Spanish zarzuela in June; Tiongson compares its form to that of our sarswela

On June 11, 8 p.m. at the CCP Little Theater, “The Unending Passion of the Zarzuela” will feature Enrique Viana, a leading star of the Spanish zarzuela, and Spanish pianist Daniel Oyarzabal under the auspices of the Embassy of Spain and the Instituto Cervantes.

The audience will experience the zarzuela and Spanish culture of the 19th and 20th centuries’ theater, unveiled by illustrative productions, anecdotes and brief remarks on the lyrical genre.

The detailed announcement follows:

The zarzuela is a Spanish theater art form. It is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular song, as well as dance. The etymology of the name is not totally certain, but some propose it may derive from the name of a Royal hunting lodge, the Palacio de la Zarzuela near Madrid, where, allegedly, this type of entertainment was first presented to the court. The palace was named after the place called “La Zarzuela” because of the profusion of brambles (zarzas) that grew there, and so the festivities held within the walls became known as “Zarzuela”.

Viana says: “The zarzuela tried-and successfully-managed, through their music and their situations, have feelings, realities and fictions of his characters in a sincere, open and effective. The cadences, rhythms and melodies of our land went directly to the heart of the hearer. I think the authors of the late nineteenth century until the middle of the last century found a magic formula for writing the “smells” of  basil on the staff, night lights Basque or Galician, the cool rain after a festival in Madrid or silence  in the Andalusian summer heat . . .”

According to Dr. Nicanor G. Tiongson in his article in the CCP Encyclopedia of Philippine Art, the Spanish zarzuela was introduced to Manila in 1879 or 1880 with a performance of Jugar con fuego by the troupe of Dario de Cespedes. More groups followed, playing in Manila, Iloilo, Cebu, Pampanga and Bicol. As it grew in popularity, the zarzuela was appropriated by Filipino composers who turned it into the sarswela with songs written in various Philippine dialects.

The heyday of the Filipino sarswela falls in the years between 1900 to 1940, after which the bodabil and movies of the pre-WWII era signalled the start of its decline.

In the modern-day Philippines, according to Tiongson, who is a scholar and authority on Philippine art and culture, the traditional staged zarzuela may be found only in Ilocos, while revitalized sarswelas are sometimes done in Manila and in Silay City, Negros Occidental. The Filipino sarswela, he says, is a play in prose with songs and dances, containing from one to five acts, portraying Filipino types and situations within the framework of a love story, and incorporating contemporary issues.

In 1979 on a visit to Spain, Tiongson found the zarzuela to be alive and kicking. There was a revival, he recalls. “There were performances as well as recordings  of classic zarzuelas. One output of this revival was  the show called Antologia de la Zarzuela which was toured all over the world. It showcased the most famous scenes and arias from the most famous Spanish zarzuelas, like Jugar Con Fuego, which was the first Spanish Zarzuela presented in Manila in 1879.”

Tiongson says that Spanish and Filipino zarzuelas are essentially the same yet differ from each other.

“They are both written in prose and feature songs that express emotion in particular scenes. In everything else, they differ,” says Tiongson.

He elaborates further on the qualities of the Filipino sarswela. In terms of musical forms, the Filipino  sarswela used popular native forms like the kundiman, balitaw, and danza, and even American forms like the fox trot. In terms of themes and plots, the sarswela dwelt on contemporary concerns like abuses by the religious, corruption in government, Americanization of the Filipino, usury, and gambling. In terms of characters, the sarswela portrayed common social types encountered on the streets and, in terms of dialogue, used colloquial language that captured the pulse of everyday life.”

But whatever the differences there are between the Spanish zarzuelas and the Filipino sarswela, Tiongson says: “I think the form’s defining quality was the fact that it expressed the soul of the common people, both in Spain and the Philippines. In Spain, it was lionized by the common folk because it was truly the “hija del pueblo”, as opposed to the high flown Italian opera which was patronized by the Spanish artistocracy. In the Philippines, it became popular because it was the “mirror of everyday life” unlike the Komedya which was about far-away kings and queens or the Italian opera which was patronized by the elite.”

For Tiongson, a chance to see a Filipino sarswela should not be missed. “Like literature and other art forms, the sarswela represents the Filipino’s reaction to the realities of his time. If you want to understand the Filipino, you must appreciate the content and form of his artistic achievements throughout the years. The sarswela reflected the Filipino’s concerns, especially from 1902 to 1940.

While Romantico Enrique Viana’s show at the CCP, may not be a Filipino sarswela, it will certainly hark to its origins. Conceptualized as a “sing and tell” show about the zarzuela, Viana says the show will feature brief introduction and small illustrative comments on the Spanish lyrical genre.

“The songs are easy to listen to and gratifying to recognize; they have color, grace and panache,” says Viana. “They also entice the audience to sing, to laugh, to dance, to look and live on the pulse of our streets, towns, parks, plains and mountains.”

Viana specializes in the bel canto repertoire, and in some French romantic authors. On the operatic stage, he has played major roles such as the Duke in Rigoletto, Alfredo in La Traviata, Fenton in Falstaff, Basilio in The Marriage of Figaro, Ernesto in Don Pasqual, Tonio in La fille du regiment, Count Almaviva in The Barber of Seville, among others.

As soloist with leading roles in oratorios, concerts and operas, he has performed at festivals, and theaters in the US, France, England, Germany, Italy, Belgium, Portugal, Canada, China, Korea, Philippines, Argentina, Cuba, Costa Rica, Peru, Venezuela, Bulgaria, Egypt, Mexico, Chile, Uruguay and Hungary.

He has given courses and lectures on singing in 20 universities in Spain and Latin America. He directed, among others, Quo Vadis zarzuela, and  Evenings with Donizetti, Rossiniana and Opera in the square for the Royal Theatre Madrid.