El Gato Montés

Manuel Penella

30 / X / 2016

1, 3, 5 / XI / 2016
Sala Principal
Running time: 2h 34m

Óliver Díaz

Stage Director
José Carlos Plaza

Set Designer and Lighting Designer
Paco Leal

Costume Designer
Pedro Moreno

Cristina Hoyos

Escolania de la Mare de Déu dels Desemparats
Luis Garrido, chorus master

Cor de la Generalitat Valenciana
Francesc Perales, chorus master

Orquestra de la Comunitat Valenciana

Teatro de la Zarzuela

Andeka Gorrotxategi

Maribel Ortega

Juanillo (Gato Montés)
Àngel Òdena

Cristina Faus

Padre Antón
Miguel Ángel Zapater

Marina Rodríguez-Cusì

Jorge Álvarez *

Carmen Avivar **

Lluís Martínez **

Boro Giner **

Juan Felipe Durá **

Mónica Bueno **

José Javier Viudes **

Fernando Piqueras **

Antonio Gómez **
Bonifaci Carrillo **
Vicente Antequera **

* Centre de Perfeccionament Plácido Domingo
** Cor de la Generalitat Valenciana

Act I

In an Andalusian farmhouse in the confines of the sierra, a feast is being prepared. Loliya prepares a banquet for the guests while Soleá, deeply in love with the bullfighter Rafael Ruiz — “El Macareno” — worries about her lover. Frasquita, Rafael’s mother, tries to calm Loliya, regaling her and Soleá with all of her son’s triumphs in the bullring in Madrid. The farmhands and the priest, Father Anton, give a jubilant welcome to Rafael, who arrives at the house with “Hormigón,” the picador of his crew. After greeting everyone, Rafael gives thanks to the Virgin for his triumph, which Father Anton confirms, reading aloud from the bullfighting column in the Heraldo de Madrid. After finishing his prayer, Rafael publicly declares his love for Soleá and the occasion is celebrated with gypsy dances. One of the gypsies predicts the death of the bullfighter, much to the crowd’s horror. Just at that moment, Juanillo — a bandit called “Gato Montés” — appears, having come down from his mountain hideaway to claim Soleá, who appears to be in love with him, as his own. The guests manage to stop a fight from breaking out between the two men, who nevertheless swear to meet again. Gato Montés then tells his story of becoming a fugitive after being accused of killing a man for Soleá. Alone with Father Anton, Soleá confesses that she has loved Gato Montés passionately ever since she was a child. Still, she knows that it is Rafael who calms her soul and gives her peace and meaning to her life. Meanwhile, the verses of a shepherd song heard in the distance evoke the terrible storm about to be unleashed. Gato Montés returns, shotgun in hand, and Soleá manages to thwart a new fight by disarming the bullfighter, who has taken out a knife, and threatening both men to kill herself. Gato Montés then warns Rafael to die in the bullring in Seville or he will kill Rafael himself

Act II

Near the bullring in Seville. Rafael is at home, putting on his “suit of lights.” Caireles, his servant, assists him as does Soleá, showing more appreciation than love. Also with them is Hormigón, to whom Soleá reveals the threat that looms over Raphael. Frasquita senses that something is amiss as Rafael goes off to the bullring and Soleá says goodbye to him with a kiss. The scene then changes to the horse corral at the bullring, where an uneasy Rafael and Hormigón wait for their turn. Music sounds and the bullfighters start processing into the ring. Soleá and Frasquita nervously go to take their seats, but Hormigón confines them in the chapel so that they cannot disturb Rafael. The bullfight begins and just as Rafeal makes a magnificent, sweeping move, the bull mortally wounds him. Hormigón runs into the chapel in desperation and Soleá, hearing the news, faints and falls into his arms.


Frasquita’s house. The family mourns over the body of Soleá, who has died of sorrow at the death of Rafael. Juanillo suddenly appears and, blinded by the madness of his love, runs off with Soleá’s corpse. The scene then changes to the lair of the desperate bandit, who no longer has a reason to live. When the authorities come to arrest him, he orders his friend Pezuño to shoot him. In agony, Gato Montés takes Soleá’s lifeless body into his arms and dies.

© Jesús Alcántara / Teatro de La Zarzuela


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