Belisa
Poul Rovsing Olsen’s four-scene opera is based on Federico García Lorca’s play Amor de don Perlimplín con Belisa en su jardín.
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Poul Rovsing Olsen’s four-scene opera is based on Federico García Lorca’s play Amor de don Perlimplín con Belisa en su jardín.
Aribert Reimann’s German-language opera adapts Federico García Lorca’s play La casa de Bernarda Alba, through Enrique Beck’s German translation. The available text does not provide plot details.
On the day of her wedding, the Bride elopes with Leonardo, a former lover whose family is bound to the Groom’s family by a history of violence. The Groom pursues them into the forest, where he and Leonardo kill each other; the Bride returns to face the bereaved Mother.
A two-act German-language lyrical tragedy based on Federico García Lorca's play Bodas de sangre.
A two-act German opera by Udo Zimmermann, based on Federico García Lorca’s play La zapatera prodigiosa in Enrique Beck’s German translation. Its libretto was written by Zimmermann and Lutz Eberhard Schmidt. No plot description is available in the reviewed text.
Rosita falls in love with a man who leaves for South America and promises to return. She waits, then learns he has married someone else. The play follows her youth, maturity, and loss of hope across three periods in Granada.
Wolfgang Fortner’s two-act German chamber opera adapts Federico García Lorca’s play Amor de don Perlimplín con Belisa en su jardín. Fortner characterized it as four images of an erotic valentine in the manner of a chamber play.
In the surviving opening scene, a wealthy young man tells his father that he sought admission to a prestigious Granada casino. Members voted with white and black balls, and he received the black ball because he is gay.
A one-act ballet for Stuttgart Ballet, loosely based on Federico García Lorca's play The House of Bernarda Alba and set to Frank Martin's 1952 Harpsichord Concerto.
Lorca’s play dramatizes the life of Mariana de Pineda Muñoz, whose opposition to Ferdinand VII and public execution for treason in 1831 had become part of Granada’s folklore.
An unfinished experimental drama that turns the stage-audience boundary into part of its subject, confronting class and ideological division, intolerance, and hatred through actors who are also an audience to one another.
A young man waits five years to marry his absent fiancée, rejecting a typist’s love. When his fiancée chooses another man and the typist asks him to wait again, his search for love unfolds through dreamlike encounters with time and death.
Rosita falls in love with the poor Cocoliche but is forced to marry the rich, old Don Cristóbal, a Punch-like figure with a billy club. The six-scene puppet farce includes bar fights and smugglers as Fígaro and Wearisome uncover Don Cristóbal’s secret.
An injured butterfly is stranded among other insects, where a cockroach falls in love with her; she eventually flies away. The symbolist play explores frustrated love and the imminence of death.
After her second husband dies, Bernarda Alba imposes an eight-year mourning period and strict control over her five daughters. Their confinement and competing desires create mounting conflict around Angustias’s suitor Pepe; when Bernarda’s youngest daughter Adela dies by suicide, Bernarda insists on preserving the family’s reputation.
An elderly bachelor marries the much younger Belisa at his servant's urging and her mother's encouragement. After the wedding, he discovers her infidelity but responds with an elaborate strategy: he writes her love letters as a mysterious red-caped admirer, then stages a fatal duel that reveals his identity and wins her love at the cost of his life.
Lorca’s unfinished play moves between a director’s room and a Roman ruin, with a surreal ensemble of theatrical figures, horses and characters from classical drama.
Theatre director Enrique is confronted by his former lover Gonzalo, who urges him to abandon his safe artistic choices and acknowledge their love. As characters cross a folding screen, the opera moves through a memory of their relationship and a radical staging of Romeo and Juliet, where a boy cast as Juliet sparks a revolution over freedom and convention. Gonzalo becomes the victim of the audience’s fury. Back in his office, Enrique accepts his love for Gonzalo as a magician appears and Gonzalo’s mother arrives to claim her son’s body.
In this one-act puppet farce, the wealthy old doctor Don Cristóbal buys the young Rosita as his bride. Her continuing affairs provoke violent jealousy, while a Poet and Director frame the puppet action with arguments about how the story should unfold.
After her much older shoemaker husband leaves, his young wife withstands attention from the mayor and other suitors, remains loyal, and opens a café to support herself. The shoemaker returns disguised as a puppeteer and asks her forgiveness.
Yerma longs for a child, but her marriage to Juan remains distant and childless. Although she is attracted to Victor and later urged to leave Juan, her sense of honor keeps her bound to the marriage. When Juan finally tells her he will never want children, her desperation ends in his death and the loss of her hope for motherhood.
Villa-Lobos’s opera sets Federico García Lorca’s Spanish-language tragedy Yerma as a three-act opera. The opera was commissioned in 1955 and composed in 1955–1956.
