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El barberillo de Lavapiés
''El barberillo de Lavapiés'' is a zarzuela in three acts (Op.56) by Francisco Asenjo Barbieri. The libretto, in Spanish, is by Luis Mariano de Larra. The first performance took place at the Teatro de la Zarzuela in Madrid on 18 December 1874, and it became one of the most well-known zarzuelas.〔Salter, Lionel. El barberillo de Lavapiés. In: ''The New Grove Dictionary of Opera.'' Macmillan, London and New York, 1997.〕 Translated as ''The Little Barber of Lavapiés'', the title refers to the occupation of one of the main characters and the humble and neglected area of the Spanish capital called Lavapiés where it is set.
==Background==
Barbieri had already found success in the zarzuela genre with the pieces ''Jugar con fuego'' ''(Play with fire)'' in 1851 and ''Pan y toros'' ''(Bread and bulls)'' in 1864〔Traubner, Richard. ''Operetta — a theatrical history.'' Oxford University Press, Oxford, 1983, p430-431.〕 and would eventually compose around 70 zarzuelas. Numbers in ''El barberillo de Lavapiés'' such as the song for Paloma "Como nací en la calle de la Paloma", Lamparilla's patter songs as well as the jota and seguidilla became familiar in Spanish musical culture.〔 De Larra's libretto is considered to be successful and well-constructed, echoing Scribe in some respects.〔'Francisco Asenjo Barbieri: El Barberillo de Lavapies'. In: Kaminski, Piotr. ''Mille et Un Opéras''. Fayard, 2003, p54-55.〕
The work was particularly admired by Manuel de Falla, who described ''Pan y toros'' and ''El barberillo de Lavapiés'' as Barbieri's most outstanding theatrical works "which reflect the rhythmic-melodic character of Spanish song and dance at the end of the eighteenth century and the beginning of the nineteenth", and which "undoubtedly exerted an influence on Spanish composers, shaping certain unmistakable features we find in our music from about the middle of the last century until Albéniz and Granados".〔De Falla, Manuel. ''Manuel de Falla - On Music and Musicians'', with introduction and notes by Federico Sopeña, translated by David Urman and J M Thomson. Marion Boyars, London, Boston, 1950, 1979, p63.〕 In his book on operetta Traubner claims that the score is the greatest 19th century zarzuela, possessing a "joyous" score with no dull moments, and while with a Spanish accent, echoes of opéra comique or opera buffa.〔
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