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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
North American Works Directory Listing
Osvaldo Golijov
David Herry Hwang
Chay Yew (Director)
Robert Spano (Conductor)
Dawn Upshaw (Margarita Xirgu)
Kelley O'Connor (Federico García Lorca)
Jessica Rivera (Nuria)
Jesús Montoya (Ruiz Alonso)
Eduardo Chama (José Tripaldi)
Sean Mayer (Maestro)
Rob Asklof (Torero)
August 10, 2003
Tanglewood Festival of Contemporary Music
The opera tells the story of playwright Federico García Lorca and his lover and muse, Catalan actress Margarita Xirgu. A unique aspect of this opera is that the part of male Lorca is played by a woman. Subtitled "an Opera in Three Images", Ainadamar is told in reverse in a series of flashbacks, and involves Lorca's opposition to the Falange, accusations of homosexuality, and his subsequent murder.
Margarita Xirgu (s)
Federico García Lorca (mz)
Nuria (s)
Ruiz Alonso (flamenco singer)
José Tripaldi (bar)
Maestro (t)
Torero (t)
3 Sop/3 Mezzos
The New Yorker, Alex Ross, Sept. 1, 2003; San Diego Magazine, David Gregson; Opera News, Willard Spiegelman;, Wes Blomster; Los Angeles Times, Mark Swed; Boston Herald, T.J. Medrek; Boston Globe, Richard Dyer
3 fl(afl, picc), 1 ob, 2cl, 1 bsn(cbn) - 2hrn, 2tpt, 1tbn - 2 gtr, hrp, kbd, laptop - 3perc - str
Jonathan Brill, Executive Vice President, Opus 3 Artists
The Opera Fund Awardee Information
2005 Audience Development Project
AINADAMAR - Audience Development Activities
Santa Fe Opera, The
Peter Sellars
Miguel Harth-Bedoya
2009 Robert L.B. Tobin Director-Designer Showcase
Mike Donahue
Mike Donahue
Anya Klepikov, Ji-Youn Chang, Daniel Vatsky
Sara Erde

“In Golijov and Hwang’s Ainadamar, the lives of three people — Federico García Lorca, the actress Margarita Xirgu and Mariana Pineda, the historical heroine and protagonist of one of Lorca’s plays — are woven together as Margarita struggles to accept fate, release herself from guilt and ensure that the dream of freedom lives on in her students. How does the dream of freedom die? Is art capable of fighting such a force of destruction? And can a society move forward from a history of extermination and hate? These are just several of the questions leading our exploration of the piece. Following the flamenco cuadro model, with its direct dialogue between singer, dancer and instrumentalist, we are building the piece as a danced opera in which story emerges from the integration of music and movement. A company of opera singers, flamenco singers, flamenco dancers and musicians, all onstage, will create the story in a way that feels simple, spontaneous, raw, communal and vibrant. In order to move fluidly between past and present, living and dead, reality and imagination, we are also integrating projections into the flamenco cuadro dialogue. Through projections we will be able to viscerally (and clearly) flesh out the complex layers of voices, ghosts, times, locations, memories and dreams created by Golijov and Hwang, while maintaining the ephemeral simplicity of the piece. From the darkness, from the silence, the watery sounds of Ainadamar, the fountain of tears, are conjured by an assembling circle of flamenco singers and dancers, transporting us to a world of trumpets, of Granada, of Moors, Jews, Christians and Gypsies all living together. As the voices, stories, images, people, illusions, fantasies, memories, the flamenco circle itself, all fade in and out of focus, we will share Margarita’s re-living of the events leading first to Lorca’s execution — and then to her own death (and onward).”
About the 2011 Robert L.B. Tobin Director-Designer Showcase
This bi-annual program is offered as part of OPERA America’s continuing effort to foster emerging opera artists. The showcase, made possible through support from the Tobin Theatre Arts Fund, has been established to bring promising talent to the attention of the field and connect promising directors and designers with those who are in a position to advance their careers. Twenty-seven director-driven teams submitted proposals for consideration in this second showcase round. Four finalist teams were selected by panelists Donald Eastman, designer; Kevin Patterson, general director, Austin Lyric Opera; Tazewell Thompson, stage director; and Diane Wondisford, producing director, Music-Theatre Group. As opera is an intrinsically collaborative art form, the projects chosen were selected not only because they demonstrate the requisite creativity and skill, but because they display true collaboration, creative vibrancy and collective passion.

Each team is given $2,000 to be used toward further research and the production of more comprehensive renderings and models. Up to two representatives from each finalist team receive travel, lodging and registration to attend Opera Conference 2011 in Boston, MA to present their proposals to opera producers at a special session and to network with conference attendees.
Schedule of Performances Listings
Ainadamar (Golijov)
Friday, February 07, 2014 - Opera Philadelphia
Ainadamar (Golijov)
Thursday, July 09, 2009 - Cincinnati Opera
Ainadamar (Golijov)
Friday, March 14, 2008 - Opera Philadelphia
Ainadamar (Golijov)
Friday, March 14, 2008 - Curtis Institute of Music Opera Theatre
Ainadamar (Golijov)
Saturday, July 30, 2005 - Santa Fe Opera

Fall 2014 Magazine Issue
  • Are Women Different?
  • Preparing for Klinghoffer
  • Emerging Artists: Act One

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