Christian's point is well made, about the high prices charged for
material hire by SGAE and the impact on performance standards. That, and
the institution's slow response times, are responsible for putting many
theatrical people off zarzuela production. The current cessation of
shows at Jarvis is partly down to SGAE's apparent lack of gratitude for
the Conservatoire's efforts.

Having said which, I suppose hire costs are only a small part of the
total production budget for an average zarzuela. Royalties (which would
be payable in any case by international law) are not excessive, in my
experience, but we tend to lump all these costs together in our minds.

The problem is that there is no competition. Most of the 19th and 20th
century composers and works (with the exception of Sorozabal and,
strangely, "La del soto del parral") are in the care of UME (now part of
Music Sales Ltd., the London arm of the American Music Sales Inc.) and
UME in Madrid handed over most of its performing materials with many of
its most valuable manuscript assets to SGAE at the time it was taken
over by the British company.

Result: there's only one major source for hire parts, and those hire
parts are in an increasingly dubious state of repair. Many conductor's
scores are simply marked up piano reductions. Once the composers and
librettists are out of copyright (after 90 years in Spain, 70 in other
parts of the European Union) there is no reason for other companies not
to produce their own editions. They won't, because music publishers are
neither interested enough nor competent to do so.

One light at the end of the tunnel: at least SGAE does spend much of the
hire proceeds on sponsoring the new editions from ICCMU. These are good
critical versions, many of them tried and tested in performance before
publication, and the more of them that are commissioned the better.
Anyone interested can read the interviews on zarzuela.net with Emilio
Casares and Mari-Luz González Peña. It's clear that many people working
for and with SGAE do care, and are doing their best under difficult
financial circumstances.

SGAE have limited funds and are, at least, conscious of the need for a
solution. They can see there is a problem. Others seem oblivious. The
Fundación de la Zarzuela, for example, would be much better advised to
spend some of its substantial oil-company income on new performing
editions and productions, rather than glossy books and old-fashioned
"anthology" shows produced for quick nostalgic consumption within Spain.
Their attitude is that nobody outside Spain cares, or ought to care,
about "nuestra zarzuela". Judging from some comments in this discussion
list, they actively discourage international members!

Looking at the Fundación's track record, you'd be forgiven for thinking
that zarzuela is a senior citizens' resort. In fact it is not so in
Madrid, and I partly disagree with Christian's perception on that point.
Whilst the "middle" generation in Spain has a problem with zarzuela (and
with its sour, old-time aficionados) the younger generation is open, and
up for it. Not on the popular scale of the 1920's and early 30's, for
those days of wine, zarzuela and roses will never return; but as a
viable and distinctive alternative to the ubiquitous Anglo-American
"musical theatre".

The best will survive and make its way outside Spain: the task, for all
of us, is to make sure that as large a body of work as possible has that
chance. As with Gilbert and Sullivan here in England, the end of the
copyright period may mark an exciting renaissance opportunity -- the
danger is that it might also mean a narrowing of the repertoire.
--
Christopher Webber, Blackheath, London, UK
http://www.zarzuela.net
"ZARZUELA!" The Spanish Music Site