El
Gitano por Amor
El
Gitano por Amor was Manuel García's
last grand opera, probably
written in Mexico City in 1828, perhaps finished on the boat returning
to France in January of 1829. A few excerpts were printed in 1830, but
the entire score, as with all García's operas (apart from La mort du Tasse), was never
published. Indeed, there is no evidence of the opera ever having been
performed. Nonetheless, it remains one of García's most
interesting works for it combines a mature compositional technique
(which had by this time absorbed innovations of Rossini) with the
Spanish style with which García had begun his career thirty
years earlier in Cádiz, Málaga and Madrid.
The manuscript score (contained in
the Bibliothèque Nationale in Paris) reveals García's
creative process: characters changed names (Lelio evolved into
Fernando, then Hernando; Isabela became Inés; Clarillo became
Manolo) and García penned in two different texts in certain
circumstances (i.e. these double texts do not represent different
verses). Since the work was not published, it is unclear which text he
would have chosen.
The opera is set in an unnamed town
in Andalucía (probably Seville or its environs).
Characters:
Hernando, tenor, son of the
Marqués, betrothed to Inés
Rosita, soprano, appears to be a
gypsy girl in love with Hernando, but is actually the daughter of the
Corregidor (Magistrate)
Laura, mezzo-soprano, friend of
Rosita
Baldaquín, baritone, servant
of Hernando
Inés, soprano, beautiful and
wealthy cousin, betrothed to Hernando
Manolo, tenor, brother of Rosita
Marqués del Pino, baritone,
father of Hernando
Corregidor, baritone, city
magistrate of [Seville], father of Rosita and Manolo
Pablo, silent, companion of
Baldaquín
Act I
Hernando and his family (from
Madrid) are converging on the city of [Seville], ostensibly to
celebrate the betrothal of Hernando to his cousin, the beautiful
Inés—whom Hernando has never met. But Hernando wants none of
this. He has become infatuated with the gypsy girl, Rosita.
1. Introduction.
Baldaquín, Pablo, Manolo, and chorus.
Hernando's servant,
Baldaquín, and a companion, Pablo, have come in search of
Hernando and find themselves in a camp of gypsies. The gypsies sing and
are addressed by Manolo who mentions that he knows they've come to see
his sister Rosita. She's inside with Laura and will be out shortly. The
gypsies depart.
Recitative:
Baldaquín curses the gypsies and laments his having to come here
on orders of the Marqués to give Hernando a portrait of his
betrothed, Inés. He suddenly sees a man coming out of an inn and
it proves to be Hernando. Baldaquín scolds him
(¿Qué, diablos, hizo?) and then tells him about the
portrait. Hernando is no longer interested in the arranged marriage.
Baldaquín surmises that Hernando has been bewitched by some
woman and warns Hernando that his father will be arriving soon and that
no pleading will change his mind.
2. Duet: "Santo Dios,
¿será posible?" Hernando and Baldaquín
Baldaquín expresses the
danger of Hernando's rashness while Hernando sings of his love for his
linda gitana.
Recitative:
Baldaquín ridicules Hernando's love. A gypsy chorus is heard
offstage. Hernando pulls Baldaquín to the side so that they can
watch the scene unobserved.
3. Chorus and aria: entrance of
Rosita. Rosita and chorus.
The chorus,
"Viva el gracejo de Andalucía" prepares the entrance of Rosita
"Aquí está la gitanilla, amorosita y leal" who flirts
with the men in an aria with chorus "Venid gachoncitos".
Recitative: Rosita asks Laura
what she thinks of Rosita's handling of Hernando (i.e. wrapping the son
of a marqués around her finger and demanding that he dress like
a gypsy and marry her). Laura doesn't approve.
Hernando approaches, addresses
Rosita lovingly while Baldaquín expresses exasperation with his
master's behavior. Rosita tells Hernando that tomorrow she is leaving
the city, perhaps never to see Hernando again. Baldaquín mutters
that if it were his doing, he'd send her to hell! Hernando is crushed
by the thought of losing Rosita.
