Modernismos divergentes (1910-1915): las dramaturgias musicales del “malogrado” Usandizaga

Abstract

José María Usandizaga’s (1887-1915) recognition as a composer has been based mainly on two operatic masterpieces: Mendi-Mendiyan (Bilbao, 1910) and, especially, Las golondrinas (Madrid, 1914). Yet, his personal legacy kept at the Basque Music Archive-ERESBIL, together with some historical reports, records many failed or posthumous projects for the stage –such as his known opera La llama or the “lyric comedy” Bitz. Based on those unpublished documents, we contextually analyze such repertoire's dramaturgical and stylistic hallmarks. This evinces a tenacious aim to succeed in theatrical milieus, adapting his production to current cultural demands, from nationalist opera to a modernist ‘art theatre,’ and even cheap and cheerful ‘género ínfimo.’ Moreover, some critical clues about Spanish musical Modernismo are verified –such as its ambiguous link to global artistic trends and its disjunctive turning point at the time of Usandizaga’s death.

Keywords

• modernismo
• spanish opera
• zarzuela
• género ínfimo
• ballet russes
• basque music