Junta de Andalucía. Consejería de Cultura. Junta de Andalucía Consejería de Cultura
Centro de Documentación Musical de Andalucía
Directorio Institucional

Claves para una lectura de la creación operística del compositor sevillano Manuel del Popolo García

Emilio Casares Rodicio

Keys for a Reading of the Operatic Oeuvre of the Sevillian Composer Manuel del Popolo García


The Sevillian Manuel del Popolo García is a seminal figure in the history of Spanish music. Composer, tenor, voice teacher and theorist, Rossini’s favourite interpreter and disseminator of the works of Mozart, initiator of the rage for Spanish music in Europe... these are some of the defining features of this great figure. Precisely this polyvalence, however, has meant that Garcia’s work as a composer has been obscured by his own enormous activity, valued more by his public than his own creations.
From the beginning of his career García appears as a composer preoccupied with the state of creation in Spain and with the world of lyric theatre in particular. Therefore none of the numerous activities that he realized (with enormous success) impeded his career as a composer, although doubtless they distracted him from it. While he composed numerous essentially Spanish songs and instrumental and religious music, operatic production lies at the heart of García’s work: as a composer of opera, his abundant catalogue makes Garcia the most prolific composer in our history.
Aesthetically he traverses three distinct styles that we examine in this article. The Spanish or estilo hispano, in which he begins and to which he returns at the end of his life and whereby Garcia bequeaths to future generations an entire stylistic language of his own. The Italian, which is the most fundamental in his production and wherein he has left us works of such importance as Il califfo di Bagdag. Mozart is the model that exerts the most influence here, although his contact with Rossini also left its mark. Finally there is the French style in which García worked as if he were a native, with works that responded to the demands of the models presented by l’opera comique or by the Academie Royale de la Musique.

Idioma: spa

Páginas: 41 - 59

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