4. Trio: "Ay vida del alma."
Rosita, Hernando, Baldaquín
The three characters express
contrasting sentiments. Rosita tells Hernando to forget her. He says he
can't and will go anywhere with her. She consents—but only on the
condition that he put on gypsy clothes. After his initial surprise he
agrees, while Baldaquín is outraged.
Recitative: Hernando and Rosita
talk of marriage while Baldaquín suggests putting Rosita on a
cruise to the Indies. Rosita runs offstage to get her brother Manolo's
consent. Baldaquín berates Hernando for not upholding the family
honor and asks Hernando to consider if he really wants to go through
life telling fortunes. Hernando tells him to shut up.
5. Aria: "Es preciso que os lo diga."
Baldaquín
Baldaquín warns Hernando to
beware of gypsies—they are scoundrels who can't be trusted.
Recitative: Hernando cuffs
Baldaquín for his insolence. Rosita enters with the news that
Manolo has consented. And she has two suits of gypsy clothes.
Baldaquín asks: "Why two?" Hernando says "Stupid: If I have to
dress this way, so do you!" As Baldaquín removes his jacket the
portrait of Inés falls. Rosita demands to know whose portrait it
is. Baldaquín babbles excuses, but Rosita doesn't accept them
and accuses Hernando of philandering.
6. Trio: "No mi vida, no me creas."
Rosita, Hernando, Baldaquín
Baldaquín explains the
situation and Rosita and Hernando make up.
Recitative: Rosita is still
suspicious. Manolo enters, sees the portrait of Inés and is
enraptured, while Baldaquín comments that this falling in love
business seems to be all the rage. Rosita suggests that when
Inés arrives Manolo can put on Hernando's clothes and pretend to
be him, just for fun. Hernando protests—he refuses to dishonor
Inés. Rosita flies into a rage and says that if he doesn't agree
to the game Hernando can forget her. Hernando backs down and agrees.
Manolo puts on Hernando's jacket and they all go off to join the
gypsies, leaving Baldaquín and Laura behind. Baldaquín is
still fuming about the gypsy clothes. She tells him "Go to the devil.
If you don't like it, take off the jacket". She pulls one sleeve, he
pulls another and as they tussle he starts to consider that Laura is
not so bad.
7. Duet: "Señor mío yo
estoy viendo." Laura and Baldaquín
Baldaquín confesses that
Laura has him knocked head-over-heels and he'd do anything for her.
They finish the duet with a chorus in praise of the gypsy life.
8. Scene and aria: "Hernando
desaventurado." Hernando
Meanwhile Hernando is having second
thoughts and he expresses guilt for betraying his father. Yet, he
confesses that it is the eyes of his "gypsy girl" that give happiness
to his soul.
9. Finale. Rosita, Laura,
Hernando, Baldaquín, chorus.
The gypsies welcome Hernando as
"one of them", Rosita and Hernando sing a duet and dance, applauded by
the gypsies. Suddenly Baldaquín rushes in: "Ay, Señor,
somos perdidos." Hernando's father has arrived, is furious and looking
for Hernando. Hernando is beside himself. Rosita and the chorus demand
to know what it was that Baldaquín told him. The mood changes
and the principal characters sing metaphorically about a ship which
left port happily but now is caught in a hurricane.
El mar turbado brama.
Ya rota el barco mísero.
El huracán desátase,
y el mástil rompe fiero.
Y siente el marinero
su esfuerzo desmayar.
¡Piedad!
Act 2
Scene: The home of Inés.
10. Cavatina: "Amor, piadoso amor."
Inés
Inés longs to see the one
she adores and asks Love (piadoso Amor) to give her life.
Recitative: Inés
anxiously awaits her betrothed. Manolo enters, shows the portrait which
he tells her has received from "his" father. She believes him to be
Hernando.
11. Duet: "Que placer tan celestial"
Inés and Manolo
Inés and Manolo comment on
the pleasures and joy of love.
Recitative:
Baldaquín is shouting. Inés asks what the commotion is.
He says it's a bunch of gypsies who want to come in as if it were their
house. Inés inquires: "They tell fortunes, don't they?" She asks
Manolo to have them come in and tell her fortune.
12. Chorus and scene: "La gente
honrada por siempre viva." Rosita, Hernando, Baldaquín,
Laura, Inés, chorus.
