 | Luisa Fernanda |
Luisa Fernanda is in many ways the last greatromantic zarzuela. First seen at Madrid'sTeatro Calderón on 26thMarch 1932, it owes something to the earlier masters ofzarzuela grandeandgénero chico, more to the example ofVives' recentDoña Francisquita, but its range and scaleof emotion surpasses any of Torroba's models. MusicallyLuisa Fernandaembodies its composer's ideals of El casticismo - an attempt to foster thetradition of pure, popular nationalism, of whichRodrigo'sConciertode Aranjuez was to be the most famous example. Torroba's music certainlyoffers colourful Spanish charm, as well as fair helpings of graceful Viennesemusical comedy and Italian operaticverismo. His musical personality maybe elusive, but Torroba's melodies are consistently memorable and histheatrical instinct never falters. |
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| Romero and Shawtogether produced the librettos for many of the most important zarzuelaswritten between the First World War and the Spanish Civil War. Aside fromseveral important collaborations withVives - most notablyDoña Francisquita - their work forSerrano,Guridi andGuerrero brought out the best in thesecomposers. Later they were to provide the libretto forSorozábal'sLa tabernera delpuerto, as well as Torroba's own hugely successfulLa chulapona. InLuisa Fernanda, their characters move easily between elegant comedy ofmanners and revolutionary politics; between the sophistication of Madrid andthe simplicity of the Spanish countryside; between romantic high spirits andnear-tragic melancholy. Torroba's masterpiece owes much of its success - over10,000 performances at the last count and still rising - to their adepthandling of the period setting, and not least to their spirited dialogue, andthe passionate speeches of Nogales and Aníbal in praise of liberty. |
Act 1.Madrid, San Javier Square, outside an inn. It is 1868, and the regime ofQueen Isabel II is under threat from the revolutionary republican movement.After the orchestralIntroducción we meet the innkeeper, Mariana,chatting in the sun with her lodgers (Escena:"Mi madre mecriaba".) These include a seamstress, Rosita, the republican DonLuís Nogales and his enthusiastic young supporter Aníbal. ASavoyard accompanying himself on a barrel organ sings a sad story about a girland an unfaithful soldier (Canción:"Marchaba a sersoldado".) The elderly former palace clerk, Don Florito Fernandez and hisdaughter Luisa join Mariana. Luisa's fiancé Javier has recently beenmade a Colonel, and he is not paying Luisa his accustomed attentions. Jeromo, aservant of the monarchist Duchess Carolina whose house is just across thesquare, warns Mariana about Nogales' dangerous activities. Luisa leaves forMass. Javier just misses her, and is thoroughly scolded by Mariana for hisnonchalent attitude. He sings of his ambition and impatience with the quietlife of Madrid (Romanza:"Deeste apacible rincón de Madrid".) Overseen by the Duchess fromher balcony, Aníbal tries to talk Javier into joining the revolutionarymovement and introduces him to Nogales.
The men leave, and Luisa returns. Mariana strongly advises her toforget Javier and think about marrying a rich landowner, Vidal Hernando, whohas come to Madrid to look for a wife and is on his way to the inn. Marianaintroduces him to Luisa. She indulges herself in some mild flirtation, butwarns Vidal that she is deeply in love with another man and leaves(Dúo:"En mi tierra extremeña".) When Aníbaltells him that Javier is joining the revolutionaries, Vidal has no hesitationin declaring himself a staunch monarchist - the landowner will fight to winLuisa from the soldier. Javier returns, looking for Luisa. The Duchess Carolinatakes the opportunity to further her acquaintance with the handsome youngColonel (Dúo:"Caballero del alto plumero".) Under herseductive influence - and much to the astonishment of Aníbal, Nogalesand Vidal - Javier's political allegiance takes another about turn. As LuisaFernanda returns, just in time to see Javier sauntering away with the DuchessCarolina on his arm, Vidal promptly declares himself a revolutionary andproposes to her. Hurt and confused, Luisa faints into his arms as the act ends.
