The Barberillo Lavapies

This year marks 148 since ‘El barberillo de Lavapiés’ will premiere at the Teatro de la Zarzuela back in 1874. In all this time the work of Francisco Asenjo Barbieri –whose birth bicentenary is celebrated next year–, with magnificent libretto Luis Mariano de Larra –son of the insightful romantic intellectual ‘Figaro’–, has ridden three different centuries with the same fate: the pleasure of the public, of music lovers, Theater enthusiasts height. All one musical theater party 15 al 26 of June will brighten up the coliseum in Plazuela de Jovellanos with 10 functions of the acclaimed own production signed by Alfredo Sanzol and premiered on this stage in 2019.

He interest and the expectation of this Barberillo are not only due to the exceptional musical and literary material that make it a incontestable masterpiece; one of the funniest and happiest works of the lyrical repertoire which has remained on the scene to this day as a emblem of the Spanish lyric. It also reaches event quality, even in its replacement (and ticket sales don't lie), by those who are responsible for setting it up. The stage director and adapter of the text, Alfredo Sanzol, National Dramatic Literature Award 2017 and one of the essential names in the scene today, or the international teacher José Miguel Pérez-Sierra, what, as usual, will give verve to the moat in front of the Community of Madrid Orchestra (Titular del Teatro). The production has the unique scenery and colorful costumes of Alejandro Andújar, the ever-revealing illumination of Pedro Yagüe and the choreography (so important in this title) from Antonio Ruz, National Dance Award 2018, who with the poetry of movement contributes to making the work current and modern.

They will, Besides, two the deliveries (and three Barberillos) those who sing the brilliant work of Barbieri: Lampara, the Barberillo which aims to Paloma seamstress, who is immersed in a political intrigue without knowing how or why, It will be played by baritones Maybe Borja Y David Oller; Paloma will be played by the mezzosopranos Cristina Faus Y Carol Garcia; the marquise del Bierzo, intriguing policy that puts everyone in the mess, love and turn the suffering Don Luis de Haro, It will be sung by sopranos María Miró Y Cristina Toledo; tenors Javier Tomé Y Francisco Corujo They give life to Don Luis, who suffers political and loving disdain of his beloved Marquesita; baritone Gerardo Bullón will be the conspirator Don Juan de Peralta, and low Abel Garcia, Don Pedro de Monforte, defender of law and justice.

This double cast will be accompanied on stage by Holder Choir Teatro de la Zarzuela, as well as ten dancers and eight actors who also dance in each and every dance number.

Music & Performance. Validity, comedy, beauty

José Miguel Pérez-Sierra, who describes the work as «one of the tops of the genre», He argues that collaboration between Larra and Barbieri is more interesting, since «together they create a work in which one lives, breathes Madrid. A Eighteenth-century Madrid in the plot and nineteenth-century in music, but with a timeless perfume which means that even today this zarzuela has full validity».

Alfredo Sanzol, meanwhile, emphasizes that "the comic and adventurous tone of the function It is what we have promoted without ever forgetting that both things go hand in hand with the search for beauty.». The stage director points in each of his works to the idea that «the depth of life and their difficult conflicts they need the vision of comedy to find liberating solutions».

Barbieri and Larra they mix a popular plot, Loves the Lamparilla and Paloma, with the sentimental dalliances of two aristocrats, the Marquesita Star and Don Luis, and all this with a political background: the transition forced from a government of Grimaldi to Floridablanca. It is a thematic model that Barbieri had already used in Play with fire, The diamonds in the crown O bread and bulls, but that with Larra's text —written in verse— is filled with adventure, intrigues, politics, love and humor, It is functioning as if it had been written in these days running.

