Transferring opera to the bourgeois salon and to train his pupils, or, in other words, to instruct them by delighting them. This was the vocation that guided the compositional activity of the legendary tenor Manuel García at the end of his career, after he had retired from the stage. This production represents the first modern-day performance of Il finto sordo, perhaps the most ambitious of the five chamber operas written by the composer from Seville. It is also the continuation to the recent production of Le cinesi presented on this very stage. Originally conceived for six voices and piano, Il finto sordo has not been performed since its premiere in Paris around 1831.
This is the tenth instalment in the Teatro Musical de Cámara format, which commenced in 2014, in its endeavour to recover a secular operatic tradition that is still largely unknown today.