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

the Caserío
Jesus Gurido (1886-1961)
lyrical comedy in three acts
Libretto by Federico Romero and Guillermo Fernandez-Shaw
Madrid, 3 October, Teatro de la Zarzuela
D. musical: Juanjo Mena
D. scene: Pablo Viar
Scenography: Daniel Bianco
Locker room: Jesus Ruiz
Lighting: Juan Gómez-Cornejo
Choreography: Edyardo Muruamendiaraz
Distribution: angel Ódena, Raquel Lojendio,Andeka Gorrotxategi, Marifé Nogales, Pablo Garcia-Lopez, hope Mentxaka, Eduardo Carranza
and José Luis Martínez
Community of Madrid Orchestra and Choir Holder
Teatro de la Zarzuela
Dance de Monserrat Caballe tribute KonpainiaAl, symbolically he started the season at the Teatro de la Zarzuela, followed by the premiere of El Caserío, Jesus Guridi and libretto by Federico Romero and Guillermo Fernandez-Shaw. The scenery is run by Pablo Viar and Daniel Bianco.Tiene eight years of travel in coproduction with ABAO of Bilbao and the Campoamor Theater in Oviedo, but this right is not affected scenery over time. Two scenarios, the entrance of a village and traditional pediment, They take us to a timeless and unmistakable Basque Country.

Production that presents the Teatro de la Zarzuela, and that it was shown in Madrid Canal Theaters, He has been omitted, rightly, of some of the dialogue and more costumbristas passages and which they are very outdated.

Critics of the zarzuela always point as one of their problems to be represented and understood today, some ancient texts, by jetlagged. But all is hopeless, as it takes demonstrating the Teatro de la Zarzuela in recent seasons. What does not change is the music aging, always fresh and processed Jesus Guridi. We narrates the story accurately and delineating the moods of his characters, thanks to a perfect orchestration.

Leading the Orchestra and Chorus of the Teatro Juanjo Mena. Another Basque who makes the best reading of a score rich in color and musicality. Very good pulse pulls the best performance of ORCAM and Choir, this time has an important role and covers actoral, with his performance, the lack of other narrative and scenic elements.

Another surprise of this village are the popular dances by Aukeran Dantza Konpainia, under the direction of Eduardo Muruamendiaraz. Of professionalism and absolute perfection in execution. Very well integrated into the scenes, They were an inspiring element and contextualizing of the entire work. They provided dynamism and fluidity performing transitions.

A production like this can only count on first-rate voices, as well it has been. Ódena Angel turns to gold everything that sings, and his character Uncle Santi would not be less. Accompanied de Andeka Gorrotxategi, with a beautiful and unique tenore di forza bell, giving life to a scatterbrained José Miguel frívolon and, until he finds the love of Ana Mari, which it shapes Rachel Rojendio, another luxury for the cast.

Inosensia character is in charge of other insurance value at this theater, Marife Nogales sings, dances and acts, You can not ask for more. Pablo García López is responsible for giving life to a vibrant Txomin, which is well accompanied by the amusing scene Eustasia, de Hope Mentxaca, marido of the idle Inosensia, who plays Eduardo Carranza and a troubled Don Leoncio, Hand José Luis Martínez.

A more attractive start to the season will be continued, with music by Guridi, in his first opera, Mirentxu, concert version that we see the 22 Y 24 of November, Ainhoa ​​Arteta and Mikeldi Atxalandabaso protagonists.

