Zarzuela - The Spanish Lyric Theatre:  A Complete Reference

REVIEWS

Carlos Fernández-Shaw (July 20, 2002)

Having read, yes, read in its entirety, Cincotta’a monumental work on Zarzuela, I am overwhelmed. Despite previous conversations with the author about his plans for this project, his interest in and research on the genre, never could I have imagined that the result would be so comprehensive and complete a volume. The intense amount of work which made the publication of this book possible - and, mind you, not in Spain but in Australia - is quite apparent. Its documentation is so exhaustive and its exposition so clearly written that the book becomes accessible to a very diverse readership. Indeed readers will find themselves, perhaps to their own astonishment, extraordinarily attracted to this genre which is indeed worthy of being better known outside of Spain - if not in Spain itself ! Bravo ! - one can only hope that his work will receive the response it so deserves.

Pedro Gómez Manzanares (Revista de la Fundación de la Zarzuela Española, año III, no.5, 2002)

When those responsible for the publication of this book contacted the Fundación to inform it that the book had been launched, we were rather astonished. Its author, Vincent J. Cincotta, tenured in an Australian university, had worked and done research over a period of years on....Zarzuela ! We were soon overcome by contradicting feelings: should we feel proud? Should we be put to the blush by our Ministry of Culture or some of our universities, or simply be grateful to Saint Cecilia that our musical genre manages to imbue [someone] with passion beyond our national borders.

Whatever the case, the University of Wollongong [Press] is offering us the most complete book on Zarzuela written in English, with 766 pages and eighty illustrations, distributed in three sections: 1. History of the genre from 1840 to the present, 2. Biography and catalogue of works of 92 composers and 74 librettists, 3. Synopses of some of the most famous Zarzuelas along with a bibliography, discography and videography and in alphabetical order 3, 347 zarzuela titles.

Rudi Van den Bulck (Orpheus, 2003 and on-line www.fasolt.com under book reviews, March, 2003)

For years non-Spanish speaking Zarzuela lovers had to live without a reference work on the genre. Now in a short time they get two: this one and the Zarzuela Companion by Christopher Webber. The author, who has been for many years the Spanish and Italian study course director at Wollongong University, devotes no less than about 90 pages to the historical development of the genre and more than 130 pages to 74 librettists. The reader will also find some of the author’s personal views as for example his assessment on the rise and decline of Zarzuela’s popularity in the introduction of the book. The book also includes short biographies and catalogue of works of some 92 composers yet it is rather meagre on the presentation of the synopses of some of the most popular zarzuelas. Only twenty such synopses are included, and this may be a drawback for some record collectors. Another asset in the book is its 18-page chronological table which covers up to 1997 !

Vocal buffs - and aren’t most zarzuela lovers listeners who came to the genre through opera? will at first sight be very pleased that the author also tackles Zarzuela discography including some interesting information on some of the first companies who started producing records.

The author even goes that far as to include a replica of the 1966 Columbia-Alhambra Zarzuela catalogue. It’s a pity he doesn’t develop on this.. This reviewer for one, would have appreciated a more extended catalogue which beside publication numbers also include casts and recording dates. And to go further, some pages devoted to the 78 rpm recordings and LP/CD recital discs. These additions could have made the book indispensable.

The book is lavishly produced: excellent quality paper, beautiful typography, numerous illustrations both black and white and colour. Costs were apparently not questioned for the production of this book. And it shows.

The obvious question immediately surfacing is of course: does someone need both books? It all depends. If you’re just looking for a companion to your LP and CD recordings Webber’s work will certainly suffice. But, if you are interested in a reference to the historical and the literary aspects of the genre the Cincotta book may just be the one for you.

Andrew McKinnon (Opera Opera, Sydney, August, 2003, No. 308)

Zarzuela is Spain’s unique contribution to musical theatre.
On a first hearing, one might endeavour to categorise it as a form of operetta. This comparison may be apt given that in a modern zarzuela, musical passages alternate with spoken dialogue.

A distinction, however, is that zarzuelas are always sung in Castilian or other languages of Spain, whereas operetta has been composed in a number of languages, most often in German or French.

Zarzuela has also been seen as opera’s poor relation and, though a zarzuela voice in theory requires the same qualities as for opera, very often the best singers are attracted to this more lucrative genre. Nevertheless, this has not prevented Spain’s famous operatic stars such as Plácido Domingo, Victoria de los Ángeles, and Teresa Berganza from including zarzuela in their performance and recording repertoire.

