620:. The palace of Charlemagne. Melisendra, the emperor’s alleged daughter, is held captive in Zaragoza by the Moorish king Marsilio. Her husband Don Gayferos, who has forgotten Melisendra, is playing chess with Don Roland. Charlemagne is angry and urges Don Gayferos to action. The latter refuses the help of Roland, saying that he himself is sufficient to rescue Melisendra. The scene is acted after the narrative explanation, the two knights rising from their game as the Emperor enters to appropriately stately music and confronts Don Gayferos, striking him with his scepter, before turning away. Left alone, the two knights quarrel and Don Gayferos storms out in anger.
697:
16th-century organist and theorist
Francisco Salinas, and Spanish folk traditions (but Castilian folk music, not Andalusian), in addition to his own evocative inventions. His scoring, for a small orchestra featuring the then-unfamiliar sound of the harpsichord, was lean, pungent, neo-classical in a highly personal and original way, and pointedly virtuosic. The output is a completely original piece of music, apparently simple, but of a great richness. The match of music and text is one of the greatest achievements of the work: as never before Spanish language finds here its genuine musical expression.
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view, sometimes at rest, sometimes crossed over one another." Beyond praise is Falla's juxtaposition of his two puppet casts and the pacing that propels their climactic convergence when Don
Quixote rises to intervene for Melisandra (at which point the other puppet spectators crane their necks to better observe the action). This peak, cunningly scaled, recedes to an equally precise denouement: Don Quixote's closing salutation to knights errant (culled from a different chapter of the novel), with which he finally and fully pre-empts center stage.
626:. "Ahora verán la torre del Alcázar de Zaragoza..." (Now, you see the tower of the castle of Zaragoza"). On a balcony of the tower, probably her prison, we see Melisendra, thinking of Paris and her husband. A Moor approaches stealthily and steals a kiss from her; she speedily cleans her lips and calls for help. King Marsilio witnessed this stolen kiss, and orders the guards to seize the insolent Moor. He is taken through the streets to the town square, where Marsilio's sentence of two hundred blows is carried out.
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928:. In this production, the human characters are portrayed by real actors, while the puppets remain puppets. The production has been released without English subtitles, unlike the original telecast and the VHS edition. In the DVD edition, an English translation of the opera is included in the accompanying booklet. A LaserDisc version was released in 1990 both in Spain, on the PAL system, and in the U.S., on the NTSC system. The audio is also available on CD.
560:
604:. Master Peter, the puppeteer, appears ringing a bell, with a monkey on his shoulder. He calls for attention and announces the performance of "The Tale of Melisendra", a story about the alleged daughter of Charlemagne who was held captive by Moors in Zaragoza. "Vengan, vengan, a ver vuesas mercedes el Retablo de la libertad de Melisendra" ("Come, come and see, my lords,
646:. Don Gayferos is riding to rescue Melisendra, going over a mountain (the Pyrenees). He is wrapped in a long cloak and carries a hunting-horn, which he blows at moments specified in the score. The curtain closes again and the boy describes how Melisendra, at the window of her tower, talks to Gayferos, thinking he is a passing stranger. She quotes an old poem (
656:. Part of the action of Scene 4 is repeated. Melisendra, in the tower. beckons to Gayferos to approach, climbs down from the tower, and rides behind him on his horse. They ride off trotting, and the curtain closes. The boy wishes them well, as true lovers, and a safe arrival home, with happy lives, which he hopes are as long as
688:!". He also declares his dedication to his imaginary lady, Dulcinea ("señora de mi alma, día de mi noche, gloria de mis penas, norte de mis caminos": figuratively "owner of my soul, light in my darkness, glory of my suffering, my destination"). Master Peter can only complain in despair at the havoc wrought on his puppets.
660:'s. Master Peter shows his face to tell the boy to keep to the point. "Llaneza, muchacho, no te encumbres, que toda afectación es mala" (Simplicity, boy, don't elaborate too much; affectation is bad). The curtain now opens for the last time, showing King Marsilio running to get his guards, who depart immediately.
