This is a work set in the Middle Ages. The director wanted songs that sounded old, but not historical.
The text presented important challenges inherent in a meticulously written work with a highly elaborate metrical style. I refer to elements such as catalectic trochaic tetrameter verses, sometimes dactyls, sinalefas, etc.
The examples offered here are just sketches: I did not write the final music, as I left the production after several months due to an abusive relationship on the part of the director. This was my last work on music.
The two prototype songs offered here have been sung by the actress Karmele Aranburu.
Hitler prepares his suicide and meanwhile, maintains a cynical dialogue with History. Days later, near Berlin, Stalin meets informally with Churchill, who is concerned about the adventures of the Führer's corpse.
Pilar Ruiz took the ancient Lucian of Samosata's classic text "Dialogues of the Courtesans" and staged, directed and played it with Rossy de Palma for the Festival de Teatro Clásico de Mérida.
The poster was also my work.
OVERTURE: This music opened the scene in which we saw the people of Thebes loaded with suitcases; terrified by the war that was coming, ready to run away and Eteocles, their king, petrified by horror before a gigantic moon: the Oedipus curse lying over them all. Then a series of emotions reflected in the silent attitudes of the Thebans: fear, uncertainty, the mothers protecting their sons (soon soldiers), threat, etc. Among these elements of warning we are presented with a brief theme which later will become the Eteocles leitmotiv.
The third part dissolves into a long pedal (a very long low note ... minutes) over which the Greek chorus on stage whispered in a canonic structure the Oedipus curse. This lugubrious sound lasted until the king finishes his first text, leaving the audience, for the first time, faced violently by the silence.
PRAYER: A simple melodic line, introduced in the overture, receives the prayers of the Theban women who ask not to be captured by their enemies. A second version of this same theme will appear later on, enveloping a monologue of Eteocles.
WEDDINGS: This popular style of music formed the framework of a large choreographic action: all the maids were married in a massive wedding to avoid being made pregnant by the invaders.
In this ceremony, I made use of certain Mediterranean elements (trying to create an atmosphere of sad-happiness) by choosing an instrumentation that could well have been that of an open air fair.
a) INTRO: the beginning indicates the departure of Eteocles while the people makes preparations on his back. The brief musical phrases were meant to be acted; a whirl, a warning, a gesture, etc
b) PRINCIPAL: we entered the theme, structured in the form of song (originally much longer than here) which was used to deliver every bride, to prepare each couple and to bless them.
c) FINALE: a much slower tempo marks the ceremony, which is abruptly halted by the return of Eteocles calling his men to war.
PHANTOM: In the scene in which Eteocles' brother's ghost appears, I suggested the work proceed in sprechstimme (spoken word made to music): the main character spoke his musicalized text live while the serene voice of his brother (which you'll hear only on this recording) answered him.
The final chord marks his death: after removing all his clothes, a heavy rain of blood falls on him from the top of the Valva Regia.
The real end of this scene was live, for which reason you will not be able to hear it here: Over a weighty sound pedal, the male and female choruses strike up a play of rhythmical texts accompanied by an afro-flamenco percussion sound made by the striking of palms on suitcases to create a macumba type of rite.
The speaker in "PHANTOM" is the actor Juanma Navas.
Written by: Saturnino Calleja / A Carlos Marco version
Music: Marcel Garbi
Directed by: Carlos Marco
Más Cuento que Calleja was a Children's Comedy based on a set of popular stories published in Spain by Saturnino Calleja, known mostly as "the Calleja Stories".
These musical pieces were songs sung live on stage; here there is only the music without the voices.
Urban Comedy by Eduardo Galán. Directed by Pilar Ruiz, with Arantxa de Juan and Maco.
Anonymous ancient French texts
Music: Marcel Garbi
Direction: Roberto Villanueva
Children's Comedy based on anonymous ancient French texts. Compiled & directed by Roberto Villanueva.
La diva al dente is a comedy created around a scam planned by a couple of rascals, exploiting the naivety of a wannabe opera singer who owns a crown of great value. Full of musical numbers and arias sung live on stage.
Written by: Elena Cánovas, Paula Monmeneu & M. Victoria Nacarino
Music: Marcel Garbi
Directed by: Elena Cánovas
Production: Comunidad de Madrid / INAEM
Centro Cultural Galileo (Madrid)
This show is the result of a collective creation carried out by a group of female prisoners led by a prison officer. The text received the second prize Calderón de La Barca from the Ministry of Culture.
It deals with the adventures of a young woman without any criminal profile, who for various reasons goes to prison. Her time in prison gives her an opportunity to get to know life inside.
This theatrical play is the origin of the 2008 film "EL PATIO DE MI CARCEL" (My Prison Yard), Directed by Belén Macías