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Zarzuela

Zarzuela (Spanish pronunciation: [θaɾˈθwela]) is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance. The etymology of the name is uncertain, but some propose it may derive from the name of a royal hunting lodge, the Palace of Zarzuela, near Madrid, where that type of entertainment was allegedly first presented to the court.[1] The palace in turn was named after the brambles (zarzas) that grew there.

Poster of Doña Francisquita

There are two main forms of zarzuela: Baroque zarzuela (c. 1630–1750), the earliest style, and Romantic zarzuela (c. 1850–1950). Romantic zarzuelas can be further divided into two main subgenres, género grande and género chico, although other sub-divisions exist.

Zarzuela spread to the Spanish dominions, and many Spanish-speaking countries – notably Cuba – developed their own traditions. Zarzuela is also a strong tradition in the Philippines, where it is also referred to in certain dialects as sarswela/sarsuela.[2] Other regional and linguistic variants in Spain include the Basque zartzuela and the Catalan sarsuela.

A masque-like musical theatre had existed in Spain since the time of Juan del Encina. The zarzuela genre was innovative in giving a dramatic function to the musical numbers, which were integrated into the plot of the work. Dances and choruses were incorporated as well as solo and ensemble numbers, all to orchestral accompaniment.

Baroque zarzuela Edit

In 1657 at the Royal Palace of El Prado, King Philip IV of Spain, Queen Mariana and their court attended the first performance of a new comedy by Pedro Calderón de la Barca, with music by Juan Hidalgo de Polanco titled El Laurel de Apolo (The Laurels of Apollo). El Laurel de Apolo traditionally symbolises the birth of a new musical genre that had become known as La Zarzuela.

Like Calderón de la Barca's earlier El golfo de las sirenas (The Sirens' Gulf, 1657), El Laurel de Apolo mixed mythological verse drama with operatic solos, popular songs and dances. The characters in these early, baroque zarzuelas were a mixture of gods, mythological creatures and rustic or pastoral comedy characters; Antonio de Literes's popular Acis y Galatea (1708) is yet another example. Unlike some other operatic forms, there were spoken interludes, often in verse.

Italian influence Edit

In 18th-century Bourbon Spain, Italian artistic style dominated in the arts, including Italian opera. Zarzuela, though still written to Spanish texts, changed to accommodate the Italian vogue. During the reign of King Charles III, political problems provoked a series of revolts against his Italian ministers; these were echoed in theatrical presentations. The older style zarzuela fell out of fashion, but popular Spanish tradition continued to manifest itself in shorter works, such as the single-scene tonadilla (or intermezzo) of which the finest literary exponent was Ramón de la Cruz. Musicians such as Antonio Rodríguez de Hita were proficient in the shorter style of works, though he also wrote a full-scale zarzuela with de la Cruz entitled Las segadoras de Vallecas (The Reapers of Vallecas, 1768). José Castel was one of several composers to write for the Teatro del Príncipe.

19th century Edit

In the 1850s and 1860s a group of patriotic writers and composers led by Francisco Barbieri and Joaquín Gaztambide revived the zarzuela form, seeing in it a possible release from French and Italian music hegemony. The elements of the work continue to be the same: sung solos and choruses, spiced with spoken scenes, and comedic songs, ensembles and dances. Costume dramas and regional variations abound, and the librettos (though often based on French originals) are rich in Spanish idioms and popular jargon.

The zarzuelas of the day included in their librettos various regionalisms and popular slang, such as that of Madrid castizos. Often, the success of a work was due to one or more songs that the public came to know and love. Despite some modifications the basic structure of the zarzuela remained the same: dialogue scenes, songs, choruses, and comic scenes generally performed by two actor-singers. The culminating masterpieces from this period were Barbieri's Pan y toros and Gaztambide's El juramento. Another notable composer from this period was Emilio Arrieta.

Romantic zarzuela Edit

After the Glorious Revolution of 1868, the country entered a deep crisis (especially economically), which was reflected in theatre. The public could not afford high-priced theatre tickets for grandiose productions, which led to the rise of the Teatros Variedades ("variety theatres") in Madrid, with cheap tickets for one-act plays (sainetes). This "theatre of an hour" had great success and zarzuela composers took to the new formula with alacrity. Single-act zarzuelas were classified as género chico ("little genre") whilst the longer zarzuelas of three acts, lasting up to four hours, were called género grande ("grand genre"). Zarzuela grande battled on at the Teatro de la Zarzuela de Madrid, founded by Barbieri and his friends in the 1850s. A newer theatre, the Apolo, opened in 1873. At first it attempted to present the género grande, but it soon yielded to the taste and economics of the time, and became the "temple" of the more populist género chico in the late 1870s.