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The work is surprisingly theatrical. It bristles with wit and limitless panache. It percolates with such subtle details as Don
Quixote's long and ungainly legs – the only part of him which remains visible once Master Peter's production begins; "during the show," Falla specifies, "they will remain in
241:
Falla's original plan for the
Princess's theater was a two-tiered, play-within-a-play approach: large puppets representing Quixote, Master Peter, and the others in attendance, and small figures for Master Peter's puppets. The three singers would be with the orchestra in the pit, rather than onstage.
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The
Moorish soldiers pursue the "Catholic lovers". The boy expresses the fear that they will catch the pair, and will bring them back tied to the tail of their own horse (dragged). At this point Don Quixote cannot restrain himself, and addresses the puppets: "Alto, malnacida canalla, non les sigáis
291:
The staged premiere took place on 25 June 1923 at the Palace of the
Princess of Polignac in Paris. It was conducted by Vladimir Golschmann, with sets and puppets by Hermenegildo Lanz, Manuel Ángeles Ortiz, José Viñes Roda and Hernando Viñes. The staging was under the direction of Manuel de Falla.
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The boy adds that among the Moors justice is very speedy, not like it is in
Christian Spain. Don Quixote objects that the boy is getting off the subject: "Niño, niño, seguid vuestra historia línea recta..." ("Boy, boy: tell your tale straightforwardly"). Master Peter tells the boy to keep to the
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The musical idiom abandons the
Andalusian taste of Falla's earlier work in favor of medieval and Renaissance sources; for his narrator, Falla adapted the sung public proclamations, or "pregones", of the old Spanish villages. Falla borrowed themes from the Baroque guitarist Gaspar Sanz, the
666:. Marsilio sounds the alarm, and the city is in turmoil, with bells ringing from all the minarets. Don Quixote jumps up to object that this is ridiculous ("Eso no, que es un gran disparate": "That's not right, it's a big mistake"); the Moors did not have bells, only drums and
190:, who commissioned the work. Because of its brief length by operatic standards (about 27 minutes), its very challenging part for a boy opera performer (who has by far the most lines), and its use of puppets, it is not part of the standard operatic repertoire.
786:, cond.; Manuel Ausensi (baritone), Gaetano Renon (tenor), Lola Rodríguez de Aragón (sop.). Orc. National de la Radiodiffusion Française (Théatre Champs Elysées). Angel 35089 (2 LP); Columbia FXC 217 (1 LP); Fonit 303 (1 LP); EMI 569 235-2 (4 CD, 1996)
650:), asking him to ask in Paris for Don Gayferos. The knight reveals his identity, at which Melisendra is very happy, climbing down from the balcony. Don Gayferos picks her up and sets her behind him on his horse, setting off for Paris.
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that actually depicts a puppet play. Don
Quixote watches a puppet show and gets so drawn into the action that he seeks to rescue the damsel in distress, only to destroy poor Master Peter's puppet theater in the process.
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has described this opera as a work where Falla reached beyond "Andalusianism" for his immediate musical influence and colour and began the transition into the "Hispanic neo-classicism" of his later works.
347:. For this production singers and extras replaced the large puppets, and Falla and Zuloaga took part personally, with Zuloaga playing Sancho Panza and Falla playing the innkeeper. Also in 1926, in April,
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1966: Ernesto
Halffter, cond.; Pedro Farrés (bass), José María Higuero (tenor), Isabel Penagos (sop.). Orq. Radiotelevisión Español. Live from Teatro de la Zarzuela performance. Almaviva (1996) (1 CD)
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670:. Master Peter shows his head again to tell Don Quixote not to be such a stickler for accuracy, since plays are frequently full of errors and are successful all the same. Don Quixote agrees.
