FULL EL CANTAR DEL ARRIERO (Giles) Logroño 2024 Cristina Igea, Antonio Torres, Óscar Encinas Damunt, Jesús Manuel Fernández
Information on the Performance
- Work Title: El cantar del arriero
- Composer: Giles Fernando Díaz
- Libretto: Serafín Adame, Adolfo Torrado Libretto Text, Libretto Index
- Venue & Opera Company: Teatro Bretón de los Herreros, Logroño, Spain, CLA PEPE EIZAGA
- Recorded: December 14, 2024
- Type: Staged Opera Live
- Singers: Cristina Igea, Antonio Torres, Óscar Encinas Damunt, Jesús Manuel Fernández, Cristina Basurto Toyas, Carlos Crooke, José Luis Gago, Mariano Verano, Marisol Rojas, Roque Sánchez
- Conductor: José Ángel Cabezón
- Orchestra:
- Choreographer: Aurora Lopez Infante
- Stage Director: Mariano Verano, Cristina Toyas Biarge
- Stage Designer: Proyectos Marbel
- Costume Designer: Dolores Font
Information about the Recording
- Published by: CLA PEPE EIZAGA
- Date Published: 2025
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: yessubs, essubs, gensubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Puebla de Sanabria (Zamora) at the end of the 19th century. Cold and extreme conditions. An inn in the middle of the road is shelter and rest – among others – for the hard-working muleteers, hard-working and rough people who, along the icy Castilian roads, transport the most varied merchandise in their mule wagons on the route to the central plateau from the distant Galicia. The common people celebrate their most varied anniversaries in a routine life ruled by work, joy, love… and survival. The sale located in the middle of the cold road is not an easy business: you sometimes have to endure the excesses of some muleteer who, driven by his base passions and bad actions derived from his rough trade, sometimes goes so far as to commit crimes with impunity without any moral concern. , thus even earning the discredit of his colleagues.
This was the setting chosen by Adame and Torrado to locate the plot of this truthful and cathartic work with an effective score by maestro Díaz Giles that develops and stylizes, with a singular lyrical beauty that is exemplary in all Spanish zarzuela, the deepest roots of Castilian-Leonese folklore (modal archaisms, native popular tunes, hemiolic and dance rhythms such as the so-called cazurro…) incorporating them into the veristic current of their time with tools for musical “localization” of the different scenic spaces of the characters such as the use recurring aspect of media relations in the changes of musical section, thus achieving an organic whole in perfect symbiosis with such impressive dramaturgy.