El retablo de Maese Pedro (). Add a Plot» Related Items. Search for “El retablo de Maese Pedro” on Publisher: Chester Music. El Retablo de Maese Pedro (). Text Writer. after Cervantes. Publisher. Chester Music Ltd. Category. Opera and Music Theatre. EL RETABLO DE MAESE PEDRO. Ópera en un acto con letra y música de Don Manuel de Falla. Basada en los capítulos XXV y XXVI de la segunda parte de.

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El retablo de maese Pedro Master Peter’s Puppet Show is a puppet- opera in one act with a prologue and epiloguecomposed by Manuel de Falla to a Spanish libretto based on an episode from Don Quixote by Miguel de Cervantes. The libretto is an abbreviation of chapter 26 of fe second part of Don Quixotewith 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 Princess de Polignacwho commissioned the work.

Because of its brief length by operatic standards about 27 minutesits very challenging part for a boy opera performer who has by far the most linesand its use of puppets, it is not mzese of the standard operatic repertoire. Otto Mayer-Serra has rtablo 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.

In Winnaretta Singeraka la Princesse Edmond de Polignac, commissioned from Falla a piece that could be performed in her salonusing her own elaborate puppet theater. Her other commissions included Igor Stravinsky ‘s Renard and Erik Satie ‘s Socratealthough neither of those works had its premiere in her private theater. The work was completed in Falla decided to set an episode from Cervantes’ Don Quixote 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.

Falla’s original plan for the Princess’s theater was a two-tiered, play-within-a-play approach: The three singers would be with the orchestra in the pit, rather than onstage.

After a concert performance in Seville on 23 Marchthat is how it was performed with the Princess’s puppets in the music room of her Paris estate on 25 June of that year, [2] with Vladimir Golschmann conducting. It was conducted by the composer. The staging was under the direction of Manuel de Falla. 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 El Sol ppedro verbal portraits of some of those present: El retablo de maese Pedro was a great success for Falla, with performances and new productions all over Europe within a few years of the premiere.

That performance used new designs by Falla’s close friend, the artist Ignacio Zuloagaand new marionettes carved by Zuloaga’s brother-in-law, Maxime Dethomas. For this maexe singers and extras replaced the large puppets, and Ds and Zuloaga took part personally, with Zuloaga playing Sancho Panza and Falla playing the innkeeper. Later performances have frequently used singers and actors to replace the puppets. Eel it was performed at Hofstra University for a gathering of Cervantes specialists.

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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.

The audience comes in, Don Quixote being ushered to an honored place in the front row. Historia de la libertad de Melisendra Tale of the rescue of Melisendra, introduction.

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La corte de Carlomagno Charlemagne’s court. The palace of Charlemagne. 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. 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.

Manuel de Falla

King Marsilio witnessed this stolen kiss, and orders dw 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. 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: Master Peter tells the boy to keep to the story, without embellishments.

The puppeteer returns to his booth and Don Xe sits down. El suplicio del moro The Moor’s punishment. The Moorish soldier is punished: Pecro Moor falls and is dragged away by the guards. Los Pirineos The Pyrenees. Don Gayferos is riding to rescue Melisendra, going over a mountain the Pyrenees. He is wrapped in a long cloak and carries dl 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 romanceasking 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. La fuga The escape. Part of the action of Scene 4 is repeated. Melisendra, in the tower. 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 Nestor ‘s. Master Peter shows his face to tell the boy to keep to the point.

El retablo de Maese Pedro () – IMDb

The curtain now ek for the last time, showing King Marsilio running to get his guards, who depart immediately. 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 ee no, que es un gran disparate”: Master Peter shows his head again to retsblo Don Quixote not to be such a stickler for accuracy, since plays are frequently full of errors and are successful all the same.

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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: 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 knights-errant: Master Peter can only complain in despair at the havoc wrought sl his puppets.

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. His scoring, for a small orchestra featuring the then-unfamiliar sound of the harpsichord, was lean, pungent, neo-classical in a highly mese 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 mese the work: On 29 Maythe BBC presented a black-and-white television movie of an English translation of the work, using the Don Quixote translation of Thomas Shelton and with the guidance of British Hispanist and musicologist J. Puppets were from Hogarth Puppets. 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. List of compositions retabko Manuel de Falla. From Wikipedia, the free encyclopedia.

Retrieved 29 November Script and stage notes” PDF in Spanish. Retrieved 25 October Archived from the original PDF on 24 September Internal evidence in part II documents that part I had already been published; its first edition was published in Retrieved 24 Retqblo El amor brujo The Three-Cornered Hat Ritual Fire Dance Bewitched Love film El Amor brujo film. Concurso de Cante Jondo Mqese in music Spanish opera.

Neoclassical ballet Neoromanticism music Neotonality Modernism music. Retrieved from ” https: CS1 Spanish-language sources es Webarchive template wayback links Articles containing Spanish-language text Articles containing French-language text Interlanguage ve template link number All articles with unsourced statements Articles with unsourced statements from July Views Read Edit View history.

This page was last edited on 27 Octoberat By using this site, you agree to the Terms of D and Privacy Policy. Puppet- opera by Manuel de Falla. Don Quixote by Miguel de Cervantes.