A typical Spanish operatic genre, the zarzuela  was born in the 17th century thanks to the Infante Don Fernando, who promoted the performance of musically-accompanied shows at the Palacio de la Zarzuela, the private residence of the King of Spain in Madrid. Its name probably derives from the Spanish " zarza ," meaning blackberry, whose brambles grew in abundance in the palace gardens. Characterized by a mix of sung and spoken parts, the zarzuela , after experiencing a period of decline in the 18th century, returned to its former splendor in the 19th century following the rise of the nationalist movement, driven primarily by Catalan musicians living abroad. In the 19th century, the zarzuela underwent a significant evolution thanks to Francisco Barbieri, who is credited with the birth of the large-scale zarzuela  with the dramatic opera Jugar con fuego . Among zarzuela composers , Federico Chueca stands out . Although self-taught, he was one of the greatest exponents of the  chico (one-act) genre, to which  La alegría de la huerta (Teatro Eslava, Madrid, 20 January 1900) also belongs. The  Prelude  is a splendid musical fresco of the Murcia region, in which the composer succeeded in condensing the atmosphere of the Spanish popular festival  Romería . Unlike Chueca, Gerónimo Giménez  completed regular studies and in 1901, together with  Manuel Nieto,  who enjoyed a certain popularity both at home and abroad, composed  El barbero de Sevilla . The protagonist, Elena, a young soprano, wishes to make her debut in Rossini's opera and demonstrates her talent in the coloratura aria,  Me llaman la Primorosa. Federico Moreno Torroba , on the other hand, was interested in the  zarzuela grande , an example of which is  Luisa Fernanda (Teatro Calderón in Madrid, 26 March 1932), set in 1868, during the revolutionary unrest against Isabella II. De este apacible rincón de Madrid, sung by Javier who reflects on his love for Luisa Fernanda and the peace that that "quiet corner of Madrid" inspires in him, is a poignant romanza for tenor, while Luche la fe por el triunfo is sung by Vidal, a rich farmer who loves Luisa Fernanda, despite knowing that his love is not reciprocated. Finally, Caballero del alto plumero  is a duet from the second act between Carolina and Javier. A precocious talent, who sadly died at the young age of 37,  Antonio Álvarez Alonso  It didn't  even enjoy the success of  Suspiros de España , a Pasodoble , which for the Spanish today is almost a second national anthem. The piece, performed for the first time in Cartagena in May 1902, is notable for its noble and solemn theme, entrusted to trumpets and clarinets. The scores of Pablo Sorozábal , a Basque by birth who studied in Leipzig and Berlin, have a modern character. This is evident in his masterpiece La del manojo de rosas  (Fuencarral Theatre, Madrid, 13 November 1934), a modern musical comedy set in a Madrid square, where Ascensión, a young florist who is being fought over by two men, also has her shop. Among its most notable works is the duet " Hace tiempo que vengo al taller" from the first act between the protagonist and Joaquín, one of her suitors, while "Madrileña bonita " ( Beautiful Madrid woman ) is a praise of the beauty of the Madrilenian woman. Another masterpiece by Moreno Torroba is "La Chulapona" (Teatro Calderón, Madrid, March 31, 1934), whose title refers to "La Chulapona," the elegant and proud woman of Madrid. Sung by Juan José, a man torn between two women, Manuela (La Chulapona) and Rosario, the romance " Tienes razón amigo" (I Have a Friend) is a psychological monologue that reveals the character's fragility. Catalan by birth,  Amadeo Vives , who studied in Barcelona and was one of the founders of the Orfeó Català, was an extremely refined composer whose technically demanding music is rich in orchestral nuances. His masterpiece is Doña Francisquita (Teatro Apolo, Madrid, October 17, 1923), one of whose most famous pieces is the  Canción del ruiseñor , a technically demanding aria sung by the eponymous protagonist.  El Bateo  (Teatro de la Zarzuela, Madrid, November 7, 1901) is one of Chueca 's last works . Its  Prelude , in which some themes from the opera can be heard, is notable for its rhythm and liveliness.  La Maravilla (Teatro Fontalba, Madrid, April 12, 1941) is one of Moreno Torroba 's most mature works , in which the romanza Adiós dijiste...Amor de mi vida stands out,  in which the protagonist expresses his pain for an impossible love. The fruit of the collaboration between Reveriano Soutullo  and Juan Bautista Vert Carbonell  is the  zarzuela La leyenda del beso   (Teatro Apolo in Madrid, 18 January 1924), considered by critics to be a true opera both for its treatment of the voices and the richness of the orchestral instrumentation, the latter evident in the splendid  Intermezzo , a famous piece in which, in the central section, a lyrical theme emerges, exposed by the strings. Basque by origin but Italian by adoption, having studied at the Milan Conservatory, Pascual Emilio Arrieta  showed an Italian influence in his works. This is also evident in  Marina , which, created in 1855 as a zarzuela, was reworked with the addition of a third act in 1871, so much so that it became a true opera. A bel canto-style writing characterizes the melody of  Feliz Morada . Among the vast oeuvre of  Gerónimo Giménez,  La boda de Luis Alonso  (Teatro de la Zarzuela, 27 January 1897) achieved a certain fame . The intermezzo is notable for its lively writing, which incorporates the rhythms of various dances, including that of a seguidilla , the theme of which would later be used by De Falla in The Three-Cornered Hat . A contemporary of Giménez,  Ruperto Chapí  was a particularly versatile composer who also experimented with symphonic music, chamber music, and opera. Las hijas del Zebedeo  (Teatro Maravillas, Madrid, 9 July 1889) is a classic comedy of errors, in which the aria "Carceleras" (Jailer) stands out for its technical difficulty .  A work of great emotional force and a signature tune of great tenors,  Non puede ser is the most famous romance from  Sorozábal's La tabernera del puerto (Tivoli Theatre, Barcelona, ​​May 6, 1936). El gato montés (The Little Cat, Valencia, February 23, 1916) is the masterpiece of Manuel Penella Moreno , a well-rounded theater man who wrote the librettos and also directed the plays. The duet  Vaya una tarde bonita (What a beautiful surprise) , sung by Rafael and Soleá, is a work of intense lyricism. 

Alejandro Roy

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Jul 31 - Aug 1, 2026

Zarzuela: The Magic of Spain · Orchestra Sinfonica Siciliana

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