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Scene 2 – the Gypsy camp in the mountains. The boy obliges with a cheeky song about the wicked ways of the tarantula – or perhaps the dangers of falling in love Zapateado: Maria La tempranica perhaps best rendered as ‘headstrong’ is a convincing character, growing in stature as her story unfolds.
After a stirring Preludio a hunting party enters, to the sound of horns. He warns her repeatedly that love between them is impossible, but she will not accept his word and swears to win him tempranca all costs Romanza y Duo: Her mood is reflected by the yearning strains of the nana flamencajuxtaposed with the joyful nonsense of some of Miguel’s friends Duo: La tempranica instantly appears, demanding to speak to Luis alone.
Patching up her shredded dignity as best she may, she decides to accept the love of the devoted Miguel and make what she can of her life.
They are friends of Don Luis, singing in praise of the joy of the chase Coro: When the boy sees Don Luis, he welcomes him joyfully – the whole family love Don Luis, none more so than his sister Maria.
James, amuses them with his attempts at Castilian, horribly mangled with English. The others leave them, and in a searching duet, he tries to calm her repeated protestations of love, whilst carefully avoiding the truth – which is that, since leaving her, he has married a beautiful woman of his own temprannica.
Romea ‘s libretto is innocent of pretension, and very well stocked with the usual selection of picture-postcard Songs and Dances of Gypsy Life. He certainly left the gypsies as soon as he was able, without even saying goodbye to the girl. Last updated May 29th Miguel, a serious and hardworking young gypsy, has fallen in love with Maria and she has agreed to marry him, An intense orchestral Preludio leads into a powerful gypsy chorus – celebrations are already underway – though Maria remains deeply melancholy Concertante y Romanza.
Last updated May 29th Mail me or visit my Homepage.
TIDAL: Listen to La Tempranica: Zapateado by Gerónimo Giménez on TIDAL
The girl, known as La tempranicanursed Luis whom she believes to be a simple, unattached country landowner to full recovery, and – truthful to her name – fell impulsively in love with him. Losing his way amongst the dangerous mountain peaks, he fell and knocked himself unconscious, coming to in the tiny hovel of his rescuers, Maria’s family. La tempranica remains one of the most influential achievements of the zarzuela tradition.
Warned not to tell Maria of Don Luis’ proximity, the boy naturally rushes to let her know. At its best, his work has an elegant finish and tuneful verve that disarm criticism, but for sheer intensity one stands in a class by itself. An orchestral Interlude leads us from country tanguillo with castanets to town a sophisticated waltz and into the brief final scene.
More by Geronimo Gimenez
James along to sample the colourful delights of the gypsy festivities. Scene 1 – Countryside near Granada, close to the Sierra Granadina.
La tempranica naturally hopes that her lover has come to claim her, and the chorus, thinking she still sings of Miguel, second her ardent longings Coro y Solo: Maria has come to plead with Don Luis, bringing her brother with her. Mail me or visit my Homepage.
Scene 3 – the city of Granada. Luis is evasive about whether he returned her love.
First seen at the Teatro de la Zarzuela in Madrid on 19th SeptemberLa tempranica may be short and simple, but it covers a surprising amount of musical and dramatic ground. The gypsy songs and dances, well done in themselves, illuminate her dark, intractable nature from within rather than simply providing local colour.
Don Luis is shamed by his friends into telling the truth. As soon as she catches a glimpse of his wife and baby son, reality breaks her dream apart.
Maria goes on to sing a hauntingly beautiful song, which begins in proud praise of her gypsy lover Romanza: