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Forma Antiqva, María Hinojosa, Aarón Zapico - La Caramba (2023)

Posted By: Rtax
Forma Antiqva, María Hinojosa, Aarón Zapico - La Caramba (2023)

Forma Antiqva, María Hinojosa, Aarón Zapico - La Caramba (2023)
WEB FLAC (tracks) - 330 MB | MP3 CBR 320 kbps - 141 MB
1:00:11 | Classical | Label: Winter & Winter

Already in her day, María Antonia Vallejo Fernández, known as "La Caramba", was the object of fascination for her beauty, her enormous power of seduction, her mischievous witticisms, her grace in the art of singing and, finally, her unusual religious conversion and retirement at the height of her career. Her memory did not disappear after her death, but in the 19th and 20th centuries her figure, already in the realm of legend, was the subject of songs, books, zarzuelas and films. In this programme we propose to return to the sources that founded the myth of La Caramba, trying to understand a little more about this extraordinary woman.

THE SINS OF MARÍA ANTONIA: In 2019, the head of Cardinal Belluga [Motril, 1662 - Roma, 1743] fell and rolled along the floor. The stern, skull-capped, sculpted head of the moralist from Motril could not bear to face the Teatro Calderón de la Barca in aeternum, and so detached itself from the rest of his body. The fevered imagination of Luis Antonio de Belluga y Moncada regarded theatre, music, dance and, above all, women as the devil’s tools for inoculating man with sin. He recorded this in hundreds of pages and pastoral letters, where he detailed, with suspicious delight, the potential »gravely sinful« circumstances arising from dancing likely to encourage groping, the adornments and measurements of women's clothing, and the comedies and sainetes that he implored Philip V to ban. Nevertheless, divine intentions are inscrutable. Seven years after his death, the very antithesis of his being was born in Motril: María Antonia Vallejo Fernández, one of the most popular and influential artists of the last third of the 18th century.

Known as La Caramba, she became the true quintessence of the sin envisaged by her illustrious fellow countryman: star of the sainete and the tonadilla, actress, singer, dancer, entrepreneur, free woman and mistress of several lovers. In short, a charismatic eighteenth-century ‘influencer’ capable of moving the masses, upsetting the powers that be, and dictating fashions in dress and adornment—those that the cardinal said caused »infinite offences to God«. Thanks to the tireless work of this woman ahead of her time, today we enjoy countless musical treasures that sparkle with audacity, brashness and wit, embodied in that genre, tonadilla escénica, which is yet to be studied in full. …

Maria Hinojosa, soprano
Forma Antiqva
Aaron Zapico, direction

Tracklist
01. Castel Sinfonia No. 3 Allegro
02. Traditional La Caramba Allegro ­- Allegretto
03. Traditional La Caramba Coplas Allegro
04. Traditional La Caramba Seguidillas Andante Allegretto - Allegretto - Andantino
05. Esteve Los Duendecillos Allegro - Recitado Andante
06. Esteve Los Duendecillos Andantino Gracioso
07. Esteve Los Duendecillos Coplas Allegro
08. Esteve Los Duendecillos Seguidillas Allegro Moderato - Allegretto
09. Nebra Obertura »Iphigenia en Tracia« Allegro
10. Castel El Arrendador del Sebo Andante Moderato - Mas Andante
11. Castel El Arrendador del Sebo Coplas Allegretto
12. Castel El Arrendador del Sebo Vivo
13. Castel El Arrendador del Sebo Seguidillas Andantino
14. Acero Fandango
15. Esteve Los Mormuradores Andante Moderato y Cantable - Allegro - Como Prima - Allegro
16. Esteve Los Mormuradores Coplas Allegretto Vivo - Andante - Fandango - Allegro
17. Esteve Los Mormuradores Seguidillas Allegretto Moderato
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