Disc: 1
1. Acte I: Intro Et Premiere Scene
2. Acte I: Habanera Du Savoyard
3. Acte I: Duo De Javier Et Marianna, Romance De Javier
4. Acte I: Duo De Lusia Fernanada Et Vidal
5. Acte I: Duo De Caroliina Et Javier
6. Acte I: Finale De L'acte I
7. Acte II: Premier Tableau: Le Pelerinage De St. Antonie 'De La Florida'
8. Acte II: Premier Tableau: Mazurka Des Ombrelles
9. Acte II: Premier Tableau: Duo De Carolina Et Vidal

Disc: 2
1. Acte II: Premier Tableau: Scene
2. Acte II: Deuxieme Tableau
3. Acte II: Troisieme Tableau: Romance De Vidal
4. Acte II: Troisieme Tableau: Finale De L'acte II
5. Acte III: Intro Orch
6. Acte III: Vidal Et Chor Des Gauleurs
7. Acte III: Duo De Luisa Fernanda Et Javier
8. Acte III:Finale De L'acte III

Luisa Fernanda, muchacha madrileña hermosa  - Verónica Villarroel
Carolina, duquesa - Ana Rodrigo
Rosita, modista  - Isabel Monar
Mariana, posadera - Rosa María Ysás
Vidal Hernando, hacendado extremeño enamorado de Luisa Fernanda - Juan Pons
Javier Moreno, militar, mujeriego y pretendiente de Luisa Fernanda - Plácido Domingo
Luís Nogales, revolucionario liberal - Pedro Farrés
Aníbal, revolucionario aficionado - Enrique Rodríguez del Portal
Saboyano - Santiago Sánchez Jericó
Don Florito - Manuel García Jáñez
Bizco Porras - Gregorio Poblador
Don Lucas - Salvador Baladez Solano
Capitán - Martín Grijalba

Coro de la Universidad Politécnica de Madrid
Orquesta Sinfónica de Madrid
Antoni Ros Marbà – director

Esta es una de las mejores versiones de una de las obras maestras del género lírico español. Esta versión (completa a más no pder)incluye pasajes que suelen ser omitidos en las versiones actuales de la obra, lo que se agradece para conocer por completo la gran partitura. En el soberbio reparto brillan con luz propia el Vidal de JUAN PONS, soberbio en lo vocal y de notable actuación dramática y la sensible y bien matizada Luisa Fernanda de VERÓNICA VILLARROEL. PLÁCIDO DOMINGO es un arraigado Javier, mientras que la Duquesa Carolina de la lírico-ligera ANA RODRIGO queda algo desdibujada entre todos sus compañeros. El amplio elenco de secundarios cumple sobradamente, destacando la prestación de SANTIAGO S. JERICÓ, que canta muy bien la conocida romanza del Saboyano. La orquesta y el coro cumplen de manera notable bajo la batuta vivaz de ANTONI ROS MARBÁ. Un disco para no perderselo

Enormously popular (over 10,000 performances to date) and considered one of the finest twentieth century zarzuelas, this work with its compelling melodies and excellent libretto by Federico Romero and Guillermo Fernández Shaw was premiered at the Teatro Calderón in Madrid on March 26, 1932, a year after the declaration of the Republic, an event that would certainly have been evoked in the minds of the first audiences. This work of great emotional range is technically described as a Viennese-style "lyric comedy," but it is also in text and music style about "verismo" revolutionary politics, about Spanish city manners contrasted with country manners and musics, about romantic feelings mixed with tragedy.

Act I is set in 1868 Madrid during the reign of Isabel II as the royalists and republicans struggle. Innkeeper Mariana chats with her lodgers Rosita, a seamstress, republican Don Luís Nogales, and his young follower Aníbal. Luisa Fernanda, courted by rich landowner and monarchist Vidal Hernando, is actually in love with Javier, a colonel in the royal hussars, who is a skirt-chaser and rather nonchalant in his attitude toward Luisa. Javier is tired of the quiet city life (romanza: "De este apacible rincón de Madrid"). Aníbal attempts to interest Javier in the revolution. Astonishingly, Javier falls for the Queen's lady-in-waiting Duchess Carolina and becomes a royalist, at which point Vidal negotiates a political turnabout and becomes a revolutionary in order to fight his rival for Luisa's affections.

In Act II, scene 1, a charity collection is being held outside the Oratory of San Antonio. We hear street vendors and musicians, and "sombrilleros" asking St. Anthony to send them lovers (mazurka: "A San Antonio"). Carolina offers Vidal a large bribe to switch allegiances again but he refuses (duet: "Para comprar a un hombre"). Luisa decides to accept Vidal 's true love and to reject Javier's arrogance and possessiveness (trio: "¡Cuánto tiempo sin verte, Luisa Fernanda!").

Scene 2 takes place at the Calle de Toledo at dawn, where Nogales makes a morale-boosting speech about liberty to his rebels.

In scene 3, Javier is captured but Luisa defends him against a crowd calling for his execution. The hussars overtake the rebels again and free Javier. Nogales is taken in Vidal's place, and Luisa promises to marry the wounded Vidal.

At Vidal's country estate "La Frondosa," at Piedras Albas in Extramadura, the marriage is about to take place, when news arrives that the Queen has been dethroned, Duchess Carolina exiled, and Javier is missing. A chorus of vareadores (harvesters) together with Vidal praise the impending marriage (coro y romanza: "¡Ay mi morena, morena clara!"). Javier, wounded in Portugal, returns and pleads with Luisa to return to him. However, Luisa still declares she will marry Vidal even though she continues to love Javier (duo: "¡Cállate, corazón!"). Vidal eventually understands that Luisa really loves Javier, and, in a final act of true love, releases Luisa from her marriage promise. At the opera's end, he has only his memories for comfort. --- "Blue" Gene Tyranny, Rovi

download: uploaded yandex 4shared mediafire solidfiles mega zalivalka filecloudio anonfiles oboom

back

1. Part I
2. Part II

María Manuela - Pilar Lorengar
Mercedes - Lina Huarte
Gonzalo - Manuel Ausensi
Lorenzo - Carlos Munguía
Petrilla - Julita Bermejo
Amadeo - Gregorio Gil

Cantores de Madrid
Gran Orquesta Sinfónica
Federico Moreno Torroba – conductor

Moreno Torroba was not only a prolific guitar composer but one of the leading advocates in the late flowering of the zarzuela, the light Spanish opera form characterized by a blend of sung and spoken dialect. As conductor and impresario, he travelled widely throughout the 1930s and 1940s with several stage companies, visiting the United States and Latin America. His first zarzuela was written as early as 1912, but it was the success of La mesonera de Tordesillas (The Hostess of Tordesillas) (1925), which confirmed his enthusiasm for the genre, and a whole string of triumphs, including La marchenera (The Girl from Marchena) (1928) and Luisa Fernanda (1932) followed, continuing through till Ella (1966), the composer finally achieving an astonishing total of some eighty operas.

After the end of the Spanish Civil War in 1939, Moreno Torroba continued as one of the dominant figures of Spanish musical culture. Founding a new zarzuela company in 1946, he once again toured widely and in 1957 María Manuela became the most popular Spanish opera of the decade. In the post-war years, the composer wrote nine ballets, a quantity of choral and orchestral music, a piano concerto and many piano solos, a variety of songs and miscellaneous other works, as well as numerous guitar pieces, a prodigious output which continued until his death at the age of 91. Moreno Torroba’s musical vocabulary eschewed experimentation along twentieth-century avant-garde lines, preferring lyrically melodic music with tonal harmony. His philosophy of composition is often described as ‘castizo’, signifying a blend of folk elements drawing on the traditions of Iberian culture, combined with conventional forms and evocative or impressionistic works celebrating dance genres, specific places, or moods. His guitar music is particularly rich in its use of colour, melody, and lively rhythms to transport the listener into an essentially Spanish expression of a poetic and romantic sensibility. --- naxos.com

download: uploaded yandex 4shared mediafire solidfiles mega zalivalka filecloudio anonfiles oboom

back

1 Introducción Y Mazurca - "Las Chicas De Madrid" 	
2 Chotis Y Pasacalle Madrileño - "Como Soy Chulapona" / Terceto "He Venido Pa Decirle" 	
3 Dúo - "Ese Pañuelito Blanco" 	
4 Introducción Y Guajira / Pasacalle Madrileño - "Dejaría De Ser Madrileño" 	
5 Chotis-Habanera - "Dígale Usted A Esa Chulapa" 	
6 Romanza - "Tienes Razón, Amigo" / Bulerías, Tanguillo, Petenera Y Zapateado / Terceto "No Desafíes, Mujer" 	
7 Chotis - "¡Ay, Madrileña Chulapa!" 	
8 Dúo - "Confieso Que Le Quise Por Envidia"

Manuela - Teresa Berganza
Rosario - Pilar Lorengar
José María - Carlos Fagoaga
El Chalina - Joaquín Portillo
Juan De Dios - Julio Uribe
Venustiana - Sélica Pérez Carpio
Cantaora - Mari Carmen Ramírez
Señor Antonio - Antonio Ayestarán
Emilia - Charo Ormazábal

Coro de Cámara del Orfeón Donostiarra
Orquesta Sinfónica 
R. Frühbeck De Burgos - Conductor

For many, the lyric comedy La chulapona (Madrid, Teatro Calderón, 31st March 1934) is the quintessential Madrid zarzuela. It is certainly a fabulous compendium of the dances, sounds and popular scenes of that lost Golden Age of the 1890's which it evokes so strongly. Yet beyond the barrel organs, café-bar castanets and guitars, what distinguishes La chulapona from several other nostalgic 'retro' zarzuelas of the pre-Civil War years?

Romero and Shaw packed their highly theatrical libretto with a host of situations familiar from the género chico classics of Chueca, Chapí and Torregrosa (whose La fiesta de San Anton is notably similar in general outline) without inducing any sense of deja vu. At the centre of their colourful web of characters is the inevitable love triangle; yet all three luckless lovers are sympathetically drawn, not least La chulapona Manuela herself. Many find her self-sacrifice tragic; but the librettists ensure a conclusion very far from downbeat, by providing a hint that she may be better off with the steady Señor Antonio after all.

As with Luisa Fernanda, Torroba provided a score of unusual length. Indeed some punctilious commentators have preferred to define the pair as operones ('half-operas') rather than zarzuelas. The music has had its detractors, mainly on the grounds that La chulapona doesn't have the melodic inspiration of Luisa Fernanda. Whilst there may be a grain of truth in this, such was inevitable in an ensemble work with room for only one solo Romanza - José María's "Tienes razón, amigo", which lacks nothing in quality. The final Dúo for the two women is equally distinguished, as is the orchestral Nocturno; but elsewhere the score is more notable for smiling energy and operetta-lightness of touch than for emotional depth.

As those fortunate enough to see the Teatro de la Zarzuela's 1988 production or its subsequent revivals can readily testify, any such doubts are blown away in the theatre, where La chulapona's dazzling mixture of popular song, catchy dance and orchestral wizardry has enthralled audiences at home and abroad. Indeed, its ecstatic reception at the 1995 Edinburgh Festival exploded the received idea that Madrid zarzuela was somehow too provincial to travel, in one, joyous blast. --- zarzuela.net

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru uplea

back