Atlántida (opera)
| Atlántida | |
|---|---|
| Unfinished opera by Manuel de Falla | |
The composer
|
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| Description | cantata escénica |
| Translation | Atlantis |
| Language | Catalan |
| Based on |
L'Atlàntida by Jacint Verdaguer |
| Premiere | 18 June 1962 (completed by Ernesto Halffter) Liceu, Barcelona |
Atlántida (Atlantis) is an opera (titled a 'cantata escénica') in a prologue and three parts, by Manuel de Falla, based on the Catalan poem L'Atlàntida by Jacint Verdaguer. Falla worked on the score for twenty years but had not completed it at his death in Argentina in 1946; his disciple Ernesto Halffter prepared the score for performance.
Verdaguer brought together pre-history and history: a child (Christopher Columbus) is the sole survivor of a shipwreck of a Genoese boat off the Spanish coast. After reaching shore he is adopted by a hermit who recounts the history of the earth and seas. He begins the legend with Alcide (Hercules) arriving from Greece to attack the Arlanteans reaching the Spanish side of the Pyrenees. He finds a huge fire started by Geryon, a three-headed African monster. King Tubal of the Pyrenees is killed and his daughter Pyrene gives her father to Alcide imploring him to set forth to kill the monster, before dying. Alcide decides to make a port where a white barque (barca) had landed. After arriving in Cadiz from Barcelona, Alcide goes to the Hesperides, finding the orange tree, Atlas's widow and three daughters, and kills the dragon wrapped on the tree defending the entry to the contient. The Hesperides die (ascending to the heavens as the Pleiades) and Alcide returns to Cadiz; he kills Geryon and sees the waters break over Mount Calpe and rush over Atlantis. Still accompanied by the hermit, the adult Columbus dreams of unlocking the mystery of Atlantis and appeals to Queen Isabella of Spain who gives him jewels to pay for his venture. The old man bids Columbus to fly.
Atlántida started in 1926 as a cantata, but grew over 20 years to become a full opera. The poem suited him as he responded fully to its blend of mythology and primitive Iberia, and the setting of Cadiz, his home city. He visited many of the sites referred to in the epic: Jerez de la Frontera, Sanlúcar de Barrameda, the temple of Hercules, Medina-Sidonia, Tarifa and its castle. Falla died in Argentina before he finished the work, leaving a loose collection of sketches. The long work of editing and completion was undertaken by Ernesto Halffter. The music shows the influence of classical models from Spanish polyphony, 17th century monody, and of 16th century or earlier choral writing.
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