maid mistress. Educational project

servant Mistress

He Teatro Real, true to its educational project, It represents these day in his room Gayarre The Servant Mistress de Giovanni Battista Pergolesi (1710-1736). Opera for children from 7 years, libretto by Gennaro Antonio Federico and low production company Etcetera. Puppets led beautiful Enrique Lanz, musically directed from the key by José Antonio Montaño, with soloists of the Orchestra School of the Madrid Symphony Orchestra, Eugenia Enguita, as Serpina and Esteve Manel y Pablo López, as Uberto.
En La Serva Padrona, singers and puppets are confused in a theatrical play and the magic that proposed opera, enhancing the commedia dell codes' art.
The maid mistress (Mrs. maid) about the tricks of the maid Serpina serves to inherit the fortune of his master, the bachelor Uberto. It premiered in Naples, in 1733. It is considered the first masterpiece of opera buffa. It was composed as an intermediate of a serious and long opera (why only lasts 45 minutes divided into two acts, the two intermediate opera), although later it was already represented with great success throughout Europe as opera repertoire.
This opera is right in the passage between the baroque and classical music; and always it has been praised as a model of naturalness and realism. But nevertheless, when it was first performed in Paris it was considered by the classics a "musical blasphemy", and he unleashed "War of jesters" between proponents of opera seria, themed heroes and myths (Rameau Lully) and those who lined the side of the Italian light opera (Rousseau and the encyclopedists).

History of this production
In 1998 City of Granada Orchestra commissioned a new assembly Etcétera: The maid mistress, opera buffa Neapolitan eighteenth century, with music by Giovanni Battista Pergolesi and libretto by Genaro Antonio Federico. It premiered on 19 April in the Auditorium Manuel de Falla, Mariola Cantarero with singers and Pau Bordas, directed by the OCG by Vincent Monteil.
It was again no obstacles and facilities, the incentives that moved the show to meet Lanz. Baroque music sung in Neapolitan was more difficult to address than Peter and the Wolf. They should be understood comic situations and scenes even though the public did not know the language. It raised the same spatial problem, so the scenery and staging were designed to be seen in the two rooms of the auditorium simultaneously. Only could it have three or four people to give life to the puppets.
Enrique usually works by elimination rather than accumulation, auto- acotándose with difficulties or limitations imponderables. That methodology in this case led him to the invention of a technique of expressive and functional animation, for autonomy that allows. His intention from the beginning was to create figures with very naturalistic movements. This, joined the determining factor of three hundred sixty degree vision led him to numerous decanting techniques.
He seduced the organic movements of bunraku but could not afford to have three people to animate a figure, that it also hamper the vision of one of the rooms. Rod puppets had similar handicaps, so his decision was to create a technique that would allow one person to hold up a stooge for an indefinite period, bunraku merging with the rods.
Lanz built alongside four shop assistants, puppet wood and burlap, adorned with lace and esparto, looking worn but extremely beautiful, and surprising especially for the quality of their movement. Each puppet is attached to the body of the manipulator, resting on the shoulders of this, which can thus withstand seven kilograms weight and keep your hands free for using rods and other resources, which will allow joint arms, hands, the heads, mouths; and get a very smooth and delicate physicality. Lanz again reached a result of sophisticated look with very simple resources like bicycle brakes or lever systems.
With La Serva Padrona new aspects emerged in the work of this director who then have been enriched in his later work, and constitute a major contribution Etcétera: the interrelations of arts, the scene understood as a totality where their components are varied and indissociable. Your own notes allow us to better understand: "The proposal distanced himself from traditional approaches operas with puppets, where the puppet is the mere representation of a character. The various elements around which the spectacle -instrumentistas, singers, actor, puppeteers and títeres- allowed the interaction of each overstep the roles and records normally assume. "
the realities of the musicians were mixed with puppets, and both in turn with the story that played among all. The appeal of the theater within the theater, so recurrent in the work of Lanz, It manifested itself here at different levels. On stage a small chamber orchestra composed for harpsichord stood director, string players, and -soprano two singers and baritone. Amid the musicians appeared the three puppets representing actors who in turn represent characters, padrona those of La Serva. Among all
They offered a concert in Italian that was not understood but did not matter because the story was "another".
Relations between singers, puppetry, puppeteers and musicians built parallel to the servo frame padrona. -Many times these correspondences and delirantes- enriched comic sense and tension in the brief plot of this opera, that although it is very rich musically, it is not so much a dramatic level. The presence of an actor who played violin part of the rope, He is creating hilarious situations that disrupted the boundaries between fiction and reality. As Lanz says he did not represent La Serva Padrona but a representation of it. He created multiple game characters to disrupt the perception of viewers, because as expressing "the main thing is not to understand, but ask questions, to feel the beauty of music, Plastic and movement, that world of emotions that is opera. "
Just an opera house, Gran Teatre del Liceu, from Barcelona, considered one of the most important international gender, He became interested in the servo padrona. In its reopening in 1999 season 2000 the Liceu began hosting shows for children and Etcetera pioneered this program. In February and May 2000 La Serva Padrona arrived in the foyer of the Liceu.
Many musicians performed at La Serva Padrona during the five years he was active, but it must be highlighted the work of the baritone Esteve Manel, soprano Rocio Martinez, Elizabeth Attl directors and Enrique Rueda, and the violist Bernard Bofarrull. We should also mention the excellent performance of the actor Claudio Vegal.
If actors are usually the colors that make up a stage manager, in the case of Lanz were the musicians who really offered this possibility. With some directors or you instrumentalists the complicity that allowed creative work Etcetera is new to paths will fly. From La Serva Padrona Enrique began collaborating with different musicians like Bofarrull and Rueda. These exchanges permeated the work of original and profitable tones.

Yanisbel Victoria Martinez. Fragments of the text published in the catalog of the exhibition "Puppets. 30 years of Etcetera ".
Pedagogical Project for the Royal Theater
pictures: Javier del Real