Manuel Penella Moreno [1880 – 1939]
from EL GATO MONTÉS – Pasodoble

Gerónimo Giménez y Bellido [1854 – 1923]
from LA TEMPRANICA – „Sierras de Granada“

Federico Moreno Torroba [1891 – 1982]
from LUISA FERNANDA – „Caballero del alto plumero“

Manuel Fernández Caballero [1835 – 1906]
from GIGANTES Y CABEZUDOS – „Romanza de la carta“

Federico Chueca [1846 – 1908] und Joaquín Valverde [1846 – 1910]
v LA GRAN VÍA – „Vals del Caballero de Gracia“

Gerónimo Giménez y Bellido
from EL BARBERO DE SEVILLA – „Me llaman la Primorosa“

Ruperto Chapí y Lorente [1851 – 1909]
from LA REVOLTOSA – Preludio

Federico Moreno Torroba
from LA CHULAPONA – „Tienes razón, amigo“

Francisco Asenjo Barbieri [1823 –1894]
from EL BARBERILLO DE LAVAPIÉS – „Canción de la Paloma“ / „Seguidilla Manchegas“ / „Cuarteto Caleseras“

Manuel Penella Moreno
from EL GATO MONTÉS – Dúo Soleá

*** Intermission ***

Gerónimo Giménez y Bellido
from LA BODA DE LUIS ALONSO – Intermedio

Pablo Luna Carné [1879 – 1942]
from EL NIÑO JUDÍO – „Noemi de mis amores“

Manuel Penella Moreno
from EL GATO MONTÉS – „Romanza de Soleá“

Jesús Guridi Bidaola [1886 – 1961]
from EL CASERÍO – Dúo Ana Mari y Santi

Pablo Luna Carné
from LA PÍCARA MOLINERA – „Paxarín, tú que vuelas“

Amadeo Vives [1871 – 1932]
from DOÑA FRANCISQUITA – Fandango

Ernesto Lecuona [1895 – 1963]
from ROSA LA CHINA – Dúo Rosa y José

Federico Moreno Torroba
from LUISA FERNANDA – „Subir, subir“

Pablo Sorozábal [1887 – 1988]
from LA TABERNERA DEL PUERTO – „No puede ser“

Ruperto Chapí y Lorente
from LAS HIJAS DEL ZEBEDEO – „Carceleras“

Federico Chueca und Joaquín Valverde
from LA GRAN VÍA – „Jota de los Ratas“ / „Chotis del Eliseo“

Named after the Palacio de la Zarzuela near Madrid, this early form of Spanish musical theatre emerged as early as the 17th century, developing in parallel with Italian opera. Related to vaudeville, farce and operetta, hundreds of these entertaining and spectacular works were composed within the space of a few decades. The genre, which had increasingly fallen into obscurity, was not revived until the mid-19th century, yet it remains neglected on theatre programmes to this day. Star director Christof Loy, who is a passionate advocate of the zarzuela, is staging an evening’s performance at the Deutsche Oper Berlin.

“Essentially, zarzuela is synonymous with musical theatre in Spanish, encompassing all the richness that the term musical theatre – as found in classical opera and operetta guides – implies in the rest of the world. From the early to the high Baroque, through Singspiel, comic and serious operas, verismo dramas with and without spoken text, right up to musicals and revues with loose plotlines … all of that, in Spanish alone. Why none of these works has found its way into the international musical theatre canon remains a mystery to me.” – Christof Loy

The event is dedicated to the legendary soprano Pilar Lorengar [1928–1996], who began her career as a young singer in zarzuela and was engaged by the Deutsche Oper Berlin from 1958 onwards. As an acclaimed member of the ensemble, she performed on stage here from the theatre’s opening night at Bismarckstraße in 1961 until the end of her career.