Classic Ross Amico

Tag: Manuel de Falla

Manuel de Falla’s Atlántida: A Lost Masterpiece

On this most controversial of federal holidays, here’s a reminder of Manuel de Falla’s scenic cantata “Atlántida.” “Atlántida” tells the story of the lost continent of Atlantis, with appearances by Hercules, Pyrene (the Queen of the Pyrenees), the Hesperides (nymphs who tend a blissful garden), Queen Isabella… and a shipwrecked Christopher Columbus.

Distilled to its essence, the plot, synthesized from legends and myths into a grandiose verse epic by 19th century Catalan poet Jacint Verdaguer, follows the great flood that submerged Atlantis, Hercules sparing Spain from its waters, and from Spain the discovery of the New World.

Interestingly, Falla eschews the overtly Spanish idioms that make his ballets, “El amor brujo” and “The Three-Cornered Hat,” so insistently memorable. The result is something much more austere, akin to the choral works of Stravinsky and Arthur Honegger.

It is Falla’s most ambitious work, at which he labored for 20 years, up until his death in 1946. The composer envisioned it as his magnum opus, yet it is very seldom heard. Falla disciple Ernesto Halffter arranged the incomplete sketches into a performing edition, which he conducted at the work’s premiere in 1961. He revised the piece in 1976, at the request of Falla’s publisher, allegedly bringing the work closer to the composer’s vision.

There are a few recordings on YouTube, and some in better sound, but here’s a notable television broadcast featuring Montserrat Caballé and Teresa Berganza, with Jesús López Cobos conducting. Caballé and Berganza are interviewed as part of an intermission feature, around the 48-minute mark. Depending on your proficiency with Spanish, you may need to use some sort of translator.

Columbus Day was established as a federal holiday by President Benjamin Harrison in 1892 to coincide with the 400th anniversary of Columbus’ voyage; but his true intention was to stem anti-immigrant sentiment and violence against Italian-Americans. (11 Italian immigrants had recently been lynched in New Orleans by American “nativists.”) There was no sinister agenda to force Columbus down anyone’s throats or to excuse his personal flaws. Rather, Columbus Day was perceived as a time to celebrate American patriotism, citizenship, and social progress. That’s how people thought back then, in those hopelessly naïve times, before social media.

But really, my aim in posting this is not political, but musical, even if it is the one day a year I pause to acknowledge my Italian-American side.

October 13, 2025
Falla’s Atlántida A Columbus Day Discovery

On this most controversial of federal holidays, here’s a reminder of Manuel de Falla’s scenic cantata “Atlántida.” “Atlántida” tells the story of the lost continent of Atlantis, with appearances by Hercules, Pyrene (the Queen of the Pyrenees), the Hesperides (nymphs who tend a blissful garden), Queen Isabella… and a shipwrecked Christopher Columbus.

Distilled to its essence, the plot, synthesized from legends and myths into a grandiose verse epic by 19th century Catalan poet Jacint Verdaguer, follows the great flood that submerged Atlantis, Hercules sparing Spain from its waters, and from Spain the discovery of the New World.

Interestingly, Falla eschews the overtly Spanish idioms that make his ballets, “El amor brujo” and “The Three-Cornered Hat,” so insistently memorable. The result is something much more austere, akin to the choral works of Stravinsky and Arthur Honegger.

It is Falla’s most ambitious work, at which he labored for 20 years, up until his death in 1946. The composer envisioned it as his magnum opus, yet it is very seldom heard. Falla disciple Ernesto Halffter arranged the incomplete sketches into a performing edition, which he conducted at the work’s premiere in 1961. He revised the piece in 1976, at the request of Falla’s publisher, allegedly bringing the work closer to the composer’s vision.

There are a few recordings on YouTube, and some in better sound, but here’s a notable television broadcast featuring Montserrat Caballé and Teresa Berganza, with Jesús López Cobos conducting. Caballé and Berganza are interviewed as part of an intermission feature, around the 48-minute mark. Depending on your proficiency with Spanish, you may need to use some sort of translator.

Columbus Day was established as a federal holiday by President Benjamin Harrison in 1892 to coincide with the 400th anniversary of Columbus’ voyage; but his true intention was to stem anti-immigrant sentiment and violence against Italian-Americans. (11 Italian immigrants had recently been lynched in New Orleans by American “nativists.”) There was no sinister agenda to force Columbus down anyone’s throats or to excuse his personal flaws. Rather, Columbus Day was perceived as a time to celebrate American patriotism, citizenship, and social progress. That’s how people thought back then, in those hopelessly naïve times, before social media.

But really, my aim in posting this is not political, but musical, even if it is the one day a year I pause to acknowledge my Italian-American side.

October 13, 2025
Manuel de Falla’s Bewitched Love a Powell Masterpiece

I have always been a great admirer of the team of Michael Powell and Emeric Pressburger, who made such strange, astonishing films as “The Red Shoes” (1948) and “The Tales of Hoffmann” (1951). Yet somehow I never encountered this one until a couple of years ago. It was made by Powell alone, after the two had amicably split to pursue their own projects.

