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Doña Francisquita |
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This material is © Christopher Webber, Blackheath, London, UK. Last updated February 7th 2002 |
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With its nineteenth century Madrid setting, its roots in classical Spanish drama - in this case Lope de Vega’s comedy La discreta enamorada (‘The Ingenious Lover’) - and its festive nocturnal amours, Doña Francisquita provides at once a retrospective on the romantic zarzuela tradition and its crowning glory. The work was immediately recognized not only as Vives’ masterpiece, but as the greatest full length zarzuela of its era. In no small part this is down to the brilliance of Romero and Shaw’s fast-moving libretto, which renders the complicated emotional twists and turns of Lope’s plot crystal clear, whilst giving full rein to their composer’s ability to produce through-written scenes of operatic quality. |
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As in opera, it is the music which defines and drives the drama and characters of Doña Francisquita - a factor which has made this the most frequently recorded of any Spanish theatre work, and her most consistently successful export to the wider world. As in the earlier Bohemios, Vives manages to have lyrical Romanzas and Dúos rubbing shoulders with ensembles, choruses, street music and popular songs; but here the level of structural integration is much higher. His sophisticated harmonic and orchestral palette is cunningly deployed, not least in the sensuous, opulently nocturnal Coro de Románticos; yet set pieces such as the clamorous wedding scene from the first act, and the virile Fandango from the last, come across with a direct power as thrilling as anything in zarzuela.
Above all Vives’ characters, though rooted in commedia archetypes, display real individuality and subtlety in their amorous machinations. Francisquita’s Canción del ruiseñor is far more than simply the finest coloratura display piece in the repertoire, combining wit and magic in a way which brings the girl’s attractions fully to life. Aurora’s quicksilver personality and emotional force are brilliantly portrayed in her Dúo with the correspondingly callow Fernando. He himself can be felt growing to maturity through his encounters with Francisquita, a process which culminates in the glowing, lyric outpouring of “Por el humo se sabe donde está el fuego”, perhaps the supreme tenor Romanza in the zarzuela tradition. Altogether it is no exaggeration to say that in Doña Francisquita, Vives created one of the most enduring works in twentieth century music theatre, one whose quality is at length being recognized the world over.
Act 1 - A
plaza in mid-nineteenth century Madrid, on Carnival eve. The brief
Preludio paints a vivid picture of the lively street scene. A tinker and
a pedlar are crying their wares (Escena: “¡El
lañador!”;) whilst two students, the would-be poet Fernando
Soler and his friend Cardona, talk of the former’s love for Aurora la
Beltrana, a popular actress who only requites him by mocking his inexperience.
Whilst this is going on Francisquita and her mother Francisca come out of the
church with some friends. The young girl is in love with Fernando despite his
obvious preference for the actress, who goes into a refreshment stall owned by
her accepted lover, Lorenzo Pérez. Dropping her handkerchief to attract
Fernando’s attention Francisquita takes the opportunity to engage him in
flirtatious conversation (“Señorita … Caballero”.)
Cardona praises Francisquita’s beauty, but his hints fall on deaf ears.
The two women finally go back into their house, and the cries of the street
sellers are heard once again.
Cardona tries to make his poetic friend understand that the dropped handkerchief was a sign, and when Fernando hears Francisquita singing inside her house he begins to take the hint (Terceto: “Peno por un hombre, madre”.) After the students go into the church to order flowers for the wedding of a friend, Doña Francisca berates her daughter for vulgar behavior. They receive a visit from Don Matías, Fernando’s father. He has come not to court the mother, as both initially hope, but the daughter. Francisquita plays along and pretends to accept his proposal, solely in order to make Fernando jealous. La Beltrana reappears with her friend Irene, and orders the jealous Lorenzo to find her a carriage to take her to the Carnival. Much to Cardona’s irritation she continues to mock Fernando, who gives as good as he gets in the Cuarteto: “Allí la tienes”, before she retreats to the refreshment stall.
Cardona stops the angry Fernando following them, and dismisses Aurora as an empty-headed flirt – a comment overheard by Matías, who believes they are discussing Francisquita and gives his son a good dressing down. Cardona and Fernando hear the wedding party of their student friends coming towards the church accompanied by a rondalla of bandurrias and guitars (Coro: “Cuando un hombre se quiere casar”;) and the two students lead their friends in a joyful song encapsulating the youthful spirit of Madrid (Canción de la Juventud: “Canto alegre de la juventud”.)
