De España vengo
from El niño judio (1911) The Jewish Boy
music by Pablo Luna (1879 – 1958)
This is an exotic operetta-style Zarzuela, with scenes in Spain, Palestine and India, where the young heroine, Concha sings this flamboyant Spanish song with its Moorish alhambrismo roulades, in response to a Rajah’s curiosity about her homeland.
No puede ser
from La tabernera del puerto (1936) Girl from the Harbor Tavern
music by Pablo Sorozábal (1897 - 1988)
"No puede ser" (It cannot be) is sung by Leandro in the second act. La tabernera del puert premiered in Barcelona in 1936. One of the most famous arias in the Spanish language, and has been part of the repertoire of many Spanish tenors.
Mr. Hage (guest artist)
Luche la fé por el triunfo
from Luisa Fernanda (1932)
music by Federico Moreno Torroba (1891 – 1982)
Rich landowner Vidal is treated as something of a country hick by the sophisticated Madrid society. Unlike most ‘madrilenos’ in the tumultuous year of 1868, he is not obsessed by political intrigue, except in so far as fighting for the revolutionary party may allow him to defeat the royalists rival for the hand of Luisa Fernanda, the woman he loves..
Cuando está tan hondo\
from El barquillero (1900) The Waffle Sellers
music by Ruperto Chapí (1851 – 1909)
Barquilleros (waffle-sellers) were a familiar sight around the square and parks of turn
of the century Madrid. The gentle Socorro is in love with one of these vendors and determines to stay faithful to him, even though her snobbish mother is strongly opposed
to their match. Her sensitive ‘romanza’ lies at the still heart of the otherwise robustly farcical action.
from Katiuska (1931)
music by Pablo Sorozábal
Sorozábal’s first operetta has an unusual Russian setting, set during the Red Revolution of 1917. Wide awake long after midnight and unhappily in love, the young heroine Katiuska sings of the beauty of the Ukrainian night, and of her forbidden yearning for the local Red Commissar, Pedro Stakoff, who has been injured whilst protecting her from looting soldiers.
music by Pablo Ziegler
A song from Argentina…
Tiene razón Don Sebastián…Coplas de Don Hilarion
from La Verbena De La Paloma (1894) The Festival of the Dove
music by Tomás Bretón (1850 – 1923)
An old man who is having an affair with two lovely young ladies is worried if the only reason they are nice to him is because of his money.
En mi tierra extremeña
from Luisa Fernandez
Mariana strongly advises Luisa to forget Javier and think about marrying a rich landowner, Vidal Hernando, who has come to Madrid to look for a wife and is on his
way to the inn. Mariana introduces him to Luisa. She indulges herself in some mild flirtation, but warns Vidal that she is deeply in love with another man and leaves.
Ms. Gomez and Mr. Espino
from La tempranica (1900) The Early Bloomer
music by Geronimo Giménez (1854 – 1923)
The cheeky gypsy boy, Grabié, which is a pants role for mezzos, sings this
Andalusian dance at the behest of a wealthy landowner to entertain his English Friend.
The innuendo of the words is not lost on the landowner, Don Luis, who has been
conducting a passionate affair with the boy’s sister Maria the
‘headstrong girl” of the title.
from Alma de Dios
music by José Serrano
Wondering gypsis yearn for their homeland...
Amor vida de mi vida
from Maravilla (1941)
music by Federico Moreno Torroba
The aria expresses the heartache of Rafael, a talented but unlucky singer, in love
with Elvira. However, Elvira is in a relationship with Faustino, who is the theatrical producer of her mother, Maravilla, an opera diva who will be Rafael's partner in
her next performance.
from Las Hijas del Zebedeo (Daughters of Zebedeo)
Music by Ruperto Chapí
Young girl from Madrid singing a love song....
Bienvenidos los vareadores…Ay, mi morena
la dehesa y Romanza de Vidal
from Luisa Fernanda
The revolution has finally succeeded. Carolina has been exiled to Portugal, whilst
Javier has disappeared, reported missing after the battle of Alcolea in which Queen
Isabel II lost her throne. Mariana, Luisa and her father have joined Vidal to prepare
for the wedding. He leads a chorus of vareadores (harvesters) in a celebrated song,
in praise of his lovely sweetheart.
Me llaman la primorosa
from El Barbero de Sevilla (1901) The Barber of Seville
music byGeronimo Giménez (1854 – 1923) & Manuel Nieto (1844 – 1915)
Elena is a young promising opera singer, and the plot of this one-act Zarzuela
revolves around a production of Rossini’s “Barber of Seville” in which she is to appear. She sings her ‘polonaise’ in the rehearsal of the ‘lesson scene’ as a demonstration
of her supreme vocal prowess.