Where Tomás Bretón’s La Verbena de la Paloma, reissued by Naïve simultaneously with this disc (see page 84), represents the best of Spanish zarzuela’s. Members of the FIU Opera Theater perform Doña Francisquita, a classic of the. WASHINGTON — “Dona Francisquita” is charming and trivial — or, if you prefer, trivial but charming. It’s a fine example of why zarzuela, a folk.
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Views Read Edit View history. It became very popular, receiving over performances throughout the Spanish-speaking world in the years immediately following its premiere.
‘Dona Francisquita’ is laudable but slight
Situated in Madrid in the mids, the curtain opens on carnival time. The two women finally go back into their house, and the cries of the street sellers are heard once again.
Fending off several male admirers, he regrets thinking up such an idiotic ploy francisquuta get close to the girls without attracting suspicion. Webarchive template wayback links Commons category link from Wikidata. Lope de Vega ‘s La discreta enamorada.
He tells Aurora that she no longer has any power over him, which at last piques her interest in him. Cardona and Fernando hear the wedding party of their student friends coming towards the church accompanied by a rondalla of bandurrias and guitars Coro: Mail me or visit my Homepage. He first recorded extended excerpts some 35 years previously, and the youthful thrust of that recording is obviously missing here.
Zarzuela Doña Francisquita at the Gran Teatro Nacional de Lima
Distant sounds of night revelry are heard as the night watchman does his rounds Preludio: However, Aurora will have nothing to do with him. Act 3, Scene 1 – A Madrid street, later that evening. Selected comparisons Vives Dona Francisquita.
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Stage director Emilio Sagi managed to keep the action moving around the pillars, but his finest touch was with the masked players of Mardi Gras who float in and out of the action. Despite his confused feelings, Fernando convinces Cardona to participate in a farce in which his friend cross-dresses as a woman; the two interact amorously and succeed in making Aurora jealous.
At the same time, she must fend off Fernando’s father, Don Matias, who rfancisquita paying court to her, ignoring the mature charms placed before him by her widowed mother.
But his musical skills are as slight as the story.
Vives ‘ harmonic invention and excellent orchestration are apparent from the outset. Kraus and Bayo have the bulk of the solo singing, but there is rich support from mezzo Raquel Pierotti as the displaced Aurora and from Santiago San Jerico, whose light tenor contrasts well with Kraus. Fernando’s passion for Francisquita starts to grow. Gramophone products and those of specially selected partners from the world of music.
Aurora enrages Lorenzo by trying to push Fernando into dancing a Mazurca with her. I walked out unable to recall a single melody. His friend Cardona takes him to task and suggests that he would be happier with her than Aurora. Somehow, composer Amadeo Vives manages to stretch this slender plot to epic length. It was premiered at the Teatro Apolo, Madrid, on October 17, So Francisquita is able to carry out a complicated plan to capture Fernando, a university student infatuated with a beautiful but heartless actress, La Beltrana.
Fernando resolves to make Francisquita believe he is in love with her in order to ignite the flame of jealousy in Aurora. The production, which is shared with the Teatro Lirico Nacional de la Zarzuela of Madrid and the Teatro Colon in Buenos Aires, is a handsome thing, with an elaborate set somewhat cluttered with pillars by Ezio Frigerio and beautiful costumes by Franca Squarciapino.
La Beltrana reappears with her friend Irene, and orders the jealous Lorenzo to find her a carriage to take her to the Carnival. But not least, this is Madrid at carnival time: When Francisquita reappears Fernando puts his ruse into operation Escena: Drinking Hanging Out In Love. Cardona informs the moody Aurora that Fernando has gone to the dance with Francisquita. At the urging of Cardona, Fernando also makes advances to Francisquita hoping to make Aurora jealous.
FIU Sings! Doña Francisquita – School of Music
Zarzuela by Amadeo Vives. The act ends as the wedding party emerge from the church, watched by Fernando and the secretly confident Francisquita. When he took the job, he extracted a promise from the board that he could present one off-the-beaten-track piece of repertory each season.
Sexy Trippy All Moods. But technically, as well as for completeness and I should not wish to miss a minute of this glorious scorethis recording is streets ahead. All is resolved after a series of misunderstandings and machinations involving Cardona disguising himself as a woman; Aurora’s lover, Lorenzo Perez, challenging Fernando to a duel; and rumours that Fernando plans to marry Francisquita’s mother to the subsequent horror of Don Mathias.
Joan Sullivan’s lighting brings out the glories of the day — the opera takes place on Mardi Gras — from bright morning to festive evening; and in Act 2, she creates a long, long sunset: Don Mathias eventually realizes he is too old for Francisquita and gives his blessing to the young couple.
Carnival revellers arrive and an impromptu dance is arranged Coro: Cardona tries to make his poetic friend understand that the dropped handkerchief was a sign, and when Fernando hears Francisquita singing inside her house he begins to take the hint Terceto: