Giuseppe Verdi is, of course, one of the best-known opera composers in history. He must also have been a voracious reader, since so many of his operas are based on plays, novels, and historical dramas. He also seemed to have a particular fondness for stories set in Spain, as the first half of this concert makes clear. Not that Verdi wrote exclusively about Spain, but he certainly seemed drawn to the pasión de España.
The second half of our program shifts to Spanish composers themselves--some well-known, others perhaps a little less familiar. And then, of course, there's the mother of all operas set in Spain: Carmen. An opera that, ironically, was written by a Frenchman.
ACT ONE:
DON CARLO
In Don Carlo, the title character suffers one of opera's more painful romantic setbacks: he loses his fiancée to his father. Yes, his father. Furious and heartbroken, Carlo becomes entangled in the political and religious turmoil of the Spanish Inquisition, supporting a cause that might bring freedom to the people--but could easily cost him his life.
"Spuntato ecco il di"
Here's where the version question comes into play. In the five-act version of the opera this chorus appears in the second scene of Act III; in the four-act version it arrives in Act II.
The sun rises on what appears to be a beautiful morning. The chorus sings excitedly about Spain and its king. Unfortunately, it's also a beautiful morning for a public execution. But why let that spoil your day?
"Sotto ai folti / Nei giardin del bello"
Princess Eboli is one of opera's great schemers. When she realizes Don Carlo is not in love with her, she becomes determined to make his life miserable.
The famous Veil Song (Nei giardin del bello) is one of the best-known arias from the opera. The person behind the veil is a woman whom the king finds irresistible. What he doesn't know is that woman is his wife in disguise. It follows the playful chorus Sotto ai folti, sung by Eboli, a page, and the queen's ladies-in-waiting.
The mood shifts quickly--from flirtation to intrigue.
"Per me giunto"
Near the end of the opera, Don Carlo has been imprisoned.His loyal friend Rodrigo visits him one final time, saying goodbye before making the ultimate sacrifice to save him.
Opera friendships tend to be very serious commitments.
IL TROVATORE
Verdi's Il Trovatore is based on the play El trovador by Antonio García Gutiérrez, published in 1836. The libretto was written by Salvadore Cammarano with additions by Leone Emanuele Bardare. The opera premiered in Rome in 1853.
The story takes place in Zaragoza, the capital of the Kingdom of Aragon, around the year 1412. To offer up a quick synopsis here would be a fool's game to play. Multiple storylines unfold at once, several characters have mysterious pasts, and at least one baby gets switched.
Il Trovatore is rarely praised for its storytelling, but it is widely admired as one of Verdi's finest compositions.
"Anvil Chorus"
The opening of Act II features one of the most famous choruses in all of opera. So famous, in fact, that it has appeared in everything from Popeye to The Muppets to Looney Tunes. Those versions usually leave out the small detail that the lyrics celebrate hard work, good wine, and lively company.
"Stride la vampa"
Immediately after the Anvil Chorus comes this blazing moment of vengeance. Azucena recounts how her mother was burned at the stake after being accused of witchcraft.
The flames roar--and so does the orchestra.
LA TRAVIATA
In La Traviata, Violetta--already suffering from declining health--throws an extravagant party. At that party she is introduced to Alfredo by her current lover, Baron Douphol.
When Alfredo notices signs of her illness, he urges her to abandon her lavish lifestyle. He also confesses that he has loved her for a long time, which is the moment when things become complicated. The opera tells the story of a woman who sacrifices everything to live life on the edge.
Since this is a Verdi opera--and since Verdi wrote only one true comedy (Falstaff)--you can safely assume things are not going to end happily.
"Gypsies and Matadors"
By Act II, life is becoming increasingly difficult for Violetta. Her illness worsens and her relationship with Alfredo begins to unravel.
In the middle of all this emotional turmoil comes a burst of spectacle: Noi siamo zingarelle, sung at a lavish party where guests appear dressed as gypsies and matadors.
It's festive, colorful--and a little bit distracting, which may be exactly the point.
ERNANI
This opera is based on Victor Hugo's drama Hernani. Francesco Maria Piave, the librettist, would later collaborate with Verdi on several operas, including La Traviata and Rigoletto. Ernani premiered in Venice in 1844.Ca
Set in 16th-century Spain, the story centers on Elvira, who finds herself pursued by three men: Carlo, the King of Spain; Silva, her powerful and possessive uncle; and the mysterious bandit Ernani, formerly known as Don Juan of Aragon.
Disguises, betrayal, honor, vengeance, and tragedy follow in rapid succession--in other words: classic opera.
"Ernani, Ernani, involami"
Elvira is forced to marry Silva, though she is deeply in love with Ernani. In this aria she expresses the intensity of that passion and her desperation to escape.
"Esultiamo"
If Elvira had simply married Ernani, the opera would be over quickly. Instead she is compelled to marry Silva. The chorus celebrates the wedding with great enthusiasm.
No one seems to notice that the bride is less excited.
"Oh de' verd'anni miei"
Carlo may have lost Elvira, but he has larger concerns--namely discovering a plot to assassinate him. In this reflective aria he considers the future he once imagined for himself.
