 | Taking into account the interest shown in this exceptional opera singer, I upload a second operatic performance by Tino Folgar. Originally, I was going to post another excerpt, yet jozefsterkens has recently uploaded the ones I had in mind. Check those superb interpretations on his channel! Hence I present the final aria from Jacinto Guerrero's final aria from his zarzuela 'Martierra'. The zarzuela is a typically Spanish musical genre, which could be best compared to the French opéra comique, the género grande (grand zarzuela) being nearer to opera and the género chico (lesser zarzuela) nearer to operetta. Tino Folgar (1892-1983) was a Spanish operatic tenor, primarily active in Spain and Italy. Born Juventino Folgar Ascaso in Barcelona, on January 25, 1892, he studied in his native city with Esteban Pasqual and made his stage debut at the Liceu as Rodolfo in La bohème, in 1922. He made his debut in Italy in Acqui Terme, as Almaviva in Il barbiere di Siviglia, in 1925. He went on appearing in Genoa, Turin, Cremona, and scored a triumph at the Teatro Adriano in Rome, as Lindoro in L'italiana in Algeri, opposite Conchita Supervía, in 1926. He is partly responsible for the Rossini renaissance, alongside Supervía. From 1929, he appeared mainly in Spain, singing in zarzuela and operetta. In 1932, he went to London, on tour with a zarzuela ensemble. He then sang mostly in concert and on radio, he also appeared in a feature film La Canción del Día. In 1945, he went to Mexico City where he worked as a teacher, later moving to Buenos Aires, where he remained until his death in January 1983. He passed to posterity through his 1927 recording of the Duke of Mantua in a complete Rigoletto, opposite Luigi Piazza, Lina Pagliughi, and Salvatore Baccaloni. José Serrano Simeón was born in Sueca, Valencia in 1873, son of the conductor of the town band. His father gave him his first music lessons, and at twelve he could play violin and guitar with proficiency. In 1894 he took the chance to work as amanuensis for composer Caballero, collaborating on the scoring of the latter's zarzuela Gigantes y Cabezudos. In 1900 he was generously offered the libretto of El motete by the Álvarez Quintero bros. The work was a success. From then on he took his place amongst the most prolific zarzuela composers of the day. He also wrote some songs and vocal works, including the celebrated Hymn to Valencia (1909) - and an opera, unfinished at his death, La venta de los gatos (1943). He died in Madrid in 1941. Of Serrano's 50 or so zarzuelas, a considerable number have managed to retain their place on the repertoire. Best known are La reina mora (1903); Moros y Cristianos (1905); Alma de Dios (1907); La alegría del batallón (1909); La canción del olvido (1916); Los de Aragón (1927); Los Claveles and La dolorosa (1930). This great recording was made for Disco Gamófono (HMV) on October 15th, 1929. The accompanying orchestra remained uncredited.
Lyrics:
Cuántas veces solo, entre las chumberas,
el afán me mintió:
"Pronto ha de llegarte, la carta que esperas".
Pero aquella carta no llegó.
¿Es que me ha olvidado?. ¿Es que no me quiere?
¡Virgen mía! ¿Por qué?
Y loco de pena, yo busqué a muerte.
Pero más tranquilo, pensé:
Los de Aragón, no saben qué es llorar;
los de Aragón, no saben qué es gemir.
Los de Aragón, no caen sin luchar.
¡Pecho a la vida! ¡Hay que vivir!
Olvida tu querer. ¡Arriba el corazón!
Canta las penas, que más te hieren;
pues que así quieren, los de Aragón.
Por fin una carta, que no era la de ella,
la verdad me contó:
"La que tú querías,
por tu mala estrella, sin piedad su casa abandonó."
Pero, ¿cómo pudo tan buena y tan pura
olvidar lo que fue?
Aún el alma mía, perdonar quería.
Pero más tranquilo, pensé:
Los de Aragón, no pueden olvidar;
Los de Aragón, no pueden transigir;
Los de Aragón, no pueden perdonar.
¡Basta de dudas! ¡Antes morir!
Olvida tu querer, ¡Arriba el corazón!
Sufrir ofensas, que el honor hieren,
mejor morir prefieren,
los de Aragón. |