Ainhoa ​​Arteta's Mirentxu excited at the Teatro de la Zarzuela

52 years have had to happen for Mirentxu, youth work Jesus Guridi, He has returned to be heard in the Teatro de la Zarzuela. A work that has a long history of transformations. During 30 years, one maverick Guridi not stopped modify and adapt to reach this latest version.

It premiered as zarzuela 1910 at the Theater Champs Elysees of Bilbao, libretto by Jesus Maria de Arozamena and Alfredo Echave and with great critical and commercial success. This first version had a huge orchestration, something very unusual in the Spanish composers of the time. In 1913 takes to Barcelona, this time as an opera, for it regardless of all dialogues. And the 1915 opens in the Zarzuela Theater as he envisaged initially, as zarzuela. After consulting his colleagues Arozamena and Fernández-sahw, Guridi made a new adaptation for premieres at the Arriaga Theater in Bilbao 1934. And it is in this same theater, Arriaga, where it is released in Basque 1947.

The version that has offered the Teatro de la Zarzuela is the latter, with an adaptation of Borja Ortiz de Gondra to the Castilian that, as a narrator, Carlos Hipólito declaims with great musicality narrating the sequence of events. Something so successful is making the Teatro de la Zarzuela with works in concert.

From the pit, a Oliver Diaz master performs a reading of the score filled with refinement and leads to the Community of Madrid Orchestra one of his most lucid interpretations. This is a score of great sound and very reminiscent of the Basque countryside in which the action, simple and everyday, of this work. The score is not complex. It has an almost cyclic structure, Music returns to the same note of the beginning, in a normal humdrum of everyday life, everything starts. Remember Wagnerian chords.

At the front of the cast an excited Ainhoa ​​Arteta as Mirentxu, which it is a vocal splendid moment. He conveyed to the audience the thrill and excitement of their land through music he has known since childhood. He sang all, even accompanying the choir at times. His final aria, which it is the largest lucimiento, He was the delight of an audience that was thrilled with her.

The role of Raimundo, more extensive and complex than Mirentxu, He was in charge of Mikeldi Atxalandabaso. With a beautiful singing line, He was threshed with his light voice every intense moment of the character and plot. After initially somewhat forced, He gave everything in the second half.

The Presen of Marifé Nogales, character in the shadow of the protagonists, But his companion was perfect. always solvent, created a pinched with the precise level of drama.

Christopher Robertson has been impeccable Txanton. Sober expression, as the character of his character. One step below the performance was a headstrong Jose Manuel Diaz, as Manu. Mario Villoria, choir component, he was a pastor with solvency and efficiency.

Very well Holder Choir Teatro de la Zarzuela. It was less to more and their work was assessed with the Basque. Special mention was the intervention of the White Voices Choir Sinan Kay, directed by Lara Diloy. A chorus formed 2015 with didactic vocation whose headquarters are in school Holy Trinity Alcorcón. A brave and highly effective initiative in many aspects, not only academic or didactic. Special mention two solitas Patricia Valverde Y Azahara Bedman. It seems that the future of opera is guaranteed.

A new success of the Teatro de la Zarzuela in his invaluable work search and retrieval of great works of Spanish lyric. And anxiously we hope next.

Photograph: Javier del Real