Grand Zarzuela Returns to Holy Trinity

Classical Review by C Wall
After more than a decade’s absence from the Holy Trinity Cathedral, the Philharmonic Society showed how an evening of Zarzuela romanzas can still pack in a local audience. Alejandro del Cerro opened with an expansive “Bella enamorada”, breaking across the often challenging church acoustic with his sweet, sweeping tenor. Rocio Faus also started pianissimo with “Un tiempo fue”, featuring a surprisingly mature tone and some glorious phrasing.

Del Cerro introduced his acting skills through Torroba’s “Noche madrileña”, emotive and evocative, while Faus reduced the ballad structure of “En un país de fábula” to a soundscape of fine coloratura. Pianist Guillermo García Calvo demonstrated a voiceless command of sentiment with a layered performance of the Albéniz “Evocación”. Faus raised the mood with “Me llaman la primorosa", matching joy with vocal gymnastics. I was less satisfied with “Una mujer que quiere ver a un barbero”, as the duet brought out the difference in performing styles of these two young voices.

Faus ended the long interval with a plaintive “Noche Hermosa”, followed by a grand interpretation of “Flor rojo”. “La maja y el ruiseñor” from the soprano and piano was pretty and precise, though seemed better suited to a chamber recital. “El caballero del alto plumero” mostly impressed for the wonderful harmonising between our two singers.

García Calvo captured the lyrical energy of Albéniz’s “El Puerto”, before Faus pleaded rather elegantly in “Madre de mis amores”. Del Cerro replied with a heartful “No puede ser!”, the culmination of his evening, before the well-balanced duets of “Dúo y Jota” and the anthemic encore of “Torero quiero ser” from “El Gato Montés”.

I doubt this evening would have suffered for including a single operatic aria, but if Zarzuela can continue to draw such talent it should surely maintain its hold on Gibraltarian taste.