Name: Doña Francisquita
Start: 2019-05-14T00:00:00.000Z
End: 2019-06-02T00:00:00.000Z
Location: Teatro de la Zarzuela

Admin

Organization

Singer

Soprano

Sabina Puértolas

Doña Francisquita

Sonia de Munck

Tenor

Ismael Jordi

Fernando

José Luis Sola

Mezzo-soprano

Ana Ibarra

Aurora

María Rodríguez

Vicenç Esteve

Cardona

Jorge Rodríguez-Norton

María José Suárez

Dona Francisca

Bass

Santos Ariño

Don Matías

Baritone

Antonio Torres

Lorenzo Perez

Conductor

Oliver Díaz

Stage director

Lluís Pasqual

Set designer

Alejandro Andújar

Lighting designer

Pascal Mérat

Choreographer

Nuria Castejón

Directora asistente

Lara Diloy

With the special collaboration of

Lucero Tena

Chorus master

Antonio Fauró

Opéra de Lausanne

Gran Teatre del Liceu

Teatro Lírico Nacional de la Zarzuela

Others

Coro del Teatro de La Zarzuela

Orchestra

Joven Orquesta y Coro de la Comunidad de Madrid

Madrid

Spain

Teatro de la Zarzuela

𝗗𝗼ñ𝗮 𝗙𝗿𝗮𝗻𝗰𝗶𝘀𝗾𝘂𝗶𝘁𝗮 - 𝗣𝗿𝗲𝗺𝗶𝗼 𝗠𝗔𝗫 2020 𝗮 𝗺𝗲𝗷𝗼𝗿 𝗲𝘀𝗽𝗲𝗰𝘁𝗲𝘀𝗽𝗲𝗰𝘁𝗲𝘀𝗽𝗲𝗰𝘁 𝗺𝘂𝘀𝗶𝗰𝗮𝗹 𝗼 𝗹𝗹𝗿𝗶𝗰𝗼 new production of the Teatro de la Zarzuela in co-production with the Grand Teatre of Liceu and Lausanne Opera. Broadcast live from the Teatro de la Zarzuela on May 29, 2019. Music by AMADEO VIVES Libretto by Federico Romero and Guillermo Fernández-Shaw in an adaptation by Lluís Pasqual. 𝗣𝗥𝗜𝗠𝗘𝗥 𝗔𝗖𝗧𝗢 No. 1. Introduction and scene: "The woodcutter!",8:09
No. 2. Trio: "I feel sorry for a man, mother",21:43
Nº 3. Parade and trio: "There you have it, get ready",31:28
No. 4. Student Choir: "And what will you do now?"39:13
No. 4-A. Song of youth: "Friends, hear me / Joyful song of youth",42:40
No. 4-BIS. Chorus: "When a man wants to get married",47:40
No. 5-A. Song of the nightingale: "It was a rose that in a garden",50:08
No. 5-BIS. End of the first act: "Francisca! Francisca!",56:29

𝗦𝗘𝗚𝗨𝗡𝗗𝗢 𝗔𝗖𝗧𝗢 Nº 6. Scene: "When I tell you to come",1:23:00
No. 7. Duet: "You will be heard!",1:30:23
Nº 8. Romanza: "By the smoke you know where the fire is",1:38:00
No. 9. Duet: "Listen to me! / I can't hear you",1:46:00
Nº 10. Scene and quintet: "I was too vehement",1:52:24
Nº 11. End of the second act "¡Olé! ¡Viva! ¡Olé!"2:01:35

𝗧𝗘𝗥𝗖𝗘𝗥 𝗔𝗖𝗧𝗢 Nº 12. Scene and chorus of romantics "Where does joy go, where does joy go?",2:28:25
Nº 13. Scene: "Aurorilla, the Beltrana, don't you want to sing...?",2:41:19
No. 13-A. Song of the Marabú: "I was waiting for a goldfinch",2:44:32
Nº 13-B. Fandango (Instrumental - Lucero Tena),2:47:43
Nº 13-B (2), 2:52:41
Nº 14. Duet: "I was not sincere, forgive me",2:55:53
No. 15. End of the third act "Ah! Joyful song of youth",2:59:07

