Always welcome it back when it is revised memory of Francisco Asenjo BarbieriSome of his scores are played and requested because some specialists like professor Emilio Casares, director Paco Matilla or musician Fernando Poblete are constantly playing. And let me record that in Daniel Bianco’s time the Teatro de la Zarzuela was programmed Pan y toros.
Now we are excited because the Madrid Coliseum once again announces the exhibition of another of the zarzuelas salted by his hands, Play with fireperformed in Madrid’s Teatro del Príncipe in 1851. Here too, as with his other works, you can enjoy the light melodiousness, direct inspiration and spontaneity of the performance.
A good example of how different original Spanish lyrical forms coexisted in parallel, starting from the early 18th century, with the Italian opera introduced to Spain by the Marquis de Scotti, which strongly influenced the local rasgos, in the process of transferring day and time. Many of our musicians have adapted to these influences and they have already written it in Dante’s language.
Melodic rhyme, inspiration, syncretism. Aspectos que, según Alvaro Albiachdirector of the functions that will take place at the Teatro de la Zarzuela between March 25 and April 12 (Laura Diloy will play the beat on the 4th, 5th and 6th of this month), demonstrate the author’s ability to develop different languages.
“With – we say – music of Spanish inspiration, which we immediately associate with zarzuela, we meet in the opening numbers of the first and second acts, which are choral numbers. For the number two and the third, If you reserve the language more, check out the Italian opera buffaclearly Rossini’s inspiration. The magic of the melodic line of romances of Félix and Duquesa is imbued beautiful songin the manner of Bellini or Donizetti. Finally, the “locomotive choruses” of the third act contain all the ingredients of the play opera-comique French”.
Albiach also highlights two of the most popular issues. “The one that has a clear dance form, and the urban one, which was a novel option for the time. We have examples of it in the choruses of the third act, especially in the famous ‘coro de locos’, in which the zarzuela appeared; with the marching aires, their cans, the reference to the popular song and its onomatopoeic sounds; Everything happens in the same issue!“.
In those times when we conduct a stage search for such a representative zarzuela, it must logically take place, miras alejadas de lo caduco. What sometimes plant modern monuments of a new sign. In this terrain, it is customary to implement it director Marina Bollaín, the one we always record for surprising acercamento a Verbena de la Paloma.
“Let’s meet the familiar language of zarzuela, Italian comic opera and ‘comic opera'”, Álvaro Albiach
In this case it suggests “updated reading topic”. “There is a transition to a space that parallels the originals: a popular party and a place where power and dominant classes return. And the night of San Juan offers an environment where others can play for a while. Ventura de la Vega proposes a party in San Juan From now on I return to a multifaceted party, a common space of parties, where, obviously, we can try to do the same.”
In this sense, Bollaín seeks the action of our time, “into the space of many celebrations, where apparently everyone experiences the same passions, but which in fact, it’s extremely desirable for the money. A reflection of society. A space where the media, business and political power also gather around the celebration. A space where you also have access to enthusiasts or places that the book offers. To do this, you need to read more text and adapt it to the current space that the scenography suggests. The story, the theme and its characters remain intact, I believe that is essential.”
“The action takes place in celebration of the restoration of media, business and political power,” Marina Bollaín
It is heard in relieved voices. Duquesa is shared by lyric soprano Ruth Iniesta and lyric soprano Berta Perlés, two well-endowed singers: sunnier and more stylish, with an electric vibrato, the former with softer contours and heartier vibes.
It is Iniesta who alerts us to the problems that can adapt to the voice of the personality and its availability to serve him: “I think I want him to adapt to her very well. The main problem is usually management breathbecause sometimes it doesn’t seem to have any color in the score Let’s stimulate ourselves to “robar” breathing. Let’s realize that we will save the most anticipated romance until the end of the show, let it be fresh!”.
If we were excellent and adequate in general, the same voices assumed in the list: tenors Alejandro del Cerro and Antonio Gandía (Félix), baritones José Antonio López and Luis Cansino (Marqués de Caravaca), bassists David Lagares and Javier Castañeda (El Duque). Tenors Manuel de Diego and Emmanuel Faraldo alternate in the role of Antonio. And bass-baritone Javier Povedano will serve as Papel del Loco.
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