Musical content from this era ranges from full-scale operatic arias (romanzas) through to popular songs, and dialogue from high poetic drama to lowlife comedy characters. There are also many types of zarzuela in between the two named genres, with a variety of musical and dramatic flavours.

Many of the greatest zarzuelas were written in the 1880s and 1890s, but the form continued to adapt to new theatrical stimuli until well into the 20th century. With the onset of the Spanish Civil War, the form rapidly declined, and the last romantic zarzuelas to hold the stage were written in the 1950s.

Whilst Barbieri produced the greatest zarzuela grande in El barberillo de Lavapiés, the classic exponent of the género chico was his pupil Federico Chueca, whose La gran vía (composed with Joaquín Valverde Durán) was a cult success both in Spain and throughout Europe.

The musical heir of Chueca was José Serrano, whose short, one act género chico zarzuelas - notably La canción del olvido, Alma de dios and the much later Los claveles and La dolorosa - form a stylistic bridge to the more musically sophisticated zarzuelas of the 20th century.

While the zarzuela featured (or even glorified) popular customs, festivals, and manners of speech, especially those of Madrid, something never found in a zarzuela is social criticism. They celebrated the established order of society; if a zarzuela advocated for anything, it would be for the slowing or elimination of social change.

20th century Edit

From about 1900, the term género ínfimo ("degraded" or "low genre") was coined to describe an emerging form of entertainment allied to the revista (revue) type of musical comedy: these were musical works similar to the género chico zarzuela but lighter and bolder in their social criticism,[3] with scenes portraying sexual themes and many verbal double entendres. One popular work from the género ínfimo years is La corte de Faraón (1910), by Vicente Lleó, which was based on the French operetta Madame Putiphar.

In the second decade of the century, the influences of Viennese operetta and the English followers of Sullivan such as Lionel Monckton[4] made themselves felt, in works such as Molinos de viento and El asombro de Damasco (both by Pablo Luna), before the Spanish tradition of great acts was reasserted in Amadeu Vives's Doña Francisquita (1923). The zarzuela continued to flourish in the 1930s, thanks to composers of the stature of Pablo Sorozábal – who reinvigorated it as a vehicle for socio-political comment – Federico Moreno Torroba, and Francisco Alonso.

However, the Spanish Civil War brought a decline of the genre, and after the Second World War, its extinction as a live genre was almost total. There were no new authors and the compositions are not renovated. There have been no significant new works created since the 1950s; the existing zarzuela repertoire is costly to produce, and many classics have been performed only sporadically in recent years, at least professionally.

The genre has again found favour in Spain and elsewhere: younger people, in particular, have been drawn to its lyrical music and theatrical spectacle in the 1940s and 1950s. Spanish radio and television have dedicated time to zarzuela in 1978, not least in a popular series of programs produced by TVE and entitled Antología de la zarzuela ("Zarzuela Anthology"). These were based on lip syncs of the classic recordings of the 1940s and 1950s. Some years earlier, impresario José Tamayo worked a theatrical show of the same name which popularized pieces of zarzuela through several national and international tours.[5]

Zarzuela in Catalonia Edit

While the zarzuela tradition flourished in Madrid and other Spanish cities, Catalonia developed its own zarzuela, with librettos in Catalan. The atmosphere, the plots, and the music were quite different from the model that triumphed in Madrid, as the Catalan zarzuela was looking to attract a different public, the bourgeois classes. Catalan zarzuela was turned little by little into what is called, in Catalan, teatre líric català ("Catalan lyric theater"), with a personality of its own, and with modernista lyricists and composers such as Enric Granados or Enric Morera.

In the final years of the 19th century, as modernisme emerged, one of the notable modernistas, and one of Felip Pedrell's pupils, Amadeu Vives came onto the Barcelona scene. He contributed to the creation of the Orfeó Català in 1891, along with Lluís Millet. In spite of a success sustained over many years, his musical ambition took him to Madrid, where zarzuela had a higher profile. Vives became one of the most important zarzuela composers, with such masterpieces as Doña Francisquita.

Zarzuela in Cuba and Mexico Edit

In Cuba the afrocubanismo zarzuelas of Ernesto Lecuona (María la O; El cafetal), Eliseo Grenet (La virgen morena) and Gonzalo Roig (Cecilia Valdés, based on Cirilo Villaverde's classic novel) represent a brief golden age of political and cultural importance. These and other works centred on the plight of the mulata woman and other black underclasses in Cuban society. The outstanding star of many of these productions was Rita Montaner.