Text: Paloma Sanz
pictures: Javier del Real


A Doña Francisquita full of contradictions
Doña Francisquita
Amadeo Vives (1871-1932)
lyrical comedy in three acts
Libretto by Federico Romero and Guillermo Fernandez-Shaw, inspired by
The discreet love of Lope de Vega. In an adaptation of Lluis Pascual.
Teatro de la Zarzuela Madrid 14 May 2019
D. musical: Oliver Diaz
D. scene: Lluis Pascual
Sets and costumes: Alejandro Andújar
Lighting: Pascal Mera
Choreography: Nuria Castejón
audiovisual design: Celeste Carrasco
Community of Madrid Orchestra Titular del Teatro
Holder Choir Teatro de la Zarzuela, Director: Antonio Fauró
Lyric Madrid Rondalla "Manuel Gil", Director: Enrique García Requena
Distribution: Sabina Puértolas, Ismael Jordi, Ana Ibarra, Vincent Was, Maria Jose Suarez,
Santos Ariño, Antonio Torres, Graciela Moncloa, Mathew Loren Crawford,
Francisco José Prado, Alicia Martinez, Francisco Javier Alonso
With the special collaboration of Lucero Tena and Gonzalo de Castro
This new production of Doña Francisquita the Teatro de la Zarzuela has surprised and puzzled me. I have not understood anything, no dialogues, just scenery, a narrator constantly distracted and interrupted me right in the most ravishing moments of the work and, but nevertheless, rarely go so stimulated representation. No, I do not understand nada.También serves to realize how disturbing it can be the absence of dialogue and stage in a work like this. Lluis Pascual says, one Bohéme can be sung in concert version by the best singers, and say nothing, or be represented by the worst, and say everything. A Doña Francisquita something happens parecido.Los three acts in which it divides the work are completely different, scenically speaking. The first is boring and confusing, the second entertaining and full of romanticism and the third, Pascual sublime.Lluis, showman like no other, He is responsible for the staging and adaptation of the text of this new version of Doña Francisquita. No easy task address, to modify, a reference work known since early childhood. And the result is truly amazing. surprise is the choice of the viewer on which side of the scale sets.

To justify the adaptation of the text, Pascual alludes to that, in their view, It is the problem of zarzuela: the script, and a way to write and interpret, which reaches years 30 and it called "costumbrismo". A theatrical style that nobody does and, which seems, They have lost the keys to their interpretation, both from the stage, and from the stalls.
The first act is the most baffling. It is a recording studio the years 30 in which the singers and chorus appear as if a concert version were. Missing scenery, that this act is fundamental to the understanding of the work. Perhaps that's why the protagonists seem to be on stage. freshness is lost in interpretation, remaining in the background. Some of the most lyrical moments of this first act lose all their brilliance, as "the song of the nightingale", played by Sabina Puértolas, which it is quite blurred.

We reached the second act, Located in a TV studio in the years 60, hand new character who tries to guide us from the beginning, the narrator. Gonzalo de Castro actor responsible for giving life to a new role, defined to try to introduce and explain the plot of the play, the lack of dialogue. De Castro has a very important role, It is brilliant at what he does, but his character does not stop cutting the pace. It appears even to interrupt the moments when he had achieved the most romantic and lyrical atmosphere. I think he was aware of it at times.

The third act brings us to a current rehearsal room and empty. With a huge screen in the background on which images of a Francisquita Doña shot projected on 1934 por His Behrent, a German director who came to Barcelona, along with other filmmakers, fleeing Nazism. The grandson of one of them, He discovered in the attic of his home in Canada, a trunk containing eight movies recorded by his grandfather. Seven of them were so damaged that could not be recovered and only one of them was saved. It was Doña Francisquita. The images are of great beauty and evocative of that old Madrid and always ready to party. The third act is the most emotional, especially, when he appeared on stage Lucero Tena to play with "his little instrument", the castanets, the fandango that after the dance troupe performed. Perhaps this has been one of the most unforgettable moments of the season.

All functions are dedicated to Alfredo Kraus in 20 anniversary of his death. With its recalled Fernando, Kraus is reopened Theater 1956 this same work.

Musical direction, by the holder Theater, Oliver Diaz, He made great efforts to match music with what was unfolding on stage. He succeeded largely, Bold leadership, sometimes somewhat excessive sound volume, but always knowing accompany the singers in this work of great peculiarities and difficult orchestral writing, that makes each of his numbers are different and with its own style. As Diaz says, "Doña Francisquita is a succession of great successes".