Photograph: Javier de Real

Borja perhaps in the Teatro de la Zarzuela

Boja Maybe a journey through the Galician song accompanied by piano teacher Rubén Fernández Aguirre, They will perform works by José Castro "Chane", John Montes, Jose Fernandez Empty, Ernesto Lecuona, Gonzalo Roig, Isolina Carrillo, Horacio Pettorossi, Andrés Gaos, Carlos Gardel, Consuelo Velazquez and Chucho Monge.

baritone Maybe Borja will present the next Monday 20 from January (20h00) at Notes cycle Ambigú of the Teatro de la Zarzuela, a beautiful, developer and sense journey through some of the songs back and forth most significant that emerged from the Galician emigration to America. The interpreter, He born in the parish of Barking, Ortigueira, A Coruña, He will be accompanied to the piano by the teacher Rubén Fernández Aguirre.

Need not infrequently becomes under, and in this particular case that virtue served (and still serves) for hermanar two cultures separated by an ocean sometimes it is infinite. The program can be understood travel mode; is a map with points of departure and arrival whose passage is marked by music. The itinerary begins logically Galicia, with compositions José Castro "Chane", John Montes Y Jose Fernandez Empty, with texts by Manuel Enriquez Curros, Rosalia de Castro Y Eduardo Blanco Amor, then saturating in Cuba of Ernesto Lecuona, Gonzalo Roig Y Isolina Carrillo, or own Castro "Chane" ('Violet') and Fernandez Vide ('Likeness') Air captivated islander. There they mix, and each location reached, sharing in many cases mutual influences.

The next stop will be Argentina with music Horacio Pettorossi ('Galleguita'), Andrés Gaos (‘Vidalita’) Y Carlos Gardel ('Return'), to finish Mexico with the company that ubiquitous bolero 'Bésame mucho' of Consuelo Velázquez, Fortunately unavoidable with ranchera 'Mexico lindo y querido', and some other surprises.

songs that They crossed the Atlantic in both directions, what treasures collected and planted on both sides.

He Teatro de la Zarzuela it will be like that again different place where live concerts also as a unique experience. Public and artists sharing music in communion. Coming in the same plane, wrapped by the privacy of that warm living room which is the Ambigú.

A concert Maybe Borja, quarter of the cycle, They will follow the soprano Andrea Jimenez 'Song Basque', tenor and actor Ángel Ruiz dedicated to the Cuplé, soprano Ruth González 'Three passions of women', Baroque training The retreat led by cellist Josetxu Obregón 'The Spiritillo Brando', guitarist Ricardo Gallén 'Romantic Guitar', he trio Arbós with its new delivery 'Chamber Music' and soprano Berna Beads Joaquín Turina.

the Barberillo 1

the Barberillo 2

the Barberillo 3

the Barberillo 4

the Barberillo 5

the Barberillo 6

The Barberillo Lavapies at the Teatro de la ZarzuelaEl Barberillo Lavapies is one of the top works of the Spanish lyric, not only the zarzuela. His music represents the true popular root of Madrid most traditional and customary. Alfredo Sanzol says, "It contains the musical force of an era". The libretto by Luis Mariano de Larra is surprisingly current. It could have been written yesterday, It is showing that the characteristics of a society features like Spanish, not change, regardless of the historical moment. In the argument they are reflected almost all the features of the Madrid of the time, of that and this, as the gallantry of the pestles and chulapos, the ability to generate taste for intrigue and criticize everything, mainly to authorities. It also reflects the eternal struggle and class differences represented by two pairs of lovers, a village, the barber Lamparilla and Paloma seamstress and other aristocratic formed by Don Luis de Haro and Marquesa del Bierzo.

Barbieri wanted to empower the Hispanic music and Barberillo was like a manifesto "for our music ", and it shows from the early stages, aunque with a point rossiniano. Lamparilla has similarities to the Barber of Seville, political frames, the main characters, choirs, majos, youths, students, guards or seamstresses, They belong to the most traditional of the era Madrid and his music comes from the most popular Spanish roots. Barbieri intended to compensate, somehow, new musical currents coming from the rest of Europe staged, especially, by Wagner.

