Rosario: Ana María González, soprano Pepa: Alicia Nafé, mezzo Fernando: Manuel Cid, tenor Paquiro: Pablo Elvira, barítone First Tableau The majos and majas are enjoying an afternoon outside the Church of San Antonio de la Florida. As the Manzanares River meanders in the distance, the fun loving troupe spend their time dancing, feasting, and playing a traditional game known as the pelele. This game involves a human replication made of straw being thrown up in the air by a group using a stretched out sheet. As they flirt and chatter, Paquiro enters, surrounded by women. He calls all the ladies unique garden flowers, and they swoon for him, but all of them know who he supposedly belongs to. Pepa enters the scene riding her dog cart, and the men crowd around her excitedly, as she thanks them for making her feel welcome. Suddenly, the attention is on two richly dressed lackeys bearing a sedan-chair, and in which the high born lady Rosario waits for her lover. Paquiro wastes no time approaching this mystery woman. He recalls a time when she appeared at one of their lantern-lit balls, and invites her again that very night. Rosario ignores him, but her indifference goes unnoticed by Fernando, captain of the royal guard, who was hiding away and spying on her and Paquiro. Fernando assumes that she was flirting, and although she flatly denies it, he does not trust her. They continue arguing while Pepa and the ladies mock them. Fernando decides that Rosario will accept the invitation, but that he will accompany her. They leave promptly, and after sharing their plans to ruin the lovers, Pepa and Paquiro leave on their dog cart. Second Tableau At the ball that night, all the majas are dancing, while the majos watch eagerly. Fernando enters dragging Rosario, whom Pepa proceeds to make fun of the minute she walks through the door. Fernando assures Rosario that he will defend her honor. Upon this, Paquiro makes a spectacle of asking Rosario to dance, and Pepa questions his motives jealously. Fernando insults Paquiro's honor, while Rosario protests. Paquiro suggests a duel to prove his valor. A brawl begins, the women holding back Paquiro and the men from rushing Fernando, and Rosario faints in the excitement. After setting the time and place of the duel, Fernando leaves with Rosario. Pepa, returning to the center of attention, engages the crowd in a fandango. Third Tableau Later that night, Rosario sits on a bench in the palace garden, listening to the sad song of a nightingale under the light of the moon. As she moves to go inside, Fernando approaches the house, calling to her. She responds sorrowfully, but always lovingly, and he doubts her claims of total devotion. They share a loving moment, ruined by the presence of Paquiro, who is dressed in a black cloak with Pepa trailing furtively. Fernando makes ready to leave, and Rosario clings to him, begging him to stay. Fernando tears himself away, promising to return victorious, and leaves. Rosario follows, and the duel begins. Two screams signal the end of the duel, one by Fernando being mortally wounded, the other by Rosario. Paquiro flees, dragging his cloak behind him. Rosario drags the mortally wounded Fernando to the bench where they had just shared their tender moment. She holds him against her bosom, and they share one last kiss before he dies in her arms.
Geniale capolavoro di Granados, grande musicista , e eccelso omaggio al grande pittore Goya. Entrambi fanno parte della cultura mondiale. Anche se in forma di concerto, l'opera presenta brani di profonda modernità e di straordinaria bellezza. Ancora più bella, per unità e per l'Intermezzo, l'opera con lo stesso nome. Grazie a Silvia Coricelli per avermela fatta conoscere direttamente e non solo nei libri di storia della musica.
This performance is truly synergistic as every participant gives full commitment bringing it to a place of transcendence . It is a feast for the senses and food for the soul. I only wish I knew what the text was that this glorious singing is based on.
Fantásticos cantantes. Ana Mª González es una de las mejores voces de su generación. Para mí ella y Mirella Freni son dos voces muy parecidas en timbre y belleza. Y qué se puede decir de García Navarro... Pues eso: uno de los mejores directores de orquesta españoles de todos los tiempos. Para los que no entienden el texto, que no se preocupen. En esta ópera no importa mucho. La música es maravillosa y funciona sola, tanto que la ópera está compuesta sobre las Goyescas para piano... La trama es bien sencilla, una mera excusa. ;-)
Ero immerso nella scrittura del mio "V. de los A.: nella Musica per vivere (e sopravvivere)", quando ebbi la prima occasione di visitare il Palau de la Música, fantasia e favola floreale, con un'acustica di rara perfezione! Sognai soltanto, purtroppo, di avere ascoltato in quegli spazi la voce dell'amata catalana giovane. La suggestione fu così forte cheparve evento vissuto in una realtà sognata eppur tangibile. E se fosse accaduto davvero? Che nessuno mi svegli ché la gran Senora è ancora qui
Para quienes dicen que el bolero de Consuelo Velazquez (bésame mucho) se inspiró en Goyescas de Granados, pulsar en 35:37 y luego en 38:30.Primero se escuchará a la cantante y luego la orquesta solo unos breves compases.
