treat of favor, the new kitsch zarzuela

treat of favor
treat of favor, the new kitsch zarzuela

contemporary zarzuela
Music by Lucas Vidal
Book by Boris Izaguirre
D. musical: Andrés Salado
D. scene: Emilio Sagi
Scenography: Daniel Bianco
Locker room: Jesus Ruiz
Lighting: Albert Faura
Choreography: Nuria Castejón
D. choir: Antonio Fauró
Distribution: Ainhoa ​​Arteta, Nancy Fabiola Herrera, Enrique Ferrer, cross Beitia,
Amelia Font, María José Suárez, Amparo Navarro, Lara Chavez and Boris Izaguirre.

The search to create the zarzuela of the 21st century continues. This time the attempt has been made by the composer Lucas Vidal and the librettist Boris Izaguirre, to whom the Teatro de la Zarzuela commissioned in 2016.

The script in a set of impossible and surreal situations, whose location can go between the years 60 and the present. The idea is inspired by a real event, admission to prison, a few years ago, from Sophia Loren herself. Boris Izaguirre extracts oil from such a situation and creates a succession of delirious scenes, since the entry into prison of the protagonist Ana Mía, until your participation, also from jail, in the Eurovision Song Contest. With numerous nods to the news of the contest.

The surrealism that the script displays is, as it could not be otherwise, very funny and delighted a dedicated public who attended the premiere with the desire to enjoy.

Lucas Vidal's score is a set of music from different genres that do not always form a homogeneous musical corpus. Initially it presents a very cinematographic style, a genre that works and knows very well Vidal. At the same time it is dotted with fragments of traditional zarzuela, as a direct allusion to a chotis or a pasodoble. All this mixed with more modern aspects. The lyric is not exactly the most present genre in this work that, apart from the succession of different elements, he allowed himself to be heard without raising conflicts and had a certain surprise factor, which is always stimulating.

At the time of the recreation of the Eurovision Song Contest there are several allusions to music and script, both to musicals, as "Mamma Mia", such as the participation of Spanish representatives in past editions of the festival itself. All adorned with the presence, from the stalls, Izaguirre himself who plays a small role.

All these musical elements were developed in an elegant set design by Daniel Bianco directed by Emilio Sagi.. the master sagi, who manages the crowds on stage like nobody else, He arranged a very orderly jail, with its galleries and patio, where all kinds of events happened, from the daily life of the recluses, Until the Eurovision Song Contest.

The musical direction was in charge of Andrés Salado, that was very successful, if we take into account the diversity of musical genres. He knew how to give each one its character and differentiate them stylistically, with color and energy.

The chorus, essential element in this work, played a very prominent role. It could be said that the best score was the one written for them, that sounded like a Wagnerian chorus amidst the Kitsch backfire.

The voice box had the participation of important names. Starting with the protagonist, played by Ainhoa ​​Arteta, who is still in the vocal recovery phase and who made a great effort. Especially, in some moments in which the score shot towards the treble.

Nancy Fabiola Herrera, who gave life to Mayka, jail warden, he brought out all his dramatic capacity, that is not little, and he was able to shine in his arias.

Amparo Navarro, like cello, had the most inspiring moments, especially in his final aria. His role was somewhere between drama and comic surrealism., and in both cases it was very good.

María José Suárez, as Venomous and Amelia Font, like the Colombian, they had roles with a much more theatrical charge that they resolved brilliantly, although all the characters were endowed with a powerful comedy. The character of Cuca is great, Played by Lara Chaves.

The only man who inhabited the jail, Enrique Ferrer, as Juan Miguel, He did not bring much brilliance to his character, I don't know if because of tessitura, but he was seen rushed.

Highlight the brilliant performance of Gurtze Beitia, like mercedes, a kind of prison governess who starts out as a sensible and authoritative character, to reveal himself as the corrupt element in the face of the success of the most famous inmate.

It can be said that there is a certain imbalance with some characters that appear and disappear, like Cello or Juan Miguel, but they are all part of a fun universe.

A work that makes you think, is it a zarzuela? it is a musical? what is treat favor? In any case, It is a fun work that is closer to the approach of the traditional zarzuela, than others we have seen recently. And it is possible that it is a real starting point for the zarzuela to continue its path towards the future.

Text: Paloma Sanz
pictures: Elena del Real