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 days 22 Y 24 of November They can be considered Historic for him Teatro de la Zarzuela. At that time the public will hear (in concert), Y for the first time in Basque In this theater, one of the most unknown works of Jesus Guridi: the lyrical idyll in two acts ‘Mirentxu’. And it will be after 52 years of silence in this scenario, only where it has been heard complete in Two occasions along its 163 years of history, the last one in 1967. Again theater the Plazuela de Jovellanos meets one of its essential tasks such as the preservation, study, Recovery Y divulgation of our operatic heritage. The Colisseum, after starting the season with The village ', and culminates its particular tribute to one of our most brilliant musicians.

Libretto by Jesus Maria de Arozamena Y Alfredo Echave, of 'Sandy', the words of the expert musicóloga Maria Nagore Ferrer, "It is indisputable beauty, which explains the popularity of some numbers as the prelude to the first act or the beautiful and lyrical aria end ". A) Yes, Nagore Ferrer stresses that " compositional mastery Guridi It is set to the service of a poetic text that is treated with flexibility, simplicity and orchestral palette rich and elaborate but wrapped in soft hues”.

The various 'Mirentxus'

'Mirentxu' premiered at the Theater des Champs Elysees in Bilbao 1910, and since that first occasion he suffered constant changes. Nagore Ferrer speaks even "Six or seven 'Mirentxus' different', even to become opera, thus adding to the parties dialogued music. In this format was presented at its premiere in Barcelona 1913, but Guridi was not at all satisfied, convinced, despite the rave reviews, that the public did not understand the work precisely because that format opera. So, two years later, in 1915, presents in Madrid, at the Teatro de la Zarzuela, but in its original version.

A new adaptation of 'Mirentxu' It premiered at the Arriaga Theater in Bilbao 1934, Guridi commissioning recast the libretto to his usual collaborators Federico Romero Y Guillermo Fernández-Shaw. For this new version, the composer It reinstrumentó whole score; modified some numbers and added new ones, trying not to undermine the work.

In 1947, the composer asked writer Jesus Maria de Arozamena a new review of the work. Arozamena departed version 1934, also using elements of the original libretto by Echave, Y He wrote two versions, in Castilian and Basque. This last and final 'Mirentxu' was released by the Company Lyrical Theater Donostiarra at the Grand Kursaal in San Sebastian precisely 24 November 1947, receiving Ruperto Chapi National Theater Award. Y It is this "final" version that can be heard these days in the Teatro de la Zarzuela in Madrid.

Although they have not been able to find documented evidence that the work was presented as an opera beyond its premiere in Barcelona, remains always the same question: Is 'Mirentxu' an opera or an operetta? Nagore Ferrer responds: "As rightly says Ramon Lazkano in his introduction to the critical edition published by the Complutense Institute of Musical Sciences in 2009, the imprecision of the work did not stop Guridi pose problems for more than thirty years of gestation of the definitive work: It is a work "halfway between a singspiel and éuscara zarzuela, or a verismo drama and a pastoral scene».”

The double date in La Zarzuela

In the double date with 'Mirentxu' at the Teatro de la Zarzuela, the podium will be assumed by Oliver Diaz, who must face the master orchestrator Guridi; to its inspiration in creating melodies or the detailed architecture vocal of the work. To address all these are demands, It will feature a balanced distribution voices outstandingly suitable to the requirements of the composer.

the soprano Ainhoa ​​Arteta will play the role of Mirentxu, Manu the miller's daughter, and premium Raymond, living with them and who is in love unsuccessfully. The role of Raimundo, love to turn Presen, Mirentxu friend, I assume the tenor Mikeldi Atxalandabaso. Bass-baritone Christopher Robertson It will act as a Txanton, the old man who cares for children whose older sister is presented in the house next door to the mill where they live Manu, Mirentxu and Raimundo. Presen's role will be played by mezzo-soprano Marifé Nogales. Meanwhile, baritone Jose Manuel Diaz Manu will play. All of them will also join the baritone solo Mario Villoria, component of Holder Choir Teatro de la Zarzuela, and children Patricia Valverde Y Azahara Bedmar, members of the White Voices Choir Sinan Kay.

The story of 'Mirentxu' this time is recreated by renowned playwright Borja Ortiz Gondra and will be the actor Carlos Hipolito who among the musical numbers go unfolding succession of events which lead to the final tragedy.

The Community of Madrid Orchestra, Titular del Teatro, and the Holder Choir Teatro de la Zarzuela, completes the artistic picture of this historic recovery will have a milestone: recording and subsequent broadcast of the work by Classical Radio RTVE. The critical importance of this record is that to date there are no recordings valid 'Mirentxu'.

He Teatro de la Zarzuela will launch this coming Sunday, 20 October (12h00) in Ambigú, he new cycle "Chamber Sundays with Ñ '. Hand soloists his Titular Orchestra, the Community of Madrid Orchestra, It will be dedicated exclusively Spanish music and his only price will be 6€. Taking advantage of 'The village' is still in cartel, the first of five concerts that make up the cycle will be devoted to 'Cuartetos Basque' with works José María Usandizaga and self Jesus Guridi.

it journey through the Spanish musical heritage try to discover the public the excellent quality of the camera work composers who achieved fame for his dedication to the Spanish lyric genre, as well as give visibility to new Spanish composers and contemporaries and consecrated.

Orqueta soloists of participating in the Sunday concert will be Victor Arriola (fiddle), Gladys Punishment (fiddle), Eva Maria Martin (viola) Y Benjamin Calderon (cello), to interpret the 'Quartet sun on Basque popular subjects', on. 31 what José María Usandizaga composed in 1915, Y the 'Quartet No. 1 in G major ' from Jesus Guridi; work of 1933.

At the end of the concert will be offered craft beer tasting.

The four other appointments will cycle: 'Contemporary Spanish Music' (24 of November), 'Concert carol' with the Little Singers of ORCAM (15 from December), 'Spanish Composers' (5 of April) Y 'Camera Work Pablo Sorozábal' (7 of June).

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

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