Intermedio from La boda de Luis Alonso (with Lucero Tena)
About this Piece
Always an almost defiantly idiosyncratic form of Spanish music theater, in the 19th century zarzuela was avowedly nationalis- tic and populist, in explicit contrast to the Italian opera favored by the aristocracy and upper classes. The género chico sub- genre of one-act works that dominated Spanish theaters in the last quarter of the 19th century exuberantly explored and appropriated everything from rural village customs to urban slice-of-life street scenes.
Probably the most popular of all instru- mental zarzuela excerpts is the zesty Inter- medio from La boda de Luis Alonso (1897), a medley of several traditional dances. (One of the themes is a seguidilla that Falla also used in El sombrero de tres picos.) Also an esteemed conductor, as a com- poser Jerónimo Giménez specialized in the género chico, including El baile de Luis Alonso and its prequel, La boda de Luis Alonso. The title character was a historical dancing master from Cádiz, where both of those works take place. Their token plots are simply vehicles for lots of dancing.
— John Henken