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After a concert performance in Seville on 23 March 1923, that is how it was performed with the Princess's puppets in the music room of her Paris estate on 25 June of that year, with
680:. Continuing to insult the Moors, in archaic, chivalric language, the furious Don Quijote uses his sword to destroy the puppets. He declares that here is proof of the usefulness of
1957:
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The premiere was attended by the poets, musicians, and painters who comprised the exclusive court of the Princess de Polignac. Five days later, Corpus Barga published a report in
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1997: Diego Dini-Ciacci, cond.; Ismael Pons-Tena (baritone), Jordi Galofré (tenor), Natacha Valladares (soprano). I Cameristi del Teatro alla Scala (Milan). Naxos 8.553499 (1 CD)
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1990: Josep Pons, cond.; Iñaki Fresán (baritone); Joan Cabero (tenor), Joan Martín (boy treble). Orq. de Cambra del Teatre Lliure (Barcelona). Harmonia Mundi HMC 905213 (1 CD)
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684:: "¡Quisiera yo tener aquí delante aquellos que no creen de cuanto provecho sean los caballeros andantes!": "I wish those who say knights-errant are of no use could see
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1958: Ataúlfo Argenta, cond. Raimundo Torres (bass), Carlos Munguía (tenor), Julita Bermejo (sop.). Orquesta Nacional de España. Decca TWS SXL 2260 (1 LP). RCA, London
793:, cond.; Chano González (bass), Francisco Navarro (tenor), Blanca Seoane (sop.). Orc. Théatre Champs Elysées. Ducretet 255 C 070 (1 LP); MCA Classics MCAD 10481 (1 CD)
307:"in evening dress, and mobbed by everybody, seems as though he is resting in a corner with his hat pulled down over one eyebrow", and the artist José Maria Sert.
614:. The narration is sung by Master Peter's apprentice (the Boy or Trujamán): he begins introducing the subject. "Esta verdadera historia..." (This true story...).
186:, with some lines added from other parts of the work. Falla composed this opera "in devoted homage to the glory of Miguel de Cervantes" and dedicated it to the
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directed the opera in Amsterdam, using real actors for some of the roles. Later performances have frequently used singers and actors to replace the puppets.
233:, although neither of those works had its premiere in her private theater.) The work was completed in 1923. Falla decided to set an episode from Cervantes'
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1083:, part II, first published in 1615. Internal evidence in part II documents that part I had already been published; its first edition was published in 1605.
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Falla went on to tour the piece quite successfully throughout Spain with the Orquesta Bética, a chamber orchestra he had founded in 1922.
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1973: Odón Alonso, cond.; Pedro Farrés (baritone), Julio Julián (tenor), Isabel Penagos (sop.). Orq. alla Scala of Milan. Zafiro (1 LP)
636:. The Moorish soldier is punished: the blows he receives are in time with the music. The Moor falls and is dragged away by the guards.
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was a great success for Falla, with performances and new productions all over Europe within a few years of the premiere. In 1926 the
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On 29 May 1938, the BBC presented a black-and-white television movie in English translation, using Thomas Shelton's version of
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ni persigáis, si no, conmigo sois en batalla" ("Stop, low-born rabble, don't follow them, or you'll have to fight with me").
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In scene 6, Don Quixote, convinced that the puppets are real, destroys the puppet theatre. Illustration by Gustave Doré from
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adapted by J. B. Trend. Frederick Sharpe sang the role of Don Quixote, Jane Connard The Boy, and Perry Jones Master Peter.
866:, cond.; William Alvarado (bar.), Miguel Cortez (ten.), Lourdes Ambriz (sop.). Solistas de México. Dorian DOR 90214 (1 CD)
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838:, cond.; Manuel Bermúdez (bar.), Tomás Cabrera (ten.), Ana Higueras-Aragón (sop.). Instrumental Ensemble. Erato STU 70713
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http://www.cervantesvirtual.com/obra-visor/estudios-cervantinos-0/html/ffcdbca6-82b1-11df-acc7-002185ce6064_33.html#I_4_
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828:(baritone), Julian Molina (tenor), Fermin Gomara (boy treble). Orquesta Filarmonía de España. Columbia CS8556 (1LP)
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779:(baritone), Waldemar Kmentt (tenor), Ilona Steingruber (sop.). Wiener Staatsopernorchester. SPA-Records 43 (1 LP)
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https://www.academia.edu/29545846/The_i_Romance_i_as_Seen_by_Cervantes_versi%C3%B3n_original_en_ingl%C3%A9s_
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807:(tenor), Teresa Tourné (sop.). Orq. de Conciertos de Madrid. Erato; Grande Musique d'Espagne GME 221 (1 CD)
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209:, aka la Princesse Edmond de Polignac, commissioned from Falla a piece that could be performed in her
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made his operatic debut at age 11 as the boy narrator, Trujamán, in a 1958 production conducted by
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The world premiere was given as a concert performance on 23 March 1923 at the Teatro San Fernando,
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as Don Quixote, Xavier Cabero as the Boy, and Joan Cabero (Xavier's father) as Maese Pedro, with
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story, without embellishments. The puppeteer returns to his booth and Don Quixote sits down.
