AMIGOS DE LA ZARZUELA

Maxim Anikushin, Conchi Moyano, Anna Tonna, Alejandro Olmedo, and Ricardo Rosa

Everything we know about the art form known as zarzuela we learned from Maestro Jorge Parodi. Today we learned some more interesting facts, none of which were necessary to appreciate the gorgeous melodies. The word comes from the word "zarza" which means "blackberry bush". 

It was during the reign of King Felipe IV who ascended the Spanish throne in 1621 and was known as a patron of the arts, not to be confused with the miserable Felipe II of the Verdi opera Don Carlo. The King and his court frequented the Real Sitio del Pardo in Madrid which was surrounded by blackberry bushes. There they enjoyed musical and comedic entertainment.  Now you know!

As Spain is somewhat geographically removed from Europe, zarzuela evolved as Spain's very own musical entertainment. By the 18th c. Italian and French opera became all the rage and supplanted zarzuela, but there was a renaissance in the 19th c. when several excellent Spanish composers revived the artform. Indeed, zarzuela was carried to the New World where it flourished into the middle of the 20th c. It remains popular in Puerto Rico and we understand that Placido Domingo has done much to introduce zarzuela to our nation's capitol.

We have never seen a complete zarzuela but aim to do something about that! Every time we hear an aria or duet extracted from a zarzuela we long to see it in toto. The plots remind us of telenovelas and the melodies are memorable.

Yesterday Amigos de la Zarzuela presented one of their enjoyable afternoon concerts at Weill Recital Hall. It is satisfying to know that there is a sizable and enthusiastic audience for this analogue to German singspiel, French opéra comique, and Italian opera buffa.

The program was generous and included four experienced performers, one for each fach--soprano Conchi Moyano, mezzo-soprano Anna Tonna, tenor Alejandro Olmedo, and baritone Ricardo Rosa.

It would be difficult to single out any one number because they were all charming in their own way.  But since we love duets, let us note our admiration for "Porque de mis ojos los tuyos retiras" from Ruperto Chapi's La Revoltosa. It seemed to be an enactment of a lovers spat and reconciliation, performed by Ms. Tonna and Mr. Rosa. The singing was incomparable and the acting so effective that even a person ignorant of the Spanish language would have understood.

Ms. Tonna's instrument has a pleasing texture and plenty of strength in her lower register. We loved her melismatic singing in her solo "Loa al fandanguillo" by Romero.

Mr. Rosa's full throated baritone was just right for "Oh licor que das la vida" from Soutullo y Vert's La Leyenda del Beso.

"Caballero del alto plumero" is a marvelously flirtatious duet from Torroba's Luisa Fernanda, here given a marvelous performance by Ms. Moyano and Mr. Olmedo.

Ms. Moyano has an instrument of great power with an expansive top. She performed "La Petenera" from Torroba's La Marchenera with warm expansive tone and lovely phrasing.

Mr. Olmedo's best turn was in the romantic ballad "Flor roja" from Guerrero's Los Gavilanes in which he floated the high note with exceptional delicacy.

The pianist for the evening, Maxim Anikushin, certainly accompanied with sazon!  However, he also performed some solo works showing his pianistic skills without distraction. Our favorite without a doubt was the brief introspective "Intermezzo" by Manuel Ponce. We always prefer such pieces to the virtuoso ones but that is just our taste.

A special feature of the program was the dancing of Elizabeth Torras.

One rarely witnesses such versatility but we enjoyed Ms. Torras' dancing in three different styles. Dressed in flowing white and accompanying herself with castanets, she performed the graceful "La Boda de Luis Alonso" by Gimenez with all the grace of classical dance.

Dressed in masculine attire, she performed "Farruca del molinero" from Manuel de Falla's El Sombrero de Tres Picos (known on English programs as The Three-Cornered Hat. The simplicity of the piano rhythm gave her an opportunity to embellish the 4/4 rhythm with rapid and forceful Flamenco-inflected footwork.

In her final selection, she danced in a traditional Flamenco gown with a long train that she kicked around artistically and held up over her head at one point. Isaac Albeniz' Asturias was rhythmically and powerfully performed by both Ms. Torras and Mr. Anikushin. Her graceful arms suggested the arm movements of Indian dance which surely influenced Flamenco.

It certainly was a fine afternoon of music and dance, one we enjoyed immensely.

