The enduring magnetism of Tomás Bretón’s La verbena de la paloma lies in its ability to transcend the specificities of old Madrid, offering a blueprint of human nature that remains legible across centuries. This timelessness was on full display during a recent performance at the Teatro Campoamor in Oviedo, where the work served as a centerpiece for the XXXIII Festival de Teatro Lírico Español.
Under the musical direction of Víctor Pablo Pérez and the stage direction of Nuria Castejón, the production of La verbena de la paloma in Oviedo managed to balance the rigid traditions of the género chico with a vocal freshness that resonated with a capacity crowd. While the staging leaned toward the conventional, the musical execution provided a sophisticated anchor for a story that, despite its brevity, demands a massive logistical effort from its cast and crew.
The production is a testament to the complexity of the “one-hour theater” format. To bring Bretón’s vision to life, the company deployed nearly twenty singer-actors, supported by the Coro Capilla Polifónica Ciudad de Oviedo and the Orquesta Oviedo Filarmonía. The result was a performance that leaned into the archetypal energy of the piece—the jealous youth, the flirtatious lead and the caricature of the “old green” man—without descending into mere parody.
Vocal Precision and Character Depth
While the visual elements presented by Nuria Castejón were understated—utilizing simple facades to evoke the stifling heat of a Madrid August—the vocal performances elevated the evening. The production avoided the common pitfall of allowing the spectacle to overshadow the score, ensuring that the music remained the primary vehicle for storytelling.
César San Martín delivered a commanding performance as Julián, blending vocal presence with a naturalistic delivery of the spoken dialogue. Opposite him, Carmen Romeu provided a nuanced portrayal of Susana, while María Zapata’s performance as Casta offered a strong complementary dynamic. One of the evening’s most daring choices was Antonio Comas’ interpretation of Hilarión; by portraying the apothecary as younger than the traditional casting suggests, Comas offered a fresh perspective on the character that challenged the audience’s expectations while remaining musically sound.
The supporting cast further fleshed out the vibrant world of the piece. Gurutze Beitia as Tía Antonia and Amparo Navarro as Señá Rita provided the necessary comedic grit, while the intervention of cantaora Sara Salado added an emotional depth that grounded the production’s more whimsical moments. Throughout the performance, Víctor Pablo Pérez maintained a steady hand over the Oviedo Filarmonía, steering the ensemble through a score characterized by its spontaneity and joy.
The Meta-Theatrical Homage to Teatro Apolo
Given the relatively short runtime of the main piece, the production integrated a sophisticated theatrical coda titled Adiós, Apolo. This segment served as a poignant tribute to the historic Teatro Apolo, a venue inextricably linked to the evolution of the Spanish lyric theater.
Framed as a final rehearsal, the cast performed a meta-narrative depicting the emotional blow of a theater closing its doors. This transition allowed the company to showcase their versatility, moving from the primary plot into a medley of fragments from other essential zarzuelas. The audience was treated to excerpts from El sobre verde, El año pasado por agua, La Gran Vía, La gente seria, El pobre Valbuena, and El bateo.
This inclusion did more than fill a time slot; it functioned as a curated history of the genre. By presenting these rarer titles, the production highlighted the breadth of the género chico and suggested a roadmap for future programming at the Teatro Campoamor, where the synergy between the performers and the public was palpable.
The Legacy of the Festival de Teatro Lírico Español
The success of the evening reflects the continued relevance of lyric theater in Asturias. The high attendance and the audience’s visible complicity underscore a regional appetite for works that celebrate Spanish cultural identity through a sophisticated musical lens.
| Role/Entity | Contributor |
|---|---|
| Musical Direction | Víctor Pablo Pérez |
| Stage Direction | Nuria Castejón |
| Orchestra | Oviedo Filarmonía |
| Choir | Capilla Polifónica Ciudad de Oviedo |
As the XXXIII Festival de Teatro Lírico Español draws to a close, the focus shifts to the final production of the season. The festival will conclude in June with the revival of Maharajá by Guillermo Martínez. This unique “Hindo-Asturian” zarzuela, which originally premiered at the same venue in June 2017, promises to be an experimental bookend to a season defined by both tradition and innovation.
We invite readers to share their thoughts on the evolution of the zarzuela in the comments below or share this analysis with fellow arts enthusiasts.
