Shakespeare and Cervantes are two of the most widely read, performed, and influential writers in the history of world literature. They are cultural touchstones of two great European powers, locked in conflict with each other during the second half of the 16th century.

Are their ideas really so opposed?

How do their characters think?

And what was the music of their time like?

Through their texts, we learn about their own thoughts, beliefs, moral compass, and how they viewed life… and their dreams… And all of this is conveyed through music, the indispensable soundtrack of their works, which was so prevalent in their performances and in the streets and courts of their time.

Repertory

Can she excuse
J. Dowland

Have you seen
R. Johnson

Sonet CXVI
W. Shakespeare

Cor a Enric V
W. Shakespeare

Recercada La Spagna
D. Ortiz

Romance de Abindarráez
D. Pisador

Fain would I change
T. Hume

Constança de El Rei Joan
W. Shakespeare

Flow my tears
J. Dowland

Chacona de la Ilustre Fregona
M. de Cervantes/F. Schz.Mascuñano

Fragment de El Quijote, Segunda parte, cap. XLVI
M. de Cervantes

De Antequera sale el Moro
M. Fuenllana

Si la noche haze escura
D. Pisador

Twits (Justa Poética)
Shakespeare/Cervantes

My Lady Carey’s Dompe
Anònim s.XVI

Fuego de Dios
Anònim s.XVI

Fragment de El Juez de los Divorcios
M. de Cervantes

Away delights
R. Johnson

Desdèmona, d’Otel·lo
W. Shakespeare

Willow song
Anònim s.XV

Sonet LXVI
W. Shakespeare

Harke
T. Hume

Epitafi de El Quijote
M. de Cervantes

Hoy comamos y bebamos
J. de la Encina

Ficha artística

MAB CONSORT

Pep Planas
actor

Maria Altadill
soprano

Felipe Sánchez Mascuñano
vihuela i guitarra barroca

Santi Mirón
viola da gamba

Abel Folk i Pep Planas
dirección

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The 17th and 18th centuries were the golden age of carnivals, and of a Venice evoked by the paintings of the Adriatic republic’s greatest artists and the music of Antonio Vivaldi (1678–1741). The incredible increase in visitors to the city, drawn by the festivities and music, made it necessary to extend the carnival’s duration, at one point lasting up to six months.

Repertory

La Senna festeggiante, RV 693. Sinfonia
Allegro
Andante molto
Allegro molto

Aria “Zeffiretti, che sussurrate” (RV 749.31). Escuole sul Termpodonte
RV710

Concerto per organo e violino RV 541
Allegro, Grave, Allegro

Aria “Vedrò con mio diletto”. il Giustino, RV 717.

Obertura de la ópera l’Olimipiade, R725.
Allegro
Andante
Allegro

Recitativo y Aria “Sì che un tiranno sopso del mio/ Precipizio è del mio petto”. Arsilda, regina di Ponto, RV 700

Concerto para Viola “all’inglese”, cuerda y Bajo continuo RV 403
Allegro
Andante e spiritoso
Allegro

Cantata “Cessate, omai cessate”, RV 684
Largo e sciolto: Cessate, omai cessate:
Larghetto e andante molto: Ah ch’infelice sempre
Andate: A voi dunque ricorro orridi specchi
Allegro: Nell’orrido albergo ricetto di pene.

Cast and crew

MAB CONSORT

Solistas

MARIA ALTADILL-Mezzo-Soprano

FARRAN JAMES-Concertino

SANTI MIRÓN-Viola da Gamba

SIMONE GULLÌ-Clavecí/Órgano y dirección

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Repertory

“Los Reyes de la Baraja”

PRÓLOGO DE LA ZAPATERA PRODIGIOSA

“Las Tres Hojas”

-PRIMER PALO: AMORES-

SONETO DE LA DULCE QUEJA

“Los Peregrinitos”

LA CASA INFIEL

“Las Morillas de Jaén”

“Los Cuatro Muleros”

-SEGUNDO PALO : HERIDAS-

ROMANCE SONÁMBULO

“Los Mozos de Monleón”

-TERCER PALO : LA SANGRE-

MONOLOGO DE LA NOVIA-BODAS DE SANGRE

“Zorongo Gitano”

AY VOZ SECRETA DEL AMOR OSCURO

“Café de Chinitas”

-CUARTO PALO: LA TRAICIÓN-

“Amelia está malalta” de Miquel Llobet

FINAL – MARIANA PINEDA

“El romance de don Boyso”

ROMANCE DE LA LUNA

“Nana de Sevilla”

-ÚLTIMO PALO: ¡ANDA JALEO!-

“Anda Jaleo”

LOS TITERES DE CACHIPORRA – ADVERTENCIA

“Sevillanas del siglo XVIII”

Cast and crew

MAB CONSORT

PEP PLANAS, Actor

MARIA ALTADILL, Soprano

CARMEN BECERRA, Guitarra

Directora musical

MARIA ALTADILL BRIANSÓ

Producción

FRANCESP PLA FALIP

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In commemoration of the 400th anniversary of the deaths of Shakespeare and Cervantes, Abel Folk, Pep Planas, and Maria Altadill present Amors & Humors, a newly created production that premiered at Temporada Alta and was performed at the Teatre Romea (2017).

It is an educational show that blends recital, concert, lecture, and performance, with humor and love as its guiding threads. It transports the audience to the 17th century through a contemporary reading of the most representative fragments of these two masters, combined with early music.

Repertory

A selection of contemporary works by Shakespeare and Cervantes:

1. Awake Sweet Love – J. Dowland
2. Have you seen but a white lilly grow? – R. Johnson
3. La mañana de San Juan – Anònim S. XVI
4. Flow My Tears – J. Dowland
5. Recercada segunda – D. Ortiz
6. Assí, assí, cuerpo de nos – M. Fletxa / M. de Fuenllana
7. Full Fathom Five – R. Johnson
8. De la dulce mi enemiga – Anònim S. XVI
9. De Antequera sale el moro – M. de Fuenllana
10. Harke, Harke – T. Hume
11. My Lady Carey’s Dompe – Anònim / F. Sánchez
12. Fuego de Dios – Anònim S. XVI
13. I Saw My Lady Weep – J. Dowland
14. Midnight – J. Dowland
15. The Willow Song – Anònim S. XVI/XVII
16. Al villano se la dan – Anònim S. XVI
17. Chacona de la Ilustre fregona – Música: F. Sánchez / Text: M. Cervantes

Cast and crew

• Authors and directors: Abel Folk i Pep Planas

• Literary advisors: Jordi Carrión i Marilena de Chiara

• Musical direction: Maria Altadill

• Actors: Pep Planas i Abel Folk

• Soprano: Maria Altadill

• Musics:

  • Felipe Sánchez – guitarras

  • Javier Aguirre – viola de gamba

  • Mikko Ikäheimo – laúd

• Stage space, props and costumes: Abel Folk i Pep Planas

• Lighting and sound: Rai Segura i Abel Folk

• Production Management: Glòria Casanova

• Production: Ilerda Antiqua – Maria Altadill

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