Mark Passion,” a singing, dancing Crucifixion drama, which revels in Latin-American and Afro-Caribbean sounds. Born in La Plata, he is descended from Eastern European Jews, and he first made his name with works derived from klezmer and other Yiddish styles. Golijov is a forty-two-year-old Argentine-American composer who has an uncanny ability to don the masks of age-old musical traditions.
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Joining her, in a series of dreamlike flashbacks, is Lorca himself, whose high ideals and dark passions dictate the opera’s tone. The character is based on a real figure: Margarita Xirgu, the great Catalan tragedian, who, in the nineteen-twenties and thirties, collaborated with Federico García Lorca on several of his most famous plays. As she waits in the wings, she is overcome by a surge of memories, both happy and harrowing. The libretto, by the playwright David Henry Hwang, places us in a theatre in Uruguay, in the nineteen-sixties, where a venerable actress is about to step onstage for what will turn out to be her last performance. The illustrious Falla, who studied the question attentively, affirms that the gypsy siguiriya is the song type of the group cante jondo and declares that it is the only song on our continent that has been conserved in its pure form, because of its composition and its style and the qualities it has in itself, the primitive songs of the oriental people.Osvaldo Golijov’s chamber opera “Ainadamar,” which had its première at Tanglewood earlier this month, lasts about an hour, but it feels like a surreally extended moment, a long blink of an eye. It is also a rare example of primitive song, the oldest of all Europe, where the ruins of history, the lyrical fragment eaten by the sand, appear live like the first morning of its life. The cante jondo approaches the rhythm of the birds and the natural music of the black poplar and the waves it is simple in oldness and style. The following is translated from the conference notes by Lorca:
In 1931, García Lorca presented a conference devoted to keeping the rich tradition of the cante jondo alive. Lorca had evidently used the title Poema del cante jondo for a 1921 collection of poems, although he did not publish it for ten years. The result was the memorable series of flamenco performances held at the Alhambra during June. Many classical musicians, cultural and literary figures, including the young poet Federico García Lorca, participated in the program. In 1922 the Spanish composer Manuel de Falla led in the organization of the Concurso de Cante Jondo for Granada. It is generally considered that the common traditional classification of flamenco music is divided into three groups of which the deepest, most serious forms are known as cante jondo.Ĭultural references to cante jondo The name means "deep song" in Spanish, with hondo ("deep") spelled with J ( Spanish pronunciation: ) as a form of eye dialect, because traditional Andalusian pronunciation has retained an aspirated H lost in other forms of Spanish. Cante jondo ( Andalusian Spanish: ) is a vocal style in flamenco, an unspoiled form of Andalusian folk music.
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