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La Zarzuela: not just another theatre genre
Many years ago, and under very different economic auspices,
the Veranos de la Villa summer programming began. Madrid has always reserveda special place in its here for Zarzuela. With this motive, the beginning of the 2001 Zarzuela Season will soon be under way in Madrid. Here you can find out all the info on the history, traditions, the programming schedule and some Zarzuela greats.
What is Zarzuela
Zarzuela is the name that was given to Lyrical Spanish Theatre. Located somewhere between dramatic theatre and opera, its main characteristic is that it is chanting delivered through an exuberant and exaggerated manner interspersed with musical fragments. Within this framework, Zarzuela almost exclusively revolves around Spanish culture, history and traditions.
GAT has been called "Our genuine drama"
Types of Zarzuela
To start, Zarzuela is commonly known to exist in two forms:
- Antigua (XVII and XVIII century), which today has nearly completely been forgotten.
- Moderna (since the middle of the XIX century), which in turn has been divided into two blocks:
- The Chico Genre, referring to parts of only one act. This name is used solely when referencing works post 1870.
- The "Zarzuela Grande," made of sections of two or more acts. This is fairly similar to opera.
Both genres distinguish themselves in respect to plot. While the Chico Genre is the most common, Zarzuela Grande abounds with themes, both dramatic and comical, and more complicated action.
History of Zarzuela
The name Zarzuela comes from a place close to Madrid which, during the reign of Felipe IV, was a resting spot used during royal hunts. It was denominated "zarzuela" for the abundance of thorns and briars.
When the weather turned inclement, the Zarzuela Palace was used as a place where Madrid's best actors were invited to perform. At first, they began singing short pieces, but soon there after began to compose works consisting of two acts which they entitled "fiestas of zarzuela."
The music from these first zarzuelas has been forever lost. Only the title and the names of the respective authors have remained. Two that stand out are El Jardín de la Falerina (1648) and La fiera, el rayo y la piedra (1652), by Pedro Calderón de la Barca. But there is one work form this age that has been somewhat conserved and that is Los celos hacen estrellas composed by Juan Hidalgo and Juan Vélez.
When the Bourbons assumed the throne, zarzuela was further developed by Italian opera, mostly because king Felipe V preferred Italian music sung, since he did not understand Spanish. Zarzuela tried to adapt itself to the preferences of the public, but failed.
Not until the arrival of Carlos III did zarzuela recieve the breath of recusitation that it needed, coming by the hand of Ramón de la Cruz. In 1768 released Los segadores de Vallecas to great acclaim. Soon there after several more were composed that have achieved tremendous status: Jugar con fuego and El Barberillo de Lavapies by Barbieri, La verbena de la Paloma by Bretón, that long with the successes of Caballero, Chapí, and Chueca, consolidated the prestige of this type of musical drama.
More information about this type of musical drama can be found at www.zarzuela.net, in Spanish of course.
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