Mexico likewise had its own zarzuela traditions. One example is Carlo Curti's La cuarta plana, starring Esperanza Iris.[6]

Zarzuela in the Philippines Edit

In the Philippines, the Zarzuela Musical Theatre has been widely adapted by Filipinos in their native cultures, notably in urban areas. The theatre was only introduced by the Spanish in 1878, despite being part of the Spanish Empire since the middle of the 16th century.[citation needed] During this time, the plays were performed only by Spanish people. By 1880, majority of the performers and writers were Filipinos, notably Philippine national hero, José Rizal, who was fond of the play.[citation needed] Afterwards, local languages, instead of Spanish, were used to perform the complex theatre, with additions from multiple cultures throughout the archipelago.[according to whom?]

When the Philippines was colonized by the Americans in the early 20th century, the humor from the moro-moro play was added into the Philippine zarzuela, while moving away from the traditional Spanish zarzuela. The theatre afterwards was used by Filipinos to express freedom from discrimination and colonial rule, depicting the Filipino people triumphant against the Spanish and Americans by the end of each play. The revolutionary overtones of the play prompted the American colonialists to arrest various performers and writers of the Philippine zarzuela, to the extent of forcefully shutting down entire zarzuela companies in the Philippines. In the 1920s, due to the introduction of the cinema, the zarzuela became widely popular in the rural areas, disabling the Americans from stopping the plays from spreading. The Philippine zarzuela evolved into a kind of comedy of manners distinct to the Filipino taste. In 2011, the performing art was cited by the National Commission for Culture and the Arts as one of the intangible cultural heritage of the Philippines under the performing arts category that the government may nominate in the UNESCO Intangible Cultural Heritage Lists. In 2012, through a partnership with UNESCO, the Philippine government established the documents needed for the safeguarding of the Philippine zarzuela. UNESCO has cited the Philippine zarzuela as the national theatre and opera of the Philippines.[7]

Recorded zarzuela Edit

From 1950 onwards, zarzuela prospered in a series of LP recordings from EMI, Hispavox and others, with worldwide distribution. A series produced by the Alhambra company of Madrid, the majority conducted by the leading Spanish conductor Ataulfo Argenta had particular success. Many featured singers soon to become world-famous, such as Teresa Berganza, Alfredo Kraus and Pilar Lorengar; and later, Montserrat Caballé and Plácido Domingo. Less known performers such as Ana María Iriarte, Inés Ribadeneira, Toñy Rosado, Carlos Munguía, Renato Cesari, and others frequently lent their voices to the recordings. The choirs of Orfeón Donostiarra and Singers' Choir of Madrid also contributed, rounding out the overall quality of the works. After Argenta's death others such as Indalecio Cisneros and Rafael Frühbeck de Burgos continued in his footsteps. There were also recordings made conducted by the composers themselves, such as Pablo Sorozábal and Federico Moreno Torroba. Many well-known singers, including Victoria de los Ángeles and Montserrat Caballé, have recorded albums of zarzuela songs and arias.

Many zarzuela productions are now to be seen on DVD and Blu-ray disc. In March 2009, EuroArts released Amor, Vida de Mi Vida, a recording on Blu-ray disc of an August 2007 zarzuela concert by Plácido Domingo and Ana María Martínez, with the Mozarteum Orchestra of Salzburg conducted by Jesús López-Cobos.[8] In April 2009, BBC/Opus Arte released a Blu-ray disc of a July 2006 performance of Federico Moreno Torroba's Luisa Fernanda with Plácido Domingo and Nancy Herrera, recorded at the Teatro Real de Madrid with Jesús López-Cobos conducting.[9]

In the United States, the Jarvis Conservatory of Napa, California, between 1996 and 2005, mounted several full zarzuela productions, subsequently issued on DVD and online. The series includes La dolorosa; La Gran Via; Luisa Fernanda; La verbena de la Paloma; La Rosa del Azafrán; La revoltosa; Agua, Azucarillos y Aguardiente; Doña Francisquita; Gigantes y Cabezudos; La alegría de la huerta; La chulapona; Luis Alonso (Giménez, 1896); and El barberillo de Lavapiés.[10]