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859:(bar.), Adrian Thompson (ten.), Samuel Linay (treble).Matrix Ensemble. ASV CDDCA 758 (1 CD)
608:"). The audience comes in, Don Quixote being ushered to an honored place in the front row.
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Historia de la libertad de Melisendra (Tale of the rescue of Melisendra, introduction)
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were among the artists and musicians serving as stagehands. Also at the premiere was
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912:. and is available on YouTube. This is the same film version which was telecast by
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845:, cond.; Peter Knapp (baritone), Alexander Oliver (tenor), Jennifer Smith (sop.).
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The Presence of Don Quixote in Music – Beyond the Centenary Celebrations
339:. That performance used new designs by Falla's close friend, the artist
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in Paris celebrated Falla's 50th birthday with a program consisting of
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1104:, translated by Elvira de Riquer as "El romance visto por Cervantes",
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A filmed version in color of the opera is included on the DVD release
182:. The libretto is an abbreviation of chapter 26 of the second part of
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Divertimento for chamber orchestra after keyboard pieces by Couperin
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Don Quixote watching Master Peter's puppet show, an illustration by
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Mayer-Serra, Otto (January 1943). "Falla's Musical Nationalism".
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593:, although it is presented as historical by Maese Pedro and the
884:(tenor), Chantal Perraud (sop.). Orch. Poitou-Charentes. Mirare
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respectively) as well as Spanish. Trend's version was based on
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presented the text in English and French (in translations by
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Liner notes including synopsis from the 1997 Naxos recording
1036:"Don Quixote: The First 400 Years / A Cervantes Celebration"
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Place: The stable of an inn at an unidentified location in
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conducted the BBC Television Orchestra. Puppets were from
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The score was published in London in 1924. The edition by
343:, and new marionettes carved by Zuloaga's brother-in-law,
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Lorca in Tune with Falla: Literary and Musical Interludes
978:"El Retablo De Maese Pedro : Script and stage notes"
1127:. Toronto: University of Toronto Press. p. 138.
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Scene 3. El suplicio del moro (The Moor's punishment)
618:
Scene 1. La corte de Carlomagno (Charlemagne's court)
1248:"Manuel de Falla - El Retablo de Maese Pedro (1923)"
1958:Tanzsuite aus Klavierstücken von François Couperin
1000:
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438:(in audio recordings, frequently sung by a woman)
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2016:
299:with verbal portraits of some of those present:
254:played the harpsichord (Falla composed his 1926
1316:Begoña Lolo (translated by Jacqueline Minett),
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68:, chapter 26, the scene which inspired the work
589:Note: The story of Gaiferos and Melisendra is
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849:. Argo ZRG 921 (1 LP); Decca 433 908-2 (2 CD)
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30:
1188:"Master Peter's Puppet Show (TV Movie 1938)"
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1068:Un demi-siècle d'Opéra-Comique (1900–1950).
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597:, and taken as such by the mad Don Quijote.
288:, Spain. It was conducted by the composer.
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734:'s 17th century translation of Cervantes.
367:for a gathering of Cervantes specialists.
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1302:International Music Score Library Project
1176:International Music Score Library Project
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983:(in Spanish). Lazarzuela.webcindario.com
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1079:The source text is found in Cervantes'
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740:Très respectueusement dédié a Madame la
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768:. Columbia RG 16109-12 (1 disc 78 rpm)
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664:Scene 6. La persecución (The pursuit)
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1823:Concerto in E-flat (Dumbarton Oaks)
1489:Siete canciones populares españolas
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803:, cond.; Renato Cesari (baritone),
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24:
1211:Decca 071 145-1 ½ CDV (Film 27’51)
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1222:"Nights in the Gardens of Spain"
606:The Tale of Melisendra's Freedom
1313: (archived 7 February 2012)
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1258:from the original on 2021-12-13
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1070:André Bonne, Paris, 1953, p173.
18:Master Peter's Puppet Show
2080:Operas set in the 17th century
1497:Nights in the Gardens of Spain
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910:Nights in the Gardens of Spain
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363:. In 2004 it was performed at
258:for her in appreciation), and
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1:
1041:. Hofstra.edu. Archived from
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855:1991: Robert Ziegler, cond.;
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654:Scene 5. La fuga (The escape)
1121:Orringer, Nelson R. (2014).