La frase principal de ese bolero, tiene su nacimiento en tónica, segundo grado, tercera menor, dominante, y subdominante consecutivamente. Podemos encontrar miles de obras clásicas muy conocidas, que utilizan esa misma frase. Y por ello, no son copias unas de otras. Creo yo....
Cualquier comentario que pudiera hacer sería una oración, relacionados: oralidad, por ejemplo, de los orígenes de la poesía, dela epopeya y de la tragedia, por extensión la lírica y la tradición, a pesar de su condición de obra escrita, del drama musical, de la ópera,; una oración decía en el sentido sacrificial y una plegaria a los dioses de la causalidad.
Qué maravilla de música!!!!!!! Digo , se podía hacer que los cantantes tuvieran mejor dicción???? No se entiende nada de nada... Qué mal!!! Para esto no se hubiere molestado el señor Granados y el señor Periquet en un texto y una trama. Qué hubieses puesto por ejemplo una única vocal, la que quisieran y que canten con esa vocal lo que quieran. Y así los divos no tienen problemas con las consonantes ni nada. Jajajjajaja jaja
@kaa1739 @kaa1739 1 anno fa 9:24 Scene３ @kaa1739 @kaa1739 1 anno fa 14:25 el pelele @kaa1739 @kaa1739 1 anno fa 21:22 Cuadro2 @kaa1739 @kaa1739 1 anno fa 25:37 Scene 2 @kaa1739 @kaa1739 1 anno fa 35:07 Cuadro3 @kaa1739 @kaa1739 1 anno fa 41:00 Scene2
Una verdadera joya y una estupenda interpretación.
Rosario: Ana María González, soprano
Pepa: Alicia Nafé, mezzo
Fernando: Manuel Cid, tenor
Paquiro: Pablo Elvira, barítone
First Tableau
The majos and majas are enjoying an afternoon outside the Church of San Antonio de la Florida. As the Manzanares River meanders in the distance, the fun loving troupe spend their time dancing, feasting, and playing a traditional game known as the pelele. This game involves a human replication made of straw being thrown up in the air by a group using a stretched out sheet. As they flirt and chatter, Paquiro enters, surrounded by women. He calls all the ladies unique garden flowers, and they swoon for him, but all of them know who he supposedly belongs to. Pepa enters the scene riding her dog cart, and the men crowd around her excitedly, as she thanks them for making her feel welcome. Suddenly, the attention is on two richly dressed lackeys bearing a sedan-chair, and in which the high born lady Rosario waits for her lover. Paquiro wastes no time approaching this mystery woman. He recalls a time when she appeared at one of their lantern-lit balls, and invites her again that very night. Rosario ignores him, but her indifference goes unnoticed by Fernando, captain of the royal guard, who was hiding away and spying on her and Paquiro. Fernando assumes that she was flirting, and although she flatly denies it, he does not trust her. They continue arguing while Pepa and the ladies mock them. Fernando decides that Rosario will accept the invitation, but that he will accompany her. They leave promptly, and after sharing their plans to ruin the lovers, Pepa and Paquiro leave on their dog cart.
Second Tableau
At the ball that night, all the majas are dancing, while the majos watch eagerly. Fernando enters dragging Rosario, whom Pepa proceeds to make fun of the minute she walks through the door. Fernando assures Rosario that he will defend her honor. Upon this, Paquiro makes a spectacle of asking Rosario to dance, and Pepa questions his motives jealously. Fernando insults Paquiro's honor, while Rosario protests. Paquiro suggests a duel to prove his valor. A brawl begins, the women holding back Paquiro and the men from rushing Fernando, and Rosario faints in the excitement. After setting the time and place of the duel, Fernando leaves with Rosario. Pepa, returning to the center of attention, engages the crowd in a fandango.
Third Tableau
Later that night, Rosario sits on a bench in the palace garden, listening to the sad song of a nightingale under the light of the moon. As she moves to go inside, Fernando approaches the house, calling to her. She responds sorrowfully, but always lovingly, and he doubts her claims of total devotion. They share a loving moment, ruined by the presence of Paquiro, who is dressed in a black cloak with Pepa trailing furtively. Fernando makes ready to leave, and Rosario clings to him, begging him to stay. Fernando tears himself away, promising to return victorious, and leaves. Rosario follows, and the duel begins. Two screams signal the end of the duel, one by Fernando being mortally wounded, the other by Rosario. Paquiro flees, dragging his cloak behind him. Rosario drags the mortally wounded Fernando to the bench where they had just shared their tender moment. She holds him against her bosom, and they share one last kiss before he dies in her arms.