After Lavapies Barberillo of Calixto Bieito in 1998, Alfredo Sanzol has created an almost nonexistent scenery but with a very dramatic result. On a dark stage, neutral and almost empty, Large blocks appear that the characters were in charge of moving, creating scenic areas along representation resulting in a hit a work with a frame so convoluted, dances and even military parades. With this scenery makes the role rests with the protagonists couples and music. Such a scenario does not clean downplays history, but the real atmosphere rests almost entirely on the costumes Alejandro Andújar, carefully crafted and historically located where it should, in Madrid of Carlos III.

The musical direction was in charge of Madrid José Miguel Pérez-Sierra, who he led with brio, extracting the best of the Community of Madrid Orchestra on the most popular numbers work, and providing a certain lyricism those who, as if it were a leitmotif, accompanied the couple formed by the Countess and Don Luis.

A note also the craft and skill of a chorus, The Teatro de la Zarzuela, as anyone who plays the melodies of this work, chispera with all the intention of the people of Madrid.

Voice box was a bit unbalanced, not because it was bad, but if the distance by volume and interpretation Borja scored perhaps his Lamparilla. His lyric baritone voice filled the room with his loud voice and pleasant timbre. He played with grace his clever character and he understood perfectly the fast phrasing and easy, clarifying and emphasizing every sentence.

His costar was Cristina Faus, in the role of Paloma. You can not say I'm in the best vocal moment, although his dark, lyrical tones gave character to his character. His diction was not very good, hard to understand what he said, but his interpretation was full of intent and sensuality.

The soprano Maria Miró played the Marquesita with a beautiful timbre and considerable agility, He gave the character of sophistication that requires a marquise, although the interpretation was rather bland and unconvincing. What it is said castiza, It is not, a must in any zarzuela and, especially, in this.

The rest of the cast did the job with dignity. Production and a work that makes as few enjoy a sellout audience in all its functions.

The Barberillo Lavapies
Francisco Asenjo Barbieri
Zarzuela in three acts
Teatro de la Zarzuela in Madrid, 3 April 2019
Libretto by Luis Mariano de Larra, and an adaptation of Alfredo Sanzol
D. musical: José Miguel Pérez-Sierra
D. Text scene and adaptation: Alfredo Sanzol
Sets and costumes: Alejandro Andújar
Lighting: Pedro Yagüe
Choreography: Antonio Ruz
Distribution: Maybe Borja, Cristina Faus, María Miró, Javier Tomé, David Sanchez, Abel Garcia, Paula Carmen Romero, José Ricardo Sánchez, Felipe Nieto
Community of Madrid Orchestra
Holder Choir Teatro de la Zarzuela
D. choir: Antonio Fauró
Text: Paloma Sanz
pictures: Javier del Real

Carmen

Twenty years he has this Carmen from calixto Bieito finally arriving to the Royal Theater. Production more represented in the history of this opera, It comes with some controversy over "adjustments" that the art team has been forced to perform on supposedly offensive scenes. The changes are merely cosmetic, so as not to focus on certain elements that only pretended to be artistic expressions.

Based on the work of Prosper Mérimée, Bizet adapted the text, which was very attractive to the public at the time by the Spanish exoticism and somewhat lustful elements, and created some players that, this time, They were not kings, emperors or gods, If no characters from the street, exposed with maximum crudeness and far from existing operatic archetype so far. Bizet puts the work in a specific social category and in a particular medium. This is perhaps the main reason that made its debut result in scandal.

It should be clarified that gender opera comique, to which he belonged Carmen, It does not mean that it is a comic opera, refers to a genre that opposed the serious opera or great opera was represented in Paris. It is about, not so much of the humor of the arguments, if not technical issues, as alternating between fragments spoken and sung. This so straightforward to express the text mode has a great theatrical and musical impact. Music is much more direct and Carmen sings, are not arias, but songs, Bizet himself as he wrote. There is only one character, created by composer, since it does not appear in the original work, It is having arias themselves, Micaëla.

