Name: El Amor Brujo
Start: 2024-05-16T00:00:00.000Z
End: 2024-05-16T00:00:00.000Z
Location: Teatro Arriaga

Organization

Admin

Teatro Arriaga Bilbao

Orchestra

Euskal Barrokensemble

Conductor

Enrike Solinís

Singer

Maria José Bayarri Perez

Voice

El Amor Brujo

Bilbao

Spain

Teatro Arriaga

El Amor Brujo: El amor brujo Suite Falla

Public

El amor brujo Suite

Pallavi Pawar

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

Choreographer

Chorus Director

Chorus master

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

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Mezzo-soprano

Contralto

Baritone

Bass-baritone

Tenor

Soprano

Bass

Alto

Child vocalist

Continuo

Silent

Spoken

Pastora Imperiok amarekin biltzen zituen elezahar eta doinu ijitoetan inspiratuta konposatu zuen Manuel de Fallak El Amor Brujo. Andaluziako musikaren esentzia modu paregabean islatu zuen, flamenkoaren aldaeren bidez: seguiriyak, soleareak, poloak, martineteak, zanbrak…, eta haien espiritua txertatu zuen bere konposizio-lengoaian. A priori, ensanble barroko batek Manuel de Fallaren musika interpretatzea harrigarria izan daiteke askorentzat; ordea, Fallaren beraren helburu estetikoak kontuan hartuz gero, ezerk ez luke inor harritu behar.

Fallak Andaluziako kantuagatik —edo garai hartan sortzen ari zen flamenko-kantuagatik— zuen miresmena partekatzeak argi eta garbi erakusten du proposatzen dugun bertsioan flamenko-kantari bat egotea ideia ona dela. Gainera, Euskal Barrokensemblearen ezaugarriak dituen ensanble batean, flamenko-kantariak bere ahotsa xuxurlatu edo zarrastatzen du, autorearen jatorrizko ideia berdingabeki birsortuz. Liraren, lavtaren edo perkusio persiarren soinua…, gure ustez, ezer ez dago Fallak bere partituraren zenbait unetan islatu nahi izan zuenaren kontra; alderantziz, autoreak bere jatorrizko partituran islatu nahi izan zuen exotismoa nabarmentzen du.

euskara

Manuel de Falla compuso El Amor Brujo inspirándose en leyendas y viejos aires gitanos que Pastora Imperio coleccionaba junto a su madre, recreando de manera inigualable la esencia de la música andaluza a través de sus diferentes palos: seguiriyas, soleares, polos, martinetes o zambras… e incorporando el espíritu de los mismos a su lenguaje compositivo. La interpretación de Manuel de Falla por un ensamble barroco puede sorprender a priori a más de uno; pero, si tenemos en cuenta los fines estéticos del propio Falla, nada debería sorprender.

Compartir la admiración que tenía Falla por el cante andaluz, o el entonces emergente cante flamenco, refrenda sin duda la idea de que haya una cantaora en la versión que proponemos. En un ensamble de las características del Euskal Barrokensemble la cantaora, además, susurra o desgarra su voz recreando la idea primigenia del autor de manera inigualable. Escuchar el sonido de lyra, el lavta o las percusiones persas… creemos que nada choca con lo que Falla trató de reflejar en varios momentos de su partitura, todo lo contrario, resalta el mensaje exotismo al que el autor trató de aludir en su partitura original.

español

Manuel de Falla composed El Amor Brujo (Enchanted Love) inspired by the legends and the old gypsy tunes that Pastora Imperio collected with her mother, incomparably recreating the essence of Andalusian music through its different suits: seguiriyas, soleares, polos, martinetes or zambras… incorporating their spirit in her composing language. It might be surprising, in theory, to find a Baroque ensemble playing Manuel de Falla although, if we think about Falla’s own fine aesthetics, nothing should really surprise us.

Sharing Falla’s admiration for Andalusian singing, or the then-emerging Flamenco singing, doubtlessly endorses the idea that there is a flamenco singer in the version we are showing here. In an ensemble like Euskal Barrokensemble, the flamenco singer also whispers or cracks her voice to incomparably recreate the author’s original idea. Listening to the sound of lyre, the lavta or the Persian percussion, we believe that nothing is discordant with what Falla wanted to reflect in several moments of his score, quite the opposite, there is a message of exoticism clearly alluded to by the author in his original work.

English

El Amor Brujo by Falla, Frá (2024/2024), Hljómsveitarstjóri Enrike Solinís, Teatro Arriaga, Bilbao, Spain

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