DE AMORE. UNA MASCHERA DI CENERE 1996/99
chamber opera, 100’
parts: Woman (soprano) / Man (baritone) / Ginesa (cantaora) / Marina (cantaora)
for ensemble (flute, clarinet, saxophone, violin, violoncello, double bass, 2 percussions and piano), tape and live electronics
librettist: Peter Mussbach
commissioned by: City of Munich for the Münchener Biennale
première: 19/04/1999, Gasteig, Munich / Germany. Salome Kammer (Woman), Markus Eiche (Man), Eva Durán (Ginesa), Marina Heredia (Marina). Roberto Fabbriciani (flute), Ernesto Molinari (clarinet), Yves Savary (violoncello), Marcus Weiss (saxophone), Johannes Nied (double bass), Stefan Blum, Christian Dierstein (percussion), Yukiko Sugawara (piano) / Mauricio Sotelo
scenery: Peter Mussbach.
• Universal Edition
DULCINEA 2005/06
A children's opera based on "Don Quijote" by Miguel de Cervantes. 55’
commissioned by: Fundación Teatro Lírico - Teatro Real de Madrid in coproduction with Gran Teatre del Liceu de Barcelona, Asociación de Amigos de la Ópera de Bilbao, Teatro de la Maestranza de Sevilla, Fundación Ópera de Oviedo, Palau de les Arts de Valencia and Sociedad Estatal de Conmemoraciones Culturales
original libretto by Andrés Ibáñez
parts: Niño (soprano), Madre / Dulcinea (mezzo-soprano), Don Quijote (countertenor), Sancho (baritone)
for ensemble (clarinet, violin, violoncello, percussion and piano) and sound carrier
première: 18/05/2006, Teatro Real, Madrid / Spain. Arantxa Armentia (Niño), Beatriz Lanza (Madre / Dulcinea), José Hernández Pastor (Don Quijote), Javier Galán (Sancho), Javier Ibarz (Cervantes); Vicente Alberola (clarinet), Margarita Sikoeva (violin), Dragos Alexander Balán (violoncello), Juanjo Rubio (percussion), Juan Carlos Garvayo (piano) / Joan Cerveró
Scenery: Gustavo Tambascio
• Universal Edition UE 33449
EL PUBLICO 2010/2013
An opera in five scenes and a prologue
libretto by Andrés Ibáñez, based on the play by Federico García Lorca
commissioned by: Gerard Mortier for the Teatro Real de Madrid. Fundación Teatro Real.
KLANGFORUM Wien; Coro del Teatro Real. / Pablo Heras-Casado. Dirección de escena: Robert Castro. Escenografía: Alexander Polzin.
Figurines: Wojciech Dziedzic. Iluminación: Urs Schönebaum. Coreografía: Darrel Grand Moultrie
Dirección de sonido: Peter Böhm. Asistente de dirección de sonido: Florian Bogner
Dirección del coro: Andrés Máspero. / Director: José Antonio López. Caballo primero: Arcángel. Caballo segundo : Jesús Méndez.
Caballo tercero: Rubén Olmo. Hombre primero: Thomas Tatzl. Hombre segundo: Josep Miquel Ramón. Hombre tercero: Antonio Lozano
Elena: Gun-Brit Barkmin. Emperador / Prestidigitador: Erin Caves. Julieta: Isabella Gaudí. Criado / Enfermero: José San Antonio
Guitarra solista: Cañizares. Percusionista: Agustín Diassera
première: 24/02/2015, Teatro Real, Madrid. (further performances: 26 February; 1, 4, 6, 9, 11, 13 March)
• Universal Edition
DVD/BluRay by Bel Air Classiques (BAC134)
BRUNO O IL TEATRO DELLA MEMORIA. 2017/2020
Opera in five acts. 132’
Libretto (Italian): Massimo Cacciari and Mauricio Sotelo after texts by Giordano Bruno.
commissioned by: La Monnaie/De Munt
première (canceled): 14th September 2021. La Monnaie/ Brussels. Orchestra of La Monnaie/ Kazushi Ono. Stage direction: Alexander Polzin and Sommer Ulrickson. Set design: Alexander Polzin. Lighting designer: Urs Schönebaum
La Monnaie canceled the world premiere of BRUNO due to the coronavirus pandemic
• Universal Edition
Bruno Opera Web-Site
bruno-opera.comRINCONETE Y CORTADILLO 2002
ballet, for electronics. 50’
Story line by Mercedes Carrillo and Raúl Comba based on the homonymus novel by Cervantes
première: 05/07/2002, Teatro del Generalife, Granada / Spain. Company Latorre. Daniel Navarro (Rinconete), Ignacio Blanco (Cortadillo). choreography: Javier Latorre
scenery: Abraham Lacalle
• Universal Edition
EL LOCO 2004
ballet, for saxophone and orchestra. 90’
commissioned by: Ballet Nacional de España
première:06/09/2004, Teatro Real, Madrid / Spain. Ballet Nacional de España / José Antonio. Marcus Weiss (saxophone),
Orquesta Sinfónica de Madrid / Josep Pons
Choreography: Javier Latorre
Scenery: Francisco López
main soloists: Christian Lozano (Félix ‘El loco’), Tamara López (Tamara Karsavina / La molinera / La dama blanca), Óscar Jiménez (Massine / El molinero / Espectro), Alberto Ferrero (Diaghilev / Espectro), Primitivo Daza (El bailaor antiguo / Espectro)
• Proyecto Sotelo SL
MUERTE SIN FIN 2010
for for dancer, cantaor and ensemble. 34’
commissioned by: Biënale Flamenco 2011
première: 30/01/2011, Muziekgebow Amsterdam/Netherlands. Niew Ensemble / Ed Spanjaard
• Universal Edition
MUERTE SIN FIN … COMENTARIO, a la memoria de Enrique Morente 2011
for reciter, bailaora, cantaor, ensemble and electronics. 72’
text: José Gorostiza
première: 29/06/2011, Teatro Real, Madrid / Spain. Juan Diego (recitation), Fuensanta “La Moneta” (bailaora), Arcangel (cantaor) / Mauricio Sotelo
• Universal Edition
LUZ SOBRE LIENZO 2011
for violin, bailaora, percusssion and electronic. 40’
commissioned by: Acción Cultural Española for the 200th Anniversary of the Constitution of 1812
première: 03/12/2011 Auditorio 400, Centro de Arte Reina Sofia, Madrid / Spain.
