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  • Fundación Juan March
    Fundación Juan March
    Chamber Music Theatre (2014-2017)
    0:51FEBRUARY 12, 2014

    In 2014 the Fundación Juan March launched the series Chamber Music Theatre, which was soon joined by the Teatro de la Zarzuela. The intention of the series was to defend an important repertory of stage music whose characteristics (small-scale works involving only a few performers) mean it is rarely performed in conventional theatres. In its first four years, nine works have been performed, several of them unpublished, which reveal connections and links between the works and their composers. Apart from teacher-pupil relationships (between Rimsky-Korsakov and Stravinsky) and family ties (between García y Viardot), the series has covered the continued existence of a genre like the tonadilla (Trilogía de tonadillas and El pelele), the French influence on Spanish theatre (Une éducation manquée and Los dos ciegos) and the neoclassical aesthetic of the twentieth century (Fantochines, Mavra and El pelele); a history of marginalised and invisible chamber music theatre, which this project seeks to revive.

  • Fantochines
  • Antonio Montaño and Tomás Muñoz
    Antonio Montaño and Tomás Muñoz
    Fantochines, a chamber opera by Conrado del Campo
    1:00:24MARCH 14, 2015The chamber opera Fantochines features an original splitting of the characters, which are presented in both their human form and as puppets. Tomás Borrás’s stage play, which Conrado del Campo set to music in 1923, was the reason behind the success of this chamber opera, which was performed in various Spanish cities, as well as in Portugal, Argentina and Belgium. The score’s disappearance after World War II cut short its brilliant track record. However, the new edition of the score has allowed this unique piece of chamber music theatre to be recovered.
  • Fantochines, ópera de cámara con títeres de Conrado del Campo
    Fantochines, ópera de cámara con títeres de Conrado del Campo
    Fantochines
    5:02MARCH 11, 2015

    Fantochines, estrenada en 1923, es una ópera de cámara con marionetas que remite a las mascaradas venecianas y a la estética dieciochesca, insertándose en el espíritu neoclásico del que participan otras obras de la época.

     

  • Fundación Juan March