The Teatro de la Zarzuela and the Juan March Foundation presents Le Cinesi, chamber opera by Manuel García
The Teatro de la Zarzuela and the Juan March Foundation present a new title within the Chamber Musical Theater series. The days 9, 11, 14 Y 15 of January of 2017 is represented in the Juan March Foundation Chinese, salon opera in one act originally composed for piano and four voices by Manuel del Pópulo Vicente García (1775-1832) at the end of his intense and multifaceted career, around 1831, on a popular libretto Pietro Metastasio dated in 1735.
In the mornings of the days 10, 12 Y 16 from January there will be, at the Foundation's headquarters, three teaching functions for high school students (upon request), as part of the educational project of the Teatro de la Zarzuela.
The musical direction is in charge of Rubén Fernández Aguirre, who has already directed three salon operas by Manuel García, and the stage direction by Barbara Lluch, who makes her debut with this production after a long career as a collaborator with stage directors in Spain and the United Kingdom. The cast is made up of tenor Jose Manuel Zapata, the sopranos Marina Monzo and Cristina Toledo, and the mezzo-soprano Marifé Nogales. the artistic team, in which women clearly predominate, is also made up of the set designer Carmen Castañon, the costume designer Gabriela Salaverri and the dancer Rafael Rivero.
This will be the sixth edition of the Chamber Musical Theater format, started in 2014 by the Juan March Foundation, a line of programming centered on a vast theatrical corpus that, due to its characteristics, (small-format works intended for a small number of performers) that does not usually have a place in conventional opera houses. The first of the titles offered was Cinderella de Pauline Viardot. This initiative was joined by the Teatro de la Zarzuela in 2015, which since then has crystallized into four new co-productions: the modern recovery of Fantochines by Conrad del Campo (March 2015), the double program the two blind by Francisco Barbieri and A failed education by Emmanuel Chabrier (mayo 2015), the representation of a ditties trilogy by Blas de Laserna hitherto unpublished (January 2016) and the double program the wimp by Julio Gomez (modern recovery) Y Mavra by Igor Stravinsky (April 2016)
Chamber Musical Theater has, so, the vocation to recover for the public of the 21st century genres of exceptional importance for the history of musical theater and Spanish culture that, but nevertheless, have been marginalized by the way in which theatrical repertoires have been institutionalized.
To develop this musical theater project, the usual assembly hall Juan March Foundation transforms into a small theater.
About this production Chinese
The vocal art of Romanticism had in Manuel (of Populo Vicente) García his most outstanding interpreter. Renowned singing teacher, toured the world displaying a virtuosic style inextricably associated with Rossini's operas. further, led a long saga of singers, among which María Malibrán and Pauline Viardot stand out, (author of Cinderella, first title of this format, represented in 2014 to inaugurate this series of Chamber Musical Theater). But the most lasting legacy of his multifaceted career can be associated with his prolific compositional activity, aspect still very unknown except for his famous "Smuggler's Aria". Its extensive catalog is made up of some 150 compositions and includes a rich theatrical production, with a valuable corpus of five salon operas apparently composed in Paris around 1830. This singular bouquet of genuine chamber operas is finding, in the last times, their place on stage, as shown by the recoveries of L'isola disabitata and Un avvertimento ai gelosi. Added to these titles is now this new production by Le cinesi, practically forgotten since its Paris premiere in the composer's domestic spaces. Possibly composed to be performed by his students as part of his professional training, Le cinesi de García was the last of the 14 documented operas on the successful and centenary libretto written by Metastasio in 1735. The survival of this text not only confirms the dramaturgical mastery of this famous theater poet, but also the validity of a plot that explores the exotic gaze towards another culture and the conflicts of identities that it generates. A theme, well, fully topical that continues to appeal to us today as listeners in the globalized world of the 21st century.