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Tenor

Jorge Rodríguez-Norton

Dionisio

Soprano

Rocío Pérez

Paula

Emilio Sánchez

Don Rosario

Baritone

Gerardo Bullón

Don Sacramento

Enrique Viana

Madame Olga

Irene Palazón

Catalina

Mezzo-soprano

Anna Gomà

Valentina

Conductor

Diego Martin-Etxebarria

Stage director

José Luis Arellano

Set designer

Ricardo Sánchez Cuerda

Costume designer

Jesús Ruiz

Lighting designer

Juan Gómez-Cornejo

Teatro Lírico Nacional de la Zarzuela

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Coro del Teatro de La Zarzuela

Orchestra

Orquesta de la Comunidad de Madrid

espainiera

Tres sombreros de copa -  (Three Top Hats)

Madrid

Spain

Teatro de la Zarzuela

Zarzuela based on the work of the same name by Miguel Mihura. Premiere in Europe. Broadcast live from the Teatro de la Zarzuela on November 27, 2019. 𝗙𝗜𝗖𝗛𝗔 𝗔𝗥𝗧Í𝗦𝗧𝗜𝗖𝗔 Musical direction: Diego Martín-Etxebarría Stage director: José Luis Arellano Scenography: Ricardo Sánchez Cuerda Costumes: Jesús Ruiz Lighting: Juan Gómez-Cornejo Assistant director musical: Rubén Sánchez-Vieco Assistant stage manager: Paco Gámez Stage assistant: Juan José González Ferrero Costume assistant: Isabel Cámara Lighting assistant: David Hortelano 𝗥𝗘𝗣𝗔𝗥𝗧𝗢 Dionisio: Jorge Rodríguez-Norton Paula: Rocío Pérez Don Rosario: Emilio Sánchez Don Sacramento: Gerardo Bullón Madame Olga: Enrique Viana Catalina: Irene Palazón Valentina: Anna Gomà Buby Barton: Boré Buika The Strong German: Marco Covela Monsieur Garibaldi: Felipe de Andrés The Astute Hunter: Mon Ceballos The Elder Military: Chumo Mata Orchestra of the Community of Madrid, owner of the Teatro de la Zarzuela. Main Choir of the Teatro de la Zarzuela. Director: Antonio Fauró Solo musicians: Juan Salas (violin), Francisco Gaspar Tomás (trumpet), Leonardo Milanés (piano) and Aarón Carrión (accordion) Figurations: Gema Álvaro, Marina Esteve, Víctor de la Fuente, Jaime López, Cayetana Payno, Álex Robles and Esther Ruiz 𝗦𝗢𝗕𝗥𝗘 𝗟𝗔 𝗢𝗕𝗥𝗔 The Teatro de la Zarzuela is once again the scene of a new premiere: the zarzuela Three Top Hats, one of Ricardo Llorca's most ambitious works, is being performed for the first time in Europe at this coliseum. On this occasion, Verdi's maxim "torniamo all'antico e sarà un progresso" is fulfilled, because we recover a tonal musical language, from which the composer "makes his forays into more contemporary languages ​​and techniques, yes, most of the time for dramatic purposes" —according to the scholar Antonio Gómez Schneekloth in his notes in this program — and return to enjoy one of the best texts by Miguel Mihura on the theater of the absurd. And it is that Mihura's characters travel from the 30s of his century to the 20s of our century, combining elements taken from the music of southern Italy, the circus and band music, "something deeply rooted in all the peoples of the Mediterranean coast. Llorca himself points out that "I think my musical career has evolved outside the avant-garde and in many of my works I have practiced historical revisionism... Review the past and return to work on the structures and classical concepts of music, taking up the concept of expressiveness according to traditional models»; all with a classical orchestral template with abundant percussion and four solo instruments: accordion, piano, trumpet and violin. In this order of things, the musical director of the show, Diego Martin-Etxebarria, tells us that «to explain my conception of music I like to use the metaphor of the three-legged stool which, in this case, would be melody, rhythm and harmony. In the classical period these were relatively simple but very robust. Hence the music has evolved in a wonderful way stylizing, blurring or enhancing some of them. The problem with the most avant-garde language is that some composers have made these legs disappear until leaving us without a stool. In this sense, Ricardo Llorca's music follows in the footsteps of the great composers: he gives innovative shapes to the pillars that support the structure based on dramatic needs but keeps them recognizable so that we don't “fall off the stool”. That means the audience will have tunes they can whistle; delicious rhythms, some even catchy; as well as a harmony that sustains the musical discourse through a brilliant orchestration». And for his part, the stage director, José Luis Arrellano, insists that «today we raise the curtain again to tell this story once again, perhaps in a different way. It is accompanied by the veiled whisper of Ricardo's music with the same fondness and vertigo of those jugglers who throw their objects with the hope and rigor that they fall back into their hands». For many years, Miguel Mihura's absurd theater has been fascinating to Arrellano: "those motherless women, those crazy men behind those dancers, that humor that he felt so close to and above all else, the simple poetry hidden under all that vulgar routine and tremendous." Once again we return to that world of melody and that theater of the absurd: a wonderful scenic combination that will not only be fun, but also instructive for all of us. And let's dare to shout without fear like Paula, at least once, "Hoop!"... More information: «Those motherless women, those crazy men behind those dancers, that humor that felt so close and above all, the simple poetry hidden under all that vulgar and tremendous routine». Once again we return to that world of melody and that theater of the absurd: a wonderful scenic combination that will not only be fun, but also instructive for all of us. And let's dare to shout without fear like Paula, at least once, "Hoop!"... More information: «Those motherless women, those crazy men behind those dancers, that humor that felt so close and above all, the simple poetry hidden under all that vulgar and tremendous routine». Once again we return to that world of melody and that theater of the absurd: a wonderful scenic combination that will not only be fun, but also instructive for all of us. And let's dare to shout without fear like Paula, at least once, "Hoop!"... More information: but also sobering for all of us. And let's dare to shout without fear like Paula, at least once, "Hoop!"... More information: but also sobering for all of us. And let's dare to shout without fear like Paula, at least once, "Hoop!"... More information:http://teatrodelazarzuela.mcu.es/es/t...

Tres sombreros de copa Llorca

Public

Three Top Hats

Approved

Three Top Hats by Llorca, Noiztik (2019/2019), Zuzendaria José Luis Arellano,, Zuzendaria Diego Martin-Etxebarria, Teatro de la Zarzuela, Madrid, Spain

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