Poul Rovsing Olsen’s four-scene opera is based on Federico García Lorca’s play Amor de don Perlimplín con Belisa en su jardín.
Aribert Reimann’s German-language opera adapts Federico García Lorca’s play La casa de Bernarda Alba, through Enrique Beck’s German translation. The available text does not provide plot details.
On the day of her wedding, the Bride elopes with Leonardo, a former lover whose family is bound to the Groom’s family by a history of violence. The Groom pursues them into the forest, where he and Leonardo kill each other; the Bride returns to face the bereaved Mother.
A two-act German-language lyrical tragedy based on Federico García Lorca's play Bodas de sangre.
A two-act German opera by Udo Zimmermann, based on Federico García Lorca’s play La zapatera prodigiosa in Enrique Beck’s German translation. Its libretto was written by Zimmermann and Lutz Eberhard Schmidt. No plot description is available in the reviewed text.
Rosita falls in love with a man who leaves for South America and promises to return. She waits, then learns he has married someone else. The play follows her youth, maturity, and loss of hope across three periods in Granada.
Wolfgang Fortner’s two-act German chamber opera adapts Federico García Lorca’s play Amor de don Perlimplín con Belisa en su jardín. Fortner characterized it as four images of an erotic valentine in the manner of a chamber play.
In the surviving opening scene, a wealthy young man tells his father that he sought admission to a prestigious Granada casino. Members voted with white and black balls, and he received the black ball because he is gay.
A one-act ballet for Stuttgart Ballet, loosely based on Federico García Lorca's play The House of Bernarda Alba and set to Frank Martin's 1952 Harpsichord Concerto.
Lorca’s play dramatizes the life of Mariana de Pineda Muñoz, whose opposition to Ferdinand VII and public execution for treason in 1831 had become part of Granada’s folklore.
An unfinished experimental drama that turns the stage-audience boundary into part of its subject, confronting class and ideological division, intolerance, and hatred through actors who are also an audience to one another.
A young man waits five years to marry his absent fiancée, rejecting a typist’s love. When his fiancée chooses another man and the typist asks him to wait again, his search for love unfolds through dreamlike encounters with time and death.
Rosita falls in love with the poor Cocoliche but is forced to marry the rich, old Don Cristóbal, a Punch-like figure with a billy club. The six-scene puppet farce includes bar fights and smugglers as Fígaro and Wearisome uncover Don Cristóbal’s secret.
An injured butterfly is stranded among other insects, where a cockroach falls in love with her; she eventually flies away. The symbolist play explores frustrated love and the imminence of death.
After her second husband dies, Bernarda Alba imposes an eight-year mourning period and strict control over her five daughters. Their confinement and competing desires create mounting conflict around Angustias’s suitor Pepe; when Bernarda’s youngest daughter Adela dies by suicide, Bernarda insists on preserving the family’s reputation.
An elderly bachelor marries the much younger Belisa at his servant's urging and her mother's encouragement. After the wedding, he discovers her infidelity but responds with an elaborate strategy: he writes her love letters as a mysterious red-caped admirer, then stages a fatal duel that reveals his identity and wins her love at the cost of his life.
Lorca’s unfinished play moves between a director’s room and a Roman ruin, with a surreal ensemble of theatrical figures, horses and characters from classical drama.
Theatre director Enrique is confronted by his former lover Gonzalo, who urges him to abandon his safe artistic choices and acknowledge their love. As characters cross a folding screen, the opera moves through a memory of their relationship and a radical staging of Romeo and Juliet, where a boy cast as Juliet sparks a revolution over freedom and convention. Gonzalo becomes the victim of the audience’s fury. Back in his office, Enrique accepts his love for Gonzalo as a magician appears and Gonzalo’s mother arrives to claim her son’s body.
In this one-act puppet farce, the wealthy old doctor Don Cristóbal buys the young Rosita as his bride. Her continuing affairs provoke violent jealousy, while a Poet and Director frame the puppet action with arguments about how the story should unfold.
After her much older shoemaker husband leaves, his young wife withstands attention from the mayor and other suitors, remains loyal, and opens a café to support herself. The shoemaker returns disguised as a puppeteer and asks her forgiveness.
Yerma longs for a child, but her marriage to Juan remains distant and childless. Although she is attracted to Victor and later urged to leave Juan, her sense of honor keeps her bound to the marriage. When Juan finally tells her he will never want children, her desperation ends in his death and the loss of her hope for motherhood.
Villa-Lobos’s opera sets Federico García Lorca’s Spanish-language tragedy Yerma as a three-act opera. The opera was commissioned in 1955 and composed in 1955–1956.