A fully fledged Opera

19th century Spanish composers were most preoccupied to create an opera that was authentically their own. They were profoundly distressed about the Italian monopoly of the genre. Attempts at such a noble effort were more numerous than successful. Of course, there are some excellent Spanish operas, but it is worth noting that one in particular stands out: it was originally a zarzuela, issuing from the pen of a composer who travelled to Italy because he was unable to find the musical education he sought at home.

Emilio Arrieta returned to Spain with the radiance of an opera composer. The harsh reality was quite different because an antagonistic public persuaded him that his expertise lay in composing zarzuelas (Arrieta was extremely deft at changing sides depending on which way the wind blew). However, Marina blew in with such presence that the tenor Enrico Tamberlick – another Italian in the equation- suggested Arrieta make changes and transform it into a completely developed opera, and as a result, it became part of the repertory.

An extraordinary vocal trio leads the cast of Marina, the longed-for Spanish opera. It can unabashedly be compared with any of its contemporaries of whatever origin and comes to the stage of the Teatro de la Maestranza with three of our most important names at an ideal moment of their respective careers. Soprano Sabina Puértolas, tenor Ismael Jordi and barítone Juan Jesús Rodríguez, will extract all the vigour and brilliance of Emilio Arrieta’s score. A grand opera made in Spain.

Opera in three acts by Emilio Arrieta
Libretto by Francisco Camprodón and Miguel Ramos Carrión, based on the text of the opéra-comique La Veillée (1831) by Paul Duport and Amable Villain de Saint-Hilaire
Premiere on 21 September 1855 at the Teatro del Circo (Madrid)
Premiere as an opera on 16 March 1871 at the Teatro Real (Madrid)