The King who raged at the Teatro de la Zarzuela
Zarzuela in three acts
Music by Ruperto Chapí
Libretto by Miguel Ramos Carrión and Vital Aza
D. musical: Ivan Lopez Reinoso
D. scene: Barbara Lluch
Scenography: Juan Guillermo Nova
Locker room: Clara Peluffo Valentini
Lighting: Vinivio Cheli
Orchestra and Choir of the Community of Madrid
Distribution: Enrique Ferrer, Rocío Ignacio, Maria Jose Suerez, Rubén Amoretti, José Manuel Zapata, Carlos Cosías, Igor Peral, Jose Julian Frontal, Alberto Frias, Sandro Lamb, Pep Molina, Ruht González and Antonio Buendía El Teatro de la Zarzuela wanted to end this special season, with an essential title of Spanish lyric, "The King who raged", of the teacher Ruperto Chapí, 130 years after its premiere on 20 April 1891 in this same theater.
At that time, Queen María Cristina was regent, waiting for the coming of age of Alfonso XIII. But it is not this king that the play alludes to, but to Alfonso XII and other politicians and soldiers of the time.
The libretto is by two of the best playwrights and comedians of the moment, Miguel Ramos Carrión and Vital Aza, who created a script full of timeless situations and characters, of entanglements and comic situations in the Spain of the Restoration. A critical script with all levels of power, highlighting with much humor the most theatrical part of the politics developed in a court that could well belong at the time of its premiere or, like never before, to the present most current, with the deception of the rulers as the main protagonist.
This new production of the Teatro de la Zarzuela del "Rey que rabió" has been in charge, scenic, of the already acclaimed in this Theater for "La Casa de Bernarda Alba" in 2018, Barbara Lluch. This time, the scenery, enhanced by Clara Peluffo Valentini's wardrobe, give the work the appearance of a school function, the one that is done at the end of the course. The costumes are very colorful and cheerful, but together with the rest of the scenic elements, create an exaggeratedly childish outfit. Like the dramatization of the characters, almost all too histrionic, especially the Captain of Alberto Frías, who sinned from over acting buff. María José Suárez and Sandro Cordero, like Maria and Juan, they were a little more balanced in their comic part, although equally exaggerated.
The most prominent were Ruth González Mesa, as the King's Servant Page, Rubén Amoretti, as El General, that showed his vocal quality when the humor allowed him and a Manuel Zapata like Jeremías, something happened too, but that he knew how to maintain the theatrical balance and not drag the character.
The main characters did not know how to measure up. The soprano Rocío Ignacio, as Rosa, she did not look like a peasant at any time. Rather, she continued playing her role as Luisa Fernanda this season.. It cost him the odd boo from the public.
The other protagonist was Enrique Ferrer, the king, we don't know if it raged or not, but he didn't have his night either. Little grace in the interpretation and little vocal consistency. The choice of a tenor for this role was not successful, when Chapí's score indicates that it is for soprano.
Only the well-known Choir of Doctors took us to the wonderful music of the composer, with a brilliant choir performance, as usual. Vinicio Cheli's lighting contributed to make this scene the best of the representation.
It was not the night of the musical director Iván López Reinoso either. Slow to exhaustion, with a burst sound and without taking advantage of an orchestra that demonstrates, as soon as you have the chance, the quality it treasures.
A shame to end such a special season and that has been at such a high level. But, the best clerk takes a blur and we look forward to the next season.
Text: Paloma Sanz
pictures: Javier de Real