa Catalán, Zulema de la Cruz, Marisa Manchado, Rosa Alarcó or Diana Pérez Custodio among many others . The five appointments in this edition will be: ‘Miradas cruzadas’ (October 18), ‘Contemporary images’ (November 15), ‘Christmas with Ñ’ (December 20), ‘Modern and classic’ (March 14) and ‘Make the Americas’ (June 6). As the Theater understands that this repair should not only focus on history, but also on today, the cycle will host four absolute premieres by students of the Madrid Royal Conservatory of Music: Laura de las Heras, Miriam Sanz Ortega, Amanda Garrido and Sofia Sainz.
On the other hand, the LIED CYCLE, in co-production with the National Center for Musical Diffusion (CNDM), will celebrate its XXVII edition with 10 recitals: The baritone Florian Boesch (September 28), the soprano Juliane Banse (October 13), soprano Sabine Devieilhe (November 16), tenor Matthew Polenzani (December 14), baritone Florian Boesch (January 25) baritone Christian Gerhaher (February 8), countertenor Bejun Mehta (March 15), the tenor Christoph Prégardien (April 12), the soprano Núria Rial (May 17) and again the baritone Florian Boesch (June 14), complete the proposal for the new season.
DIDACTIC PROJECTS. ZARZA PROJECT. MASTER CLASSES
The Teatro de la Zarzuela continues to give very special importance to training and information for that broad young audience who will be required to fill the hall of this theater in the future and which, in turn, must train the generation that will take over. “We have the obligation to seduce them and make zarzuela available to them in this century that touches us,” says Daniel Bianco, who puts his intention into practice as evidenced by the fact that more than 20% of the Theater’s programming is dedicated to young audiences. , and to such an extent the answer is positive that the average age of theater spectators has decreased in the last four seasons in ten years: from 69 to 59 years.
In the new Season, a total of will be offered 36 functions among the three shows that make up the educational project.
PROJECT ZARZA, a zarzuela made by young people for young people, is a resounding success every season. Since it started four the seats of the Theater years ago, 26,000 spectators between 12 and 18 years old, have attended who attended the performances of ‘La revoltosa’, ‘El duet de La Africana’, ‘La verbena de La Paloma’ and ‘Agua, Azucarillos y Aguardiente’, and another 90,000 who could see them via streaming. As it could not be otherwise, in the 2020/2021 Season the project returns with force and renewed: It will present the new production of the Theater ‘Amores en Zarza’, with music by Pablo Sorozábal, Gerónimo Giménez, Federico Chueca, Ruperto Chapí or José Serrano, among other great composers of our genre. The text will be by the novelist and playwright Nando López, who in this season signed the version of ‘Agua, Azucarillos y aguardiente’. With stage direction by Rita Cosentino, musical by Miquel Ortega, set design and costumes by Elisa Sanz, lighting by Juanjo Llorens and choreography by Nuria Castejón, the cast will be formed, as it happened with the previous titles, by a group of young singers and actors between 18 and 30 years old chosen after an audition process and accompanied by a chamber music ensemble. The 13 functions, four of them open to the general public, will be offered from February 26 to March 5, 2021.
In the 2020/2021 season it will also introduce a participatory educational show “intergenerational and interactive” under the title ‘From Z to A’ It has been devised to bring the Zarzuela closer to an audience not accustomed to the genre, from the connection between the musical memory of the grandparents and the audiovisual languages and aesthetics of the grandchildren. This Diabolus in Music production is a show in which each performance will be unique, different from any other due to its participatory nature, in which the involvement and interaction of the public will determine its development.
And the educational projects once again stand out for another year because, thanks to them, the Ambigú del Teatro has the function of a show space for the fourth consecutive year. After the two exciting installments of ‘Lost in Bosco’ and the overwhelming success of ‘The incredible story of Juan Latino’, the puppet theater with live music will return to our Ambigú. The proposal will be the replacement of this last title, co-produced by the Theater and the Claroscvro Company, after the 1,800 children between the ages of 6 and 10 who last January filled their 18 functions day after day. This time there will be another 18 functions (four of them open to the public) from January 9 to 19, 2021.
Also framed in the didactic projects, the stage director José Carlos Plaza, whose name, synonymous with theater with capital letters, is so important for this Teatro de la Zarzuela, will offer master classes to that generation of Spanish singers who need a Master of the scene to complete their training. From October 6 to 13, 2020. The last session will be held open to the public in the main hall of the Theater.
Next season dance will be the protagonist through the two national companies: The National Dance Company will present a new production of ‘Giselle’ choreographed and directed by its artistic director Joaquín de Luz based on the original by Jules Perrot and Jean Coralli on the music of Adolphe-Charles Adam. It will have the musical direction of Oliver Díaz, dramaturgy of Borja Ortiz de Gondra, scenery by Ana Garay, costumes by Rosa García Andújar and lighting and audiovisuals by Pedro Chamizo. There will be twelve functions from December 9 to 22. For its part, the National Ballet of Spain arrives with the ABSOLUTE PREMIERE of ‘La bella Otero’, with music by Manuel Busto, Alejandro Cruz, Rubén Díaz and Agustín Diassera, choreography and stage direction by the director of the Company, Rubén Olmo, musical direction by Manuel Busto himself, dramaturgy by Gregor Acuña-Pohl, scenography by Eduardo Moreno, wardrobe by Yaiza Pinillos and lighting by Juan Gómez-Cornejo. There will be ten functions from July 7 to 18.
CÁMARA MUSICAL THEATER
Another of the cycles that prevails every year renewed in energy and intent is the one dedicated to the Chamber Music Theater in collaboration with the Fundación Juan March. From January 10 to 18, 2021 , the seven performances (three of them school) of ‘I Tre Gobbi’ (‘The Three Hunchbacks’) by Manuel García will be presented, with a libretto by the eighteenth-century Sevillian musician himself based on the intermission of Carlo Goldoni. It is a new co-production between both institutions, which once again shows that the sum of efforts allows us to go further. The musical direction of this chamber opera It will be by Rubén Fernández Aguirre, one of the most outstanding experts in the work of Manuel García, who will also interpret music on the piano. The stage direction is by José Luis Arellano, the scenography of this and Pablo Menor, the costumes of Ikerne Giménez and the cast are composed by Serena Sáenz, David Alegret, David Oller and Javier Povedano. As usual, the performances will be at the Fundación Juan March.
Another of the great concerns of the Director of La Zarzuela is to recover all those shows that could not be held due to the pandemic. For this reason, from the Teatro de la Zarzuela, “in order to mitigate the enormous impact of this obligatory stoppage”, and following the guidelines of the INAEM and its general director, Amaya de Miguel, all the canceled shows have been rescheduled. Some will be enjoyed in the season presented, and others will be resumed in future seasons already committed.
“The objective is to protect our artists and offer them a horizon of hope because nobody can be left behind“, explains Daniel Bianco, who adds that “we are very happy to have achieved it, and all thanks to the fact that we are a public theater.”
Referring to the intense online activity of the world of culture in general and of theaters in particular, he says that “this terrible virus has attacked in its very essence the theatrical event. It has wounded its root, its reason for being “, and consequently, he believes,” the theater has sought a resource, a crack to break through online broadcasts. ” According to his opinion, “this opportunity offered by technology is appreciated, but the theater is much more, it is an unrepeatable act, it is that fleeting moment in which the artist’s life is combined with that of the public. The music and the scene –he continues– only flourish with human contact and his miracle is present when the public and the artists share the same rhythm, the same song, the same dream and the same breath. ”
And that the numbers registered in the social networks of the Teatro de la Zarzuela in the period of confinement are not negligible: on Facebook there has been a growth of 17.85% in the number of followers with a total of 1,800,000 impressions and 485,883 video views. On Twitter, the rise was 8.87% and the reach of 784,500 impressions; On YouTube, the impressions were 965,440 and the subscriber rise of 110% (the main consumption of the channel was the complete zarzuelas available, as well as concerts previously broadcast live). Finally, through Instagram the Theater has reached 422,870 users.