Day passed … in the electoral and zarzuelero. The premiere yesterday of
, The title of Amadeu Vives that the theater director Lluís Pasqual He wanted to modernize, he went from less to more in the Liceu as he advanced. And it ended with six minutes of final applause dedicated especially to the main couple, the soprano María José Moreno and the tenor Celso
Albelo, who debuted the paper, and with a warm cry for Lucero Tena, octogenarian institution of the castanets that made an endearing appearance in the Fandango .
We talk about Grand theater, yes, from the Barcelona Coliseum. No. of Parallel or of Tivoli (where this title was released in 1923), neither of the Gran Vía in Madrid, but of the theater of the Rambla, which has seen the first function of this production coincide, shared with the Zarzuela Theater from Madrid and the Lausane Opera, with the nth call to the polls that are lived in the city.
They had to be the unblocking elections of the two Spains and those that banished the separatist demon as a forced ally to form a government. But none of that was clear when, at 20.17, the public of Liceu He got up from his seats, taking a look at his cell phone to see the polls at the foot of the ballot box.
Of course, the function of Mrs. Francisquita , with a remarkable Symphony of the Liceu directed by Oliver
Diaz, confirmed that culturally Barcelona has a great fair play . That said in two senses: on the one hand, the renovating assembly had signs of not leaving the bitter lovers of the genre happy – as it happened in May in Madrid – something that in Barcelona was not noted. On the other, it did not seem the best time to hear that "Long live the people of Madrid by gallardo and jovial" or to take a bath in Madrid's folklore and folklore in a soulless and wounded Barcelona from so much shooting in the foot.
The polling stations closed and the Liceu dedicated six minutes of applause to the zarzuela
All in all, it must be said that after the first act, there were those who stood up mumbling "this is bullshit, that's why I'm going home and I put on the disc." It is precisely at the beginning where it is clear that Pasqual has cut the dialogues of the zarzuela and others have been invented to, precisely, give value to the discussion about the desirability of eliminating or maintaining them.
In the world of opera people are more accustomed to seeing montages that review and update the repertoire titles. On the other hand, in Zarzuela, he is the current artistic director of the theater in Madrid, Daniel Bianco, the one who has begun to shake the dust to the genre – "but I am not the Mortier of the zarzuela, eh?", he said in the Sals dels Miralls-. And logically there are those who feel that the canon is hurt.
The first act, which moves the action to the Second Republic, recreate the disc recording of Mrs. Francisquita to be exported to Europe. It is a very plausible state operation. Why the dialogues, if they don't understand Spanish? "Europe is going to find out what a Spanish love song is," says actor Gonzalo de Castro in the role of record producer.
Hieratism turns this first act into … an act of faith on the part of the public, with a De Castro who speaks too fast for such a large theater. Luckily, in the second act – moved to a television set of the sixties – the protagonists shine vocally, especially the soprano, María José Moreno, the Francisquita that the Doña is added so that her friends consider her less girl and thus dazzle the student Fernando, a Celso Albelo very applauded in the romanza "By the smoke one knows where the fire is".
María José Moreno was the most applauded, along with a Celso Albelo who debuted the role
No, the tangle comedy of those librettists that Vives made triumph in Madrid cannot be more traditional. Federico Romero Y Guillermo Fernández-Shaw. Luckily, the montage breathes music and dance in the third act. De Castro directs the rehearsal of the work and discusses on the mobile with the minister on duty, this time not to kiss his hand, as to Fraga in the dictatorship, but to send him to fry asparagus. Lucero Tena and the choral choreography of Nuria Castejón, with classic Spanish and the bowling school, make the Fandango . And nothing more, hey. Neither Pasqual nor anyone on his team came out to say hello.