In truth, however, zarzuela stands alone as a fascinating entertainment, drawing primarily on the pulsating life of the city of Madrid for its musical and emotional influences. At least a third of the performance is musical.

Australian audiences have not had great exposure to zarzuela. The world renowned Antología de la Zarzuela, established by the late José Tamayo, visited in 1988 for World Expo On Stage in Brisbane, and in 1995 Anthony Steel, by then the Artistic Director of the Sydney Festival, again programmed the company, which made its Sydney debut at the Opera House. Both tours were extremely successful, with audiences enjoying a varied program of musical, vocal and dance highlights of many popular zarzuelas.

Vincent J. Cincotta, then Associate Professor of Italian and course director of Spanish Studies at the University of Wollongong, was instrumental in bringing about the company’s Sydney visit. A long-time and passionate advocate of the art-form, Professor Cincotta has now made another important contribution to the growing international awareness and appreciation of zarzuela.

His Complete Reference book on Zarzuela, published by the University of Wollongong Press, is the first such compendium in English.. His scholarship has been recognised at the highest levels in Spain, with King Juan Carlos recently conferring upon Cincotta the Cruz de Oficial de la Orden de Isabel la Católica.

It is, indeed, a remarkable achievement.

The beautifully illustrated book provides a detailed history of zarzuela from its beginnings in the Seventeenth Century until the present day. The word comes from “zarza” the Spanish word for bramble, which covered the site of a hunting lodge Philip IV built for his younger brother Fernando and which was used for court performances.

It also lists biographies of most of the art-form’s significant composers and librettists, some 200 in total. Some of the composers - such as Albéniz, Rodrigo, Granados, Falla, Yradier, and Ernesto Lecuona will be known widely to audiences beyond Spain. However, there are many others whom Cincotta will be introducing to the vast majority of readers, and this will have its own rewards.

Cincotta’s impressive scholarship extends to a most interesting (and unexpected)listing of important historical and cultural events which coincided with key developments in zarzuela.
However, the thoroughness of his research is no better illustrated than in the remarkable alphabetical listing of more than 3,300 zarzuelas. It is an extraordinary list, which rivals that of the operatic repertoire, and from which Cincotta has selected synopses of 20 of the most popular zarzuelas for more detailed examination. The first section of the Reference, has scattered through its History of Zarzuela a hundred or so additional brief plot synopses to engage the reader.

It is the detailed synopses which should prove of enduring value to opera companies and other producers around the world. Each contains a detailed plot and the required vocal cast, a listing of musical and dance numbers, and recordings of the work which are available.

Each of these works has significant appeal, but producers wishing to acquaint audiences with the genre for the first time, might well decide on the 3 act Doña Francisquita by Amadeo Vives, which premiered in Madrid in 1923, or the earlier La Alegría de la Huerta by Federico Chueca.

La Alegría de la Huerta, which premiered in Madrid in 1900, is set in a village and the fertile farmlands around Murcia at the turn of the century. Just over one hour in duration, it is a “zarzuela sentimental” in one act with three scenes. Alegrías (tenor) is madly in love with Carola (soprano) but thinks that she loves another, Juan Francisco (baritone). This is not the case as, in fact, Carola does love Alegrías and finds him to be the indecisive one. The plot also involves a caravan of gypsies and a rather frivolous young church organist in the process of composing a new pasodoble (dance in quick 2/4 time) for the village festival.

In all there are ten musical numbers, which involve solo arias (romanzas), duets, choruses and dances. Programmers might consider the presentation of this work with another by the same composer, such as Agua, azucarillos y aguardiente, a very good example of the “género chico” (a short, one-act zarzuela which can be performed in an hour and which gained popularity in the late Nineteenth Century).

In recent years, some interest has been expressed in the presentation of zarzuela by Australian opera companies. One of our leading festivals has also been exploring the possibility.
Judging by the enthusiastic response to the performances of the Antología de la Zarzuela on its Australian tours, it is likely that a well-chosen program will have appeal to audiences here.
In due course, the first Australian presentation of a full zarzuela should eventuate. Cincotta’s authoritative and extremely useful reference book will doubtlessly accelerate the process here and abroad.

(Andrew McKinnon presented the Antología de la Zarzuela with the Sydney Festival in 1995. He has also presented Australian tours by Victoria de los Ángeles and Teresa Berganza, and the Sydney premiere of Manuel de Falla’s opera La vida breve.)