The gypsies greet Inés.
Inés is charmed by Rosita and asks her to sing. Rosita obliges
and is applauded by the chorus. Rosita then tells Inés that if
she wishes to have her fortune told, Rosita's "brother" (Hernando
disguised as Manolo) is the one to do it. Hernando predicts that she
will marry a man of high bearing. Inés, however, senses that
something is wrong and asks him to continue. He acknowledges that she
will have a great setback, but it will pass away. Baldaquín
rushes in: the Marqués has arrived.
Recitative: Rosita tells
Inés that she can believe everything in the fortune that her
"brother" has just told. Manolo (disguised as Hernando) suggests
surprising his "father" by hiding when he comes. Inés agrees.
Inés and Manolo exit.
13. Trio: "Adonde, bien mío, me
trajo tu amor?" Hernando, Rosita, Baldaquín
Hernando wonders where his love for
Rosita has brought him. Rosita tells him not to worry. They can think
up another scheme to get them out of this trouble. Then the three say
"Hush (Chito, chito), for he's approaching."
14. Aria: "Dónde está?"
Marqués
The Marqués exclaims "Where
is she, my niece?" He sees Hernando in gypsy costume among the "rabble"
but pretends not to notice so he can see "where this ends up."
Recitative: Hernando faces
his father who comments "Gracioso traje." Hernando stutters, trying to
explain, Rosita steps in and tells the Marqués that there's
nothing wrong with a young man having fun. The Marqués
acknowledges that there is no harm done. Then Rosita explains the
reason for the costumes: Her brother and Hernando became friends years
ago in Italy ("yes," the Marqués remembers) and Hernando
suggested a prank of greeting Inés in disguise. The
Marqués exclaims "¡Qué locura!" but agrees to go
along with the scheme. Baldaquín mutters in an aside that
Rosita, with her conniving, could have been a good lawyer.
15. Finale. Rosita, Hernando,
Inés, Manolo, Laura, Marqués, Corregidor,
chorus.
Quartet: "Laura, ponte en atalaya."
Rosita, Hernando, Laura, Baldaquín
Rosita and Hernando tell Laura and
Baldaquín to be on the lookout in case anyone comes.
Duet: "Ay, Rosita de mi vida,"
Rosita and Hernando
Hernando is not happy with the
situation, but Rosita assures him that everything will turn out all
right: she has a boat ready by which the two of them will escape. "But
what about my cousin and my father?" Hernando asks. Rosita says that
her brother will invite Inés to go for a boat ride and then will
kidnap her! When Hernando protests Rosita warns him that if he gives
her a hard time, she will have his father kidnapped as well. Hernando
sings that he is horrified by the deceit while Rosita gloats that she
is, on the contrary, delighted by the deceit.
Septet: "Ay, señores de mi
alma," Rosita, Hernando, Inés, Manolo, Laura, Baldaquín,
Marqués
Baldaquín, who has been on
watch, cries out that government troops are at the gate and that the
Magistrate is coming to arrest everyone. Rosita exclaims that she has
been found out—but what she fears is not for her own self, but for
Hernando and how he will be humiliated. In a quartet, Rosita, Laura,
Hernando and Baldaquín lament the terrible situation which was
impossible to foresee. The Marqués, Inés and Manolo
enter. The Marqués demands to know what all the shouting is
about. Baldaquín exclaims "Ay, señores, que somos
perdidos" and explains the whole story and that Hernando was
manipulated by "that witch over there." Inés now realizes that
Manolo is not Hernando, the Marqués cries "¡Jesús,
y qué tal infamia!" and declares Hernando to be a disgrace to
his family. Manolo steps forward and tells him to calm down. But the
Marqués expresses pity for Inés while he swears to punish
Rosita's audacity. Hernando comes to her defense. But the
Marqués exclaims "Hijo infame, vil y bajo. Si de ella no te
separas, he de hacer en tí un ejemplo que hará ruido en
toda España" while Rosita protests that he should not reject
Hernando on her account. Inés cries "Enough" and intercedes with
the Marqués on behalf of Hernando and Rosita. Meanwhile
Baldaquín declares that this is all the fault of these "malditas
gitanas." Laura tells him not to blame the gypsy girls, for nothing
will come of this. As the septet comes to a climax, the Magistrate
(Corregidor) enters.
