"Amaya" de Guridi. Epilogo. 1 de 3.

El drama lírico en tres actos Amaya del compositor vasco Jesús Guridi, con un epílogo de José M.ª Arroita Jauregui, y la versión euzkérica de José de Arrue, fue sacado de la novela del mismo título de Navarro Villoslada, y se estrenó en Bilbao en el Coliseo Albia el 22 de mayo de 1920. Con la dirección de orquesta a cargo de Lamote de Grignon, fue interpretado por la Sociedad Coral de Bilbao y la Orquesta Sinfónica de Barcelona con intérpretes de la talla de Ofelia Nieto, Isidoro de Fagoaga, Aguirresarobe y Gabriel Olaizola.

Jesús Guridi trabajó incansablemente durante mucho tiempo, en la composición de esta nueva obra teatral; en el libreto de Amaya aparece el drama íntimo de unos corazones, pero late soterrado otro más importante: la lucha de dos civilizaciones, la pagana y la cristiana, que se disputan la hegemonía de un pueblo; Jesús Guridi supo intuirlo con claridad, y así Amaya cobró rango de epopeya. Guridi concibe Amaya en función de drama lírico, no de ópera; la característica más definida del «drama lírico» es el tema o motivo conductor, la forma musical adaptada invariablemente a un personaje o situación dramática. Comparada con el Parsifal wagneriano, Manuel de Falla llegó a decir de Guridi que, aunque el compositor vasco no dejara más que esta obra, ya era bastante para que alcanzase fama imperecedera.


Produced in 1920 after ten years' work, the opera is set in the eighth century and represents the struggle of Christianity to oust traditional religious beliefs in northern Spain. That struggle is personified by the dilemma of Amaya (soprano) to choose between rival suitors - Teodosio (tenor), who embraces Christianity, and Asier (bass), who represents the worship of gods of nature such as the sun and moon. Whichever wins Amaya's hand will be crowned King of Vasconia and thereby determine the destiny of the Basques. In Act 1, Amaya's priestess aunt Amagoia (mezzo-soprano) pleads the cause of her absent ward Asier. In Act 2, Amaya marries Teodosio, but Asier returns and claims his right to her hand. Act 3 provides a diversion by introducing a popular Basque legend with a gory murder. In an Epilogue, past-the-post wrangles are finally resolved not Bush-Gore fashion by a vote of the Supreme Court, but by Asier being thrown from his horse and embracing Christianity with his dying breath.

If the religious content and even the Spanish setting suggest Wagner's Parsifal, it is indeed Wagnerian music drama that very much comes to mind in listening to the score. Ultimately, though, it's Guridi himself who asserts his individuality. Even in this major operatic work, it's the sound he draws from the orchestra that most immediately attracts attention - right from the prelude that so evocatively captures the sun going down over the sea. The 'Singing by the light of the moon' theme it introduces reappears as a Leitmotiv throughout Act 1, and Basque song and dance forms are at the root of much of the score. Act 3 and the Epilogue have much dark, stormy music; but the waves of orchestral sound as Asier embraces Christianity provide an uplifting experience. The vocal writing throughout is powerful and demanding, but that final scene is especially moving.

Category:

Music

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