libretto by Carlos Arniches The title El santo de la Isidra – literally ‘Isidra’s saint’, the wise cobbler Eulalio who acts as a minor, madrileño. El Santo de la Isidra: Es mi hombre. Front Cover. Carlos Arniches y Barrera. Espasa-Calpe, – Spanish literature – pages. Spain: Alianza Editorial Sa, Soft cover. Good / No Jacket. Item # ISBN: x In Spanish. Covers worn.
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Isadra arrives with her parents and their friends.
A crowd gathers, led by Isidra, ready to stroll down to the Pradera Final: Two lovers, Cirila and Secundino, are enjoying some amorous banter under the eye of the local cobbler, Eulogio.
Last updated January 28th Mail me or visit my Homepage. Last updated January 28th When Isidra announces that she would even prefer to dance with Venancio, the supremely self-assured Sl merely goes back into the tavern with a threatening laugh.
The course of true love is interrupted by Epifanio’s return with El Rosca.
It’s now Venancio’s turn to taunt Epifanio, who despite his threats is too cowardly rl respond and becomes the butt of general humour. Epifanio turns up in truculent mood with El Rosca, but when he demands a dance Isidra turns him down point blank, nor will anyone else consent to dance with the overconfident braggart. The cobbler feels that she would be better suited to the baker Venancio, a hard-working, steady man arnichew secretly loves her deeply; and he determines to sound out her mother Ignatia on the matter.
Goaded into a jealous frenzy the thug produces a razor, but he is quickly bested by Venancio and leaves crestfallen with his weasel-like friend. The sainete ends as all unite in praise of the happy young couple, who lead the interrupted dance with redoubled zest.
El Santo de la Isidra: Es mi hombre – Carlos Arniches y Barrera – Google Books
Ignatia is quickly convinced of the benefits of his matchmaking plan, especially when Eulogio observes that her daughter is not badly disposed towards Venancio.
He hears them make a date to dance that evening at the fiesta of Saint Isidro at the Pradera, the town meadow on the bank of the Manzanares river. They consider the various treats on offer, until to everyone’s joy an organillo barrel organ starts up, and the dance begins. Scene 1 – A small plaza in a poor neighbourhood of Madrid, at the end of the 19th Century.
El santo de la Isidra
Secundino has arrived with Cirila and the child, but thanks to some military distractions from Torrija Perez manages to disappear into the crowd with Cirila, leaving Secundino cursing his luck – and holding the baby!
The composer’s twenty minute contribution is gracious and lively by turns, with both moods present in the short Preludio which sets the musical tone precisely. The brief Preludio culminates in the street cry of a flower seller which leads directly into the action. The earlier of the twin sainetes from that keep Torregrosa ‘s name alive was first seen at Madrid’s Teatro Apolo, on February 19th of that year.
Secundino is searching for Cirila in the crowd. Mail me or visit my Homepage. The cobbler engineers a ‘chance’ meeting between Isadra and the baker, who plucks up courage to approach the girl.
Scene 3 – The fair on the Pradera. Barkers hawks their wares, and the crowd exuberantly enjoys the entertainments on offer Coro: Epifanio eventually leaves with his friend El Rosca ‘wheedler’boasting that he will dance with Isidra next day at the Fl, come what might.
The thug issues a threat to Venancio, warning him to steer clear of his property. Scene 2 – The Toledo Bridge leading to the Pradera. Isidra calms her father down, but Eulogio senses that the girl herself is tiring of her lover’s belligerent behaviour.