One of the reasons why this is special Francisquita, despite the disconnection and music scene, is the picture of singers involved in it. Ismael Jordi addresses the very difficult and extensive role of Fernando with the delicacy and determination that requires the character. His voice has gained in density and amplitude. He offered one of the most romantically lyrical moments in interpreting its Romanza "by smoke…”, for which unsuccessfully requested bis. His phrasing is embroidered with elegance and exquisite singing line is.

Sabina Puértolas created a sophisticated Francisquita without falling into whining. His character was more less, perhaps it infected by the lack of scenic references. Her voice is full of freshness and edge line smooth and shiny. His song of the nightingale remained blurred in that disturbing first act.
Dawn of Ana Ibarra was the character more personality on stage. Rotunda in the interpretation of this Beltrana whose grave could have been more intense. Next to Vincenç Esteban Cardona, duo starred in the third act. She, amply castiza and brava, while Esteve rapeaba more than declaimed.

María José Suárez has a job and some interpretive qualities that make any little character becomes big when she saw what. That made his Dona Francisca. It is a guarantee in any lyrical production.

Other warranty that provides traditionalism and personality to this Francisquita, It is the participation of Santos Ariño as Don Matias, and Antonio Torres as Lorenzo Pérez. They know how to be and say as is and zarzuela is said.

Choreography by Nuria Castejon made, They perform an almost balmy function for a public eager to connect with the work. Live images are projected body dance on the big screen, They are a remarkable plasticity and aesthetics.

All these artists, backed by the Head of Coro Teatro de la Zarzuela, focus the work and filled with references. With them and music teacher Vives, It is enough and to spare to give life to this zarzuela. No fear for our lyrical, It's too big. And the Teatro de la Zarzuela, your strength.

Text: Paloma Sanz
pictures: Javier del Real

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

Maria del Pilar

He Teatro de la Zarzuela continues rescuing the Spanish lyric genre titles that for various reasons had been forgotten. Some of these works, as Maria del Pilar, of the teacher Gerónimo Giménez, He not explained that they have lived so long in the ostracism. It premiered at the Teatro Circo Price in Madrid 1902 Y, since then, never again knew. It seems that one of the reasons for these absences may be in some scripts that have been very jetlagged. That of Maria del Pilar, from Francisco Flores and Gabriel Briones, It presents a casposa rural Spain and with many difficulties for theatrical performance. But the Teatro de la Zarzuela has found a good solution to this problem, as it did with "The Tempest".

In the concert version of which two performances scheduled, It has been replaced by an updated text spoken narration correctly by Maria Velasco. The story was in charge of a Mario Gas tempered, whose good work was demonstrated once again.

The score Jimenez surprised by its quality. the influences of his admired Wagner or Verdi noticed in her moments of true verismo. The orchestra, reinforced for the occasion, It sounded like the overture ever since, It is the most intense passages the two arias by tenor and bass or duo of the two sopranos in the second act.

The address of Oliver Diaz, replacing the maestro Jesús López Cobos, whom the representation was dedicated, He was full of intensity and colorful. It directed with suitable pulse firm and all passages of the work, giving each its own personality and nuances, as it evidenced in the Jota or very Verdian bass and baritone duet in the second act.

Section of the voices was very balanced. the soprano Carmen Solis He offered a homogeneous singing a beautiful tone and a voice body, especially in the middle. Your paper, despite naming the work, is not the protagonist or solo arias has, but he shone when he corresponded, Also in the dramatization.

Polish soprano Iwona Sobotka He played the role of Esperanza. It can boast a good diction in Spanish with his dark voice, which provides a good bass notes. Not so with sharp.

Marina Rodriguez-Cusi EARNEST he played Nieves, with his comic partner Jorge Rodríguez-Norton as Almendrita. Both high. She is always a guarantee of professionalism and good work.

