Located in the UK
Located in the USA
Located in Europe
- José Luis Greco
Cuentos de la Alhambra (1993)
- Unión Musical Ediciones (World)
- 1[pic]1[ca]1[bcl]1[cbn]/2110/2perc+cimb/hp.pf[cel]/str
- Baritone, Mezzo Soprano, 2 Sopranos, Tenor
- 1 hr 15 min
Programme Note
Cast:
Zorahayda (dramatic soprano)
Aurora (lyric soprano)
Woman (mezzo-soprano)
Man (tenor)
Astronomer (baritone)
The King (baritone)
Two actors (male and female)
As with the book by Washington Irving, the opera "Tales of the Alhambra” represents a non-linear notion of time. A man and a woman journey together to Granada. Entwined with scenes in which these two characters meet and relate to one another the things they have seen and done during their visit are scenes from the past based on the stories of Irving. The latter serve as oblique reflections of the relationship between man and woman. Further, a level of what might be called the unconscious of our two protagonists is revealed by the two actors during the Overture and two Interludes. At the turning point and climax of the opera the actors and singers (past and present characters) join to enrich the complex interweaving of temporal relationships. Henceforth, the man and woman disappear into the realm of nostalgia while the mythical characters are freed from their historical (although not literary) ties.
Zorahayda (dramatic soprano)
Aurora (lyric soprano)
Woman (mezzo-soprano)
Man (tenor)
Astronomer (baritone)
The King (baritone)
Two actors (male and female)
As with the book by Washington Irving, the opera "Tales of the Alhambra” represents a non-linear notion of time. A man and a woman journey together to Granada. Entwined with scenes in which these two characters meet and relate to one another the things they have seen and done during their visit are scenes from the past based on the stories of Irving. The latter serve as oblique reflections of the relationship between man and woman. Further, a level of what might be called the unconscious of our two protagonists is revealed by the two actors during the Overture and two Interludes. At the turning point and climax of the opera the actors and singers (past and present characters) join to enrich the complex interweaving of temporal relationships. Henceforth, the man and woman disappear into the realm of nostalgia while the mythical characters are freed from their historical (although not literary) ties.