(c) meche kroop

AMIGOS DE LA ZARZUELA

Amaya Arberas, Alejandro Olmedo, Anna Tonna, Gabriela Granados, and Ricardo Rosa

Just as Spain is kind of a part of Europe but not exactly, so zarzuela is kind of an opera but not exactly.  Nor is zarzuela just one thing. This amalgam of operatic singing, popular song, spoken word, and dance can be thought of as Spain's response to the singspiel of Germany, the operetta of Austria, the opéra comique of France. Moreover, zarzuela in the baroque period was very different from zarzuela of the romantic period. Just as in European opera, the focus shifted from stories of mythic heroes and shepherdesses to stories about real people.

So, we are learning about an art form which evolved from the 17th c. to the 20th c.  To our knowledge no new zarzuelas have been written since WWII. Zarzuelas written in the New World began to show signs of revolutionary ideas, as opposed to the conservative maintenance of the status quo. We have much to learn and if this topic interests you, a good place to start is, of course, Wikipedia.

Yesterday afternoon we attended a festive gala produced by Amigos de la Zarzuela. What impressed us most about every singer was the quality missing from Friday night's recital at Carnegie Hall. The four singers employed body and soul to communicate with the audience. The involvement was fierce and we loved that quality. It felt so special to be drawn into their world.

Soprano Amaya Arberas, reviewed several times and very recently (reviews available through the search bar), sang 20th c. Cuban composer Rodrigo Prat's "Ana Maria Belén" from Maria Belén Chacón. One could believe her living the role, such was the level of intensity of involvement.

Her performance of the strophic "Carceleras" from Ruperto Chapí's 19th c. Las Hijas del Zebedeo was flirtatious and featured a marvelous vocalise, showing off Ms. Arberas' bel canto strengths.

But perhaps the selection we enjoyed the most was her duet with mezzo-soprano Anna Tonna.  Francisco Asenja Barbieri also composed during the 19th c. and "Niña que a vender flores" from Los Diamantes de la Corona was given a fine performance with the two voices joining in perfect harmony.

Ms. Tonna also had a fine solo in "De la Serrania: Loa al fandanguillo" a canción written by Modesto Romero in the early 20th c. The song is a passionate one and Ms. Tonna sang it with ample sazón, negotiating the turns without sacrificing the flamenco flavor.

Speaking of flamenco flavor, dancer Gabriela Granados contributed two lovely dances to the program. This was not the modernized overly-choreographed flamenco that has been boring us lately.  Nor was it the brooding authentic flamenco with its passionate heart-breaking singing.  Rather it was one classically trained dancer focused on communing with the music and with the audience.

The first number was the "Fandango" from Amadeo Vives' early 20th c. zarzuela Dona Francisquita. Ms. Granados employed no extravagant effects but danced with classical grace using castanets and footwork to fine advantage. Her second number was one she choreographed herself to Isaac Albeniz' "Tango". Gone were the castanets with a flirtatious fan taking its place.

Tenor Alejandro Olmedo has an expansive style and some wonderful training in the bel canto style which was revealed in the way he handled the beautiful pure vowels of the Spanish language. We enjoyed his "Te quiero morena" from Jose Serrano's El Trust de Los Tenorios.

The popular "No puede ser" from Pablo Sorozábal's La Tabernera del Puerto was sung with heart and soul and a wide range of feeling tone.

Ricardo Rosa has a sizable baritone with a pleasing vibrato. He sang "Mi aldea" from Jacinto Guerrero's early 20th c. zarzuela Los Gavilanes. Mr. Rosa must have a special affinity for the works of Guerrero; he joined voices with Ms. Tonna for a romantic duet from the composer's La Rosa del Azafrán.

His performance of the drinking song "Oh Licor que das la vida" from La Leyenda del Beso by Reveriano Soutullo y Juan Vert was performed with rhythm and panache.

One of our favorite zarzuela duets is that between the duchess and the dashing colonel from Federico Moreno Torroba's Luisa Fernanda which we just heard a few days earlier sung by singers from Argentina. We can well understand why it frequently winds up on recital programs because it is a charming flirtatious piece. Ms. Arberas and Mr. Olmedo brought the flirtation to vivid life.

The pianist for the evening was Maxim Anikushin. One would not expect so much Spanish sabor from a Russian soul but there it was! Mr. Anikushin seemed to be having as much fun as the dancer and singers. He opened the program with Antonio Soler's 18th c. piece, a relatively sedate Sonata.

Then he moved on to Isaac Albeniz' far more exciting Asturias, which served to set the Spanish tone for the evening. The A-section gave the piano an opportunity to sound like the guitar while the B-section was more lyrical.

He also performed Joaquin Larregla's most famous work for piano "Viva Navarra" in which melodies tumble forth, awakening memories of oft heard Spanish music.

The fine program drew to a close with a spirited toe-tapping finale--the quartet from Agua, Azucarillos y Aguardiente. Water, sweetmeats and booze.  Sounds good to us!

(c) meche kroop