Patricia Kopatchinskaja (vl.), Fuensanta “La Moneta”, (bailaora), Agustín Diassera (perc), Fernando Villanueva (electronics)
• Universal Edition
"I know, appreciate and admire Mauricio Sotelo as an internationally recognized composer with a very personal style. He is endowed with a brilliant and sovereign metier in all compositional genres and a universal art-philosophical background. I've been experiencing him since I've known him, with all his structuralist character, as it is ensured not least by his training with Luigi Nono, at the same time stylistically open, definitely not denying his Iberian landscape roots and instead constantly introducing them imaginatively."
When a few years ago I met Mauricio Sotelo, he was just about to familiarize himself with Liszt's Sonata. This not only led to a friendship but also induced the idea of writing a work that would relate both to the Sonata and to our encounter. In the last decades, a number of musical works have emerged that are composed interpretations of older ones. We can regard them as a counter-position to historicising performances that have established themselves in many concert halls. According to Hans Zender, himself a contributor to this new species, the composer "is creator. But he is these days also an interpreter of the past to which he relates - whether seeking to surmount it, or to carry on." Sotelo's work is a confrontation of this kind, an argument dealing with the shape and the material of Liszt's Sonata that has resulted in something personal and spectacular.
Mauricio Sotelo's music is one of the most intense illuminations that, in the air of sounds, can find the semantics of words. I heard about Mauricio from one of the greatest composers of our time, Luigi Nono, who I met in 1988 at the Institut for Advanced Study in Berlin. Luigi was the one who asked me if I knew a young Spanish composer about whom, I confess, knew nothing about. Since then, the admiration I felt for Nono is linked to the person and music of Mauricio. The work of two disappeared friends [Luigi Nono and José Ángel Valente] grows, lasts, illuminates and survives in the prodigious sound universe of Mauricio Sotelo.
Your music shows that twentieth-century anti-tonal academic standards can be shattered, just as the atonal music of the last century shattered nineteenth-century tonal norms. Few operas are successful because there is an insurmountable contradiction between the demands of singing and the straitjacket of norms of the second half of the twentieth century. You use "flamenco" as a crutch to not cut your music from any popular roots nor any expressive cues for the listener. There are other ways with other contemporary composers whom I admire when they are not obsessed with experimentalist temptations and when they remain in love with the voice (there are few) and faithful to the expressive vocation of the "opera" genre. So I rarely enjoy contemporary operas because, as I once replied to another journalist, "I am not interested in 'interesting' music." I was recently moved by an opera by George Benjamin, and more recently by your opera "El Público".
"I know, appreciate and admire Mauricio Sotelo as an internationally recognized composer with a very personal style. He is endowed with a brilliant and sovereign metier in all compositional genres and a universal art-philosophical background. I've been experiencing him since I've known him, with all his structuralist character, as it is ensured not least by his training with Luigi Nono, at the same time stylistically open, definitely not denying his Iberian landscape roots and instead constantly introducing them imaginatively."
When a few years ago I met Mauricio Sotelo, he was just about to familiarize himself with Liszt's Sonata. This not only led to a friendship but also induced the idea of writing a work that would relate both to the Sonata and to our encounter. In the last decades, a number of musical works have emerged that are composed interpretations of older ones. We can regard them as a counter-position to historicising performances that have established themselves in many concert halls. According to Hans Zender, himself a contributor to this new species, the composer "is creator. But he is these days also an interpreter of the past to which he relates - whether seeking to surmount it, or to carry on." Sotelo's work is a confrontation of this kind, an argument dealing with the shape and the material of Liszt's Sonata that has resulted in something personal and spectacular.
Your music shows that twentieth-century anti-tonal academic standards can be shattered, just as the atonal music of the last century shattered nineteenth-century tonal norms. Few operas are successful because there is an insurmountable contradiction between the demands of singing and the straitjacket of standards of the second half of the twentieth century. You use flamenco as a crutch to not cut your music from any popular roots nor any expressive cues for the listener. There are other ways with other contemporary composers whom I admire when they are not obsessed with experimentalist temptations and when they remain in love with the voice (there are few) and faithful to the expressive vocation of the "opera" genre. So I rarely enjoy contemporary operas because, as I once replied to another journalist, "I am not interested in 'interesting' music." I was recently moved by an opera by George Benjamin, and more recently by your opera "El Público".