Manuel Penella Moreno [1880 – 1939]
from EL GATO MONTÉS – Pasodoble

Gerónimo Giménez y Bellido [1854 – 1923]
from LA TEMPRANICA – „Sierras de Granada“

Federico Moreno Torroba [1891 – 1982]
from LUISA FERNANDA – „Caballero del alto plumero“

Manuel Fernández Caballero [1835 – 1906]
from GIGANTES Y CABEZUDOS – „Romanza de la carta“

Federico Chueca [1846 – 1908] und Joaquín Valverde [1846 – 1910]
from LA GRAN VÍA – „Vals del Caballero de Gracia“

Gerónimo Giménez y Bellido
from EL BARBERO DE SEVILLA – „Me llaman la Primorosa“

Pablo Sorozábal Mariezcurrena [1897 – 1988]
from LA DEL MANOJO DE ROSAS – „Madrileña Bonita“

Pablo Sorozábal Mariezcurrena
from LA REVOLTOSA – Preludio

Francisco Asenjo Barbieri [1823 –1894]
from EL BARBERILLO DE LAVAPIÉS – „Canción de la Paloma“ and „Cuarteto Caleseras“

Manuel Penella Moreno
from EL GATO MONTÉS – Dúo Soleá

*** Intermission ***

Gerónimo Giménez y Bellido
from LA BODA DE LUIS ALONSO – Intermedio

Pablo Luna Carné [1879 – 1942]
from EL NIÑO JUDÍO – „Noemi de mis amores“

Manuel Penella Moreno
from EL GATO MONTÉS – Romanza de Soleá

Jesús Guridi Bidaola [1886 – 1961]
from EL CASERÍO – Dúo Ana Mari y Santi

Pablo Luna Carné
from LA PÍCARA MOLINERA – „Paxarín, tú que vuelas“

Amadeo Vives [1871 – 1932]
from DOÑA FRANCISQUITA – Fandango

Ernesto Lecuona [1895 – 1963]
from ROSA LA CHINA – Dúo Rosa y José

Federico Moreno Torroba
from LUISA FERNANDA – „Subir, subir“

Ruperto Chapí y Lorente [1851 – 1909]
from LAS HIJAS DEL ZEBEDEO – „Carceleras“

Federico Chueca und Joaquín Valverde
from LA GRAN VÍA – „Jota de los Ratas“ and „Chotis del Eliseo“

Francisco Asenjo Barbieri
from EL BARBERILLO DE LAVAPIÉS – Cuarteto Caleseras

Manuel Penella Moreno
from DON GIL DE ALCALÁ – „Todas las Mañanitas“

Named after the Palacio de la Zarzuela near Madrid, the early form of Spanish musical theatre emerged as early as the 17th century, parallel to Italian opera. Related to vaudeville, farce and operetta, hundreds of these entertaining and effective works were written within a few decades. The genre was increasingly forgotten and only experienced a revival in the mid-19th century. However, it is still neglected on theatre programmes today. Star director Christof Loy, who has been a strong advocate of the zarzuela for many years, is staging an evening at the Deutsche Oper Berlin.