"Un patto! Un giuramento!"
Silva and Ernani strike a pact: Ernani promises that if Silva ever calls upon it, he will take his own life.
Silva, naturally, remembers this promise.
"O sommo Carlo, piu del tuo nome"
Carlo gets named the Holy Roman Emperor Charles V. Elvira pleads for mercy and Carlo wonders if he has the wisdom to act with mercy. While the chorus sings its praises of the new emperor, an undercurrent of foreboding foreshadows the finale.
ACT TWO:
FLORENCIA EN EL AMAZONAS (Daniel Catán)
Daniel Catán's opera takes place in the early 1900s along the Amazon River. A group of passengers travel by steamboat toward Manaus, where the legendary soprano Florencia Grimaldi is scheduled to perform. What they don't realize is that Florencia is secretly aboard the ship.
The journey brings storms, romance, arguments, revelations, and the lingering mystery of Florencia's lost lover, Cristóbal, who disappeared years earlier while exploring the river.
"Opening"
The chorus establishes the atmosphere of the journey and the powerful presence of the river itself.
"Florencia Aria - Escúchame"
Florencia sings of Cristóbal, calling out to him across the years: "I know that you hear me, in life or in death."
"Paula Aria - Paula's Regret"
Paula and Álvaro spend much of the journey arguing--until a violent storm sweeps him overboard. In the aftermath, Paula must face the depth of her loss.
GOYESCAS (Granados)
Six paintings by Francisco Goya inspired this story of Rosario, who becomes fascinated with the matador Paquiro. Her lover Fernando is less than thrilled about this development and challenges Paquiro to a duel. Even less thrilled is Pepa, Paquiro's sweetheart.
The opera unfolds across three tableaus.
"El Fandango"
A fandango is a dance that starts slowly and gradually picks up steam as it does in this scene set at a candlelit ball. As the crowd begins to enjoy itselt, Fernando and Rosario enter hoping to defend her honor. But Paquiro cuts in and invites her to dance. As the temperature rises, so does the pace of the dancing and the music.
"La Calesa"
This moment marks Pepa's arrival with Paquiro. As she enters, the chorus greets her with enthusiasm--and more than a little gossip.
Opera crowds rarely keep their opinions to themselves.
LA TEMPRANICA (Giménez)
Zarzuelas occupy a place in Spanish musical culture somewhat similar to the works of Gilbert and Sullivan in England--though they often carry a more serious tone.
In this story, Maria falls in love with Don Luis, but the differences between their social worlds may prove impossible to overcome.
"Sierras de Granada"
Maria sings of her love for the beauty of Granada--and for Don Luis.
MARAVILLA (Torroba)
This zarquela centers on a romantic triangle between Rafael, Elvira, and Faustino. Elvira's mother, Manuela, attempts to manipulate the situation by pretending to fall in love with Rafael herself. It's not the most sensible plan, but it is memorable.
"Amor, vida de mi vida"
At his lowest moment, Rafael sings of the love he fears he has lost.
LA VIDA BREVE (De Falla)
Manuel de Falla's early twentieth-century opera tells the story of Salud, a young gypsy woman deeply in love with Paco--a wealthy man who ultimately abandons her for someone of higher social standing.
In opera, unequal love rarely ends well.
"Vivan los que rien"
"Long live those who laugh," sings Salud--still hopeful before the truth of Paco's betrayal becomes clear.
Act II First Tableau
Preparations for Paco's wedding appear joyful, but the tension beneath the celebration is impossible to ignore.
CARMEN (Bizet)
When Carmen premiered in Paris in 1875, audiences were shocked. The opera's characters were considered scandalous, the story morally questionable, and the ending downright disturbing. Today it is one of the most frequently performed operas in the world.
Set in Seville, the opera follows the fiercely independent Carmen, whose charisma attracts attention wherever she goes. One person initially immune to her charm is the soldier Don José--though that doesn't last long. Jealousy, obsession, and bad decisions soon take over.
Fun fact: Carmen even inspired a memorable production of Hamlet on Gilligan's Island. Opera has a way of turning up in unexpected places.
Gypsy Song
Carmen celebrates the freedom of gypsy life--and the pleasures of love.
LA VIDA BREVE (De Falla)
"Act II Second Tableau"
The inevitable tragedy finally arrives when Salud confronts Paco during his wedding celebration. Overcome with heartbreak and humiliation, she dies at his feet. But De Falla mixes this tragedy with the key elements that make Spanish music irresistible: rhythm and dance.
What better way to end the concert than with Olé! (That's the only word used in this piece!)
Opera, it seems, prefers its endings decisive.
Opera set in Spain rarely deals in moderation. Love is overwhelming, jealousy is immediate, revenge is swift, and tragedy is rarely far behind.
But along the way the music gives us unforgettable melodies, unforgettable characters--and just enough drama to remind us why these stories continue to captivate audiences centuries later.
Which, when you think about it, may be the most passionate tradition of all.
~ CRAIG L. BYRD