Scene: "Qué estruendo es
este?" the above and Corregidor
The Magistrate
demands to know what all the noise is about. The Marqués says he
has come just in time and demands that he arrest all this riffraff who
have taken advantage of him—"including that miserable son of mine." But
Manolo approaches the Magistrate ("Señor...") who is dumbfounded
when he sees Manolo: "¿Qué miro? El es... ¡Cielo
Santo! No hay que dudar: ¡Hijo mío!" Yes, it is his
long-lost son! Manolo explains that when he had killed the Duke of
Robles in a duel he was obliged to run away. To avoid being caught he
took refuge among a band of gypsies. And there he made the most joyful
discovery... Manolo shows a jewel to the Magistrate and asks "Do you
recognize this?" The Magistrate exclaims that it is the same that his
daughter wore when she was kidnapped years ago. "Where is she?" he
demands. Rosita kneels before him. She then sings how when Manolo came
to the gypsies an old woman recognized him and later, when she was on
her deathbed, she called him to her, confessed, begged his forgiveness,
and proved the veracity of her claims with the jewel and other signs.
"Why didn't you come to me at once?" the Magistrate asks. Rosita says
that since Manolo was afraid of the law, they came to the city in
disguise and it was only fortune that has now brought them all
together. She begs that he have pity on them while the chorus sings
"Surely it is she, there is no reason to doubt." The Magistrate says to
Rosita, "Come, my child, come embrace me." And Hernando asks the
Marqués to pardon him. Rosita asks the Magistrate now to make
her happiness complete. "How?" he asks. By consenting to her marriage
to Hernando. The Magistrate says it is fine with him if the
Marqués agrees. The Marqués in turn will agree if
Inés agrees. She does [presumably she's content to have
Manolo!]. Baldaquín feels left out: no one has arranged a
marriage for him. Laura suggests why not marry her? Baldaquín
takes her hand: "Marriage it shall be!"
Chorus: "Ay, ay, ay, tin, tin"
and duet: "De contento yo
deliro." Hernando and Rosita
The gypsies sing
and dance while Hernando and Rosita sing:
(Hernando)
De contento yo deliro.
Con esta rosa de abril.
Si la miro me deshago
y me empiezo a derretir.
(Rosita)
Cuando el amor se apodera
el pecho no es de marfil.
Por eso nadie ha podido
la natura resisitir.
CLICK TO DOWNLOAD LIBRETTO AND
VOCAL SCORE:
Libretto
Act 1
Libretto
Act 2
Overture
ACT 1
Introduction:
Viva el donaire
Recitative:
Linda cuadrilla
Duet:
Santo Dios, ¿será
posible?
Recitative:
Mas decidme, Señor
Chorus
and Aria: Viva el gracejo de
Andalucía...Aquí está la gitanilla
Recitative:
Laura, ¿qué te parece?
Trio:
Ay, vida del alma
Recitative:
¿Estás determinado?
Aria:
Es preciso que os lo diga
Recitative:
Basta ya de sufrir
Trio:
No, mi vida
Recitative:
¿Has quedado, mi bien, ya
satisfecha?
Duet:
Señor mío yo estoy
viendo
Scene
and Aria: Hernando
desventurado...Cara gitana
Finale: Viva el guapito
Ven acá chairo querío
Así la nave impávida
ACT 2
Cavatina:
Amor, piadoso Amor
Recitative:
Cuán pesado instante
Duet:
Qué placer tan celestial
Recitative:
Fuera, fuera
Scene: La gente honrada por siempre viva
Ay...ay, si quieres cuerpo bueno
Esta llegada imprevista
Recitative:
Podeis hermosa dama
Trio:
¿Adonde bien
mío?...Chito, chito
Aria:
¿Dónde está?
Recitative:
Vuestro padre, Señor
Finale: Laura, ponte en atalaya
Ayuto,
ayuto...Hijo infame
¿Qué
estruendo es este?
Amado
padre
Ven,
hija mía
Ay,
ay, ay, tin, tin...Cuando el amor
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