Andeka Gorrotxategi, Rafael, He addressed his demanding tessitura with dedication and always beautiful timbre. He had solved a problem that as the work progressed. is not well understood sing all the time crossed arms, as if holding or seeking some support, in any case, It is not the best posture on stage.

baritone Damian del Castillo Marcelino she played a song and serene enough. The bass David Sanchez, as Uncle Licurgo, always solvent with deep and homogeneous tessitura.

Definitely the best of the night and most recognized by the public was the burgalés low Rubén Amoretti. Valentin her character was endowed with an entity much greater than character. His Romanza "What beam me annihilates", It was performed with elegance and trade, clarifying each phrase and filling dramatic intensity.

Is more than likely that the choir has had a brilliant performance, as usual, but whenever they placed upstage can hardly hear him. A shame.

Maria del Pilar has been an extraordinary surprise that we must thank the Teatro de la Zarzuela and, especially, its director, Daniel Bianco, you are performing a task that never thank him enough.


After a season, the 17/18 complicated, he Teatro de la Zarzuela He inaugurated the 18/19 with a more typical expectation and glamor of Milan Scale, but castizo.

Nobody wanted to miss the event began with a poster relumbrón. Katiuska, Paul Sorozábal. After 37 years of absence in the street theater Jovellanos, He came with a cast to match any opera house ringside: Ainhoa ​​Arteta, It is acting just two days, Carlos Alvarez, whose absence this season of the Teatro Real is allowing us to see him often at his side zarzuela, Y Jorge de León.

Katiuska premiered in Barcelona in 1931 and there are few occasions when he reenacted. This time the "Song of the Earth" recovers, who disappeared in recording 58 Pilar and Alfredo Kraus Lorengar. Master Sorozabal, Before die, He reviewed the work and hoped that this fragment returned to interpreted.

It is at this time, and the master's hand Guillermo García Calvo, when it represented almost entirely, since they have been removed for this release some of his dialogues. The result is a short work, but agile and pace.

García Calvo says that in the works of Sorozábal a closeness, poetry, frankness and affection that do not appear in any other repertoire. Something we should do feel very proud. It is set in the Russian Revolution 1917 and it is full of comic numbers, almost surrealistic, perfectly alternating with romantic music of great lyricism describing the love triangle between the three protagonists. perfectly instrumented, It has a variety of colors and tools that describe places and situations, mandolins as they bring the Russian Color.

The scenery Daniel Bianco and directed by Emilio Sagi, evokes a cinematic montage inspired by the years 30 in which Katiuska opened and the divas of the time, more princesses actresses, when the film had its protagonists with ideal lives that helped break the routine to an audience delivered to their idols. It was a great frame filled with debris, those of the Tsarist regime. A colorful scenery but a little austere for or customary Sagi. I do not miss, Of course, one of his favorite elements, the moon.

Ainhoa ​​Arteta, with an impressive stage presence, He plays an elegant and glamorous princess Katiuska. He noted for his pianos.

Carlos Alvarez is an extraordinary moment vowel. He started something intemperate but it was the big winner of the night with the baritone timbre so attractive that gave great personality to his character Pedro Stakof.

Jorge de León wore her powerful voice on a difficult role, though brief, as Prince Sergio.

The high comprimarios were giving a master class performance and know being on stage, without losing any quality when they played sing or dance. Antonio Torres como Bruno Brunovich, Milagros Martín and Olga, Boni young bride, Colonel's assistant played by Emilio Sánchez. Enrique Baquerizo gave birth to a hilarious Amadeo Pich, Catalan mean traveling salesman. And Amelia Font as Tatiana, Boni aunt and landlady. Also splendid Theater Chorus,

Definitely, an evening of music and theater to enjoy that nobody should miss.

The Tempest

The Teatro de la Zarzuela continues its work to rescue the Spanish musical heritage so underrated. This time, and following Maruxa, arrives “The Tempest”. Master's work Ruperto Chapí which it premiered at the Zarzuela 11 March 1882. For twenty years he was scheduled regularly before disappearing, to this day. One of the main reasons for this absence on stage may be in the need for this work, because of their vocal demands, six great interpreters. And here is the first effort and success of Daniel Bianco, director of Teatro de la Zarzuela. He has gathered for this storm none other than Carlos Alvarez, José Bros, Mariola Cantarero, Ketevan Kemoklidze, Carlos Cosías and Alejandro López.

