Barbieri wanted to empower the Hispanic music and Barberillo was like a manifesto "for our music ", and it shows from the early stages, aunque with a point rossiniano. Lamparilla has similarities to the Barber of Seville, political frames, the main characters, choirs, majos, youths, students, guards or seamstresses, They belong to the most traditional of the era Madrid and his music comes from the most popular Spanish roots. Barbieri intended to compensate, somehow, new musical currents coming from the rest of Europe staged, especially, by Wagner.
After Lavapies Barberillo of Calixto Bieito in 1998, Alfredo Sanzol has created an almost nonexistent scenery but with a very dramatic result. On a dark stage, neutral and almost empty, Large blocks appear that the characters were in charge of moving, creating scenic areas along representation resulting in a hit a work with a frame so convoluted, dances and even military parades. With this scenery makes the role rests with the protagonists couples and music. Such a scenario does not clean downplays history, but the real atmosphere rests almost entirely on the costumes Alejandro Andújar, carefully crafted and historically located where it should, in Madrid of Carlos III.
The musical direction was in charge of Madrid José Miguel Pérez-Sierra, who he led with brio, extracting the best of the Community of Madrid Orchestra on the most popular numbers work, and providing a certain lyricism those who, as if it were a leitmotif, accompanied the couple formed by the Countess and Don Luis.
A note also the craft and skill of a chorus, The Teatro de la Zarzuela, as anyone who plays the melodies of this work, chispera with all the intention of the people of Madrid.
Voice box was a bit unbalanced, not because it was bad, but if the distance by volume and interpretation Borja scored perhaps his Lamparilla. His lyric baritone voice filled the room with his loud voice and pleasant timbre. He played with grace his clever character and he understood perfectly the fast phrasing and easy, clarifying and emphasizing every sentence.
His costar was Cristina Faus, in the role of Paloma. You can not say I'm in the best vocal moment, although his dark, lyrical tones gave character to his character. His diction was not very good, hard to understand what he said, but his interpretation was full of intent and sensuality.
The soprano Maria Miró played the Marquesita with a beautiful timbre and considerable agility, He gave the character of sophistication that requires a marquise, although the interpretation was rather bland and unconvincing. What it is said castiza, It is not, a must in any zarzuela and, especially, in this.
The rest of the cast did the job with dignity. Production and a work that makes as few enjoy a sellout audience in all its functions.
The Barberillo Lavapies
Francisco Asenjo Barbieri
Zarzuela in three acts
Teatro de la Zarzuela in Madrid, 3 April 2019
Libretto by Luis Mariano de Larra, and an adaptation of Alfredo Sanzol
D. musical: José Miguel Pérez-Sierra
D. Text scene and adaptation: Alfredo Sanzol
Sets and costumes: Alejandro Andújar
Lighting: Pedro Yagüe
Choreography: Antonio Ruz
Distribution: Maybe Borja, Cristina Faus, María Miró, Javier Tomé, David Sanchez, Abel Garcia, Paula Carmen Romero, José Ricardo Sánchez, Felipe Nieto
Community of Madrid Orchestra
Holder Choir Teatro de la Zarzuela
D. choir: Antonio Fauró
Text: Paloma Sanz
pictures: Javier del Real