JOSÉ DE NEBRA
Iphigenia en Tracia
Zarzuela en dos jornadas. Madrid, 1747

CD I [53:31]

Primera jornada

01 Obertura (Allegro – Aire de Minué. Allegro cantabile, Allegro)
02 Bailete Pastorela. Cuatro (Allegro): Pues es de esta selva
03 Recitado de Dircea: Este, riscos incultos
04 Area de Dircea (Grave – Allegro vivo): Gozaba el pecho mío
05 Recitado de Polidoro: Oh, cielos, yo perdí
06 Area de Polidoro (Allegro): Vacilante pensamiento
07 Cuatro con Ifigenia y Orestes (Allegro): Ay, joven infelice
08 Duetto burlesco de Mochila y Cofieta (Allegro): Tú, tirana en un monte
09 Recitado de Ifigenia y Orestes: Pero, dioses, ¿qué veo?
10 Area de Ifigenia (Allegro ma non presto): La vida apetecida
11 Seguidillas de Orestes y Dircea (Allegro): Ya se fue, y de mirarla
12 Recitado de Orestes, Ifigenia, Dircea y Polidoro: En fin, ¿otra vez eres mi homicida?
13 Area a Cuatro de Polidoro, Dircea, Orestes e Ifigenia (Allegro): Muera un afecto incierto

CD II [43:06]

Segunda jornada

01 Cuatro (Allegro): Ya que en honor del numen
02 Seguidillas con su estrambote de Cofieta y Mochila (Allegro): ¿Qué han de ser los maridos?
03 Recitado de Ifigenia y Orestes: Yo soy, tirana
04 Area a dúo de Ifigenia y Orestes (Allegro cómodo): ¡Ah, ingrato!
05 Recitado de Cofieta: Hay ciertas doncellitas
06 Area de Cofieta (Allegro, ma non presto): Descolorida, desmadejada
07 Recitado de Orestes: Detente, inútilmente
08 Area de trompas de Orestes (Allegro vivo): Llegar ninguno intente
09 Recitado acompañado de Ifigenia: Suspéndete, tirano
10 Area de Ifigenia (Allegro cómodo): Piedad, señor, piedad
11 Cuatro final: La tirana ley severa

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About this CD

Who better to perform a further instalment in the exploration of Spanish Baroque musical life on record than Emilio Moreno and El Concierto Español, whose latest Glossa project tackles the dramatic work Iphigenia en Tracia by one of the leading lights of the time, José de Nebra? Having recently also given us readings of popular musical comedies from the end of the 18th century (La Tirana contra Mambrú) and a royal marriage commemoration by Antonio Caldara when in Barcelona at the start of it (Il più bel nome), Moreno now looks to the middle of that century when Nebra was attracted to one of Euripides’ Iphigenia stories for one of his mythological zarzuelas. What emerges (from the original score held deep within the library of the imposing and omnipresent monastery in Glossa’s own home town of San Lorenzo de El Escorial) is an elegantly-crafted reflection of the musical currents of the time: like in other countries across Europe Spain was in thrall to the Italian style – Farinelli had a leading role in musical tastes in Madrid for over 20 years – but Nebra also injects a scheme of recitatives and arias plenty of characteristic Iberian zest into the proceedings, notably with the witty castizo banter between two comic characters.

And who better on this new Glossa recording to join Moreno and his highly-talented instrumental players to perform such engaging musical – and dramatic – fare than some of today’s leading Spanish vocal stars, such as Marta Almajano, María Espada, Raquel Andueza and Marta Infante?