Cervantes premieres partnership with the Teatro de la Zarzuela for the classic 'La verbena de la Paloma'

Manila shawls are making a comeback in Malaga, thanks to Nuria Castejón. This was emphasized by the stage director at the presentation of '... La verbena de la Paloma' this noon at the Cervantes Theater. The lyrical sainete by composer Tomás Bretón stops at the capital's theater and brings back the August nights of old Madrid on February 27 and 28, and March 1. The 37th edition of the Lyrical Season continues with its penultimate title after a successful season that began last September. "I continue to play making zarzuelas like when I was a child, working on this one is a pleasure," Castejón said about the past Madrid of "dreamy" depiction.

The pharmacist Don Hilarión, the typesetter Julián, and the chulapas Susana and Casta join in a grand production of the Teatro de la Zarzuela, which premieres an alliance with Cervantes for the first time. A group of fifty artists brings to life the new version of the libretto that made Ricardo de la Vega and Bretón himself stand out at the end of the 19th century. In homage to that era, playwright Álvaro Tato precedes with the prologue 'Adiós, Apolo', referring to the Madrid stages that made this zarzuela the most popular among the genre chico. "The theater allows us to see from the outside the strange moments we live," he said about a work that explains the last night of the company at the mythical Teatro Apolo in June 1929.

Chulapas and Jealousy

The story of the night of August 14 tells how Julián's unfounded jealousy towards Susana causes a series of misfortunes on their way to the Madrid verbena. In these, the elderly Don Hilarión has the approval of the chulapas' aunt to court Susana, who will play along in the entanglement as a punishment to the young typesetter. "Years ago they offered me Don Hilarión and I said no, I'm glad because I could only play this one," actor Antonio Comas proudly commented. For her part, Carmen Romeu, the endearing Susana, has defended a show "on par with Verdi" referring to this one-act setup, typical of popular hour-long theater.

"I continue to play making zarzuelas like when I was a child and working on this is a pleasure," Castejón said, about the past Madrid of "dreamy" depiction

The music that runs through Spain's most famous 'chiné' dress is directed by José María Moreno, principal conductor of the Malaga Philharmonic Orchestra. "What is comically criticized in the sainete is urgently current, the wage gap is still a horror," the maestro added about the similarities he finds today. He also did not overlook the praise for a "crucial" title of national lyricism and concluded: "Shows of this quality are what zarzuela needs to be presented to the world."

The Verbena

The folkloric essence of the Salamancan symphonist shines in a cast that was seen at the Cervantes presentation. "A party," that’s how the choral cast described the presentation of the title in the Rossini Hall. Indeed, about fifty artists—actors, dancers, team—participated in the particular verbena presided over by Juan Antonio Vigar, director of Cervantes. "We recover the Spanish lyrical heritage, we should be happy," he affirmed after a "hard work" with the Teatro de la Zarzuela in this collaboration.

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Critics and the public celebrate the traditional staging. Proof of this, the third performance demanded by the "public demand." In addition to this weekend's two appointments, there will be another on March 1. "A treat," the play: that's what the Councilor for Culture of the City Hall, Mariana Pineda, who approached the Cervantes environment to talk about what her director has described as "an unbeatable showcase" of the genre chico. She was not inclined to recreate the comedy that poses the toxic relationship of its protagonists and has opted to set it in the Madrid of that time. "There are still scoundrels who take advantage of people who are not in a good economic moment," she noted about the "current" Madrid.

The Principal Choir of the Teatro Cervantes de Málaga Intermezzo, on this occasion directed by Pablo Moras, expresses a dance corps formed by 10 dancers. Special mention for the cantaora Sara Salado, who combines lyric and flamenco, as her voice made clear at the premiere. "Long live 'La Verbena de la Paloma'," she concluded with included cheers from the audience. A team, that of the usual verbena and that of the Teatro de la Zarzuela that lands eager to celebrate the most represented title within the genre chico. "The city and the theater deserve it," concluded much of the cast after the presentation. Tomás Bretón would regret his success many times, but Spain continues to celebrate it.