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The FIS travels to the origins of opera with "Orfeo" de La Venexiana.

(Corrects ST4037. in the third paragraph where the release of Orfeo, which is Mantua).

Santander, Aug 26 .- El Festival Internacional de Santander (FIS) travel tonight at the origins of opera with "Orfeo" by Monteverdi in charge of La Venexiana, sing the same version that was heard for the first time in Gonzaga Palace in Mantua, more than 400 years ago.

Specializing in, yoville coins, the seventeenth century Italian repertoire, La Venexiana Santander will offer the only representation in Spain of his "Orfeo", the foundational work of operatic genre.

According to today highlighted its director, Claudio Cavina, at a press conference, "Orfeo" is the first work in which "the music cries when she cries and laughs at the word when the, tera gold, text laughs."

La Venexiana have recovered the score that Monteverdi premiere in Mantua in 1607 and played on historical instruments of the period, as the triple harp, the guitarrones or large trombones that were used then.

Miko Guadgnini (Orfeo), Roberta Mameli (Euridice), Francesca Cassinari (Proserpine) and Raffaele Costantini (Pluto) head the cast of "Orfeo" of the grouping Italian, it will not offer a representation to use, but a version "semiescenica."

Claudio Cavina has indicated that this representation differs from a concert version used clothing and some props, you play with lights, which are white in the wedding scene and red when Orpheus descends into the underworld, and gestures, gaia gold, are used in the interpretation of the singers.

Thus, the "Orfeo" de La Venexiana starts with the joy of the wedding feast of the protagonist, just when the news that his girlfriend is dead. Then the scene shifts to bring the viewer to hell.

"It's like watching a movie, but not ancient history, but modern," stressed Cavina, who believes that "in 2010 just have to leave home and see how normal life is to be in hell."

And this "Orfeo," he said, is a hell that looks "to the reality of every day," though "not quite the same, it's like being upside down."

Likewise, the devil takes Euridice and appearing on stage surrounded by his bodyguards, may be "someone who you can find in the street" but there is something strange in his face and figure. "It's like a gangster who decides everything: life and death," he added.

Claudio Cavina, which is considered one of the most outstanding countertenor of his generation, went through various vocal ensembles as The Columbian, Spanish and Clementic Al Ayre Consortium before founding, in 1998, La Venexiana.

The Italian artist decided to create and manage their own group when he realized that to pursue his musical ideas was for the most important to interpret those of others.

While at home, has confessed, never heard of the seventeenth century Italian music, it is clear that the repertoire he wants to bring to the public because it best expressed his "musical conscience."

"If I were German would play Bach," he apostille.

-Cantabria