love musicals. I mean seriously. I am among those who think that the best movie ever made is
"Singin 'in the Rain" (1952) by Stanley Donen
. And I've never understood why people find it so strange that someone get up in conversation, and while serving a whiskey and soda, a lovely start to sing Cole Porter composition
, explaining how much he wants to that mysterious woman who does not know his name. Maybe if life was yes, everything would be easier right? Okay maybe not, but nobody can deny that is much nicer being abandoned by your partner, with Gershwin
playing in the background, with a ringtone from Melendi
.
"Make 'Em Laugh." Donald O'Connor. "Singin 'in the rain." 1952.
Anyway, I love musicals. But live in the theater, I had very few opportunities to see a good musical. And that everything is now in Madrid musical success, and Madrid is not far away. What happens is that many of them are false music. There are works written with songs and story, stories, alibis for dinosaurs exploit pop repertoire
Queen, Abba
or Mecano. And that creative process is reversed, where he is infallible familiar song, the one that catapults them to success with a huge audience that never bear a play where a guy get up in conversation, and using a scotch and soda, started singing a beautiful composition
Cole Porter. And of course, going to Madrid for that, it gives me lazy ...
Of all the music, the real, known around here, the most marked my adolescence was "Jesus Christ Superstar
" . Was so successful in the 70's, with
Camilo Sesto and Angela Carrasco
, which proliferated like mushrooms poisonous amateur versions play-back, a phenomenon hitherto largely unknown. Any undergraduate school, cultural association or commission faller, had its version Superstar's tacky and pathetic. The work was perfect for this: the ragged clothes dirt cheap out there was to dance (I can not imagine doing a COU students
"All That Jazz" not perish in the attempt), and there was to sing (which for this reason the Ladybug class had twice the original cassette version of Camilo). It was like riding the living Nativity scene in the parish, but with hairy robbed. So between one thing and another, everyone had to attend several productions of Superstar salchicheros during those years. Something really remarkable when you consider that not all companies had the pleasure to perform the work outlined in the three known or four numbers (the "nosecómoamarle", the "osanajé" and remembered "quierosaber quierosaber is Lord" and its spectacular cry hurricane).
Over time I discovered that
"Jesus Christ Superstar" of
Lloyd Webber and Rice
was a great work, and discovered the Norman Jewison film
, which is not bad, especially discovered original recording, which before Camilo and film and everything, there was a recording with Murray Head
making Judas, and
Ian Gillan, then voice of Deep Purple
in
the role of Jesus Christ. Well, would be at 85 when I could finally see a real assembly
"Jesus Christ Superstar" . Under the direction of Jaime
Azpiricueta (the same who led the Camilo), and the musical direction of
Teddy Bautista (who was of Judas in Camilo, long before he became a tax collector), and Paul
Abraira, and Sergio and Estíbaliz
, among others, as protagonists. There
we planted my sister Lola and I, in the Teatro Principal in Valencia, to see Pablo Abraira
, the handsome crooner great success, making Jesus Christ.
The first surprise was a condition difficult to ignore: the theater was full of nuns. Entiéndaseme, I mean the public. Seriously. Nuns in the stalls and dozens of nuns in the boxes preferred. So the nuns came to roost. Grey Nuns and skirt at the knee, not what it means because I know nothing nuns.
was a really confusing time come and see him as willing monjerío. Of course my first thought is that my sister Lola and I were wrong, and that this was not the Superstar but a recital of Mary Ostiz
, and tolerance that ultra singer who insisted a day Share your thoughts with half of Spain, his.
"A people is." Mary Ostiz. TVE. 1978.
But no. Our location was correct.
as I know the premiere of the work in Spain, Camilo, was surrounded by bitter controversy caused by the rebound of more fundamentalist Catholics. But ten years later, in the theater had more cloistered nuns. Nuns face language teacher institute school of Opus Dei
. Know the entire universe of Catholics, and more that of "professional" religion, so I will not draw conclusions. All things considered, the libretto of the work (the "rock opera" that was said then), did not come to remove the story of Jesus just as we had told the whole life. Rather, help, and much, to perpetuate the character as a contemporary myth, a kind of fusion
flowerpower , which may now lead to giggle.
not matter. The fact is that Lola and I were there, watching a show that we were not disappointed. Indeed the musical direction of
Teddy Bautista, closer to the fantastic Canary
of 60 that its dark current activity, was tremendous and provided a more modern rock sound than the version we already knew (what Teddy has been great indeed. To see if these memories will soon rediscover the great band leader).
In short, I remember the spectacular moment of the crucifixion, with much smoke and many many laser and strobe lights. And the hundreds of nuns with shortness of breath and orgasm to explode, which could not avoid looking at the corner of his eye. All religious experience.
I know. Do I have any attachment to the nuns. I do not know if at absurdly futile existence, or the mystery disease that holds what they call a vocation. But anyway, that is another matter.
