Manuel de Falla tabs, chords, guitar, bass, ukulele chords, power tabs and guitar pro tabs including dance of the miller, spanish dance no 1 - la vie breve, cancion del fuego fatuo will o the wisp.
This April, put on two operas by Manuel de Falla – La Vida Breve and El Retablo de Maese Pedro. As I mentioned on some time ago, I had the privilege of playing with the opera company in both productions. I had a conversation the other day with the director, Veda Aggarwal, who asked me some questions about the project. She very kindly invited me to share something of my Manuel de Falla opera double bill experience with IGF’s online magazine readers, so below is the result of a short interview she put to me via email. VA: Could you give us a background into the two operas? YP: I’ll begin with La Vida Breve, because it’s something we are familiar with as pertaining to the guitar, and yet the original work is so much more than, and aspire to play in many cases.
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Though only a little over an hour long, La Vida Breve is a full opera, and happens to be among the most technically demanding operas commonly staged. Zprotect 1 6 keygen photoshop cs4 pro. The story is a tragedy in two acts, and closely mirrors a scandalous and heartbreaking real life event or situation that Falla witnessed. A well-born youth had a romantic affair with a young woman from a different (and less privileged) social class, and then left her to marry someone more ‘appropriate’ from his own class. The jilted young lady protested her fate very publicly, and then took her own life – though in the opera, Falla softened the details of her suicide, instead portraying her as dying of a broken heart. Apparently this was a news story that shocked Spanish society quite considerably at the time – it seems to me that Falla’s intent through the opera was to capture the tragedy of it, and through this portrayal of unrequited love soured further by the realities of class inequality, a perhaps to make a rather pessimistic statement on the cruelty with which humans are capable of treating one another.
El Retablo de Maese Pedro (which translates to Master Peter’s Puppet Show) is quite the opposite of La Vida Breve, in that it’s a much lighter fiction upon a fiction, and shows us a story of a beloved figure of Spanish culture, Don Quixote, essentially being himself. It’s a much shorter opera, running only about 30 minutes, and as the name suggests, it takes the form of a puppet show. In the opera, a traveling puppeteer puts on a theatrical production, aiming to tell heroic stories from the time of Charlemagne. Among the audience is Don Quixote, a greying old warrior who is given to spending his days thinking about and living amongst his memories of a life spent tilting at windmills. As the puppet show goes on, Don Quixote confuses the puppet theatre’s on-stage derring-do with real life events, and gets stirred up – he draws his sword and leaps on stage to take on the puppet ‘bad guys’ and save the puppet damsel in distress, in the process bringing the whole puppet theatre setup crashing down around him. The opera (and the puppet theatre) conclude with Don Quixote taking centre stage, and musing on the glory of chivalry and errant knights like himself, while in intended comedy, the puppeteer, Maese Pedro, laments the destruction of his puppet theatre.
VA: Classical guitar is for the most part, a solo instrument. Even when we perform with orchestra, it’s usually for a guitar concerto – where guitar is the featured instrument. What was your role like in these two operas? YP: This was very far from a concerto-type experience, because rather than being something written especially with the guitar in mind, both operas belong to the wider realm of classical music, one of which ( La Vida Breve) happens to use a guitar as a purely functional musical and dramatic device in service of the story at large. My role in La Vida Breve was, in that I played the kind of traveling musician who would turn up at an event like a wedding, and accompany a singer (who would also be an itinerant musician like myself) on wedding-appropriate songs – much like a wedding band might do today, in many parts of the world, including here in India. Apart from the song linked above, and one other quite crucial narrative punchline that the baritone soloist I accompanied, Sherry Mathews, delivered, there were sundry little bits that I would play rhythmic chords for, in support of celebratory dramatic action happening on-stage during the wedding party. And if you have watched the video and are wondering, yes, I did improvise the start of Falla’s unrelated guitar composition Danza del Molinero ( The Miller’s Dance) at the start of that song, because I thought it would set a nice tone, and work as a little extra homage to the composer on the occasion of his opera’s Asian debut.