1006:"Master Peter's Puppet Show"
744:Princesse Edmond de Polignac
602:El pregón (The announcement)
487:Men with lances and halberds
279:
250:sang Don Quijote (Quixote),
7:
2075:Operas based on Don Quixote
1945:Symphony in Three Movements
1890:Piano Sonata No. 3 (Enescu)
1885:Piano Sonata No. 3 (Chávez)
1880:Piano Sonata No. 1 (Enescu)
1383:List of works for the stage
1298:"El retablo de maese Pedro"
1172:"El retablo de maese Pedro"
926:Montreal Symphony Orchestra
640:Scene 4. Los Pirineos (The
572:Time: between 1605 and 1615
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416:Maese Pedro (Master Peter)
386:Premiere cast, 25 June 1923
10:
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1895:Piano Suite No. 2 (Enescu)
1281:September 3, 2014, at the
397:Don Quijote (Don Quixote)
146:Master Peter's Puppet Show
78:Master Peter's Puppet Show
2050:Operas by Manuel de Falla
1981:
1922:El retablo de maese Pedro
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815:Rafael Frühbeck de Burgos
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337:El retablo de maese Pedro
317:El retablo de maese Pedro
172:based on an episode from
139:El retablo de maese Pedro
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32:El retablo de maese Pedro
29:
2065:Plays featuring puppetry
1805:Le bourgeois gentilhomme
1326:, December/January 2005.
1159:October 9, 2007, at the
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2070:Spanish-language operas
1929:Sonatine bureaucratique
1572:Concurso de Cante Jondo
1092:Daniel Eisenberg, "The
801:Pedro de Freitas Branco
766:Orq. Nacional de España
702:Celebrating Don Quixote
2030:1920s in Spanish music
1994:Neoromanticism (music)
1965:Le Tombeau de Couperin
1577:Impressionism in music
1451:The Three-Cornered Hat
1096:as seen by Cervantes,
916:in 1992, and features
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568:
138:
113:25 June 1923
31:
1400:Los amores de la Inés
1106:Estudios cervantinos,
948:The Musical Quarterly
874:Jean-François Heisser
562:
361:Gran Teatre del Liceu
1835:Harpsichord Concerto
1784:Antiche arie e danze
1762:Germaine Tailleferre
1512:Harpsichord Concerto
1378:List of compositions
1100:, 1, 1984, 177-192,
1048:on 24 September 2015
704:by Joseph Horowitz:
256:Harpsichord Concerto
188:Princess de Polignac
2055:Operas set in Spain
1989:Neoclassical ballet
1915:The Rake's Progress
1798:Le baiser de la fée
961:10.1093/mq/XXIX.1.1
720:J. & W. Chester
624:Scene 2. Melisendra
577:La Mancha de Aragón
390:Vladimir Golschmann
244:Vladimir Golschmann
201:Performance history
180:Miguel de Cervantes
103:Miguel de Cervantes
1951:Symphony of Psalms
1767:Heitor Villa-Lobos
1638:Neoclassical music
1228:. 13 February 2007
1016:on 27 January 2013
847:London Sinfonietta
728:Georges Jean-Aubry
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365:Hofstra University
311:Later performances
156:in one act with a
125:Edmond de Polignac
2035:Marionette operas
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2011:
2004:Modernism (music)
1812:Concert champêtre
1697:Camargo Guarnieri
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1556:Gran Teatro Falla
1470:Ritual Fire Dance
1323:Goldberg Magazine
724:John Brande Trend
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273:Concert champêtre
207:Winnaretta Singer
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16:(Redirected from
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1848:Mathis der Maler
1737:Sergei Prokofiev
1722:Bohuslav Martinů
1692:Radamés Gnattali
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332:El amor brujo
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1982:Other topics
1970:
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1956:
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1927:
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1776:Compositions
1707:Vagn Holmboe
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1272:
1260:. Retrieved
1251:
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1195:. Retrieved
1191:
1182:
1167:
1150:
1138:. Retrieved
1123:
1116:
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1097:
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1088:
1080:
1075:
1067:
1062:
1050:. Retrieved
1043:the original
1030:
1018:. Retrieved
1014:the original
1009:
985:. Retrieved
952:
946:
940:
918:Justino Díaz
909:
907:
894:
892:
888:
887:
880:(baritone),
864:Eduardo Mata
857:Matthew Best
843:Simon Rattle
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567:, chapter 26
564:
513:English horn
498:
486:
479:non-singing
469:non-singing
459:non-singing
449:non-singing
430:
388:(Conductor:
336:
330:
324:
316:
314:
296:
294:
290:
283:
271:
264:Emilio Pujol
246:conducting.