Act 2 Scene1. The Paseo de la Florida.Mariana and Rosita have been persuaded byCarolina to organise a charity collection outside the Oratory of San Antonio,next to a drinks stall run by the taverner Bizco Porras. Street vendors andmusicians mingle with the crowd; and young men chat with a group of ladiescarrying parasols. These'sombrilleros' are visiting the Oratory to askSt. Anthony to send them lovers, and Javier and Carolina join them in thefamousParasol Mazurka (Mazurca de las sombrillas: "A SanAntonio".) Their flirtatious duetting is watched by Mariana; and when Luisaand her tired father arrive, the innkeeper swiftly puts them in the picture.Luisa unconcernedly explains that she has come here to meet Vidal, and takingMariana off for a stroll leaves Don Florito in charge of the collection tablewith Rosita. Aníbal shares bad news with Bizco and Nogales about abungled republican attack, but Bizco is more concerned at the lad's failure todeliver some lemons promised for the stall.
Carolina takes over at the table, soon to be joined by Vidal. Sheoffers him a substantial sum to join the monarchist movement, but he refuses,quoting the fable of the village idiot who believed be was a swallow - Vidal atleast has no intention of flying above his station (Dúo: "Paracomprar a un hombre".) Luisa returns, apologising to Vidal for being late,and when Vidal assures her that he will remain a republican for her sake Luisa,irritated by Javier's arrogant possessiveness, tells the soldier that sheprefers the landowner after all (Terceto:"¡Cuanto tiempo sinverte, Luisa Fernanda!".) Carolina, finding the charity table hasn't hadmuch luck, proposes to add to the proceeds by auctioning herself off as a dancepartner (Escena:"Señoras y caballeros".) Vidal easilyoutbids the jealous Javier; but insultingly passes on his prize dance to thesoldier, who quietly confirms his determination to fight his rich rival.
Scene 2. The Calle de Toledo at dawn. The rebels aregathering. Bizco and a churros-seller discuss the troubled situation. Nogalesmakes an impassioned speech to his rag-bag of an army, which goes off in goodheart to fight and die in the name of liberty.
Scene 3. The Courtyard of Bizco's Tavern. Waiting anxiouslyfor news of the fighting, Mariana tells the rosary with Luisa and someneighbours. The wounded Aníbal staggers in and reports how bravely Vidalhas fought, before being carried forcibly off to bed. Vidal disclaims heroicstatus: he merely fought for love of Luisa (Romanza:"Luche la fe por el triunfo".)When Don Florito tells them that Javier is leading a counter-attack for themonarchists, Luisa herself defies Carolina with surprising revolutionaryfervour. The attack fails, and Javier is led in a prisoner by Nogales. Thecrowd bays for his death as theFinal:"¡Muera elprisionero!" begins. Luisa steps in and bravely defends him, just beforethe courtyard is invaded by Vidal and the republicans in flight from a freshtroop of hussars. The soldiers free Javier and announce the defeat of theinsurgents. Vidal, admitting defeat on all fronts, is content to be arrested aschief rabble-rouser by Javier, but Nogales steps in and claims that honour forhimself. The troops take Nogales away, Javier and Carolina embrace and leavetogether, and Luisa promises to marry the wounded but ecstatic Vidal.
Act 3.Vidal's country estate'La Frondosa', at Piedras Albas inExtramadura. The revolution has finally succeeded. Carolina has been exiledto Portugal, whilst Javier has disappeared, reported missing after the battleof Alcolea in which Queen Isabel II lost her throne. Mariana, Luisa and herfather have joined Vidal to prepare for the wedding. He leads a chorus ofvareadores (harvesters) in a celebrated song, in praise of his lovelysweetheart (Coro y Romanza:"¡Ay mi morena, morenaclara!".) Aníbal rushes in, announcing that he has found Javier inPortugal and has brought him back - Vidal had sent the boy there to fetch awedding dress for Luisa, but in his excitement Aníbal has foolishlyforgotten to bring it back.
Javier, wounded and broken, has asked Aníbal to persuadeLuisa Fernanda to meet him once more before the marriage. Luisa agrees, and ina moving duet she admits to Javier that she still loves him, but tells him thatshe must stand firm to her promise to Vidal. (Dúo:"¡Cállate, corazón!".) Javier wanders away, as Luisainsists to Vidal that she will go through with the wedding. The guests, led byAníbal, gather to dance and enjoy themselves (Final: "ElCerandero se ha muerto";) but when Javier returns in despair to plead withLuisa once more, Vidal realises that Luisa will never love him. Despite herguilty objections, he releases her from her promise and generously encouragesher to leave with Javier. Telling the harvesters to get on with their work,Vidal is left alone to grieve, with only the memory of his lost 'morena'- dark beauty - to comfort him.