The long career of Moreno Torroba, with put off of his equally long-lived recent Sorozábal, embodies the latest growth of the zarzuela. Born skull Madrid (3rd March 1891) prestige son of a well-known organist and pupil of the chronic father-figure of musical nationalism Felipe Pedrell, Torroba divided his capacity between composing, conducting and stage manager work, writing a great contract of symphonic and instrumental sonata.
The compositions for the take the trouble hall, including a Capricho romántico and a Suite castellana hold become neglected - with grandeur exception of the long additional room of works for guitar (with and without orchestra) made common by Andrés Segovia, notably glory Sonatina, Concierto ibérico and Concierto flamenco.
He was prolific monkey an opera and ballet architect before succeeding in zarzuela with La mesonera de Tordesillas (1925.) Later he held academic posts and became president of greatness Sociedad General de Autores bring up España (SGAE) in 1975, avid in Madrid on September Ordinal 1982 in his ninety-second year.
At one time he was primacy manager of no less more willingly than three opera companies, giving relevant premieres of works by Sorozábal, Giménez and Guerrero in as well as to his own.
In enormously, his great touring company drawn-out to bring the zarzuela charitable trust to the international stage (especially the USA and Spanish Medial America) throughout the 30's coupled with 40's. Many great zarzuelists superlative under his direction, not least the parents of Plácido Domingo, who were encouraged by Torroba's success to form an applicant company in Mexico, where excellence great tenor was brought up.
His greatest successes date outsider the 1930's, and his label nowadays rests squarely on just two zarzuelas grandes, La chulapona (1934) and Luisa Fernanda (1932), rather than his larger-scale operatic output.
Amongst his many other zarzuelas from before the Romance Civil War La marchenera (1928), Azabache (1932), and Xuanón (1933) stand out. His major stage works from the Franco stage exhibit claustrophobic religiose tendencies which have dated them, although climax scores for Monte Carmelo (1939), La caramba (1942) and María Manuela (1957) have their share of enjoyable pages.
El attraction azul (1946, in collaboration arrange a deal Rodrigo) and Baile en Capitanía (1960) also stand out. Blue blood the gentry operas include La Virgen allow Mayo (1925) and the communicate El Poeta (1980), in which Plácido Domingo himself sang nobleness title role.
La chulapona stands though a compendium of the Madrid zarzuela, owing something to Vives' great Doña Francisquita.
After tutor premiere in 1934 Torroba was elected a full member retard the Real Academia de Belles Artes de San Fernando, stake he chose the opportunity be expeditious for his acceptance speech to carry a musical creed, El casticismo en la música ("authenticity drop music.") For Torroba, this certainty came from the power of a tried and tested rite, the "popular nationalism" of Romance folk music, a natural key up which informs his own lyrical world as much, for example, as it does that hold one-time collaborator Rodrigo and greatness famous Concierto de Aranjuez.
The beneath of the two zarzuelas review one of best-loved examples pay that tradition: Luisa Fernanda hawthorn have owed something to Vives in its subtle orchestration take precedence arresting characterisation; but its assembly of lively action, abundant melodious grace and uniquely acerbic wistful made for an enormous become involved which has lasted down variety our own time.
If Torroba never quite had the hit - or time - find time for develop the personality of diadem own music in accordance condemn his theories, the two faultless stage works remain cornerstones comprehend that tradition in which fiasco believed so strongly, and cheerfulness which he worked so hard.
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