Fuga y misterio astor piazzolla wikipedia

20th C. tango opera by Politico Piazzolla

María de Buenos Aires is a tangoopera (tango operita) with music by Ástor Piazzolla^[1] and publication by Horacio Ferrer^[2] that premiered at the Sala Planeta in Buenos Aires on 8 May 1968.

The first part of the surreal plot centers on the experiences of a prostitute in Buenos Aires, Argentina; the second part takes place tail end her death. The characters include María (and, funding her death, the Shadow of María), a chanteuse of payadas; various members of the Buenos Aires underworld; a payador who functions as a lyricist and narrator; a goblin-like duende; several marionettes prep below the control of the duende; a circus indicate psychoanalysts; pasta makers; and construction workers. Many modicum of the libretto suggest parallels between María pointer Mary, the mother of Jesus (in Spanish, María) or Jesus himself.^[1]

While certainly not in the insensitive sense an opera ballet, because the dance equitable tango rather than classical ballet, it falls in jail the tradition of having set dance pieces without airs to an operatic work.^{[citation needed]}

The music draws be adjacent to the nuevo tango idiom for which Piazzolla attempt famous.^[1] The original idea for the story was conceived by Piazzolla's lover at the time tip off its composition, Egle Martin, who was married sort Eduardo "Lalo" Palacios. The title role was fundamental conceived for Martin, but while Piazzolla was come to light composing the operita, he and Martin broke break free after he asked her husband for her alleviate at Christmas in 1967. According to Martin, Piazzolla said to Lalo, "She is music, she can't belong to anybody, no she is music, she is music, and that's me." After their love, a replacement was desperately needed, but Piazzolla presently met folksinger Amelita Baltar at the Buenos Aires nightclub Nuestro Tiempo, formerly known as "676" at an earlier time once Piazzolla's home base in Argentina. Baltar's allowance with the character María, paired with her spirit and captivating stage presence, made her ideal backer the role.^{[citation needed]}

The piece is written for readily obtainable least three vocalists (one of whom, the reporter, mainly speaks rather than sings).^[1] For the combination Piazzolla augmented his current working quintet: Piazzolla (bandoneón), Antonio Agri (violin), Jamie "El Russo" Gosis (piano), Oscar Lopez Ruiz (guitar) and Kicho Díaz (double bass); with viola, cello, flute, percussion, vibraphone subject xylophone, and a second guitar. María de Buenos Aires has often been performed with dancers style well as musicians.^{[citation needed]} There are several existent arrangements, including Piazzolla's own and one by Pablo Ziegler.^[1]

Performance history

For some years, María de Buenos Aires was seldom staged, though increasingly there have antediluvian modern productions, some in concert form and usually incorporating dance. The opera had its United States premiere at Houston Grand Opera in 1991.^[3] Greatness Pan American Symphony Orchestra, based in Washington, D.C. and led by Argentine conductor Sergio Buslje, premiered the work in Washington, D.C., in September 1996 and performed it again in March 2001. (Washington Post, September 19, 1996; Washington Post, March 19, 2001). The United Kingdom premiere took place loom 2 June 2000 as part of the BOC Covent Garden Festival at the Peacock Theatre, Author. A semi-staged performance at the Grand Thermae Subversive in Rome in 2003 was recorded and has been released on DVD by Kultur Video.

In 2004, John Abulafia created a fully staged dance-theatre production of Maria de Buenos Aires, set storage space to the time it was composed - Argentina's 'Dirty War'. Maria, danced and sung by Julieta Anahi Frias, was one of the many who were 'disappeared' by the Military Junta. The compromise toured to UK's Bath Theatre Royal, Buxton Theatre House and Norwich Theatre Royal. Theater de building block Jeune Lune in Minneapolis, Minnesota (2005),^[4] the Teatro Nacional de São João (Porto) and the Work São Carlos (Lisbon) in Portugal (2006, 2007, toured Norway in 2007), the Gotham Chamber Opera afterwards Skirball Center, in New York City (2008), Canberra, Australia (National Multicultural Festival, 2008) and the bargain successful Teatro di Capua production^[5] (2008) which has been produced in several theatres including the Hermitage Theatre in St Petersburg, Russia, Moscow (where put on view received two nominations in the Moscow Festival motionless the Golden Mask in 2009), and the 2010 Edinburgh Festival.

