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Aria Recital – Hommage to Manuel García


  • 20 May 2018, 15:00


MANUEL GARCÍA Overture to the opera buffa Don Chisciotte

MANUEL GARCÍA Recitative and Aria “Formaré mi plan con cuidado” –“En mi comedia juntamente” from the opera monologue El poeta calculista

MANUEL GARCÍA Recitative and Romance “Mais que vois je ?” – “Vous dont l’image” from the opera La mort du Tasse

GIOACHINO ROSSINI Overture to the dramma giocoso La Cenerentola

GIOACHINO ROSSINI Aria of Don Ramiro “Sì, ritrovarla io giuro” from the dramma giocoso La Cenerentola

MANUEL GARCÍA Scene and Aria of Hernando “Hernando desventurado” – “Cara gitana” from the opera El gitano por amor

NICCOLÒ ANTONIO ZINGARELLI Overture to the tragedia per musica Giulietta e Romeo

NICCOLÒ ANTONIO ZINGARELLI Recitative and Aria of Everardo “Più dubitar mi fan questi suoi detti” – “Là dai regni dell’ombre, e di morte” from the tragedia per musica Giulietta e Romeo

MANUEL GARCÍA Aria “De ses yeux tout ressent l’empire” from the opera La mort du Tasse

GIOACHINO ROSSINI Overture to the opera buffa Il barbiere di Siviglia

GIOACHINO ROSSINI Cavatina “S’ella m’è ognor fedele” from the opera Ricciardo e Zoraide

GIOACHINO ROSSINI Aria of Conte d’Almaviva “Cessa di più resistere” from the opera buffa Il barbiere di Siviglia


End of the concert approx. 05:15 pm

Print programme (PDF)


Javier Camarena, Tenor
Gianluca Capuano, Conductor
Les Musiciens du Prince – Monaco


The Spanish singer Manuel del Pópulo Vicente Rodríguez García (1775—1832) was an object of fascination to the masses. He stood out on account of an extraordinary vocal range which allowed him to take on baritone parts such as Mozart’s Don Giovanni as well as the difficult tenor roles in Rossini’s operas, meaning that he mastered the role of Count Almaviva in both Le nozze di Figaro and Il barbiere di Siviglia. It was said he could even reach a high C in chest voice. As a composer, he was able not only to write operas that fit him like a glove but also impressed eminent colleagues with his works, and as an impresario, he was the first to bring Italian opera to New York in 1825. The man behind the artist was however apparently prone to heated emotional outbursts, which he could also vividly reproduce in stage roles such as the title part of Rossini’s Otello. A strict singing teacher and father, García built a bona fide vocal dynasty: Maria Malibran — who died tragically early — and Pauline Viardot, his daughters and pupils, became two of the greatest operatic stars of their time; and his son, the pedagogue Manuel García, passed on the art of bel canto to budding singers in Paris and London. A few generations further down the line, Javier Camarena will connect with this great tradition and celebrate the Rossini singer García with a homage.