When Don Matías reveals his successful proposal, Cardona convinces Fernando to flirt with his prospective “mother-in-law” in order to aggravate Aurora. When Francisquita reappears Fernando puts his ruse into operation (Escena: “Ese es mi nombre".) She sings the witty, sensual Song of the Nightingale about a triangular love affair involving a nightingale, a rose and a bee (Canción del ruiseñor: Era una rosa que en un jardín”) and Fernando finally understands how desirable she is. Francisquita’s mother calls, and when she leaves the poet’s thoughts return to Aurora, who still holds sway in his heart. A group of musicians arrived for the Carnival sing a lusty street song, and the actress provokes Fernando’s jealousy once more by singing of her own pride in being a simple Madrid girl (Pasacalle: “Me ha dicho mi marido … Soy madrileña”.) The act ends as the wedding party emerge from the church, watched by Fernando and the secretly confident Francisquita. The acclamations of the crowd mingle with Aurora’s blessings, as she leaves in her carriage and wishes the couple a long and happy life (Final: “¡Vivan los novios!”.)
Act 2 - An
esplanade alongside the Madrid Canal. Aurora’s singing inside a nearby
tavern attracts the praise of various listeners outside (Escena:
“Cunado te digo que vengas”.) The Confradía de la
Bulla, ‘Brotherhood of Noise’, appear amidst the merry throng and
perform their ebullient street act (Terceto: “Con el
tirolirolí”.)
Cardona appears disguised as a pretty woman. Fending off several male admirers, he regrets thinking up such an idiotic ploy to get close to the girls without attracting suspicion. Don Matías and Doña Francisca bring Fernando along to meet his future “mother in law,” which only feeds his growing passion for Francisquita. The girl provokes Fernando into declaring his love, continuing to tease him by reminding him of his passion for Aurora in their extended Dúo: “¡Le van a oír!”. When Matías returns to pay court, the young man is stricken with horror at the idea that his new love would marry his father to become “Doña Francisquita”. He sings of being torn between the two women in a celebrated Romanza: "Por el humo se sabe donde está el fuego”.
“Doña” Cardona reappears, and successfully provokes Aurora by pretending to be Fernando’s sweetheart. Much to the jealous actress’ chagrin, Fernando tells Aurora that she no longer has any power over him in their feisty Dúo: “¡Escúchame!”. When Don Matías formally introduces his son to his prospective “mother in law” (Quinteto: “Bella estrella de la tarde … ¡Ay, Madrid de mi alma!”) both he and the girl’s mother are alarmed by the young couple's excessive intimacy. Cardona encourages his friend to persist, and when Francisquita pretends to faint into Fernando’s arms Don Matías is apoplectic with rage.
Carnival revellers arrive and an impromptu dance is arranged (Coro: “Los que quieran patatas”.) Aurora enrages Lorenzo by trying to push Fernando into dancing a Mazurca with her. Francisquita artfully provokes him into accepting, but Matías jealously intervenes and asks La Beltrana to dance with him instead. This in turn provokes Lorenzo to fight, but the older man easily defeats him and graciously defuses the situation (Solo: “Pero ¿qué te has creído, jovenzuelo?”) before leading Aurora in the dance. Francisquita is finally free to dance with Fernando and the act ends as the Mazurca merges into the festive carnival scene.
Act 3,
Scene 1 - A Madrid street, later that evening. Distant sounds of night
revelry are heard as the night watchman does his rounds (Preludio:
“¡Ave María Purísima!”.) The warm
sensuality of the night envelopes six pairs of girls and boys gathered lazily
in the lamplight to make love (Coro de Románticos:
“¿Dónde va, dónde va la
alegría?”.) Francisquita continues to provoke her elderly
suitor’s jealousy, and when Doña Francisca tells Don Matías
that her daughter wants to go out to the Baile de Cuchilleros
(Cutler’s Dance) he grumpily decides to stay at home. Francisquita
convinces her mother that Fernando really prefers older women, and flatters
Francisca into accompanying her.
Cardona informs the moody Aurora that Fernando has gone to the dance with Francisquita. She tells him to get lost, and takes out her fury on the hapless Lorenzo. Convinced that Aurora is now in love with Fernando, Lorenzo goes to Don Matías’ house to challenge his son to a duel, thus provoking Don Matías to visit the dance after all to find out precisely what is going on.
Scene 2 - The patio of the Cutler’s dance house. The voice of the night watchman is heard once more, and Cardona begs Aurora to sing. The actress is by now more or less resigned to the inevitable, and happily sings the cheeky Bolero: “Marubú” with Cardona before everyone breaks into a wild Fandango. Aurora, seeing Fernando is now obsessed with Francisquita, flounces off. Cardona explains the true state of affairs to the vengeful Lorenzo, who in turn informs Don Matías. Aurora joins in by passing on the rumors about his son and the ludicrously flirtatious Doña Francisca. When she appears to ask for Fernando’s hand in marriage, the baffled father indignantly replies that she’s old enough to be his mother. Cardona tactfully points out that Matías could equally well level the same reproach against himself; and when Francisquita and Fernando gently ask his pardon together in their Dúo: “Yo no fui sincera” Don Matías melts and gives the couple his blessing. He invites everyone to the wedding, and all celebrate the happy outcome with a brief reprise of the Canción de la Juventud, the hymn to the eternal spirit of Madrid.