Admin

Organization

Śpiewak

Sopran

Ruth Iniesta

Ascensión

Raquel Lojendio

Carlos Álvarez

Joaquín

Gabriel Bermúdez

Tenor

Vicenç Esteve

Ricardo

David Pérez Bayona

Capó

Joselu López

Sylvia Parejo

Clarita

Nuria Pérez

Angel Ruíz

Espasa

Spoken

Milagros Martín

Doña Mariana

Enrique Baquerizo

Don Daniel

Cesar Sanchez

Don Pedro

Eduardo Carranza

El inglés

Dyrygent

Guillermo García Calvo

Reżyseria

Emilio Sagi

Scenografia

Gerardo Trotti

Kostiumy

Pepa Ojanguren

Reżyseria światła

Eduardo Bravo

Joseba Pinela

Un camarero

Daniel Huerta

Parroquiano 1º

Alberto Rios

Parroquiano 2º

Francisco José Pardo

El del mantecao

Rodrigo Álvarez

Obreros

Alberto Camón

Román Fernández-Cañadas

Francisco José Rivero

Choreografia

Goyo Montero

Przygotowanie chóru

Antonio Fauró

Nuria Castejón

Assistant to the music director

Santiago Serrate

Teatro Lírico Nacional de la Zarzuela

Others

Coro del Teatro de La Zarzuela

Orchestra

Orquesta de la Comunidad de Madrid

La Del Manojo de Rosas

Madryt

Hiszpania

Teatro de la Zarzuela

Madrid Centro

𝗣𝗥𝗜𝗠𝗘𝗥 𝗔𝗖𝗧𝗢 FIRST TABLE Introduction,6:59
Presentation of Ascension [Tirana]: “Mantecao helao!”, 8:39
Duet of Ascensión and Joaquín [Pasodoble]: "I've been coming to the workshop for a long time", 20:14
Duo of Joaquín and Ricardo [Chotis]: “Ascension!... Ascension!”, 26:27
End of the first frame [Chotis]: “You know that I like that woman”, 34:34
SECOND FRAME Romanza de Ascensión: “I only cut a rose”,40:48
THIRD FRAME Duo of Capó and Clarita [Fox-trot]: “You have to be docile like a dog”,48:53
End of the first act [Pasodoble]: "Ascension..., what do you want?",59:08

𝗦𝗘𝗚𝗨𝗡𝗗𝗢 𝗔𝗖𝗧𝗢 FIRST FRAME Prelude [Pasodoble]:1:04:35
Duet of Capó and Clarita [Farruca]: “Chinochilla de mi charniqué”,1:13:38
Romanza by Joaquín [Habanera]: “Pretty Madrilenian”,  1:25:16
Intermediate [Farruca]:1:33:34
SECOND FRAME Duo of Ascensión and Joaquín [Habenara]: “Is this very low?”,  1:36:53
Romanza de Joaquín [Habanera]: “What times those were!”,1:41:44
THIRD FRAME Scene and Duet [End: Zapateado, Chotis, Mazurca]: “Do you think you can leave me?”1:54:27

- 𝗙𝗜𝗖𝗛𝗔 𝗔𝗥𝗧i𝗦𝗧𝗜𝗖𝗔 musical address: Guillermo García Calvo Scene address: Emilio Sagi Scenography: Gerardo Trotti Costume: Pepa Ojanguren Lighting: Eduardo Bravo Choreography: Goyo Montero Choreographic Replacement: Nuria Castejón Assistant Musical Management: Santiago Serrate 𝗥𝗘𝗣𝗔𝗥𝗧𝗢 Ascension: Ruth Iniesta Joaquin: Carlos Álvarez Ricardo: Vicenç Esteve Capó: David Pérez Bayona Clarita: Sylvia Parejo Espasa: Ángel Ruiz Doña Mariana: Milagros Martín Don Daniel: Enrique Baquerizo Don Pedro: César Sánchez The Englishman: Eduardo Carranza A waiter: Joseba Pinela Parishioner 1st: Daniel Huerta Parishioner 2nd: Alberto Ríos Mantecao man: Francisco José Pardo Workers: Rodrigo Álvarez, Alberto Camón, Román Fernández-Cañadas and Francisco José Rivero. Orchestra of the Community of Madrid, head of the Teatro de la Zarzuela. Main Choir of the Teatro de la Zarzuela. Director: Antonio Fauró Dancers-extras: Begoña Álvarez, Cristina Arias, Ariel Carmona, Lara Chaves, Emmanuel Chita, Sarah Croft, María Ángeles Fernández, Alberto Ferrero, Antonio Gómiz, Rafael Lobeto, María López, Helena Martín, Xavi Montesinos, Daniel Morillo , Luis Romero, Esther Ruiz, Lara Sagastizabal, Natán Segado, Rosa Zaragoza - The one with the Manojo de Rosas has a very special meaning for me for many reasons. It was my first zarzuela work in Spain —I had already staged La Revoltosa and La verbena de la Paloma, but curiously it had been in Havana and Buenos Aires—, so it was my presentation in Madrid. Although it was commissioned by the then superintendent of this theater, José Antonio Campos, with this production I was closer, if possible, to the figure of my uncle Luis Sagi Vela, for whom Sorozábal, Ramos de Castro and Cuadrado Carreño created the character of Joaquín. This title perfectly reflects the pre-war atmosphere that was breathed in the society of the time, with constant allusions to class conflicts. Reference is made to other composers and it is surprising that a Basque from head to toe, such as Sorozábal, managed to capture with such perfection and clarity the spirit of a modern Madrid and the essence of an updated casticism. This confirms the open and inclusive mentality of the Spanish capital. The production has done nothing more than rotate since that Friday, November 2, 1990. I think it is one of the productions of the Teatro de la Zarzuela that has been seen the most. For me, each rerun has been like the first time. It is tremendously exciting to see how the characters come to life. And now —despite the bad times that we have to live through— seeing them reborn makes me think, makes me feel, that it is not just another revival, but the most emotional and exciting of the revivals on the 30th anniversary of that first time… The rest is part of our theatrical history! - 𝙀𝙢𝙞𝙡𝙞𝙤 𝙎𝙖𝙜𝙞 More information:https://teatrodelazarzuela.mcu.es/es/...

La Del Manojo de Rosas Sorozábal

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