In 1913 premiered in Madrid, at the Theatre Royal, the opera Tabare, made of Tomas Breton from the poem of Juan Zorrilla de San Martin. The work is located at the beginning of the conquest of Uruguay, and narrates the fights that took place between the towns of Mar del Plata and the Spanish conquerors. It tells us the adventures of a mestizo Indian who fought for peace between the two sides.
The protagonist of the story was in charge at his premiere of one of the most important tenors of the moment, Francesc Viñas, in the midst of great success. But as on so many occasions, this work disappeared after its first season. Until now, when she was rescued by him Teatro de la Zarzuela. Thus fulfilling one of its main missions of making our lyrical heritage known.
Tomás Bretón considered Tabaré as his best opera. It is certainly one of the most complex., about music writing. With undoubted Wagnerian influences, full of contrasts and great expressiveness. The vocal parts are also not far behind in terms of difficulty. Leading roles are highly demanding and a high-level cadre of singers is needed.
Breton never got over the fact that it was a zarzuela, The Festival of the Dove, for which he would be internationally recognized, and not one of his operatic compositions, as you would have liked. But it was a "minor" work, barely fifty minutes long, the one that made him a universal composer.
The composer always had the determination to place Spanish opera at an internationally recognized level. But it could never live up to Italian opera, french or german, nor in Spain did he have recognition. Now, and after an intense work carried out with the handwritten score of Bretón, we have the opportunity to discover it in concert version.
The play, nearly two and a half hours long, he offered himself out of the blue and without warning, what must have caused some havoc. The address of Ramón Tebar he didn't take too much care of the singers, who were screaming to be heard. The volume of the orchestra got a little out of hand for the conductor, especially in the first act. The best moments were the most lyrical, I don't know if it was due to the score or because the ear rested a bit.
One of the protagonists debuted in this Theater, Maribel Ortega, as Blanca. The moments of greatest lyricism and delicacy are due to her. Something not easy at times, because it had to rival the volume of the orchestra. The result was not always clean.
The other protagonist was the tenor Andeka Gorrochategui in the role of the brave Tabaré. It has a beautiful timbre, but his way of singing, always hard, led him to spend more than a moment of trouble at the end of the work. Arms crossed and with a somewhat nervous sway, couldn't put down the water bottle. It was a bit distressing to see him.
baritone Juan Jesus Rodriguez, as Yamandu, had a brilliant performance. His score was devilish, but he confronted him with authority and vocally defining the characters very well.
Another task that was not easy was ahead of the bass player from Malaga Luis Lopez Navarro, as Father Esteban and Siripo. With a remarkable volume and good edge line, he tamed the beast of his score and came out more than successful. It only lacked nuance in some moments.
Airoso came out too Alejandro del Cerro, in his role as Gonzalo. Although sometimes a little untempered, managed to be heard, that was not little.
Marina Pinchuk, like light, he put the point of elegance and temperance in his song, something that, in view of the final result, it was not an easy task.
The comprimarios were very good David Oller, as Ramiro, Ihor Voievodin, Garces, Cesar Arrieta, Damian and J.avier Povedano, Rodrigo, always attentive and synchronized.
At the beginning, a speech by Daniel Bianco was heard, Theater director, in favor of peace and harmony provided by music, something so necessary in these uncertain times. All the protagonists wore a scarf with the colors of the Ukrainian flag.