Zarzuela composers Edit

Spanish zarzuelas selection (including zarzuela-style operas) Edit

References Edit

  1. ^ Corominas, Joan (1980). Breve diccionario etimológico de la lengua castellana (in Spanish) (3rd ed.). Madrid: Editorial Gredos. Zarzuela, princ. S. XVII: el nombre de esta representación lírico-dramática viene, según algunos, del Real Sitio de la Zarzuela, donde se representaría la primera, pero la historia del vocablo no se ha averiguado bien y en su primera aparición es nombre de una danza.
  2. ^ Antonio, Edwin (7 February 2009). . Treasures of Ilocandia and the World. Archived from the original on 24 June 2010. Retrieved 30 June 2010.
  3. ^ Doppelbauer, Max; Sartingen, Kathrin, eds. (2010). De la zarzuela al cine: Los medios de comunicacion populares y su traduccion de la voz marginal (in Spanish). München: Martin Meidenbauer. ISBN 978-3-89975-208-3.
  4. ^ Webber, Christopher (2005). . zarzuela.net (Review). Archived from the original on 20 August 2008. Retrieved 15 January 2005.
  5. ^ Torres, Rosana (16 December 1987). . El País (in Spanish). Archived from the original on 14 October 2019. Retrieved 14 October 2019.
  6. ^ Clark, Walter Aaron, ed. (2002). From Tejano to Tango: Latin American Popular Music. New York: Routledge. p. 101.
  7. ^ (PDF). Archived from the original (PDF) on 28 January 2018. Retrieved 22 April 2018 – via ichcap.org.
  8. ^ Erickson, Glenn (1 May 2009). . DVD Talk. Archived from the original on 12 June 2009. Retrieved 16 August 2009.
  9. ^ Kauffman, Jeffrey (27 June 2009). . DVD Talk. Archived from the original on 29 August 2009. Retrieved 16 August 2009.
  10. ^ . Jarvis Conservatory. Archived from the original on 21 November 2021. Retrieved 21 November 2021.

Further reading Edit

  • Alier, Roger (auct.) "Zarzuela", in L. Macy (ed.). New Grove Dictionary of Music and Musicians Online. Accessed 4 Jul 05. www.grovemusic.com(subscription required) 16 May 2008 at the Wayback Machine
  • Casares Rodicio, Emilio (ed.). Diccionario de la Zarzuela. España e Hispanoamérica. (two vols.) Madrid, ICCMU, 2002-3
  • Cincotta, Vincent J. Zarzuela-The Spanish Lyric Theatre. University of Wollongong Press, rev. ed. 2011,pp. 766 ISBN 0-86418-700-9
  • History of Zarzuela 29 December 2017 at the Wayback Machine at Zarzuela.net
  • Pizà, Antoni. Antoni Literes. Introducció a la seva obra (Palma de Mallorca: Edicions Documenta Balear, 2002) ISBN 84-95694-50-6* Salaün, Serge. El cuplé (1900-1936). (Madrid: Espasa-Calpe, 1990)
  • Serna, Pierre-René. Guide de la Zarzuela - La zarzuela de Z à A. Bleu Nuit Éditeur, Paris, November 2012, 336 pp, 16,8 x 24 cm, ISBN 978-2-913575-89-9
  • Young, Clinton D. Music Theater and Popular Nationalism in Spain, 1880–1930. Louisiana State University Press, 2016.
  • Webber, Christopher. The Zarzuela Companion. Maryland, Scarecrow Press, 2002. Lib. Cong. 2002110168 / ISBN 0-8108-4447-8

External links Edit

  • Zarzuela.net edited by Christopher Webber and Ignacio Jassa Haro
  • Zarzuela Discography at operadis-opera-discography.org.uk
  • Zarzueleros.com in Spanish.
  • The Fernández-Shaw saga and the lyrical theatre (in English and Spanish)

