Power Center For The Performing Arts Ann Arbor, Michigan
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN
Ballet National Espanol
ANTONIO Guest Choreographer
MARIA DE AVILA Director
ANGEL PERICET Assistant Director
Principal Dancers Paco Romero
Conchita Cerezo Ana Gonzalez Juan Mata Paco Morales Felipe Sanchez
Begona Astuy Adelaida Calvin Adoracion Carpio Nuria Castejon Cristina Catoya Marta Farre Javier Baga German Cabrera
Corps de Ballet
Javier Garcia Antonio Gomez Nestor de Lara Antonio Marquez Ma Jesus Garcia Macarcna Rosa Maria Monserrat Marin
Aida Gomez Lupe Gomez Carmen Vargas Marcela del Real Paco Morell Antonio Salas
Luisa Samper Ilidia Solbes Ricardo Monte Antonio Reyes Manuel Segura Jose Talavera Jose Tauste
Flamenco Singers (Cantaores): Manuel Palacin, Talcgon de Cordoba
Guitarists: Juan Espin, Luis Carmona "Habichuela," Jose Ma Molero, Luis Pastor
Alternate Guitarists: Francisco Moreno Garcia, Luis Perez Davila
Ballet Masters Aurora Pons Juana Taft
Regisseur Felipe Sanchez
Ballet Masters of Spanish Dance Victoria Eugenia Martin Vargas
Wednesday Evening, September 28, 1983, at 8:00
Power Center for the Performing Arts
Ann Arbor, Michigan
First Concert of the 105th Season
Thirteenth Annual Choice Scries
Choreography: Antonio Scenery: Carlos Viudes
Music: Padre Antonio Soler Costumes: Jose Caballero
Recording directed by Benito Lauret
Master of Ceremonies: Jose Tauste
Spanish music of the 18th century, composed by the Padre Antonio Soler for his pupil and friend, the Infante Don Gabriel, and the Spanish court.
In F-sharp minor
Alabarderos: A. Gomez, R. Monte, J. Talavera, J. Garcia, J. Baga,
In D major
Paco Morales, Juan Mata, A. Cari'io, M. Farre-Macarena, M. Marin
In D major
Ana Gonzalez, Juan Mata, Paco Morales
In D-flat major
Lupe Gomez, and A. Calvin, C. Catoya, L. Samper
In F-sharp major
Conchita Cerezo or Aida Gomez
In G major
Paco Morales or Juan Mata
In F major
Conchita Cerezo, Ana Gonzalez, Juan Mata, Paco Morales,
Soloists and Corps dc Ballet
Infanta Dona Margarita: Marcela del Real Ladies and Gentlemen of the Court
Padre Antonio Soler was born in 1727 in Olot, Gcrona, and studied at the Escolania de Montserrat in Barcelona. Later he moved to the monastery of El Escorial near Madrid, where he lived and worked until his death in 1783. He was one of Spain's great 18th century composers of keyboard music, and his work became well-known throughout Europe. He was greatly influenced by Domenico Scarlatti, but his technical mastery enabled him to be very daring in his compositions, particularly in his modulations, which gave his music a special lightness and charm. Soler injected his keyboard music with the color, rhythm, and melodic qualities of Spanish folk music. Some of his Sonatas also illustrate his tendency to write descriptive music.
ZAPATEADO Choreography: Antonio Music: Pablo Sarasate
Danced by Paco Romero
Alegrias -This is one of the oldest flamenco dances, considered the purest, most refined and dignified in the Spanish repertoire.
Bulerias -The steps of this dance are similar to those of the Alegrias, but are faster and more lively.
Famtca -This is the flamenco dance that shows the most Gypsy influence.
Soleares -This, along with Alegrias, is said to be one of the original flamenco dances.
Tango -The steps in this dance arc simpler and heavier than in some of the more refined flamenco dances, such as Alegrias, but have more emphasis on floor patterns.
Zambra -This dance is of direct Moorish origin and is performed exclusively by women.
Zapateado --Characterized by staccato footwork and rhythmic stamping, this dance gives the "bailaor" ample opportunity to demonstrate his creativity and agility. There is no singing in this dance and it is essentially performed by men.