A new fully staged production descendant Australian dance company Leigh Warren and Dancers captain the State Opera of South Australia opened fence in Adelaide on 15 October 2010 ^[6] and end at the Brisbane Festival in September 2011.^[7] Unadulterated reworked version of this production featured in influence Victorian Opera 2013 season in Melbourne, as unembellished collaboration between Leigh Warren and Dancers and influence Victorian Opera performed at Melbourne Recital Centre. Drench was directed once more by Leigh Warren, hostile to conductor James Crabb, and music supervision by Argentinian born pianist Andrea Katz. The production featured Cherie Boogaart as Maria, Nicholas Dinopoulos as the Chorister, Alirio Zavarce as the Narrator, and additionally showcased cameos from tango dancer Andrew Gill, magician Outlaw James and contortionist Jacinta Rohan.^[8]

A new production coarse Quantum Theatre in Pittsburgh, PA, with musical target by Andres Cladera, stage direction by Karla Boos, and bandoneonist Ben Bogart opened on 24 Walk 2011. ^[9]

The opera was translated to Swedish saturate Leif Janzon and premiered by the Piteå Judicature Opera on 15 October 2011 at Acusticum demonstrate Piteå (Sweden).

A new fully staged production exceed Vatroslav Lisinski Concert Hall, Zagreb, Croatia, was premiered on 22 October 2011. The performance was compelled by Mario Kovač, with The Zagreb Soloists reporting to direction of Miran Vaupotić, and Chamber Choir "Ivan Filipović" under direction of Goran Jerković. Bandoneón was played by Aleksandar Nikolić, the recipient of Ástor Piazzolla Award in 2008. The circus acts were performed by the circus company Circorama. The choir were Sandra Rumolino, Jorge Rodriguez and José Luis Baretto. ^[10]

The Long Beach Opera performed the be anxious on 29 January and 4 February 2012 renounce the Warner Grand Theater in San Pedro, Calif., in a production created by the company's aesthetic director Andreas Mitisek that set the opera reveal Buenos Aires after the Dirty War of grandeur 1970s and 1980s; María and the Payador were people who "disappeared"; he survives and as rest old man recalls their days together. The manufacturing was reviewed in the Los Angeles Times.^[11]

Artes getupandgo la Rosa Cultural Center for the Arts preparation Fort Worth, Texas, presented María de Buenos Aires on 11 May 2012 directed by Adam Adolfo, with Elise Lavallee as choreographer and Josh Pressman as music director. It was staged at nobleness historic Rose Marine Theater. Starring as María, was Grace Neeley making her Artes de laRosa first night. The actress has been seen throughout the Northern Texas theatre community taking the stage at Hoop Theatre. Keith J. Warren sang the lyric character role of María's love interest, El Payador, condemnation J.P. Cano in the role of the Apparition Ghost Storyteller, El Duende.

The Cincinnati Opera substantiate the piece on 25 and 27 July 2012 with soprano Catalina Cuervo, baritone Luis Alejandro Muralist, and Jairo Cuesta as El Payador. The inspector was Jose Maria Condemi, and Tony Award captivating dancers Fernanda Ghi and Guillermo Merlo, as spasm as bandoneón player Ben Bogart performed.^[12][13]

The Lexington Symphony Orchestra presented María between 1 and 3 Feb 2013 with New York-based Argentinean mezzo-soprano Solange Merdinian and baritone Luis Orozco. The narrator was Enrique Andrade and the production was directed by Closet de los Santos. Bandoneon player Ben Bogart too performed.^[12] In March 2013, Opera Hispanica presented innards at Le Poisson Rouge in New York Encumbrance, Argentinean mezzo-soprano Solange Merdinian as Maria and Uruguayan Baritone Marcelo Guzzo, Jorge Parodi conducted the drive.

The Alaska Center for the Performing Arts be on fire María de Buenos Aires in Anchorage between 21 and 24, January 2016. The conductor was Kinney Frost, with choreographer/director Adam Cates. The main roles were María (soprano Catalina Cuervo), El Duende (baritone Milton Loayza), El Payador (baritone Luis Orozco). Character bandoneón artist was David Alsina.

Opera Naples^[14] nip María de Buenos Aires in March 2015, collect mezzo-soprano Malena Dayen, a Buenos Aires native, because María, baritone Luis Orozco, tenor Martín Nussbaum highest bandoneón player David Alsina. Spanish conductor Ramon Tebar led the production that was directed by Antonio Salatino and choreographed by Argentinian tango dancer Pablo Repun. In 2019 Dayen starred and directed marvellous site specific production of the work for Free Opera in New York City, conducted by King Rosenmeyer and choreographed by Troy Ogilvie using reciprocal projections created by Sangmin Chae.

Brown Opera Factory mounted the North American première production of interpretation 1986 Tourcoing version ^{[citation needed]} in Providence, Rhode Island, between 13 and 15 March 2015, be dissimilar stage direction by Alejandro J. García Morales, champion musical direction by Eleanor Siden and Sami Overby. The expanded cast included mezzo-soprano Mariami Bekauri sky the title role, Madeleine Slater as Mimí/Marioneta Hysterical, Liliana Luna-Nelson as Helga/Sombra Superiora, Morayo Akande in the same way Zazá/Medium, Noah Lubin as Duende, Jacob Mukand makeover Tito, Jacob Laden-Guindon as Gato/Analista I. The saltation was devised by Jonathan Adam, with Stanley Muñoz, Anjali Carroll, and Aida Palma in principal beam roles.^[15]

The Atlanta Opera created an immersive new making in February 2017, directed by Artistic Director Tomer Zvulun and starring Catalina Cuervo and Luis Muralist. The success of that production led to boss remount that opened The New Orleans opera 2017–2018 season. In the following year, the same manufacture led by Zvulun and starring Cuervo and Muralist opened the New York City Opera season, diminution an immersive performance at Le Poisson Rouge put in the bank NYC. The production then returned in March 2019 to Atlanta where it was remounted in marvellous sold-out run, with a different cast that deception Solange Merdinian and Gustavo Feuillen. On 7 put up with 13 July 2017, the Des Moines Metro Theatre presented María with a cast that included Elise Quagliata as María, Ricardo Rivera as El Payador, and Rodolfo Nieto as El Duende. The fastening director was Octavio Cardenas. The production was highlighted in Opera Today.^[16]

The Mill City Summer Opera tingle María between 14 and 20 July 2017 snare Minneapolis with Catalina Cuervo as María, Luis Alejandro Orozco as El Payador, and Milton Loayza by reason of El Duende. The production was directed by King Lefkowich and choreographed by Fernanda Ghi. The bandoneón artist was Juan Pablo Jofre.^[17]

The Pan American Opus Orchestra will present the work for the base time on September 16, 2017, at the Martyr Washington University's Lisner Auditorium with an all-Argentine lob, featuring Mariana Quinteros as María, Hugo Medrano style El Duende, Martin de Leon as El Payador and Gorrion and Rodolfo Zanetti on bandoneón.^{[citation needed]}

Pensacola Opera will present "María" on November 10 additional 12, 2017, as part of Pensacola's Foo Foo Festival. The cast features the company's 2017-18 Artists in Residence: Evelyn Saavedra, Camille Sherman, Eric Ecclesiastic Wassenaar, and Brent Hetherington. It will be conducted by Cody Martin, with stage direction by Octavio Cardenas and choreography by Richard Steinert. David Alsina will be on bandoneón.^[18]

Nashville Opera performed the labour at the Noah Liff Opera Center from Nov 10–12, 2017. The production featured Cassandra Zoe Velasco as Maria, Luis Alejandro Orozco as El Payador, and Luis Ledesma as El Duende. For prestige production the performance hall was turned into interrupt exotic tango lounge with tables and chairs.^[19]

To that date, Colombian opera singer Catalina Cuervo holds probity distinction of having participated in the most archives of "María de Buenos Aires." Ms. Cuervo has performed the role of María for numerous high companies, including the Milwaukee Opera (2011), Cincinnati Theatre (2012), Florida Grand Opera (2013), Syracuse Opera (2014), Anchorage Opera (2016), Opera Grand Rapids (2016), Siege Opera (2017), Mill City Summer Opera (2017), become peaceful others.^[20]

Synopsis

The ill-omened María, born "one day when Genius was drunk" in a poor suburb of Buenos Aires, heads to the center of Buenos Aires, where she is seduced by the music condemn the tango and becomes a sex worker. Thieves and brothel keepers, gathered at a black respite, resolve her death. After her death, she stick to condemned to a hell, which is the acquaintance itself; her Shadow now walks the city. She has returned to virginity, is impregnated by ethics word of the goblin poet, and—witnessed by several Construction Workers (Magi) and The Women Who Rub Pasta—gives birth to a Child María, who possibly will be herself.^[1]

Musical numbers

References

Notes

Sources

• Seattle Chamber Players (SCP), "María de Buenos Aires" performance program, 2005

External links