“Honeymoon” (1959) reunited Powell with legendary Ballets Russes principal dancer and choreographer Léonide Massine, for a film based in part on Manuel de Falla’s ballet “El Amor Brujo” (here translated as “Bewitched Love”). Massine created the role of the Miller in Falla’s “The Three-Cornered Hat” with the Ballets Russes and a specially-assembled all-Spanish company, back in 1919. Naturally, after his turn as the sinister shoemaker in “The Red Shoes,” Massine assumes the role of the creepy Ghost. Sir Thomas Beecham conducts.

If you can’t be bothered to watch the whole thing – and you should – check out the freaky graveyard scene at 6:49 (linked below). It leads directly into the ballet’s most famous music, the “Ritual Fire Dance.” Like a Goya painting brought to life.

Alicia de Larrocha gives “Ritual Fire Dance” a whirl at the piano.

Manuel de Falla plays his Harpsichord Concerto, a very different piece.

Documentary, “When the Fire Burns: The Life and Music of Manuel de Falla” (1991)

¡Feliz cumpleaños, Manuel de Falla!

November 23, 2022
Powell’s Lost Falla Ballet Film Honeymoon

Wow! How did I never hear of this before?

On Manuel de Falla’s birthday, I’ve been bouncing around YouTube, looking for exceptional or unusual material, and as always, the effort – if anything so enjoyable could be described as such – has paid off.

I have always been a great admirer of the filmmaking team of Michael Powell and Emeric Pressburger, who made such strange, astonishing films as “The Red Shoes” (1948) and “The Tales of Hoffmann” (1951), and yet somehow I have never encountered this one, apparently made by Powell alone, after the team had amicably split.

“Honeymoon” (1959) reunited Powell with legendary Ballets Russes principal dancer and choreographer Léonide Massine, for a film based in part on Falla’s ballet “El Amor Brujo” (here translated as “Bewitched Love”). Massine created the role of the Miller in Falla’s “The Three-Cornered Hat” with the Ballets Russes and a specially-assembled all-Spanish company, back in 1919. Naturally, after his turn as the sinister shoemaker in “The Red Shoes,” Massine here assumes the role of the creepy Ghost.

Supposedly the film is something of a Spanish travelogue with musical interludes. Mikis Theodorakis, of “Zorba the Greek” fame, wrote the aptly named “The Honeymoon Song.” It was later covered by The Beatles.

For the leads, Powell was hoping to reunite with his “Red Shoes” star Moira Shearer and Paul Scofield, of all people. Instead, he got Ludmilla Tchérina, once the youngest prima ballerina in history when she danced “Romeo and Juliet” in Paris in 1942, while still in her teens, for the Ballets Russes de Monte Carlo. Tchérina had worked with Powell in both of his previous dance films. For the male lead, the director was less fortunate, stuck with Anthony Steel, whom Powell despised. (He described him as “the archetypal British s**t.”)

Allegedly, “Honeymoon” is regarded as one of Powell’s least-impressive achievements. Unquestionably it is at least as much “Red Shoes” as it is authentic Falla. Still, I am grateful to have discovered it.

The “El Amor Brujo” sequence is posted here in two parts.

Happy birthday, Manuel de Falla!

Check out the freaky graveyard scene at 6:49 (here linked directly), which leads into the ballet’s most famous music, “The Ritual Fire Dance.” Like a Goya painting brought to life!

November 23, 2020
Remembering Rafael Frühbeck de Burgos & Falla’s Atlántida

The Spanish conductor Rafael Frühbeck de Burgos died on Wednesday at the age of 80. Tonight on “The Lost Chord,” we celebrate his artistry with highlights from a recording he made in 1978 of the scenic cantata “Atlántida” by Manuel de Falla.

“Atlántida” tells the story of the lost continent of Atlantis, with appearances by Hercules; Pyrene, the Queen of the Pyrenees; the Hesperides (nymphs who tend a blissful garden); Queen Isabella; and a shipwrecked Christopher Columbus.

Interestingly, Falla eschews the overtly Spanish idioms that make his ballets, “El Amor Brujo” and “The Three-Cornered Hat,” so insistently memorable. The result is something much more austere, akin to the choral works of Stravinsky and Arthur Honegger.

It is Falla’s most ambitious work, at which he labored for 20 years, up until his death in 1946. The composer envisioned it to be his magnum opus, yet it is very seldom heard. Falla disciple Ernesto Halffter arranged the incomplete sketches into a performing edition, which he conducted at the work’s premiere in 1961. He revised the piece in 1976, at the request of Falla’s publisher, allegedly bringing the work closer to the composer’s vision.

Frühbeck de Burgos recorded it two years later. He retained affection for the piece for the remainder of his life, conducting a generous suite of highlights with the Boston Symphony Orchestra as recently as 2010.

That’s “Farewell to Frühbeck,” remembering Rafael Frühbeck de Burgos. You can enjoy it tonight at 10 ET, with a repeat Thursday night at 11; or listen to it later as a webcast, at http://www.wwfm.org.

June 15, 2014

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