La Verbena de la Paloma: A Resurgence of Spanish Zarzuela in Málaga
A recent production of Tomás Bretón’s La Verbena de la Paloma at the Teatro Cervantes in Málaga offered audiences a renewed appreciation for this cornerstone of the Spanish lyric repertoire. The staging, a successful revival of the Teatro de la Zarzuela’s production, highlighted the perform’s enduring appeal and its significance within the “chico genre.”
A Timeless Classic
Since its 1894 premiere, La Verbena de la Paloma, with music by Tomás Bretón and a libretto by Ricardo de la Vega, has remained a beloved work in Spanish musical theatre. The Málaga performance provided a rare opportunity to experience this emblematic title, given the limited presence of zarzuela in the Teatro Cervantes’ programming.
The Production
Nuria Castejón’s stage direction presented a respectful and effective interpretation of Ricardo de la Vega’s libretto. Nicolás Boni’s detailed sets successfully recreated a La Latina neighborhood evocative of the sainete era, even as Gabriela Salaverri’s colorful costumes reinforced the traditional atmosphere. The production featured an agile and fluid development of the action, reflecting the libretto’s solid dramatic structure. Key elements of traditional Madrid, such as chulapas, Manila shawls, and the night watchman, were prominently featured.
Prologue and Setting
The production included a brief and entertaining prologue, “Adiós, Apolo,” written by Álvaro Tato. This addition imaginatively placed the action before the closure of the historic Teatro Apolo in 1929, when the building was converted into a bank. The prologue incorporated musical numbers from works by Federico Chueca, Joaquín Valverde, Jacinto Guerrero, and José Rogel, paying tribute to both the compact genre and the Apolo’s historical role.
Musical Highlights
José María Moreno’s musical direction was effective in maintaining dramatic fluidity. A particularly successful moment occurred during the second act, with the visual access to the “Café de Melilla” created through a scenic extension towards the proscenium. The small tablao, complete with a piano, a flamenco singer, and atmospheric haze, evoked the ambiance of traditional taverns. Sara Salado’s impressive soleá during this scene returned the piece to its genuine flamenco essence, showcasing her expressive intensity.
Performances
Emilio Sánchez delivered a compelling performance as Don Hilarión, while Gerardo López excelled as Don Sebastián, and Amparo Navarro shone as Señá Rita. Borja Quiza’s portrayal of Julián was forceful, and Carmen Romeu offered an excellent Susana, praised for her beautiful timbre, and phrasing. Gurutze Beitia’s Tía Antonia, though perhaps a bit rough, was effective. Lara Sagastizábal presented a Casta with a strong stage presence, and Rafa Castejón delivered a memorable performance both as the director in the prologue and as the tavernkeeper in the sainete.
La Verbena de la Paloma’s revival in Málaga served as a reminder of the richness and vitality of Spanish zarzuela, offering audiences a captivating blend of music, drama, and tradition.