The next challenge came from the need to offer Tempest concert version as, as Bianco himself says "we do not always have the budget or to schedule enough time what we want". But, How is a zarzuela is done in concert version? Dialogues that characterize this genre scene, in which not only is sung, They are meaningless in a concert version. And this point has also been well resolved by Bianco. He commissioned the renowned playwright Alberto Conejero a version of the text Miguel Ramos Carrión. The result could be more effective. Conejero has moved the explanatory weight of a narrator talks, the best. Juan Echanove It tells the story from the inside of one of the characters, Mateo. It does so by creating a dramaturgical atmosphere in which the scenery appears to the viewer without more elements than her voice and her way of narrating, "It's not recite, It is not to interpret, not that way but I have to sing ". And his voice sounds like music next to the rest of the cast.

To complete the successes of this storm has had the greatest expert chapiniano today, director Guillermo García Calvo. A score like this, which already has the musical influences of the time and clearly detected in some of its passages, It requires accurate knowledge and reading. The beginning of the work has inspired instrumental effects in Wagner, specifically in the Flying Dutchman, with string tremolos and lightning. The saxophone, a novelty at that time, It is clearly French influence. As the arias of Verdi baritone inspiration or final sextet. All without a Spanish musical score no longer recognized. it, along with the theatrical capacity Chapí, are the values ​​that García Calvo has managed to read this score and the orchestra achieved a homogeneous sound, full of detail and fluidity between orchestra, narrator and singers.

Carlos Alvarez Simon plays the villain in this mysterious zarzuela. Generous and deep bass created the Simon evolving towards the torment which the author describes. The baritone is an extraordinary moment vowel. His Verdian timbre is like a velvet glove in this work. The public vibrated with its interpretation.

the tenor José Bros, as Beltran, He demonstrated the quality of his instrument from his first aria, "Salve coast of Brittany". The extraordinary agility of his voice, although he says and be closer to the light lyric tenor lyric, still intact. He seduced with its polished timbre and phrasing and line of exceptional singing.

We looked forward to hear in Zarzuela Mariola Cantarero. Her character Angela, Simon evil stepdaughter, He was full of intent and delicacy. Its warm timbre and elasticity of your voice to filar and grow to the delight of the public.

the mezzosoprano Ketevan Kemoklidze is the first Georgian singing at the Teatro de la Zarzuela. It is increasingly common for foreign singers are interested in our repertoire. Roberto plays the character and full of nobility and interpretive force.

the tenor Carlos Cosías is Matthew. A vivacious young man who plays with decision Cosías, grace and good taste, and an enviable diction.

Mexican low Alejandro López He gives life to judge, solemnly, It is responsible for unraveling the mysteries of the work.

Another main character of this storm is the chorus. Chapí handles very well in all his scores choral part. This book describes all the dramatic atmosphere and takes a leading role interacting with the singers, especially accompanying the concertantes who were cheered by an audience at this point delivered. Always plastering and showing women's chorus optimism reigns after the storm.

El Cantor de Mexico

He came to Teatro de la Zarzuela the operetta El Cantor de Mexico. composed in 1951 by the French, but Hispanic American, Francis Lopez, and written to be interpreted by the famous Luis Mariano, who came to interpreting in more than 850 occasions.

His stage manager, Emilio Sagi, He adapted and updated the initial script, somewhat outdated, for release 2006 at Théàtre Châtelet. Production has arrived in Madrid under the stage direction of Daniel Bianco is, as the composer called, a operetta extravaganza. A bright and spectacular scenery, where scene changes occur constantly and with great dynamism, recreating the atmosphere of the clubs of the time and shows Carmen Miranda.

