Name: Doña Francisquita
Start: 2023-09-29T00:00:00.000Z
End: 2023-10-01T00:00:00.000Z
Location: Teatro Cervantes

Organization

Choreographer

Javier Latorre

Conductor

José María Moreno

Stage director

Francisco López

Chorus master

María del Mar Muñoz Varo

Singer

Soprano

María José Moreno

Doña Francisquita

Mezzo-soprano

Mónica Redondo

Aurora

Milagros Martín

Dona Francisca

Lucía Millán

Irene

Tenor

Ismael Jordi

Fernando

Bass

Santos Ariño

Don Matías

Jesús Álvarez

Cardona

Baritone

Antonio Torres

Lorenzo Perez

Teatro Cervantes Malaga

Others

Coro De ópera De Málaga

Orchestra

Orquesta Filarmónica de Málaga

Málaga

Spain

Teatro Cervantes

Doña Francisquita Vives

Public

Private

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Chorus Director

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Countertenor

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

Según el subtítulo, la zarzuela más famosa de Vives y una de las más emblemáticas, castizas y populares del repertorio, es una comedia lírica, una comedia musical y, con esto, remite al plano dramático, que debe a una obra de la gran época del teatro de España, La discreta enamorada, de Lope de Vega. Esta orientación según el modelo clásico (a una distancia temporal de tres siglos) no es casual ni constituye una excepción en el compositor, apasionado por la literatura (Don Lucas del Cigarral se basa en una comedia de Francisco de Rojas y La villana, en otra de Lope). La gracia particular de Doña Francisquita consiste en exponer clásicas intrigas lopescas con distintas tensiones de momentos históricos posteriores. Se mezclan aquí tres épocas, concentradas en el escenario invariable de Madrid, ensanchándose, aclarándose y enriqueciéndose mutuamente: la monarquía absolutista del texto original, la época romántico-burguesa, ávida de abrirse, a la que los libretistas de Vives trasladan la acción, y la época misma de los autores y de su público contemporáneo, pocos años después de la Primera Guerra Mundial, en que la burguesía nacional más que vivir languidecía con metas imprecisas. El contraste se intensifica aún más en las armonías y tonalidades matizadas que lo describen musicalmente y se personifica en las dos figuras principales; es decir, Francisquita y la variada gente de Madrid.

español

According to the subtitle of Vives' most famous zarzuela and one of the repertoire’s most emblematic, traditional and popular, Doña Francisquita is a a musical comedy. The composer’s reference in the title is to the dramatic aspect, which he owes to La discreta enamorada by Lope de Vega, a play of the grand era of Spanish theater. This orientation, which follows the classical model (with a temporal distance of three centuries), is neither casual nor an exception for the composer, who was passionate about literature (Don Lucas del Cigarral is based on a comedy by Francisco de Rojas and La villana, on one by Lope). The particular grace of Doña Francisquita consists of exposing Lope de Vega’s classic intrigues with different tensions of later historical moments. Three epochs are mixed in this zarzuela, concentrated in the unchanging scenario of Madrid, mutually expanding, clarifying and enriching each other: the absolutist monarchy of the original text, the romantic-bourgeois era, eager to open up, to which Vives' librettists transfer the action, and the authors’ own era and that of their contemporary audience a few years after the First World War, when Spanish bourgeoisie languished in the midst of undefined goals. The contrast is further intensified by the musical description of nuanced harmonies and tonalities, and is personified in the two main protagonists, namely Francisquita and the diverse people of Madrid.

English

Doña Francisquita by Vives, Ó (2023/2023), Faoi stiúir Francisco López,, Seoltóir José María Moreno, Teatro Cervantes, Málaga, Spain

Creidmheasanna feidhmíochta (Foireann & Criú )

Caitheadh

Criú

Ensemble

Clár, Eolas & Achoimre

Grianghraif

Tuilleadh léitheoireachta

Dátaí & Ionaid Feidhmíochta

Ionaid