zarzuela, other, uses, disambiguation, spanish, pronunciation, θaɾˈθwela, spanish, lyric, dramatic, genre, that, alternates, between, spoken, sung, scenes, latter, incorporating, operatic, popular, songs, well, dance, etymology, name, uncertain, some, propose,. For other uses see Zarzuela disambiguation Zarzuela Spanish pronunciation 8aɾˈ8wela is a Spanish lyric dramatic genre that alternates between spoken and sung scenes the latter incorporating operatic and popular songs as well as dance The etymology of the name is uncertain but some propose it may derive from the name of a royal hunting lodge the Palace of Zarzuela near Madrid where that type of entertainment was allegedly first presented to the court 1 The palace in turn was named after the brambles zarzas that grew there Poster of Dona FrancisquitaThere are two main forms of zarzuela Baroque zarzuela c 1630 1750 the earliest style and Romantic zarzuela c 1850 1950 Romantic zarzuelas can be further divided into two main subgenres genero grande and genero chico although other sub divisions exist Zarzuela spread to the Spanish dominions and many Spanish speaking countries notably Cuba developed their own traditions Zarzuela is also a strong tradition in the Philippines where it is also referred to in certain dialects as sarswela sarsuela 2 Other regional and linguistic variants in Spain include the Basque zartzuela and the Catalan sarsuela A masque like musical theatre had existed in Spain since the time of Juan del Encina The zarzuela genre was innovative in giving a dramatic function to the musical numbers which were integrated into the plot of the work Dances and choruses were incorporated as well as solo and ensemble numbers all to orchestral accompaniment Contents 1 Baroque zarzuela 2 Italian influence 3 19th century 4 Romantic zarzuela 5 20th century 6 Zarzuela in Catalonia 7 Zarzuela in Cuba and Mexico 8 Zarzuela in the Philippines 9 Recorded zarzuela 10 Zarzuela composers 11 Spanish zarzuelas selection including zarzuela style operas 12 References 13 Further reading 14 External linksBaroque zarzuela EditIn 1657 at the Royal Palace of El Prado King Philip IV of Spain Queen Mariana and their court attended the first performance of a new comedy by Pedro Calderon de la Barca with music by Juan Hidalgo de Polanco titled El Laurel de Apolo The Laurels of Apollo El Laurel de Apolo traditionally symbolises the birth of a new musical genre that had become known as La Zarzuela Like Calderon de la Barca s earlier El golfo de las sirenas The Sirens Gulf 1657 El Laurel de Apolo mixed mythological verse drama with operatic solos popular songs and dances The characters in these early baroque zarzuelas were a mixture of gods mythological creatures and rustic or pastoral comedy characters Antonio de Literes s popular Acis y Galatea 1708 is yet another example Unlike some other operatic forms there were spoken interludes often in verse Italian influence EditIn 18th century Bourbon Spain Italian artistic style dominated in the arts including Italian opera Zarzuela though still written to Spanish texts changed to accommodate the Italian vogue During the reign of King Charles III political problems provoked a series of revolts against his Italian ministers these were echoed in theatrical presentations The older style zarzuela fell out of fashion but popular Spanish tradition continued to manifest itself in shorter works such as the single scene tonadilla or intermezzo of which the finest literary exponent was Ramon de la Cruz Musicians such as Antonio Rodriguez de Hita were proficient in the shorter style of works though he also wrote a full scale zarzuela with de la Cruz entitled Las segadoras de Vallecas The Reapers of Vallecas 1768 Jose Castel was one of several composers to write for the Teatro del Principe 19th century EditIn the 1850s and 1860s a group of patriotic writers and composers led by Francisco Barbieri and Joaquin Gaztambide revived the zarzuela form seeing in it a possible release from French and Italian music hegemony The elements of the work continue to be the same sung solos and choruses spiced with spoken scenes and comedic songs ensembles and dances Costume dramas and regional variations abound and the librettos though often based on French originals are rich in Spanish idioms and popular jargon The zarzuelas of the day included in their librettos various regionalisms and popular slang such as that of Madrid castizos Often the success of a work was due to one or more songs that the public came to know and love Despite some modifications the basic structure of the zarzuela remained the same dialogue scenes songs choruses and comic scenes generally performed by two actor singers The culminating masterpieces from this period were Barbieri s Pan y toros and Gaztambide s El juramento Another notable composer from this period was Emilio Arrieta Romantic zarzuela EditAfter the Glorious Revolution of 1868 the country entered a deep crisis especially economically which was reflected in theatre The public could not afford high priced theatre tickets for grandiose productions which led to the rise of the Teatros Variedades variety theatres in Madrid with cheap tickets for one act plays sainetes This theatre of an hour had great success and zarzuela composers took to the new formula with alacrity