Journalist and professor of literature at the National School of Buenos Aires, where he graduated, Enrique García Velloso was a prolific author of comedies, saetes and zarzuelas, of which the most famous are Laucha’s marriage y Gabino the mayor. But not many know how he started as a playwright: in 1895, when he was 15 years old, he wrote Chin Yonkzarzuela with an unusual plot set to music by Zenon Rolon, A composer from Buenos Aires of African descent who was very popular at the time, valued today only by experts.
A mix of operetta and candombe from River Plate, that piece which brought the two artists together, which went on stage, revisited, in the María Guerrero Room in the Cervantes National Theater. The general direction is the responsibility of Sebastián Irigo and the drama and music direction is the responsibility of Fernando Albinarrate. The team consists of Josefina Scaglione (soprano), Nacho Pérez Cortés (tenor), Jesús Villamizar (baritone) and Tincho Lups, as master of ceremonies. The Libertador San Martín National Youth Symphony Orchestra, the Argentine National Music Choir and the Afro-Porteño Candombe Ensemble will participate in this unique experience. The costume and lighting designs belong to Sofía Di Nunzio and Gonzalo Córdova, respectively.
In the interview with Page 12Irigo and Albinarrate say that the project reevaluates the music of this work deceptive and provocative It was the idea of Gonzalo Demaría, director of the Cervantes. He has been interested for a long time release from oblivion to Rolón’s work, for which he called experts such as Lucio Bruno-Videla and Javier Lorenzo, who are also involved in the direction of the music. “With this show “We affirm the Afro-Argentine community,” both artists agree.
In the work of García Veloso, the figure of Japanese Jack the Ripper He escapes from London and travels to Argentina, ending up in the Andes Mountains. In the middle of the hunt for the serial killer, transvestite characters and even romance are filtered. The work written by Albinarrate describes the meeting between the two authors and also gives his the colorful cultural environment of that time. It also tells how the premiere was – and goodbye – of that zarzuela at the Teatro de la Comedia, its facilities largely destroyed by the enthusiastic students of Buenos Aires.
-It is amazing that García Velloso, in collaboration with Mauricio Nirenstein, put this work on at the age of 15…
Sebastian Irigo: -Yes, it is a very attractive zarzuela because it does not go towards the norm. And it’s very exciting. But the older one a secretthe soul of our show is Zenón Rolón and his music, an inspiring expression that is part of our cultural identity.
Fernando Albinarrate: -Yes, the interesting thing is that we are getting back a composer and music that, when it is played again, is part of our intangible heritage again. Hence the importance of this presentation.
SI: -In Buenos Aires we have a very developed musical theater, more than in the rest of South America. If we ask ourselves where this strength comes from, we will now discover that it also comes from the 19th century: Rolón’s music, although forgotten, is in our DNA cultural.
– What could be the reasons for this forgetfulness?
FA: – Maybe because it has been depressed. Or to be a light, popular musician. But He was a complete writer. Trained in Europe. He composed sacred music and was influenced by Wagner and Verdi. If we look at the dates, around 1850 or so the operetta begins in France, around 1870, there is Johann Strauss with The bat. And at the same time, Rolón was already writing. And here he mixed operetta with tango and candombe, because of his black roots.
SI: -It is exciting to see how artistic information from different parts of the world reaches other parts, taking invisible channels and networks.
-What are the problems with these shows including theatre, singers, orchestra and choir?
SI: -It is an attractive challenge…
–It is interesting how the show paints what was happening both on stage and in the audience…
FA: -Yes, because we were a cultural but also participatory audience. In that entertainment theater people moved, entered and left. That is why the choir is always repeating what is happening. It is a show that provides information but in a fun, even entertaining way news of the time. And Rolón’s music will, of course, surprise the viewer.
* Chin Yonk strikes againat the Cervantes Theater (Córdoba), April 20, 26 and 27 at 8:30 p.m.
2024-04-20 21:43:51
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