El amor brujo (Love, the Magician) is a piece of music composed by Manuel de Falla. It was initially commissioned in 1914-15 as a gitanería (gypsy piece) by Pastora Imperio, a renowned gypsy dancer, and was scored for voice and chamber orchestra. It failed. Manuel de Falla y Matheu (November 23, 1876 – November 14, 1946) was a Spanish composer of classical music. ... Look up Gypsy in Wiktionary, the free dictionary A Gypsy (derived from Egyptian) may be: jhjjjjjjkyufyui == * any member of any nomadic people (the term is sometimes considered derogatory), especially: the Roma and Sinti, found worldwide but mainly in Europe; Irish Travellers found mainly in Great Britain, Ireland and the United... The word voice can be used to refer to: Sound: The human voice. ... An orchestra is a musical ensemble used most often in classical music. ...
In 1925 de Falla transformed it into a ballet scored for a full symphony orchestra with three short songs for mezzo-soprano. In this form, El amor brujo succeeded. Orchestra at City Hall (Edmonton). ... A mezzo-soprano (meaning medium soprano in Italian) is a female singer with a range usually extending from the A below middle C to the F an eleventh above middle C. Mezzo-sopranos generally have a darker (or lower) vocal tone than sopranos, and their vocal range is between that...
El Amor brujo tells the story of Candelas, a gypsy girl, whose love for Carmelo is tormented by the ghost of her faithless former lover. The work is distinctively Andalusian in character with the songs in the Andalusian dialect of the gypsies. The music contains moments of remarkable beauty and originality and includes the celebrated Ritual Fire Dance and the Dance of Terror.
The plot is disarmingly simple – a gypsy is possessed by the ghost of her faithless former lover until her new suitor enlists a beautiful friend to entice it away.
At the same 1916 concert as the premiere of his reworked ElAmorBrujo, Falla also introduced his Noches en los jardines de España (Nights in the Gardens of Spain) for piano and orchestra, in which native melody and figuration are suffused with the lush atmosphere of French impressionism.
In 1919 Falla wrote another half-hour ballet, El sombrero de Tres Picos (The Three-Cornered Hat) for the Ballet Russe, based on a folk-tale of an elderly lecherous governor's comic and frustrating attempts to seduce a miller's wife.
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