Single act zarzuelas were classified as genero chico little genre whilst the longer zarzuelas of three acts lasting up to four hours were called genero grande grand genre Zarzuela grande battled on at the Teatro de la Zarzuela de Madrid founded by Barbieri and his friends in the 1850s A newer theatre the Apolo opened in 1873 At first it attempted to present the genero grande but it soon yielded to the taste and economics of the time and became the temple of the more populist genero chico in the late 1870s Musical content from this era ranges from full scale operatic arias romanzas through to popular songs and dialogue from high poetic drama to lowlife comedy characters There are also many types of zarzuela in between the two named genres with a variety of musical and dramatic flavours Many of the greatest zarzuelas were written in the 1880s and 1890s but the form continued to adapt to new theatrical stimuli until well into the 20th century With the onset of the Spanish Civil War the form rapidly declined and the last romantic zarzuelas to hold the stage were written in the 1950s Whilst Barbieri produced the greatest zarzuela grande in El barberillo de Lavapies the classic exponent of the genero chico was his pupil Federico Chueca whose La gran via composed with Joaquin Valverde Duran was a cult success both in Spain and throughout Europe The musical heir of Chueca was Jose Serrano whose short one act genero chico zarzuelas notably La cancion del olvido Alma de dios and the much later Los claveles and La dolorosa form a stylistic bridge to the more musically sophisticated zarzuelas of the 20th century While the zarzuela featured or even glorified popular customs festivals and manners of speech especially those of Madrid something never found in a zarzuela is social criticism They celebrated the established order of society if a zarzuela advocated for anything it would be for the slowing or elimination of social change 20th century Edit nbsp Chateau Margaux source source A zarzuela sung by Lola Membrives and Paco Martinez recorded in Barcelona in 1903 Problems playing this file See media help From about 1900 the term genero infimo degraded or low genre was coined to describe an emerging form of entertainment allied to the revista revue type of musical comedy these were musical works similar to the genero chico zarzuela but lighter and bolder in their social criticism 3 with scenes portraying sexual themes and many verbal double entendres One popular work from the genero infimo years is La corte de Faraon 1910 by Vicente Lleo which was based on the French operetta Madame Putiphar In the second decade of the century the influences of Viennese operetta and the English followers of Sullivan such as Lionel Monckton 4 made themselves felt in works such as Molinos de viento and El asombro de Damasco both by Pablo Luna before the Spanish tradition of great acts was reasserted in Amadeu Vives s Dona Francisquita 1923 The zarzuela continued to flourish in the 1930s thanks to composers of the stature of Pablo Sorozabal who reinvigorated it as a vehicle for socio political comment Federico Moreno Torroba and Francisco Alonso However the Spanish Civil War brought a decline of the genre and after the Second World War its extinction as a live genre was almost total There were no new authors and the compositions are not renovated There have been no significant new works created since the 1950s the existing zarzuela repertoire is costly to produce and many classics have been performed only sporadically in recent years at least professionally The genre has again found favour in Spain and elsewhere younger people in particular have been drawn to its lyrical music and theatrical spectacle in the 1940s and 1950s Spanish radio and television have dedicated time to zarzuela in 1978 not least in a popular series of programs produced by TVE and entitled Antologia de la zarzuela Zarzuela Anthology These were based on lip syncs of the classic recordings of the 1940s and 1950s Some years earlier impresario Jose Tamayo worked a theatrical show of the same name which popularized pieces of zarzuela through several national and international tours 5 Zarzuela in Catalonia EditWhile the zarzuela tradition flourished in Madrid and other Spanish cities Catalonia developed its own zarzuela with librettos in Catalan The atmosphere the plots and the music were quite different from the model that triumphed in Madrid as the Catalan zarzuela was looking to attract a different public the bourgeois classes Catalan zarzuela was turned little by little into what is called in Catalan teatre liric catala Catalan lyric theater with a personality of its own and with modernista lyricists and composers such as Enric Granados or Enric Morera In the final years of the 19th century as modernisme emerged one of the notable modernistas and one of Felip Pedrell s pupils Amadeu Vives came onto the Barcelona scene He contributed to the creation of the Orfeo Catala in 1891 along with Lluis Millet In spite of a success sustained over many years his musical ambition took him to Madrid where zarzuela had a higher profile Vives became one of the most important zarzuela composers with such masterpieces as Dona Francisquita Zarzuela in Cuba and Mexico EditIn Cuba the afrocubanismo zarzuelas of Ernesto Lecuona Maria