Goyescas (Ope) – Wikipedia

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Work
Title: Goyescas or the beautiful people in love
Original title: Goyescas, or the oldes in love
Granados - Goyescas, scene II - The challenge - The Victrola book of the opera.jpg

Second scene: challenge for the duel (1916)

Original language: Spanish
Music: Enrique Granados
Libretto: Fernando periquet y zuaznabar
Premiere: January 28, 1916
Place of premiere: Metropolitan Opera
Playing time: Around 1 hour
Place and time of the action: Madrid, a 1800
persons
  • Rosario, a young lady of the Madrid nobility (soprano)
  • Fernando, a young officer, her lover (tenor)
  • Paquiro, Stierkämpfer (Bariton)
  • Pepa, a girl from the people (mezzo -soprano)
  • a voice (soprano or tenor)
  • Majas und Majos (Chor)
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Goyescas Is an opera in an act and three pictures of the Spanish composer Enrique Granados from 1915. Granados composed the opera after a Spanish libretto from Fernando Periquet Y Zurznabar from melodies of his piano suite of the same name from 1911. The opera was on the Metropolitan Opera in New York City on January 28, 1916.

In 1911 Granados led his piano cycle Goyescas , who is inspired by early works of art Francisco Goyas, with great success in Barcelona. The friend Ernest Schelling then advised him to convert the suite into a stage. Granados orchestrated five of the six piano pieces and the genre The Pellele As an opera scenes and wrote two new interludes for the plot divided into three pictures. With the libretto, which, in contrast to the usual procedure, had to be adapted to the already existing melodies, he commissioned Fernando Periquet Y Zuznabar. He dedicated the opera Schelling and his wife Lucie. [first]

Anna Fitziu to the Rosario (1916)

A performance of the piano suite was celebrated so enthusiastically in Paris in 1914 that the Paris Opera Opera offered Granados to perform the stage version. [2] However, since the First World War prevented the premiere at the Opéra Garnier in Paris, the premiere of Goyescas on January 28, 1916 at the Metropolitan Opera; Granados traveled to New York especially for this [2] And even extended the intermezzo between the first and second image at short notice to enable the change of scene. Goyescas Was the first opera to be performed in Spanish. At the double performance, in which Leoncavallos Clowns was given, Anna Fitziu (in her debut at the Metropolitan Opera) as Rosario, Giovanni Martinelli as Fernando, Giuseppe de Luca as Paquiro and Flora Perini as Pepa; [3] La Argentina danced the Fandango in the second picture. [4] The performance was conducted by Gaetano Bavagnoli; The stage production was led by Jules Speck. It included stage sets by the Milan designer Antonio Rovescalli and costumes by G. B. Santoni, who laid down on Goya paintings. [5]

The plot of Goyescas is based on a number of six paintings from Francisco Goyas early work, inspired by young people from the “Majismo” movement. These so -called Majos and In the house are characterized by a slope to the bohemian and a certain splendor. The opening scene is guided directly from Goyas Bild The Pellele from 1791.

Francisco Goya, The Pellele (1791/92)

First picture [ Edit | Edit the source text ]

First Scene: Der pelele [ Edit | Edit the source text ]

Young people enjoy an afternoon on the festival meadow in front of the church “San Antonio de la Florida”. They spend their time with dance, gourmet and the traditional game called Dummy , in which a straw doll that is supposed to represent an unfaithful lover is thrown into the air with a tense cloth and trapped again ( „El Pelle” ). As they talk and flirt, the young bullfighter Paquiro appears, surrounded by women. He flirted with them ( „The requirements” ), but women know that he is in truth with Pepa.

Second scene: Die coldish [ Edit | Edit the source text ]

Pepa enters the scene on a calesche; The men are excited about them as they thank them for their warm welcome. Suddenly, a leaf worn by two well -dressed servants attracts attention in which the noble Rosario is waiting for her lover Fernando, a young captain of the guard.

Third scene: The flattery [ Edit | Edit the source text ]

Rosario gets out of the lunch, Paquiro approaches her and reminds her of the last lantern ball to which she had appeared. He invites you to this night. Rosario ignores him, but Fernando doesn’t notice this when he hidden the two of them. He suspects that Rosario flirted with Paquiro. This denies this, but Fernando does not believe you. The two continue to argue while Pepa and the bystanding women mock them. Fernando decides that Rosario should accept the invitation, but he will accompany it. The two leave the scene and Pepa and Paquiro take the plan to ruin the two lovers. Then remove yourself on your Kalesche.

Second picture [ Edit | Edit the source text ]

First Scene: The lantern ball [ Edit | Edit the source text ]

In the evening on the lantern ball, the young people dance in a barn. Fernando enters the scene, Rosario pulled, which is ridiculed by Pepa. Fernando assures Rosario that he will defend her honor. As a result, Paquiro Rosario calls for a dance with a large spectacle; Pepa is jealous of his motif.

Second scene [ Edit | Edit the source text ]

Fernando insults Paquiro’s honor, whereupon he suggests a duel to prove his courage. There is a handmade in which the women prevent Paquiro and the other men from hunting Fernando off the ball; Rosario passes out of excitement. After the time and place of the duel have been determined, Fernando and Rosario leave the ball. Pepa, back in the center of attention, the ball visitors ask for a fandango ( „Candil’s fandango” ).

Third picture [ Edit | Edit the source text ]

First Scene: The Maja and the nightingale [ Edit | Edit the source text ]

Later in the evening Rosario is thinking thoughtfully on a bench in the garden of her house, listens to the sad song of a nightingale in the moonlight and replies her singing ( „La Maja and the Nightingale” ).

Second scene: Love duet by the window [ Edit | Edit the source text ]

When Rosario wants to withdraw into the building, Fernando is approaching. She answers; The two explain their mutual love and share an intimate moment ( „Colloquium in the fence” ). A bell strike signals the hour of the duel to which Paquiro and Pepa appear. Fernando is ready for the departure; Rosario clings to him and asks him to stay. Fernando tears off and promises to return as a winner. Rosario follows him and the duel begins.
Two screams mark the end of the duel – one comes from the fatally wounded Fernando, the other of Rosario; Paquiro flees.

Final scene: Love and death [ Edit | Edit the source text ]

Rosario drags Fernando to the bank where they had previously shared the tender moment. She pulls him to her chest and the two kisses one last time before he dies in her arms ( „BALADA: THE MAJA AND DEATH” ).

Orchestra: 2 flutes (2nd flute also piccolo), 2 oboen, English horn, 2 clarinets, 2 bassoon, 2 horns, 3 trumpets, 3 trombones, tuba, bang, impact, striker.

Stage music behind the scene: bells, tamtam.

The opera was well received by the criticism. In his report for the New York Times Richard Aldrich wrote that the music was not only “guitar music in a hot night”, but was “felt deep” and has an “intensive national color”. [6] The success of the premiere of Goyescas at the Metropolitan Opera, indirectly led to Granados ’death. He was then invited by the then US President Woodrow Wilson to give a piano evening in the White House, which is why he did not go back to Spain. Granados and his wife died on March 24, 1916 when the French steamer Sussex , with which they traveled, in the English channel, torpedoed by a German submarine. [7]

Despite its original success, the opera outside Spain never found a permanent place in the opera repertoire. She was never resumed at the Metropolitan Opera after the original five performances. [3] In translations Goyescas Among others listed in 1919 at the Paris Opera, in 1937 in the Milanese Scala and 1940 at the Gran Teastre del Liceu in Barcelona. The German premiere took place in 2009 at the Heidelberg Theater. [8]

The Interlude The opera developed into an independent concert piece. It is listed both as an orchestral work as well as processing for violoncello and piano. [9]

