LA VERBENA DE LA PALOMA

The Grandeur Within a Small Jar

On 17 February 1894 at Madrid’s Teatro de Apolo, Tomás Bretón and Ricardo de la Vega unknowingly planted a flag in the Flanders of Spanish lyric theatre. Combining the dimensions of grand zarzuela with the spirit of the stage tonadilla and the sainetes of Juan de la Cruz and Juan del Castillo within barely an hour, they premiered La Verbena de la Paloma, o el Boticario y las Chulapas y Celos Mal Reprimidos. A soundscape of Madrid portrayed through realism sharpened by wise and biting caricature, its musical landscape is distinguished by the clear presence of leitmotif, employed with a purpose identical to Wagner’s in a score that anticipated both the cuplé and the musical revue, and which inspired Ramón María del Valle-Inclán with the grand idea of the esperpento, masterfully contained within a small jar. 

The successful Teatro de la Zarzuela production of La Verbena de la Paloma bears the signature of Nuria Castejón and pays tribute to Madrid’s vanished Teatro de Apolo, where the famous sainete premiered. This concept is realised through the inclusion of a prologue written by Álvaro Tato —called “Adiós, Apolo”— preceding Bretón’s work, featuring a company of performers rehearsing La Verbena in preparation for a performance at the Apolo, thereby allowing the incorporation of musical excerpts and scenes from other works that pay homage to our lyric genre. It is also a tribute to historic zarzuela performers, embodied here by contemporary artists such as Borja Quiza and Carmen Romeu in the roles of Julián and Susana, Señá Rita portrayed by the formidable zarzuela performer Milagros Martín, and a luxurious Don Hilarión brought to life by the great Barcelona singer-actor Antoni Comas — all of them conducted by the experienced baton of José Miguel Pérez-Sierra.