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FULL LA CORTE DEL FARAON (Lleó) Madrid 2025 María Rey Joly, María Rodríguez, Enrique Viana, Annya Pinto
Information on the Performance
- Work Title: La corte de Faraón
- Composer: Lleó Vincente
- Libretto: Guillermo Perrín, Miguel de Palacios Libretto Text, Libretto Index
- Venue & Opera Company: Teatro de la Zarzuela, Madrid, Spain
- Recorded: 2025
- Type: Staged Opera Live
- Singers: María Rey Joly, María Rodríguez, Enrique Viana, Annya Pinto, Amparo Navarro, Amelia Font, Luis Cansino, Jorge Rodríguez Norton, Ramiro Maturana, José Manuel Díaz
- Conductor: Carlos Aragón
- Orchestra: Orquesta de la Comunidad de Madrid
- Chorus: Coro titular del Teatro de la Zarzuela
- Choreographer: NURIA CASTEJÓN
- Stage Director: Emili Sagi
- Stage Designer: DANIEL BIANCO
- Costume Designer: GABRIELA SALAVERRI
- Lighting Designer: EDUARDO BRAVO
Information about the Recording
- Published by: Teatro de la Zarzuela
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: yessubs, essubs, gensubs
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Quote from zarzuela.net:
“Vicente Lleó can only be described as a minor composer. Of his hundred or so works, only a handful have gained more than a fleeting foothold in the repertoire. He is remembered nowadays for just one, frivolous little operetta – and yet there are few pieces that have inspired such consistent pleasure and affection as La corte de Faraón (Teatro Eslava, Madrid, 21st January 1910.) In large measure this is down to the librettists’ shrewd choice of subject. A blend of biblical pastiche, luscious vaudeville and Art Deco Egyptian chic, La corte del Faraón is one of their most sophisticated and audacious conceptions. The smuttiness of its double-entendres was so evident, indeed, that public performance of the work was banned by the Franco regime until as late as 1975!
The music adds spice to this mixture. Grand triumphal choruses, sinuous woodwind orientalisms, a slaves’ chorus, a stylistic distinction between public and private – all these cock a friendly snook at Verdi’s Aida. But the scope of Lleó’s pastiche is much broader. La Belle Helene, The Merry Widow and even Lohengrin are called in to ring the changes on the basic joke. And though Lleó is happy to draw on these models for grand oratory and private impropriety alike, his tunes are all perfectly originally, and perfectly seductive.”