A Spanish film called Goyescas , based on the opera, was shot in 1942. He was directed by Benito Perojo; Imperio Argentina played the main role. [ten]

The Mexican musician Consuelo Velázquez used for her best -known song Kiss Me a lot The melody of the Aria the nightingale From the third picture. [11]

  • Consuelo Rubio (Rosario), Gins torrano (Fernando), Ana-María Iriarte (PEP), Manuel Ausensi (PAquire); Madrid Cantores, Speanisches Nationalorchester, ataúlfo Argenta (Dirigent); Decca Records lxt 5308 (1 lp) 1955 (mono), Columbia Sll 14006 (1 lp, stereo, 1959) [twelfth]
  • Maria Bayo (Rosario), Ramón Vargas (Fernando), Lola Casariego (Pepa), Enrique Baquerizo (Paquiro); Orfeón Donostiarra, Symphony Orchestra of Madrid, Antoni Ros-Marbà (leading); AUVIDIS V4791 (1 CD) 1996
  • Rafaella Angeletti (Rosario), Yikun Chung (Fernando), Francesca Franci (Pepa), Davide Damiani (Paquiro); Choir and Orchestra of the Lyric Theater of Cagliari, Rafael Frühbeck de Burgos (Director); Dynamic CDS380/1 (CD) 2001 Live
  • Pipers encyclopedia of the music theater . Band 2 : Factories Donizetti – Henze . Piper, Munich / Zurich 1986, ISBN 3-492-02412-2, S. 551 f .
  • Ulrich Schreiber: Opera guide for advanced. Volume 3: The 20th century. III: East and Northern Europe, side strands on the main path, intercontinental distribution . Bärenreiter, Kassel 2006, ISBN 3-7618-1859-9, S. 337–341 .
  • Heinz Wagner: The large manual of the opera . Nicola, Hamburg 2006, ISBN 3-9372-38, S. 456 f .
  1. ↑ Score of the piano extract. (PDF; 22.4 MB) Retrieved on February 14, 2017 .
  2. ↑ a b Moderation manuscript by Ulla Zierau. (PDF; 209 KB) SWR Opera, March 29, 2015, accessed on February 13, 2017 .
  3. ↑ a b Goyescas Archive of the Metropolitan Opera Association, Retrieved on February 14, 2017 .
  4. ↑ Enrique Granados, Màrius Bernadó and Tarragona (Einführung): Goyescas, or the oldes in love . University of Lleida, Lleida 1997, ISBN 84-8409-688-2, S. 7 (Edition for piano for four hands by Albert Guinovart).
  5. ↑ Spanish Opera to Have Premiere This Week. (PDF) The New York Times, 23. Januar 1916, accessed on May 22, 2019 .
  6. ↑ Richard Aldrich: World’s Premier of Opera “Goyescas”. (PDF) The New York Times, 29. Januar 1916, accessed on May 22, 2019 .
  7. ↑ Michael Stegemann: The death of the Spanish composer Enrique Granados. Deutschlandradio Kultur, March 24, 2016, Retrieved on February 14, 2017 .
  8. ↑ Stephan Hoffmann: Deutsche Premiere: „Goyescas“ von Enrique Granados . In: The world . February 24, 2009 ( welt.de ).
  9. ↑ Enrique Granados. Naxos Classical Music, accessed on February 13, 2017 .
  10. ↑ Movie Review: Goyescas. The New York Times, 29. Mai 1944, accessed on February 13, 2017 .
  11. ↑ Marvin E. Paymer: Sentimental Journey: Intimate Portraits of America’s Great Popular Songs 1920–1945 . Two Bytes Publishing, Darien CT 1999, ISBN 1-881907-09-0, S. 443 .
  12. ↑ Granados, Consuelo Rubio, Ana María Iriarte, Ginés Torrano, Manuel Ausensi, singers of Madrid and National Orchestra of Spain driver by Ataulfo ​​Argenta – Goyescas (1972, Vinyl). Retrieved on November 25, 2021 .
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