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A Heart that Forgives Madrid
Teatro de la Zarzuela
06/21/2023 - & June 22, 23, 25*, 28, 29, 30, 2023
Federico Moreno Torroba: Luisa Fernanda
Carmen Artaza*/Amparo Navarro (Luisa Fernanda), Juan Jesús Rodríguez*/Ruben Amoretti (Vidal Hernando), Sabina Puértolas*/Rocío Ignacio (Carolina), Ismael Jordi*/Alejandro del Cerro (Javier Moreno), María José Suárez (Dona Mariana), Nuria García‑Arrés (Rosita), Emilio Sánchez (Don Florito), Antonio Torres (Luis Nogales), Didier Otaola (Aníbal), Rafael Delgado (Jerome, El Ciego), César Diéguez (Bizco Porras), Julia Barbosa (Camarera), Román Fernández-Canadas (Don Lucas)
Orquesta de la Comunidad de Madrid, Miguel Angel Gómez-Martinez (conductor)
Davide Livermore (stage director), Giò Forma (sets), Mariana Fracasso (costumes), Antonio Castro (lighting), Nuria Castejón (choreography), Pedro Chamizo (audiovisual design), Emilio José López Pena (repositioning director)
(© Javier del Real)
Classical music has evolved differently in Spain compared to the rest of Western Europe. Though it was once one of the world’s most powerful nations and empires, it was distinct in this regard. First, its geographical position is relatively isolated, separated from France and the rest of Europe by the mighty Pyrénées Mountains and by the Mediterranean or the Atlantic from other sides. Second, the Arab presence in much of Iberia for seven centuries uniquely informed its culture and development, while keeping it somewhat isolated from the rest of Europe. Third, it remained a centralized absolutist monarchy up to the twilight of the late nineteenth century. Fourth, its immense wealth during its imperial peak affected it negatively: too much gold, too little enterprise and therefore a slower development of its urban middle class.
The Royal Court, whether Hapsburg or Bourbon, was a patron of the arts like other European courts, and enjoyed its resident native and foreign composers such as Sebastián Durón (1660‑1716), Domenico Scarlatti (1685‑1757), Carlo Broschi (Farinelli) (1705‑1782), Antonio Soler (1729‑1783) and Luigi Boccherini (1743‑1805). However, the middle class’s exposure to classical music and the cultivation of a taste for it among the middle class was limited compared to other European capitals, and this would remain the case until the early twentieth century.
Spain developed its own form of musical theatre, the zarzuela, distinct from other European traditions. Several elements derive from popular music as well as from folklore. The name is thought to be derived from the Palacio de la Zarzuela, the royal hunting lodge where the first one was performed in 1657. The palace’s name was itself derived from the word zarzas or brambles (prickly shrubs) that grew in its vicinity. This musical form soon became popular among social classes in all regions of Spain as well as its colonies. Zarzuela traditions continue to this day as far away as Cuba and the Philippines. Federico Moreno Torroba (1891‑1982) was one of Spain’s most prominent composers, especially renowned for his guitar compositions. He also wrote several zarzuelas, in addition to orchestral works, ballets and two operas. His most successful one, Luisa Fernanda (1932), was written a few years prior to the Spanish Civil War (1936‑1939). It takes place in 1868, the year of La Gloriosa (Spain’s Glorious Revolution) against Queen Isabella II that resulted in her overthrow.
Italian stage director Davide Livermore had the brilliant idea of updating the setting to the 1920s and having the action take place in and around a movie theatre, Cine Doré, one of Madrid’s oldest, and in fact still in operation today. At the opening of the work, the protagonists meet in the cinema and watch a movie of Luisa Fernanda. The “play within the play” is further elaborated on when actors in nineteenth century clothes fill the Teatro de la Zarzuela’s front boxes to watch the second act.
Nostalgic images are continuously projected in the onstage movie theatre, albeit never obtrusively. They accentuate certain dramatic actions but never distract. They also provide a sentiment that matches the nostalgic quality of much of Torroba’s music. Images of Carlos Gardel and his contemporaries are shown during songs that evoke popular songs of his time. The beautiful costumes are true to the epoch, with Countess Carolina’s unsurprisingly being the most elegant.