240:
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228:
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183:
173:
145:
136:
135:
134:
95:
77:
65:
62:Gustave Doré
2025:1923 operas
1999:Neotonality
1972:Gli uccelli
1867:Oedipus rex
1677:Louis Durey
1657:Béla Bartók
1540:(1986 film)
1532:(1967 film)
1481:Other works
1098:El Crotalón
1081:Don Quixote
955:(1): 1–17.
895:Don Quixote
882:Éric Huchet
822: [
777:Otto Wiener
714:Publication
580: [
565:Don Quixote
537:harpsichord
436:boy soprano
357:José Iturbi
349:Luis Buñuel
301:Paul Valéry
235:Don Quixote
184:Don Quixote
175:Don Quixote
97:Don Quixote
74:Translation
66:Don Quixote
2019:Categories
1908:Pulcinella
1747:Erik Satie
1262:25 October
1232:24 October
1197:25 October
1052:25 October
1020:25 October
987:25 October
932:References
750:Recordings
591:fictitious
503:(doubling
499:Ensemble:
466:A student
429:Trujamán,
382:Voice type
225:Erik Satie
117:1923-06-25
1645:Composers
1549:Namesakes
1424:Atlántida
1066:Wolff S.
817:, cond.;
775:, cond.;
541:harp-lute
476:The page
280:Premieres
123:Salon of
1598:Category
1279:Archived
1256:Archived
1157:Archived
876:, cond.
642:Pyrenees
595:trujamán
555:Synopsis
517:clarinet
405:baritone
205:In 1919
170:libretto
162:epilogue
158:prologue
109:Premiere
92:Based on
84:Language
1874:Orpheus
1435:Ballets
1309:at the
1252:YouTube
1140:14 June
1094:Romance
1010:LA Phil
914:A&E
648:romance
586:, Spain
549:strings
533:timpani
529:trumpet
521:bassoon
505:piccolo
431:the boy
359:at the
286:Seville
230:Socrate
148:) is a
127:, Paris
115: (
87:Spanish
2060:Operas
1791:Apollo
1514:(1926)
1508:(1919)
1500:(1915)
1492:(1914)
1473:(1915)
1454:(1919)
1446:(1915)
1427:(1962)
1419:(1923)
1411:(1913)
1403:(1902)
1392:Operas
1226:Amazon
1131:
872:2007:
862:1994:
841:1980:
834:1977:
799:1961:
789:1954:
782:1953:
771:1953:
760:1950:
678:Finale
668:shawms
658:Nestor
335:, and
297:El Sol
220:Renard
150:puppet
40:Puppet
1855:Mavra
1046:(PDF)
1039:(PDF)
981:(PDF)
889:Video
826:]
755:Audio
700:From
584:]
525:horns
509:oboes
507:), 2
501:flute
420:tenor
378:Role
371:Roles
211:salon
154:opera
64:from
44:opera
1264:2014
1234:2014
1199:2014
1192:IMDb
1142:2020
1129:ISBN
1054:2014
1022:2014
989:2014
953:XXIX
726:and
686:this
545:harp
543:(or
523:, 2
401:bass
262:and
223:and
160:and
957:doi
547:),
403:or
227:'s
217:'s
178:by
101:by
46:by
2021::
1320:,
1254:.
1250:.
1224:.
1190:.
1008:.
997:^
969:^
951:.
905:.
824:es
746:"
582:es
551:.
539:,
535:,
527:,
519:,
515:,
511:,
392:)
329:,
1630:e
1623:t
1616:v
1359:e
1352:t
1345:v
1266:.
1236:.
1201:.
1144:.
1056:.
1024:.
991:.
963:.
959::
644:)
152:-
144:(
119:)
42:-
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