Very important is the job of musical director Oliver Diaz in front of the Titular Orchestra of the Teatro de la Zarzuela. A work like this, near the magazine and melodies filled with completely different repertoires that usually, like jazz, mambos or boleros, not easy to handle the variety of musical material. The result is an undoubted quality.

Leading the cast includes the tenor José Luis Sola, evoking Luis Mariano, but with difficulties. Low volume of voice and no sound, except in the treble, where the brightness and color have a strong presence.

Cricri character is performed by soprano Sonia de Munck. Get a good interpretive level, but he can not get your voice heard. Much less when accompanied by other singers or increases the volume of the orchestra.

experienced Luis Álvarez He plays brilliantly to empresario Ricardo Cartoons, accompanied by a spectacular Ana Goya, that brings to life the hilarious Miss Cécile. Leading the cast is theater Rosi de Palma, as Eva Marshall, diva kitsch that rises with the prominence of the work thanks to his personality and powerful stage presence.

The Teatro de la Zarzuela season begins with a different work, a show that is pure divertimento. You want to with it a message, la Zarzuela wants to reach all audiences and open to society.

the villainess

Thirty-three years have passed since the last performance of the villainess at Teatro de la Zarzuela. And it not explained very well that much time has elapsed in the case of a work of so much substance in the genre boy. And even less is understood if we take into account that the music belongs to the teacher Amadeo Vives, and that is based on the work Peribáñez and the Commander of Ocaña, from Lope de Vega.

It is therefore a work that has all the elements to undertake a plan more ambitious than a zarzuela. But maestro Vives remained halfway through that Spanish operatic dream. And not for lack of quality in the score, quality has, and a lot.

She is such a villain, beautifully made, contains some moments of delicate lyricism that the master Miguel Ángel Gómez Martínez manages to extract from an Orchestra to which the work is something great. Even so, the orchestra sounded homogeneous and more elaborate than on other occasions.

The difficulty and demands of this work for the main roles are noticed from the first moment. Important voices are necessary to cope with a well-elaborated score with great vocal and dramaturgical demands.. The Theater has counted on this occasion with two castings. Without detracting from the first, maybe it was the second cash who has been most successful in the general reading of the work. the soprano Maite Alberola, with a round and voluminous voice, He knew how to fill the character of Casilda with the Castilian character of this prudent woman. He offered some moments of great beauty interpreting the romance "The brown cloth cape", or his beautiful duet with Peribáñez.

baritone César San Martín played a static, but full of nobility, Peribáñez. He participated with elegance and feeling in the most beautiful duets with Casilda.

The Don Fadrique of Andeka Gorrotxategi it was a big surprise. This young Biscayan tenor has a vigorous instrument, of attractive timbre and taste in interpretation.

The rest of the tablets composed of Rubén Amoretti, Manuel Mas, Javier Tomé, Ricardo Muniz, Carlos Lorenzo, Rodrigo Garcia, Roman Fernández-Cañadas, Daniel Huerta Y Francisco Jose Pardo, maintained a high level that rounded a height cast.

The theater choir, well stamped and pasted, had a relevant performance, becoming a main character.

Also noteworthy is the corps de ballet that completed the simple but beautiful scenography of Natalia Menéndez. With the evocative field of spikes as the protagonist throughout the work. Very successful lighting of Juan Gomez Cornejo, creating different atmospheres with the same scenic elements. And a good direction of actors who made more than seventy people unfold on stage in a coordinated and graceful way.

We must thank the bravery and effort of the Teatro de la Zarzuela offering such a high-level work in this ambitious season. Great evenings of good music are expected.

Iphigenia in Thrace at the Teatro de la Zarzuela in Madrid

The Teatro de la Zarzuela to a brave and risky adventure: schedule a baroque zarzuela. Iphigenia in Thrace, from Spanish José de Nebra libretto by Nicolás González Martínez.

