The Dizziness of Desire in the Spanish Zarzuela

Mezzo-soprano Elmina Hasan’s rich expressiveness and striking dramaticism create a compelling presence on the operatic stage. From a fearless Carmen to a free-spirited Dorabella, she has gained international recognition on stages such as the Wiener Staatsoper and Teatro alla Scala. Born in Baku, Azerbaijan, Hasan’s warm tone resonates with poised power. She wields her voice with artful intensity in Ruperto Chapí’s Al pensar en el dueño (When I think of the Lord).

Ruperto Chapí y Lorente (1851-1909) was born in Villena, a small, historical city to the north of Valencia. His father was a barber and amateur musician, and Chapí grew up immersed in the local bands as a piccolo and cornet player. Inspired by community and comedy, he began writing zarzuelas from the age of fifteen — a potent blend of dialogue, arias, popular songs, and satire that create a uniquely Spanish form of opera.

In 1889, Al pensar en el dueño became the iconic song of Chapí’s zarzuela ‘Las hijas del Zebedeo’ (The Daughters of Zebedee). This aria evokes the exhilarating longing and limerence of infatuation that consumes Luisa, the female lead. Through perhaps wilful ignorance, she has created several whirlwinds of romantic misunderstandings. In Al pensar en el dueño, she harnesses the passionate Iberian currents as she sings of the “mareos encantadores” (charming dizziness) that her true love awakens. These winds are unsteady, buffeted by the intensity of a suffering that fuels love, and a love that fuels suffering: “A mi novio yo le quiero / porque roba corazones / con su gracia y su salero…” (I love my beloved because he steals hearts, with his grace and his charm.)

This all-consuming love creates a quasi-religious experience (as she calls her lover the ‘Lord’) and a hostage situation: the aria is also known by the title Carceleras, meaning ‘The Prisoner’s Song’. And it may not be an exaggeration as she describes, “Yo me muero de gozo / cuando me mira, / y me vuelvo jalea / cuando suspira.” (I die of pleasure when he looks at me, and I lose my head when he sighs.)

Elmina Hasan’s powerful emotional control and delicate nuance will unravel this compelling portrait of passion and captivity.

Programme notes by Malika Jumbe.