la O El cafetal Eliseo Grenet La virgen morena and Gonzalo Roig Cecilia Valdes based on Cirilo Villaverde s classic novel represent a brief golden age of political and cultural importance These and other works centred on the plight of the mulata woman and other black underclasses in Cuban society The outstanding star of many of these productions was Rita Montaner Mexico likewise had its own zarzuela traditions One example is Carlo Curti s La cuarta plana starring Esperanza Iris 6 Zarzuela in the Philippines EditIn the Philippines the Zarzuela Musical Theatre has been widely adapted by Filipinos in their native cultures notably in urban areas The theatre was only introduced by the Spanish in 1878 despite being part of the Spanish Empire since the middle of the 16th century citation needed During this time the plays were performed only by Spanish people By 1880 majority of the performers and writers were Filipinos notably Philippine national hero Jose Rizal who was fond of the play citation needed Afterwards local languages instead of Spanish were used to perform the complex theatre with additions from multiple cultures throughout the archipelago according to whom When the Philippines was colonized by the Americans in the early 20th century the humor from the moro moro play was added into the Philippine zarzuela while moving away from the traditional Spanish zarzuela The theatre afterwards was used by Filipinos to express freedom from discrimination and colonial rule depicting the Filipino people triumphant against the Spanish and Americans by the end of each play The revolutionary overtones of the play prompted the American colonialists to arrest various performers and writers of the Philippine zarzuela to the extent of forcefully shutting down entire zarzuela companies in the Philippines In the 1920s due to the introduction of the cinema the zarzuela became widely popular in the rural areas disabling the Americans from stopping the plays from spreading The Philippine zarzuela evolved into a kind of comedy of manners distinct to the Filipino taste In 2011 the performing art was cited by the National Commission for Culture and the Arts as one of the intangible cultural heritage of the Philippines under the performing arts category that the government may nominate in the UNESCO Intangible Cultural Heritage Lists In 2012 through a partnership with UNESCO the Philippine government established the documents needed for the safeguarding of the Philippine zarzuela UNESCO has cited the Philippine zarzuela as the national theatre and opera of the Philippines 7 Recorded zarzuela EditFrom 1950 onwards zarzuela prospered in a series of LP recordings from EMI Hispavox and others with worldwide distribution A series produced by the Alhambra company of Madrid the majority conducted by the leading Spanish conductor Ataulfo Argenta had particular success Many featured singers soon to become world famous such as Teresa Berganza Alfredo Kraus and Pilar Lorengar and later Montserrat Caballe and Placido Domingo Less known performers such as Ana Maria Iriarte Ines Ribadeneira Tony Rosado Carlos Munguia Renato Cesari and others frequently lent their voices to the recordings The choirs of Orfeon Donostiarra and Singers Choir of Madrid also contributed rounding out the overall quality of the works After Argenta s death others such as Indalecio Cisneros and Rafael Fruhbeck de Burgos continued in his footsteps There were also recordings made conducted by the composers themselves such as Pablo Sorozabal and Federico Moreno Torroba Many well known singers including Victoria de los Angeles and Montserrat Caballe have recorded albums of zarzuela songs and arias Many zarzuela productions are now to be seen on DVD and Blu ray disc In March 2009 EuroArts released Amor Vida de Mi Vida a recording on Blu ray disc of an August 2007 zarzuela concert by Placido Domingo and Ana Maria Martinez with the Mozarteum Orchestra of Salzburg conducted by Jesus Lopez Cobos 8 In April 2009 BBC Opus Arte released a Blu ray disc of a July 2006 performance of Federico Moreno Torroba s Luisa Fernanda with Placido Domingo and Nancy Herrera recorded at the Teatro Real de Madrid with Jesus Lopez Cobos conducting 9 In the United States the Jarvis Conservatory of Napa California between 1996 and 2005 mounted several full zarzuela productions subsequently issued on DVD and online The series includes La dolorosa La Gran Via Luisa Fernanda La verbena de la Paloma La Rosa del Azafran La revoltosa Agua Azucarillos y Aguardiente Dona Francisquita Gigantes y Cabezudos La alegria de la huerta La chulapona Luis Alonso Gimenez 1896 and El barberillo de Lavapies 10 Zarzuela composers EditMain article List of zarzuela composersSpanish zarzuelas selection including zarzuela style operas EditAdios a la bohemia 1933 Pablo Sorozabal Agua azucarillos y aguardiente 1898 Federico Chueca La alegria de la huerta 1900 Federico Chueca Alma de Dios 1907 Jose Serrano El ano pasado por agua 1889 Federico Chueca El asombro de Damasco 1916 Pablo Sorozabal El barberillo de Lavapies 1874 Francisco Asenjo Barbieri El bateo 1901 Federico Chueca Black el payaso 1942 Pablo Sorozabal La boda de Luis Alonso 1896 Geronimo Gimenez Bohemios 1904 Vives La bruja 1889 Ruperto Chapi Los burladores 1948 Pablo Sorozabal La calesera 1925 Francisco Alonso