The plot revolves around a girl from Madrid, Luisa Fernanda, in love with an ambitious army officer, Javier, initially attracted to the Revolution, though more to advance his career than out of conviction. Vidal, a landowner from Extremadura, is in Madrid on business and in order to find a suitable wife. Countess Carolina lives in a palace facing Luisa Fernanda and her father’s home and the inn where Vidal is lodging. Carolina seduces Javier, who ends up espousing the Royalist cause. In reaction, Vidal, his rival for Luisa’s affection, becomes a revolutionary. At the patron saint’s feast, the Countess creates havoc by auctioning herself off for a mere dance. Vidal outbids Javier, but offers him the dance to offend him. Luisa is hurt by Javier’s indiscretions with the Countess. Revolution erupts and Javier is captured by the rebels and is condemned to death. Luisa intercedes on his behalf, saving his life. In the final act, all have sought refuge from Madrid’s instability in Vidal’s estate in Extremadura, where he is to wed Luisa. The defeated fugitive Javier begs for Luisa’s forgiveness and to rekindle her affection. She is determined to keep her word and marry the honest and valiant Vidal. However, Vidal, sensing she doesn’t love him, still caring for Javier, releases her from commitment and wishes the two lovers happiness. In Marschallin-like abnegation (Strauss’s Der Rosenkavalier), Vidal says: “un corazón que perdona no es una carga que pesa” (a heart that forgives is a heart that carries no burden).
As with the operetta tradition in German-speaking countries, and to a lesser extent in France, great opera singers do not disparage this lowbrow musical form. Opera stars such as Elisabeth Schwarzkopf, Anneliese Rothenberger, Fritz Wunderlich, René Kollo, Hermann Prey in Austro- German operetta, the likes of Montserrat Caballé, Teresa Berganza, Pilar Lorengar, José Carreras, Alfredo Kraus and Plácido Domingo sang zarzuela alongside opera. Therefore, it’s refreshing to hear great opera voices in present day zarzuela.
The lead tenor in this performance, Ismael Jordi, is a leading artist who has performed at the world’s leading opera houses in tenor roles in bel canto and French opera in Madrid, Barcelona, Munich, Vienna, Paris, Venice and others. His rich, brilliant tenor was indeed a luxury in the role of the officer Javier that is normally not too demanding. His Act I romanza “De este apacible rincón de Madrid” was thrilling with bright ringing high notes as well as expressiveness. Young mezzo Carmen Artaza was a well‑cast Luisa Fernanda. She is on the cusp of a big operatic career. She has already sung at the Salzburg Festival, in major European cities including Berlin, Bilbao, Basel, Hannover and Munich. Again, the role is not too demanding vocally and lies in the middle register. It is sung by both mezzos and sopranos. However, it does demand huge charisma, which Artaza definitely has. In her Act III duet with Javier “Cállate, corazón” (Be silent, my heart), she was moving, and perfectly conveyed the torment of refusing the man she still loved.
The singer earning the most applause in this work was baritone Juan Jesús Rodríguez. Again, he is another singer who has graced the world’s greatest opera stages including New York’s Metropolitan, Barcelona’s Liceu, Madrid’s Teatro Real, Naples’ San Carlo and Berlin’s Deutsche Oper. This baritone has sung most of Verdi’s demanding roles including Renato, Iago, Conte di Luna, Rigoletto, Simon Boccanegra and Macbeth. His stage presence is riveting and he deserved the public’s generous applause. His Act III “Ay! Mi Morena” extolling the beauty of his bride Luisa Fernanda made one wonder how Luisa Fernanda or any woman could resist him. Soprano Sabina Puértolas was a supremely seductive Countess. This coloratura soprano has sung soubrette roles at Covent Garden, Teatro Real and Barcelona’s Liceu. Her high soprano contrasted with Luisa Fernanda’s warm mezzo. As a veteran soubrette, she splendidly portrayed the seductive and fickle pretty woman. The other roles involved more acting than singing and were well cast.
The choreography of the various dances was elegant. The Act III harvest dance on Vidal’s estate was stylized but still felt natural. The zarzuela’s most famous musical excerpt, the “Mazurca de las sombrillas”, more a waltz than a mazurka, was magnificently choreographed with colourful parasols.
Another factor in this production’s success was the elimination of intermissions between acts. As the total duration was under two hours, the uninterrupted performance was easily endurable and made for more dramatic cohesion.
It is astounding that Luisa Fernanda survived during Franco’s reign as it paints the revolutionaries positively and the most royalist character, Countess Carolina, as a decadent woman of dubious character. Officer Javier, another Royalist, is a weak man and an unfaithful lover. True, the 1868 La Gloriosa Revolution is not the 1936‑1939 Civil War, but the similarity is too close for comfort. The possible explanation is that Moreno Torroba, though apolitical, was known for his devout Catholicism and Carlist (Royalist) sympathies. Indeed, though no more a supporter of Franco than fellow composers Joaquín Turina or Joaquín Rodrigo or painters Joan Miró or Salvador Dalí, some attempted to portray him as a Franco sympathizer after the Generalissimo’s death. However, the most likely reason was Luisa Fernanda’s immense popularity and the difficulty in banning it.
Though I am relatively new to zarzuela, I have made a point of attending one whenever I am in Madrid. Teatro de la Zarzuela is a lovely and warm venue. One of its greatest virtues is the public’s warm energy; often one sees three generations of a family enjoying the tuneful melodies and cheerful storylines sung in a language all can understand. It’s an experience I highly recommend when visiting the charming and vibrant Spanish capital.
Ossama el Naggar
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