owner of the Teatro de la Zarzuela. Main Choir of the Teatro de la Zarzuela. Director: Antonio Fauró Rondalla Lyric of Madrid «Manuel Gil». Director: Enrique García Requena - My relationship with Zarzuela is emotional and joyful. La Zarzuela is the soundtrack of my childhood, of that Paradise, in which if someone has been lucky enough to be happy, and I was or so I remember, they try to keep it intact in their hearts and in their memory. The voice of Marcos Redondo and of so many extraordinary performers still resonate in my ears on Saturday nights, when my parents went to the movies, and I stayed at home listening to Zarzuela on the radio, or on Sunday afternoons when we went to the theater and once a month to see Zarzuela. What for many people of my generation was the cinema: an open window through which fresh air filtered into an environment made of grays and sadness for me was the Zarzuela, and later, but by then I was twelve years old and not so young anymore, the opera. Perhaps that is why, for decades, it has seemed easier to embrace and dialogue on stage with Mozart, Rossini, Wagner, Verdi, Bellini, Saint-Saëns or Berio than to enter again that Eden in which there was no withered leaf. and no flower that hadn't kept its fragrance... I started doing Zarzuela a few years ago and I've only done two, for that very intimate and personal reason. In that garden Doña Francisquita plays a special role: she was my mother's favorite and the one she happily hummed on Sunday mornings. Many times I had been asked to direct it and I always found an excuse to refuse. Why now? I do not know. Maybe because I didn't feel ready - and probably I wasn't - and now in this moment of maturity, if I'm not, at least I know that I can try to make the show, if not with the same innocence, maybe with the same joy that produced that music and especially those voices when I was five or six years old. I didn't know it the first day of rehearsal, which I entered with more fear than usual, with a backpack full of memories, radio programs, performances, records that I still keep like a treasure. Only at that moment, when I tried to explain what we were going to do to the performers, (...) 𝙇𝙡𝙪𝒊́𝙨 𝙋𝙖𝙨𝙦𝙪𝙖𝙡 Access the full text and more information about the production at: At least I know that I can try to do the show, if not with the same innocence, perhaps with the same joy that that music and especially those voices produced in me when I was five or six years old. I didn't know it the first day of rehearsal, which I entered with more fear than usual, with a backpack full of memories, radio programs, performances, records that I still keep like a treasure. Only at that moment, when I tried to explain what we were going to do to the performers, (...) 𝙇𝙡𝙪𝒊́𝙨 𝙋𝙖𝙨𝙦𝙪𝙖𝙡 Access the full text and more information about the production at: At least I know that I can try to do the show, if not with the same innocence, perhaps with the same joy that that music and especially those voices produced in me when I was five or six years old. I didn't know it the first day of rehearsal, which I entered with more fear than usual, with a backpack full of memories, radio programs, performances, records that I still keep like a treasure. Only at that moment, when I tried to explain what we were going to do to the performers, (...) 𝙇𝙡𝙪𝒊́𝙨 𝙋𝙖𝙨𝙦𝙪𝙖𝙡 Access the full text and more information about the production at: with a backpack full of memories, radio programs, performances, records that I still keep as a treasure. Only at that moment, when I tried to explain what we were going to do to the performers, (...) 𝙇𝙡𝙪𝒊́𝙨 𝙋𝙖𝙨𝙦𝙪𝙖𝙡 Access the full text and more information about the production at: with a backpack full of memories, radio programs, performances, records that I still keep as a treasure. Only at that moment, when I tried to explain what we were going to do to the performers, (...) 𝙇𝙡𝙪𝒊́𝙨 𝙋𝙖𝙨𝙦𝙪𝙖𝙡 Access the full text and more information about the production at:https://teatrodelazarzuela.mcu.es/es/...

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00:00Dona Francisquita
8:10act first
1:22:46second act
2:26:57third act

Doña Francisquita Vives

Public

Approved

Premiered at the Teatro de Apolo in Madrid, on October 17, 1923
New production by the Teatro de la Zarzuela in co-production with the Gran Teatre del Liceu and the Lausanne Opera

Young Francisquita is without a doubt one of zarzuela’s most recognisable and popular female characters. And so, as each era turns to its classics to see itself reflected in them, it turns to Doña Francisquita to admire this girl who, lovestruck but wise, has been treading the musical theatre boards since 1923. Vives’ zarzuela was performed for the first time in the neighbouring Teatro de Apolo in Calle de Alcalá, and barely four months later it arrived at the Teatro de la Zarzuela with the same production and practically the same cast of singers. Since then it has been sung on numerous occasions.
In the scenes of Doña Francisquita are to be found the customs, fashions and characters which are current in Madrid, meaning that each era has dressed and transformed them – which is what happens with the classics – with very differing stage designs over the nearly one hundred years which the work is on the point of reaching. The genesis of this zarzuela is absolutely fascinating and led to the composer creating his most ambitious work, the one which has reaped the greatest successes in Spain and America.

English

Creidmheasanna feidhmíochta (Foireann & Criú )

Caitheadh

Criú

Ensemble

Comhléiritheoir