Thank you-!
Incredible realisation of Granados' score and showing the mastery with which Granados turned his immortal piano cycle into viable opera.
Geniale capolavoro di Granados, grande musicista , e eccelso omaggio al grande pittore Goya. Entrambi fanno parte della cultura mondiale. Anche se in forma di concerto, l'opera presenta brani di profonda modernità e di straordinaria bellezza. Ancora più bella, per unità e per l'Intermezzo, l'opera con lo stesso nome. Grazie a Silvia Coricelli per avermela fatta conoscere direttamente e non solo nei libri di storia della musica.
This performance is truly synergistic as every participant gives full commitment bringing it to a place of transcendence . It is a feast for the senses and food for the soul. I only wish I knew what the text was that this glorious singing is based on.
Stunning performances by all involved.
Ana María González es una maravilla.
Fantásticos cantantes. Ana Mª González es una de las mejores voces de su generación. Para mí ella y Mirella Freni son dos voces muy parecidas en timbre y belleza. Y qué se puede decir de García Navarro... Pues eso: uno de los mejores directores de orquesta españoles de todos los tiempos.
Para los que no entienden el texto, que no se preocupen. En esta ópera no importa mucho. La música es maravillosa y funciona sola, tanto que la ópera está compuesta sobre las Goyescas para piano... La trama es bien sencilla, una mera excusa. ;-)
I met Pablo Elvira in 1995 in the USA. Very good and sweet memories of several Zarzuela performances.
Absolutely superb concert performance ! Thanks for having posted it!
Ero immerso nella scrittura del mio "V. de los A.: nella Musica per vivere (e sopravvivere)", quando ebbi la prima occasione di visitare il Palau de la Música, fantasia e favola floreale, con un'acustica di rara perfezione! Sognai soltanto, purtroppo, di avere ascoltato in quegli spazi la voce dell'amata catalana giovane. La suggestione fu così forte cheparve evento vissuto in una realtà sognata eppur tangibile. E se fosse accaduto davvero? Che nessuno mi svegli ché la gran Senora è ancora qui
Hoy la vuelvo a apreciar. Creo que es la mejor versión grabada.
Great work, indeed arguably Granados's finest piece! Why isn't the full score in print???
It obviously is, the conductor there certainly has it.
Para quienes dicen que el bolero de Consuelo Velazquez (bésame mucho) se inspiró en Goyescas de Granados, pulsar en 35:37 y luego en 38:30.Primero se escuchará a la cantante y luego la orquesta solo unos breves compases.
La frase principal de ese bolero, tiene su nacimiento en tónica, segundo grado, tercera menor, dominante, y subdominante consecutivamente. Podemos encontrar miles de obras clásicas muy conocidas, que utilizan esa misma frase. Y por ello, no son copias unas de otras. Creo yo....
Nice
joyas
Where can I get the orchestra score (not it's reduction for piano)? Thank you in advance!
Please, if you find it, you can let me know
? Thank!
Cualquier comentario que pudiera hacer sería una oración, relacionados: oralidad, por ejemplo, de los orígenes de la poesía, dela epopeya y de la tragedia, por extensión la lírica y la tradición, a pesar de su condición de obra escrita, del drama musical, de la ópera,; una oración decía en el sentido sacrificial y una plegaria a los dioses de la causalidad.
Qué maravilla de música!!!!!!! Digo , se podía hacer que los cantantes tuvieran mejor dicción???? No se entiende nada de nada... Qué mal!!! Para esto no se hubiere molestado el señor Granados y el señor Periquet en un texto y una trama.
Qué hubieses puesto por ejemplo una única vocal, la que quisieran y que canten con esa vocal lo que quieran. Y así los divos no tienen problemas con las consonantes ni nada. Jajajjajaja jaja
35:28
E' difficile comprendere il testo perché cadauna sezione canta un testo differente contemporaneamente agli altri.
Miss Teresa Berganza!😢 R.I.P.
7:43
15:56
PALACIO DE LA MÚSICA.
9:24 Scene３
14:25 el pelele
21:22 Cuadro2
25:37 Scene 2
35:07 Cuadro3
41:00 Scene2
En este video toca la Orquesta Ciudad de Barcelona. Lo demás es una inventada ;)
No he entendido ni una sola palabra de lo que dice ninguno, exceptuando el barítono. Horribles dicciones.
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9:24 Scene３
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14:25 el pelele
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21:22 Cuadro2
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25:37 Scene 2
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35:07 Cuadro3
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41:00 Scene2
36:45