By definition, the Spanish zarzuela is a musical play or operetta. Its origins go back to 1629, its name coming from the Palacio de la Zarzuela, a royal hunting lodge in the woods of El Pardo near Madrid.
The zarzuela first came as a two-act play with music added to it. However, music became an integral part of the theatrical performances which followed, and both Lope de Vega and Calderon fell back on songs as commentaries on the action of their plays.
Reaching its golden age in the second half of the 19th century, the zarzuela persists in Spain as popular entertainment, and its modern form shows the obvious influence of foreign musicals and revues. Philippine versions of the zarzuela flourished towards the end of the Spanish regime, and are still staged occasionally.
The program that evening consisted mainly of songs from zarzuelas, and these were not by any means to be compared to Verdi’s operatic arias, much less to Wagner’s. The selections, relatively lighter, if technically more challenging, seemed akin to those from operettas or Broadway musicals.
Songs were by the more familiar composers Lecuona, Granados, Ginestera (Argentinian), Villalobos (Brazilian) and by the less familiar Chapi, Sorozabal and Abril.
Srta. Espinosa’s entrance immediately called attention to her beauty and lithe, slim figure which was enhanced by a black, sequinned gown of understated elegance, and accented by a white, gossamery stole – later, by a blue shawl – their diverse uses constituting a unique art worthy of emulation by fashion models.
Moving, rather, gliding gracefully onstage, the soprano fascinated, enchanted and captivated the audience with the dulcet purity and even quality of her voice – its timber remaining the same throughout the three registers – her remarkable control of dynamics, her fortissimos rich and admirably sustained. But above all, with the refinement, polish and sensitive artistry of her interpretations. Indeed, her exquisitely subtle, delicate nuances, complemented by her facial expression, gave the zarzuela an exquisite dimension.
Srta. Espinosa’s widely varied songs of unrequited love, longing, the pain, anguish as also the ecstasy of loving (there were touches of humor, too) compelled and sustained attention, particularly because she articulated her words with infinite care and moving eloquence. One clearly remembered such tender phrases as el arbol del amor, el arbol del olvido, el arbol de la nueva soledad.
The winsome soprano also essayed, in similarly fascinating manner, three songs in Portuguese by Villa-Lobos, J.C. Jobim and Jayme Ovalle, these evincing modern (American) influences.
Srta. Espinosa generously and graciously shared the applause with the young pianist Jonathan Coo who unfailingly captured the infectious spirit and inner pulse of the songs while conveying the finest nuances. The singer could not have been more gratified with her assisting artist. Coo played L. Kasilag’s Fantasie Tone Poem and the programmatic Elegy on Mt. Pinatubo, interpreting the first with poetic lyricism; the second, with descriptive delineation.
Coo’s solo piano performance further underscored RP-Spanish interaction – a central theme of the fiesta – but his choices might have been more relevant with excerpts from Philippine zarzuelas which would have inevitably reflected the Iberian influence on our music.
Srta. Epinosa rewarded lusty audience applause with an encore, Lecuona’s Engaño (Deceit), her supreme artistry magnifying the Spanish fiesta’s resounding success. Taking immense pride in this final triumphant evening, Ambassador Ignacio and Aurora Sagaz quickly hied backstage to congratulate and thank the eminent soprano for her unforgettable return engagement.