Escenografía en la música de Manuel de Falladel amor brujo al retablo de Maese Pedro

Abstract

Manuel de Falla was reckoned as a unique composer during his life time, due to his avant-garde musical language and artistic soul. His stage works show in their essence and how they are set up the aim to link music with scenography, field in wich Falla showed a considerable interest, coming up with very clear and interesting proposals. In order to be able to deal with this scenographic aspect, he learnt and worked together with certain artists that Falla felt shared his artistic goals. Creating a stage framework according to his music was a priority, and therefore it is not risky to assume that gradually his music achieves a considerable scenographic scent. Scenography, music and Manuel de Falla: around these topics this analysis disserts, with the goal of bringing light to the procedures that Falla and his fellow artists adopted to manage the ambitious goal of shaping a nationalistic opera stream. To do so, we depart from the analysis of the scenographic and musical context in wich Falla´s main stage works come up. After this general context, this study specifically focuses in the creation, evolution and audience reception of the stage proposals for El amor brujo and El retablo de maese Pedro by Manuel de Falla, particularly in two time periods. The first one takes place between 1915 and 1925, dealing with the evolution of El amor brujo since its premiere in 1915 until the new reprise and revision by Antonia Mercé in 1925. The second time period covers from 1918, year in with Polignac´s princess commissions a musical work to Falla and 1928, date of the premiere of El retablo in the Comique Opera of Paris, with Zuloaga as stage and costume designer.