Inspired by the paintings of Francisco Goya, Granados wrote Goyescas in 1915 to a libretto by Fernando Periquet y Zuaznabar with melodies taken from his own 1911 piano suite of the same name. Prevented by World War I from being presented at the Paris Opéra, the premiere took place on January 28, 1916 at New Yorks Metropolitan Opera, paired with Leoncavallos I Pagliacci. Goyescas was inspired by the young men and women of the majismo movement, known for their bohemian attitude and soft spot for finery. As the opera opens the majos and majas are enjoying an afternoon outside the Church of San Antonio de la Florida. The fun-loving troupe is dancing, feasting, and playing a traditional game known as the pelele, which involves a human replication made of straw being thrown up in the air by a group using a stretched-out sheet. As they flirt and chatter, Paquito (baritone Davide Damiani) enters, surrounded by women. He calls all the ladies unique garden flowers, and they swoon for him, but all of them know who he supposedly belongs to. Pepa (mezzo-soprano Francesca Franci) enters the scene riding her dog cart, and the men crowd around her excitedly, as she thanks them for making her feel welcome. Suddenly, the attention is on two richly dressed lackeys bearing a sedan-chair, and in which the high-born lady Rosario (soprano Raffaella Angeletti) waits for her lover. Paquito wastes no time approaching this mystery woman. He recalls a time when she appeared at one of their lantern-lit balls, and invites her again that very night. Rosario ignores him, but her indifference goes unnoticed by Fernando (tenor Yikun Chung), captain of the royal guard, who was hiding away and spying on her and Paquito. Fernando assumes that she was flirting, and although she flatly denies it, he does not trust her. Fernando decides that Rosario will accept the invitation, but that he will accompany her. They leave promptly, and after sharing their plans to ruin the lovers, Pepa and Paquito leave on their dog cart. At the ball that night, all the majas are dancing, while the majos watch eagerly. Fernando enters dragging Rosario, whom Pepa proceeds to make fun of. Fernando assures Rosario that he will defend her honor. Paquito makes a spectacle of asking Rosario to dance, and Pepa questions his motives jealously. Fernando insults Paquitos honor, while Rosario protests. Paquito suggests a duel to prove his valor. A brawl begins, the women holding back Paquito and the men from rushing Fernando, and Rosario faints in the excitement. Fernando leaves with Rosario. Pepa, returning to the center of attention, engages the crowd in a fandango. Later that night, Rosario sits on a bench in the palace garden, listening to the sad song of a nightingale under the light of the moon. Fernando calls to her. She responds sorrowfully but lovingly, but he doubts her claims of total devotion. They share a loving moment, ruined by the presence of Paquito, who is dressed in a black cloak. Rosario begs Fernando to stay, but he tears himself away, promising to return victorious. Rosario follows, and the duel begins. Two screams signal the end of the duel, one by the mortally wounded Fernando, the other by Rosario. Paquiro flees, dragging his cloak behind him. Rosario drags Fernando to the bench where they had just shared their tender moment. Rosario holds him, and they share one last kiss before he dies in her arms. Rafael Frühbeck de Burgos conducts the Orchestra and Chorus of the Teatro Liroco of Cagliari in this 2002 Dynamic recording, CD number 380. --Bob Chapman
Posted on: Thu, 11 Sep 2014 23:37:30 +0000
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