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Florez Records4.5
Flórez: Zarzuela
Composers: José Serrano, Ruperto Chapí, Federico Moreno Torroba, Amadeo Vives, Pablo Luna, Géronimo Giménez, Agustín Pérez Soriano, Pablo Sorozábal, Rafael Calleja & Tomás Barrera, Reveriano Soutullo & Juan Vert; tenor: Juan Diego Flórez; Sinfonía por el Perú Youth Orchestra and Choir; Guillermo García Calvo, conductor
Florez Records, 2024
The zarzuela, that typically Spanish operatic genre, alternates singing and spoken dialogue, treating less dramatic subjects than one usually finds in Western European opera. It is roughly the equivalent of German Singspiel or French opéra comique, but these comparisons perhaps do not do justice to works that are more complex than they appear.
The zarzuelas most frequently performed today were written between 1815 and 1930, roughly the same period as bel canto, with which they have links, but the origins of the genre date back to the 17th century, shortly after the birth of opera in Italy. Somewhat in decline in the middle of the last century, these ”comedies with music” are enjoying a revival thanks in particular to Plácido Domingo, son of two zarzuela performers, who has included a round devoted to the genre in the competition he founded, Operalia.
Rarely performed outside Spanish-speaking countries, zarzuelas nevertheless have some very fine music to offer us. The many recordings by the great opera singers of Spain and South America bear witness to this: Alfredo Kraus, José Carreras, Victoria de los Ángeles, Teresa Berganza. Most recently, the Peruvian Juan Diego Flórez has taken his turn with the genre’s marvellous arias for tenor. These languorous declarations of love, full of exaltation and tenderness, are very flattering for the voice and beautifully orchestrated.
Most of these essential arias have been recorded by the greatest Spanish-speaking tenors, making it possible to play a little game of comparison by going on Youtube to listen to several versions. One example is “Paxarín, tú que vuelas” from La pícara molinera by Pablo Luna. Compared to more lyrical singers such as Kraus or Carreras, or downright dramatic ones like Domingo, Flórez is a bit lightweight, but he doesn’t disappoint. Although his voice has grown in size over the years, the essence of his timbre remains light. As a result, his performances are distinguished by greater nuance and a certain fragility that is entirely appropriate in these love arias.
The accompanying booklet reminds us that zarzuela theatres have always flourished in Peru’s capital. It’s also worth noting that the Peruvian tenor has set up his own record label for the occasion, calling upon the participation of the excellent Sinfonía por el Perú Youth Orchestra and Choir, part of a social organization over which Flórez presides.
Translation: Gianmarco Segato
This page is also available in / Cette page est également disponible en:
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