Comic opera in two acts by Manuel García. Libretto by the composer based on Miguel de Cervantes’ exemplary novel La Gitanilla.
Composed in 1829.

Musical and stage production Ópera Estudio de Málaga

Hernando tenor
Rosita soprano
Laura mezzo-soprano
Baldaquín baritone
Inés soprano
Manolo tenor
Marqués del Pino baritone
Corregidor baritone
Pablo silent actor (Baldaquín's companion)

Orquesta Filarmónica de Málaga
Coro de Ópera de Málaga

Artistic director Carlos Álvarez
Musical director Carlos Aragón

“This is without any doubt the greatest work of Manuel Garcia, a renowned singer and composer from Seville. Internationally known in his time, he was very successful as a singer, the favourite of Gioacchino Rossini’, but also as a composer of operas of great quality and interpretive virtuosity.
In recent years his operas have attracted greater interest, and we have seen how his legacy is being recovered in Spain, and internationally as well, with the performance of some of his most noteworthy works, such as Don Chisciotte, La mort du Tasse, I tre gobbi, I cinesi
On this occasion we want to present his last great work, which has never been officially published or premiered at any theatre in the world. The manuscript that is at the Biblioteque Nationale in Paris reveals an opera of great force articulated in two acts with a succession of truly overwhelming arias, duets, trios and concertantes. As his last major opera (he wrote it on the journey by ship from Veracruz to Cadiz following a tour of Mexico), it shows great maturity, yet at the same time surprises us with a fresh and brilliant style of composition. The opera evidences that our dear maestro Garcia was aware of all the compositional trends of his times, but also mastered meticulous bel canto in the purest “Rossinian” or even “Mozartian” style and was familiar with the new techniques of French grand opéra that remind us of Meyerbeer. All of it combined with the most typically Andalusian energy of tonadillas, aires and seguidillas that give it a typical “Spanish” air.
But what really makes El gitano por amor unique in its genre is that it is entirely composed in Spanish, including the recitatives accompanied with cembalo, making it almost the first important pre-romantic opera in our language and anticipating by nearly fifty years the “national Spanish opera” movement promoted by later composers such as Barbieri, Bretón and Ruperto Chapí.
“Ópera Estudio de Malaga” is undertaking the world premiere of this opera with great excitement and enthusiasm, seeking excellence and convinced that our joint efforts with Teatro Cervantes will help spread our musical heritage and open the door to new repertoires that are not yet known but that are not, for that reason, of lesser value”.  Carlos Aragón, Musical Director

Ópera Estudio de Málaga is a project of the Teatro Cervantes de Málaga the baritone Carlos Álvarez and the conductor Carlos Aragón, with the sponsorship of Fundación Unicaja and Unicaja Banco and the collaboration of Fundación Málaga and La Térmica, center of contemporary culture of the Diputación Provincial de Málaga. Its main objective is the improvement of the talent of young lyric performers by developing a repertoire in which they will have as teachers renowned personalities of the genre and with which they will learn, from their own experience, the professional environment and the evolution of an opera production from its approach to its staging.
Each season, Ópera Estudio de Málaga will hold a national and international public call in which the voices of the greatest excellence and suitability for the different characters in the production on offer will be selected.

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