Opera Tenorio
Tomás Marco

Estío Musical Burgalés
September 10, 2009. Premiere



Alfredo García, Tenorio, baritone

Diana Tiegs, soprano


Grupo Instrumental  Modus Novus

Santiago Serrate, conductor


Teatro Principal de Burgos

About the work

Tomás Marco

Tomás Marco

Tenorio is a chamber opera composed between 2008 and 2009 commissioned by the Musical Estío Burgalés. The opera concerns the myth of Don Juan and is specially written for the baritone Alfredo Garcia, whom it is dedicated. The libretto is based mainly on the Don Juan Tenorio de Zorrilla, but with inputs from various works on the myth of Tirso de Molina, Molière, Lord Byron, Goldoni, Da Ponte and texts by Sor Juana Ines de la Cruz y Quevedo. The book is written for soprano, tenor and baritone soloist. To them we must add a madrigal quartet or small choir that, in addition to commenting on the action, embodies other characters, put on stage by mimes and dancers. A full ensemble completes the cast.

The staging has been postponed until 2010 and, therefore, the author has thought about filing a concert selection that takes out some passages of the opera in which neither the tenor nor the madrigal quartet are present. Nor there are any scenic elements, thus leaving an extract for a concert in six numbers. The first, purely instrumental, is a prelude to the opera. The second includes the story that Don Juan Tenorio tells about his achievements on the occasion of the cross bet with Don Luis Mejía, as the work of Zorilla. The third is the beginning of the seduction of Dona Ana by D. Juan and includes the bribery Tenorio makes to the maid, Lucia. The fourth is a soprano aria in which Dona Ines, looking at herself in the mirror, sings a poem by Sor Juana Ines de la Cruz on the fragility of female beauty. The fifth takes the love duet between Tenorio y Doña Inés, from which the interventions of the madrigal choir have been deleted. The sixth is the graveyard scene in which Tenorio visits those killed by him just before inviting the statue of the Commendatory to dinner.

The selection must be heard as concert music, indicative of the play from which it is not a summary but a significant excerpt of parts.

Tomás Marco

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