The Teatro de la Zarzuela continues its work must preserve, study, retrieve and disseminate the Spanish operatic heritage. After the two historic nights lived the last months of November and December with the concert version of the imposing zarzuela 'Maria del Pilar' Geronimo Gimenez, that was heard after 116 years of silence and oblivion, now comes the turn 'A Midsummer Night's Dream' Joaquin Gaztambide, who back in 1856 was one of the founders of coliseum plazuela de Jovellanos, and it is considered one of the most brilliant composers who has given Spain throughout its history. This time, the work could not be heard or seen in 166 years (since shortly after his coming-out), so today could be, not even having recordings, as a premiere.
They offer 13 functions from the 25 January to 10 February, which they will be dedicated to the memory of Gustavo Tambascio, died in February last year, whose unusual imagination grew intrigue. Although death came to him in the process of creation, both the adaptation of the libretto and the development of the scene, the teacher had time, yes, to underpin the conceptual and argumentative guidelines to follow. His great and free spirit will certainly present in these representations.
Likewise, one of the functions will be recorded by Classical Radio to broadcast in coming days, and Sunday 10 February (18h00) It will be broadcast, As it is usual, live through Facebook Live.
The plot of this new production of Teatro de la Zarzuela, free adaptation of the book by Patrick Escosura signed by Raúl Asenjo, and designed as an agile comedy (She not in vain composer named as comic opera in three acts) tells the story about the intention of shooting for the first time in film zarzuela 'And nothing less than Cinemascope system!- in order to spread it worldwide. The action takes place in the Rome of the 'Dolce Vita', this unique cradle of cinema and art capitals as props of everyday. It parading a character of the works of William Shakespeare, as Falstaff, the playwright of Stratford-upon-Avon as a character or character Orson Welles himself.
And it will be an extraordinary artistic team to assume this recovery. The musical direction will be handled by a big name in our music: teacher Miguel Angel Gómez-Martínez, which will occupy the moat in front of the Community of Madrid Orchestra (Titular del Teatro). Stage director is Italian Marco Carniti, showman on all four sides, the fabulous scenery Nicolas Boni, the always suggestive and vivid costumes of Jesus Ruiz and the master lighting Albert Faura. As for the singers, there will be two first deals: the princess Isabella Tortellini (Italian princess, former opera singer and producer of the film A Midsummer Night's Dream) and Queen Elizabeth I will be sung by the sopranos Raquel Lojendio Y Maria Rey-Joly; Juan sabadete (famous Spanish singer known as Giovanni Sabatini and owner of the trattoria Il Falstaff where the story) and Falstaff, They will be played by baritones Luis Cansino Y Valeriano boats; Olivia de Plantagenet (friend of Princess Tortellini, in love with Arturo Látimer) by mezzosoprano Sandra Ferrández and soprano Beatriz Diaz; Santiago Ballerini and tenors Antoni Lliteres will enliven Guillermo del Moro (Spanish writer) y a Shakespeare; baritones Javier Franco Y Toni Marsol Arthur Latimer (love movie star Olivia turn); and the role of Tobias (headwaiter at trattoria) I also sing the baritone Pablo Lopez. The role of the waitress Margarita will interpret the soprano member of the choir Milagros Poblador.
Likewise, will participate in the scene the actors Sandro Cordero, Jorge Merino, Ana Goya, Pablo Vazquez and Miguel Angel Blanco, who along with the owner of Teatro de la Zarzuela Coro complete the squad that will bring the public today this work premiered at the Teatro del Circo disappeared Madrid, just where now the Ministry of Culture and Sport is located, it almost 167 years: he 21 February 1852.
A Parisian origin
The origin of 'A Midsummer Night's Dream' is in 1850. In París aparece in the cartelera The Dream of a Summer Night, signed by Joseph-Adolphe Bernard Rosier and Leuven, it was not an adaptation of the Shakespearean counterpart, but it had a new frame. Parisian success led him to represent throughout Europe always with remarkable success, which they made new adaptations everywhere apareciesen. In Spain was Gaztambide who began building a Spanish version.