Bizet died just weeks after its release, without enjoying the success of his opera after the initial scandal. It was one of his disciples who, in an effort to make a serious opera Carmen, instead of an opera comique, He introduced a series of amendments adding recitatives and music. He managed thereby that the dominant image of Carmen throughout the twentieth century has been very different from the original idea conceived Bizet. It was important, because, reposition the story of Carmen and return the characters to their original idea.

It is here where it appears one of the virtues of Calixto Bieito, his way of directing actors. And it is this direction of actors, and not the scenery or stage elements, what makes the difference in this production over others we've seen before.

This Carmen is one of the first productions of Calixto Bieito. And he pointed it his taste for controversy and some extravagances often become protagonists of their productions. What we are not thought that, to modify any of these most controversial elements, Naked as the work quedase so the scenery of Alfonso Linings. Characterized by the absence of elements, He has presented an empty stage, Just a phone booth and some grant years 70, until 6, They have occupied the stage during the first two acts. He has not missed a naked, taste very Bieito, through a helper that makes the moon "as is" at the beginning of the third act. Decorated the bleak drama gets weaken and numbs the orchestra, that especially in the prelude and the first two acts he had a direction of Marc Piollet routine and little gimmicky. Despite being one of the most vital repertoire scores, got it sounded vulgar in some passages.

Bieito wanted to get away from the folclorismos that have characterized so many times this opera, but it does lunging others you españoladas. It merely update clichés, without leaving them. raising, contradictorily, a return to Spain deep.

In this dive to Spain tambourine, draws characters that, although they are closer to the original idea of ​​Bizet, They do not stop taking their roles forcefully. The Carmen de anna Goryachova It is full of sensuality, but his temperament is not as strong as intended. Vocally not much to blame. Her mezzo voice is homogeneous and balanced, although its volume was resulting in decreased as the work progressed. Its beautiful timbre looked more in the central records in serious but had a good performance, in general terms.

Francesco Meli not able to give the image of a rustic and fierce Don Jose. It turned meek, especially in the scenes of gang, much like West Side Story. In the vocal part he was more successful. It has a beautiful timbre and a good volume of voice were enough to tackle this role.

Eleonora Buratto builds a Micaëla which is not as naive as it may seem at first, suggests a self stroke. It is always a complicated character for being a little out of place, to be added in the work. The Buratto boasts a somewhat excessive volume of voice but lution in the arias and especially in his beautiful duet with Don José's first act.

The Escamillo of Kyle Ketelsen It is very attractive and manly. His resounding voice to the character fortalció. He defended his role with dignity.

The two pairs formed by comprimarios Olivia Doray, as Frasquita and Lidia Vinyes Curtis, as Mercedes and Maybe Borja, as Le Dancaire and Mikeldi Atxalandabaso, in the role of Le Remendado, were high, vocally and in interpretative. They are well within the decadent world unwrapped low funds created for the occasion by Bieito. The Lillas Pastia of Alain Azérot, a dastardly character, I was approached by the French correctly and professionalism.

The chorus, in its line of excellence. He shone particularly spectacular in the fourth act, by the Choir of Young Singers of JORCAM.

A Carmen, Regrettably, It will be best remembered for the scandal that was not, that staging.

CARMEN
Georges Bizet (1838-1875)
Opéra comique in four acts
Libretto Meilhac and Ludovic Halévy deHenri based on the novel (1845) Prosper Merimee
Premiered at the Opéra-Comique in Paris 3 March 1875
Production of the Opéra National de Paris
D. musical: Marc Piollet
D. scene: calixto Bieito
Scenographer: Alfons Flores
Costume designer: Merce Paloma
Lighting: Alberto Rodriguez Vega
Replacement: Yves Lenoir
D. choir: Andrés Máspero
D children's choir: Ana González
Distribution: anna Goryachova, Francesco Meli, Kyle Ketelsen, Eleonora Buratto, Olivia Doray, Lidia Vinyes Curtis, Maybe Borja, Mikeldi Atxalandabaso, Alain Azérot, Jean Teitgen, Isaac Galan
Headlines Choir and Orchestra of the Teatro Real
Little Singers of ORCAM

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