Besides the tastes, Each one has his own, can one approach this production seeing the glass half full or half empty. And this time there are arguments for both views. We will see…

If we stop taking into account that the work has been cut down to just one hour and twenty minutes; that the characters who do not sing have been dispensed with, although they appear in the original work; that the interpreters, except Maria Bayo, have no experience in baroque repertoire; the same goes for the orchestra, even with the director. If we really manage to ignore all this, it is, exclusively, in order to value the gallantry of daring to take the stage of the Teatro de la Zarzuela a play like this.

José de Nebra, one of the best composers of the Spanish Baroque is, to our shame, one of the most unknown. He was the composer of the music of many of the theater productions of Madrid of the time, before engaging in religious compositions.
Iphigenia in Thrace was released on 15 of January of 1747 at the Coliseum de la Cruz with the title As a gift to the deity, cruelty and Iphigenia is never cultured in Thrace, with the collaboration of the librettist Nicolás González Martínez, whose sources of inspiration were the works referring to the same historical event of Euripides Y Goethe.

And it is from these sources, from where the stage director Pablo Viar has extracted the texts that, as an introduction to each day, recites Iphigenia narrating the facts. The baroque structure of aria is maintained, recitative, aria. These narratives of Iphigenia, as an intimate dialogue, enhance the dramaturgy of the play.

On stage, the allegory of a forest and the brushstrokes hardly appear, almost in time, made by the teacher Frederic Amat. A large rose window is drawn as if the brush were another musical instrument. Lighting Albert Faura, creates a dreamlike world of shadows that enhance music and text. The changing room is in charge of Gabriela Salaberri who has created a leading element, almost the only one props of the work, that fills everything with color and animation.

The scenographic result is of great beauty, elegance and balance. Let music be the protagonist, accompanying her without distracting.
Another thing is the musical performance and the voices. At the presentation of Iphigenia in Thrace, director Francesc Prat wondered: what am I doing here?. And it's a good question. Lead with intention and pulse, but having been an assistant to Ivor Bolton when he was preparing some of the baroque works that he presented at the Real, does not seem sufficient background to address Nebra's work. It also doesn't help that the Titular Orchestra of the Teatro de la Zarzuela do not have plenty of experience in this repertoire. Yes they were noticed, providing solvency and baroque rigor, the reinforcements Cecilia Bercovich, concertino, Amat Santacana Y Aarón Zapico, bass continuous.

The voices are still far away, except for María Bayo, to be able to properly interpret a musical language like the one that makes up Nebra's score. These young young performers, excited about their participation in the play, They need something more than effervescence to carry out characters that require experience in the genre.

Maria Bayo, despite not being at his best vocal moment, make a difference on stage. Somewhat rigid in interpretation, but showing off their boards and experience. Preserves the beautiful timbre and a voice that has become more lyrical.

Erika Escribá-Astaburuaga, how Polidoro shone in his role and the tempo he set on stage. Ruth González, like Dircea, did not convince anyone. Very small voice and with an exaggerated vibrato.

The Chest of Lidia Vineyards-Curtis and backpack Mireia Pintó they put the most frivolous and fun note. Especially Vinyes-Curtis, who had a greater experience in this genre, especially in the acting part.

This Iphigenia in Thrace leaves much to be desired. Especially in the musical. But as Ruth González said, "Something is happening at the Teatro de la Zarzuela". And that is evident. Do not miss it.

Iphigenia in Thrace
José de Nebra (1702-1768)
Zarauela in two days
record: Nicolás González Martínez
Premiered at Coliseo de la Cruz in Madrid, he 15 of January of 1747
New production of the Teatro de la Zarzuela
D. musical: Francesc Prat
D. scene: Pablo Viar
Scenography: Frederic Amat
Locker room: Gabriela Salaverri
Lighting: Albert Faura
Distribution: Maria Bayo, Auxiliadora Toledano, Ryth González,
Erika Escribá-Astaburuaga, Lidia Vineyards-Curtis, Mireia Pintó
Community of Madrid Orchestra

Text: Paloma Sanz
pictures: Javier del Real
Video: Teatro de la Zarzuela