The exact roots of the flamenco tradition arc subject to question, but it is known that the songs and dances that constitute flamenco came from Andalusia, the southern region of Spain. According to Manuel de Falla, there were three basic influences on the formation of flamenco: the Church's adaptation of Byzantine chants, the invasion of southern Spain by the Moors, and the migration of Gypsy tribes to the same region.
In flamenco, there is a basic rhythm which remains constant and is embellished by counter-rhythms and improvised dance steps. Initially the dances were accompanied only by singing and hand-clapping. Guitars were added later, resulting in a flamenco ensemble of "cantaorcs" (singers), "bailaorcs ' (dancers), "tocaorcs" (guitarists), and "jateadores" (beat setters). Flamenco song is divided into two categories: "canto chico," the lighter, more joyous form, and "canto grande" or "canto jondo," the purest flamenco song, more melodramatic, and charged with human anguish and tragedy.
The characteristic vigor of flamenco comes from the tension created by the constant juxtaposi?tion of the fixed rules and the individual performer's interpretation. The possibilities of what a performer can do are limitless and result in the famous flamenco performances in the cafes that go on long into the night.
The 1983 North American tour of the Ballet Nacional Espanol is under the sponsorship of the Joint Hispanic -North American Committee for Educational and Cultural Affairs, an official government-to-government Spanish-American organization dedicated to developing and improving cultural relations between the two countries.
EL SOMBRERO DE TRES PICOS (The Three-Cornered Hat)
Choreography: Antonio Music: Manuel he Falla Sets and costumes: Paulo Picasso
Story by Gregorio Martinez Sierra, based on the novel by Pedro Antonio de Alarcon, "El Corregidor y La Molincra" (The Magistrate and the Miller).
Miller's Wife......................... Ana Gonzalez or Conchito Cerezo
Magistrate................................................. Antonio Salas
Chief of the Guards.......................................... Paco Morell
Magistrate's Wife............................................Rosa Alvarez
Soloists and Corps de Ballet
The Three-Cormrcd Hat is set in the esplanade of a mill which serves as the gathering place of the villagers, where they listen to the amusing adventures of a Magistrate who is in hot pursuit of the beautiful and mischievous wife of the Miller. One day, the Magistrate tries to seduce the Milleress. Her husband, who has witnessed the scene, pretends to come to the Magistrate's assistance and, on the pretext of brushing the dust from his clothes, gives the Magistrate a good thrashing. The Magistrate, who is more than a bit irritated by this treatment, leaves, uttering threats against the Miller.
The next scene takes place on the feast of San Juan, a night for the villagers to dance and otherwise amuse themselves. But the festivities arc interrupted by the arrival of the intriguer Garduria and his guards, who arrest the Miller on a false charge, leaving the field clear for their Chief, the Magistrate. The Milleress is surprised by the Magistrate, but she defends herself against his renewed advances with such spirit that the Magistrate falls into the stream; the Milleress takes this opportunity to flee. Meanwhile, the Miller has freed himself and returns to the mill. When he discovers the Magistrate's hat he comes to the conclusion that the Magistrate has achieved his lascivious aim, and he decides to take immediate revenge. Drawing a caricature of the Magistrate on the wall and taking the Magistrate's hat and cape, the Miller disappears.
The farce culminates when the Magistrate returns to the scene, sees his caricature, and flies into a rage. The guards arrive, and seeing the Magistrate without his hat and cape, mistake him for the Miller and try to arrest him. A battle ensues which eventually involves the whole village. The hated Magistrate, the focus of all the commotion, gets his just rewards.
Coming Attractions in the Power Center
Oct. 7& 8: Puccini's "Madama Butccrfly" Dec. 16-18: Tchaikovsky's "Nutcracker"
Oct. 26: Caracas New World Ballet Jan. 16: Welsh National Opera Chorus
Oct. 29: Kozlovs and Stars Jan. 2729: Paul Taylor Dancers
Nov. 2: Soviet Emigre Orchestra March 5-7: Oakland Ballet
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109 Phones: (313) 665-3717, 764-2538