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Vicente I. Sánchez | @Snchez1Godotx
After opening the season with the vibrant and successful premiere of Marine, by Emilio Arrieta, the Teatro de la Zarzuela continues its lyrical programming with The one with the bunch of rosesmasterpiece of master Pablo Sorozábal. This zarzuela returns to the Madrid stage in the acclaimed 1990 production, directed by Emilio Sagi, to commemorate the 90th anniversary of its premiere in 1934. Considered one of the most emblematic pieces and loved by the public, it is emerging as one of the Featured events of the season for lovers of the boy genre.
The work, which can be enjoyed until December 1, is presented in the same production conceived by Emilio Sagi in 1990
The work, which can be enjoyed until December 1, is presented in the same production conceived by Emilio Sagi in 1990, which has been successful for more than three decades throughout Spain and has even been taken to international stages, such as those of Paris and Rome. The secret of this staging lies in its ability to capture, with freshness and a dose of unconditional love, the essence of zarzuela. It stands out especially for its mischievous, romantic and deeply traditional tone. It is a paradigmatic example of the boy genre, where all its fundamental elements converge. With lyrics by Anselmo C. Carreño and Francisco Ramos de Castro and music by Sorozábal, it includes some of the most famous pasodobles, mazurkas and romanzas in the repertoire, offering an almost immersive experience that could be described as a “zarzuela karaoke”.
The musical direction is carried out by Alondra de la Parra, Mexican conductor and head of the Madrid Community Orchestra, who gives a vibrant and energetic interpretation to this score. The one with the bunch of roses tells the love dispute between Joaquín, a young bourgeois man who passes himself off as a mechanic, and Ricardo, an aviator, both suitors of Ascensión, the independent owner of a flower shop that gives the work its title. From the beginning, Ascensión makes it clear that she will only marry someone of the same social class, rejecting any possibility of depending on a man or losing her freedom. This approach gives rise to a farce full of humor and irresistible musicality, inhabited by unforgettable characters, such as Espasa, a waiter and bus driver who, together with the mythical Don Hilarión of The Paloma Festivalstands as one of the most endearing characters of the boy genre.
This zarzuela functions as an exercise in historical memory, inviting us to reflect on the social and political factors of the time.
Although the work maintains a light and humorous tone, the most attentive viewers will be able to find deep reflections on Spain in the 1930s, in a context of growing pre-war tension. Themes such as class struggle, anticlericalism, poverty and political instability emerge as a backdrop, anticipating the conflicts that would lead to the Civil War. Thus, although current in its love plot, this zarzuela also functions as an exercise in historical memory, inviting us to reflect on the social and political factors of the time.
No matter how many times it’s been seen The one with the bunch of roses: It is a work that never loses its freshness and always guarantees interest and fun. This new season, with 10 performances scheduled between November 20 and December 1, is presented as an ideal experience for both new viewers and established fans of the genre. Its sincerity, enthusiasm and the endearing friendliness of its story make this zarzuela a perfect gateway for those approaching the genre for the first time, in addition to being a true gift for those who already enjoy it.
‘The one with the bunch of roses’ It is a zarzuela in which each piece of music is a classic, which guarantees its success among the most traditional audience.
The stage direction by Emilio Sagi, in collaboration with the set design by Gerardo Trotti, transports the viewer to a traditional Madrid neighborhood, framed by a flower shop, a bar and a mechanical workshop. This classic setting serves as a backdrop for endless entanglements and misunderstandings, accompanied by emblematic pieces such as the pasodoble “I’ve been coming to the workshop for a long time”, the Ascensión romance “I didn’t cut more than a rose” or the famous Joaquín romance “Beautiful Madrid.” Actually, The one with the bunch of roses It is a zarzuela in which each piece of music is a classic, which guarantees its success among the most traditional audience.
The cast, led by Vanessa Goikoetxea and Beatriz Díaz as Ascensión; Manel Esteve and David Menéndez as Joaquín; and Nuria García Arrés and Rocío Faus as Clarita, shines in each performance. The work offers performers an ideal platform to show off their best registers and demonstrates, from the first minute, the richness and beauty of zarzuela.
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