La cancion del olvido 1928 Jose Serrano El caserio 1926 Jesus Guridi El chaleco blanco 1890 Federico Chueca La chulapona 1934 Federico Moreno Torroba Los claveles 1929 Jose Serrano La corte de Faraon 1910 Vicente Lleo Los diamantes de la corona 1854 Francisco Asenjo Barbieri La Dogaresa 1916 Rafael Millan La dolorosa 1930 Jose Serrano Don Gil de Alcala 1932 Manuel Penella Don Manolito 1943 Pablo Sorozabal Dona Francisquita 1923 Amadeo Vives El duo de La africana 1893 Manuel Fernandez Caballero La fiesta de San Anton 1898 Tomas Torregrosa La fontana del placer Jose Castel Los gavilanes 1923 Jacinto Guerrero La generala 1912 Amadeo Vives Gigantes y cabezudos 1898 Manuel Fernandez Caballero Las golondrinas 1914 Jose Maria Usandizaga La Gran Via 1886 Federico Chueca El huesped del Sevillano 1926 Jacinto Guerrero Jugar con fuego 1855 Francisco Asenjo Barbieri El juramento 1854 Joaquin Gaztambide Katiuska 1931 Pablo Sorozabal Las Leandras 1931 Francisco Alonso Luisa Fernanda 1932 Federico Moreno Torroba La del manojo de rosas 1934 Pablo Sorozabal Marina 1855 71 Emilio Arrieta Maruxa 1914 Amadeo Vives La leyenda del beso 1924 Reveriano Soutullo and Juan Vert Me llaman la Presumida 1935 Francisco Alonso Molinos de viento 1910 Pablo Luna La monteria 1923 Jacinto Guerrero El nino judio 1918 Pablo Luna Pan y toros 1864 Francisco Asenjo Barbieri La parranda 1928 Francisco Alonso La patria chica 1909 Ruperto Chapi La picara molinera 1928 Pablo Luna La revoltosa 1897 Ruperto Chapi El rey que rabio 1890 Ruperto Chapi La rosa del azafran 1930 Jacinto Guerrero El santo de la Isidra 1898 Tomas Torregrosa El senor Joaquin 1900 Manuel Fernandez Caballero Los sobrinos del capitan Grant 1877 Manuel Fernandez Caballero La del Soto del Parral 1927 Reveriano Soutullo and Juan Vert La tabernera del puerto 1936 Pablo Sorozabal La tempestad 1882 Ruperto Chapi La tempranica 1900 Geronimo Gimenez La verbena de la Paloma 1894 Tomas Breton La viejecita 1897 Manuel Fernandez Caballero La villana 1927 Amadeo VivesReferences Edit Corominas Joan 1980 Breve diccionario etimologico de la lengua castellana in Spanish 3rd ed Madrid Editorial Gredos Zarzuela princ S XVII el nombre de esta representacion lirico dramatica viene segun algunos del Real Sitio de la Zarzuela donde se representaria la primera pero la historia del vocablo no se ha averiguado bien y en su primera aparicion es nombre de una danza Antonio Edwin 7 February 2009 Zarzuela Ilocana in Competition Treasures of Ilocandia and the World Archived from the original on 24 June 2010 Retrieved 30 June 2010 Doppelbauer Max Sartingen Kathrin eds 2010 De la zarzuela al cine Los medios de comunicacion populares y su traduccion de la voz marginal in Spanish Munchen Martin Meidenbauer ISBN 978 3 89975 208 3 Webber Christopher 2005 El asombro de Damasco zarzuela net Review Archived from the original on 20 August 2008 Retrieved 15 January 2005 Torres Rosana 16 December 1987 Tamayo presenta en la Nueva antologia lo mas sobresaliente de la zarzuela moderna El Pais in Spanish Archived from the original on 14 October 2019 Retrieved 14 October 2019 Clark Walter Aaron ed 2002 From Tejano to Tango Latin American Popular Music New York Routledge p 101 Zarzuela Musical Theatre PDF Archived from the original PDF on 28 January 2018 Retrieved 22 April 2018 via ichcap org Erickson Glenn 1 May 2009 Amor Vida de Mi Vida Zarzuelas by Placido Domingo and Ana Maria Martinez Blu ray DVD Talk Archived from the original on 12 June 2009 Retrieved 16 August 2009 Kauffman Jeffrey 27 June 2009 Luisa Fernanda Blu ray DVD Talk Archived from the original on 29 August 2009 Retrieved 16 August 2009 Zarzuela Video Catalogue Productions From the Jarvis Conservatory Jarvis Conservatory Archived from the original on 21 November 2021 Retrieved 21 November 2021 Further reading EditAlier Roger auct Zarzuela in L Macy ed New Grove Dictionary of Music and Musicians Online Accessed 4 Jul 05 www grovemusic com subscription required Archived 16 May 2008 at the Wayback Machine Casares Rodicio Emilio ed Diccionario de la Zarzuela Espana e Hispanoamerica two vols Madrid ICCMU 2002 3 Cincotta Vincent J Zarzuela The Spanish Lyric Theatre University of Wollongong Press rev ed 2011 pp 766 ISBN 0 86418 700 9 History of Zarzuela Archived 29 December 2017 at the Wayback Machine at Zarzuela net Piza Antoni Antoni Literes Introduccio a la seva obra Palma de Mallorca Edicions Documenta Balear 2002 ISBN 84 95694 50 6 Salaun Serge El cuple 1900 1936 Madrid Espasa Calpe 1990 Serna Pierre Rene Guide de la Zarzuela La zarzuela de Z a A Bleu Nuit Editeur Paris November 2012 336 pp 16 8 x 24 cm ISBN 978 2 913575 89 9 Young Clinton D Music Theater and Popular Nationalism in Spain 1880 1930 Louisiana State University Press 2016 Webber Christopher The Zarzuela Companion Maryland Scarecrow Press 2002 Lib Cong 2002110168 ISBN 0 8108 4447 8External links Edit nbsp Wikimedia Commons has media related to Zarzuelas Zarzuela net edited by Christopher Webber and Ignacio Jassa Haro Zarzuela Discography at operadis opera discography org uk Zarzueleros com in Spanish The Fernandez Shaw saga and the lyrical theatre in English and Spanish Retrieved from https en wikipedia org w index php title Zarzuela amp oldid 1176924942, wikipedia, wiki, book, books, library,

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