(About Guillermo Diego's Tresguerras )
In his opera Tresguerras, composer Guillermo Diego approaches a mystery in the history of Mexican Independence: did the Celaya architect Francisco Eduardo Tresguerras support the libertarian struggle of Father Hidalgo and the rebel Albino García while working for the government of New Spain?
Although it is not a historicist approach, but a poetic one. A mystery wrapped in fascinating symphonic music crossed by popular airs and broad vocal lines of epic expression with a distinctive feature: the inclusion of the guitar not only as an extravagance, but as a foundational instrument. That is to say: it is an opera conceived and written from the guitar, an instrument so closely linked to the Mexican idiosyncrasy.
After his tour of performances in Celaya and León in March 2024, we spoke with Guillermo Diego to delve into the music of his Tresguerras, where around this independence narrative he articulates memorable passages, such as a corrido interpreted by two children in allusion to a guerrilla fighter who freed birds, or a lacrimosa in C minor that explores the most sentimental intimacy of father Miguel Hidalgo.
How was the process of writing an opera directly from the guitar, without the piano? Above all I am referring to the level of thought, how do you think about opera directly from the guitar?
It is well known that my instrument is the guitar, I studied it as a concert guitarist. Now, in my beginnings in composition I was sold the idea (like all beginning composers) that the piano was indispensable for writing. For the same reason, I studied piano for several years but as time went by I realized that its technique was absolutely antagonistic to the guitar, so I decided to write from my instrument and little by little I got used to approach the guitar with a symphonic thought that allowed me to amplify internally and in an orchestral way, what was produced on the guitar. I always jokingly say that "I emancipated myself from the piano", although I recognize the piano as a portentous and very complete instrument for composing.
I consider that the habit of composing from the guitar thinking about the symphonic opened the doors to an operatic thinking as well, especially when it was an opera with an authentically Mexican air and theme.
The first work I wrote entirely from the guitar was my concerto for guitar and orchestra "Paisaje cubano con Brouwer" (in homage to the great Cuban composer) and premiered by the outstanding guitarist Martín Madrigal and the Camerata de Coahuila conducted by Ramón Shade.
Again keeping proportions in mind, it is said that Hector Berlioz played the guitar and from it he composed for orchestra, I think that examples like these teach us that it is possible to approach composition from other resources.
I consider the guitar to be the national instrument of Mexico, there is almost no corner of the country that does not have a guitar, there is no lack of a wall from which a guitar hangs; for the same reason and given our strong tradition with this instrument, it is integrated into the opera at times when it is necessary to emphasize a Mexican spirit or an element of another emotional level different from the instruments of the orchestra. I noticed that its intervention is absolutely surprising, unexpected, of a different emotionality and, of course, welcome. From a timbral point of view, he brings something new and unusual to the orchestra.
The doublings and ensembles with harp and guitar produce an effect that is magnified by being two plucked string instruments, the chromaticisms produce unexpected colors in the arias and lullaby, guitar and harp are absolutely shielded so as not to be overshadowed by the orchestra, even the guitar's tonalities are carefully selected for their best sonorous display; the use of the glockenspiel also contributes to the transparent and subtle character of the plucked strings.
Personally, I am thrilled by the idea of perhaps having written the first opera (I don't know if in Mexico or in the world) that integrates a guitar in several of its sections, as well as a correctly written and idiomatic guitar given my condition as a guitarist-composer.
I am also thrilled to have composed, perhaps, the first opera of Guanajuato dedicated to passages of its great history, surrounded by such an expert team as the one mentioned above.
The music of the opera is always tonal. This does not mean, however, that its aesthetic appeals to a kind of neo-romanticism. It is crossed by popular airs. Mexican dances and genres such as romance and corrido can be heard. From the compositional point of view, how do you manage to make the score not merely episodic and establish a continuous, fluid narrative, where the folkloric airs remain attached to an original discourse?
Indeed, the work is tonal, but as you rightly mention, it leaves aside neo-romantic and folkloristic languages. I consider it a very free work that integrates what the libretto requires. Let's remember that the scenic music is subject to the action. However, and without proposing an absolute nationalism, it is a score with certain nationalistic airs in some of its moments, others epic, others sentimental, others narrative and programmatic, I did not intend to quote at all times the national. Now, it is a tonal score but, according to my language, it always includes modernist elements and auditory surprises that I consider capture the listener's attention, for example, the use of mixed rhythms, the use of modalism, the use of accidental notes, a sometimes unusual and contrasting orchestration, a large percussion section (which has become habitual in my work). Personally, I avoid explicit nationalism at all times.
The dance episodes take place on two tracks. On the one hand, a couple of passages refer to the Conchero dances, groups with deep roots in this region (but they should not be understood as merely folkloric dances, as they also include modern elements that provide other musical interest and new airs).
The other track corresponds to music written for classical ballet, featuring a pa de deux (Eterno corazón de cantera), the "Duet de amor de Mariana y Albino" as well as the aria "Alas de Libertad" for male solo.
The folklore part was in charge of the Ballet Regional del Tecnológico de Celaya, directed by Plácido López; the classical choreography part was directed by Cecila Zárate de Rébora.
In the references to Mexican music, there is also "El corrido del cuaco", a duet charmingly interpreted by two children (Pedro Conejo Mejía and Juan José López Mendoza) in allusion to the libertarian spirit that Albino García, even as a child, possessed when he freed the birds that his parents sold. It is an orchestral corrido with a certain humor and vivace.
Tresguerras, within the orchestra, is represented by a theme of playful airs played by the violin (accentuated by the woodwinds). Does this theme follow him throughout his appearances? Do the other characters also have thematic representations within the orchestra?
Indeed, in the manner of the iconic Richard Wagner or Von Weber in Three Wars , each character has a leitmotif. That is to say, the appearance of the character is always linked to a specific music. In this way it is possible to create a certain atmosphere that anticipates and allows the audience to associate with a character or situation. Tresguerras is represented by a theme played by the violin and the flute, it is playful, it projects with the woodwinds the personality of a being, besides virtuous, intelligent and of noble spirit capable of a great sense of humor. This and a couple of other motifs follow him in the work. One of them is triumphal, announcing the victory of a Creole in a Spanish society. The other is a waltz of rebellion in defending his ideals. Father Hidalgo has a sentimental theme, a kind of lacrimosa in C minor and another of epic and martial character, Albino García in turn, has a theme whose indication is with spirito in the key of A minor that invites to the hope and to the fight always with sacrifice. Doña Marce, Albino's mother, always with musical references to her "Arrullo" invites with lyricism to a dreamlike world where the greatest dreams of freedom are possible.
What specific idioms are included in the Spanish libretto?
This part is interesting because it is an opera in our language (Mexican Spanish), so there are very popular expressions. For example: "al cabo yo ya veo mi lucha no fue en vano... o bien, que de tanto abusar ya esta tronando el chicharrón"; or the very same "Corrido del Cuaco" where the high-flown expression "ojete" is integrated in a humorous way; or even the integration of some phrases in Purépecha in the "Arrullo de doña Marce"; I think Gustavo Rébora was very clear that the language had to be colloquial, that made reference to our popular culture and without so much fuss.
Some moments of great intensity are loaded with ideology, such as the Workers' Chorus, the Hymn to Freedom, the Trial of Tresguerras, the Burning of the Chapel or the Taking of the Alhóndiga. Do you consider it a political opera?
It is political in the sense that it alludes to the struggle for freedom and to an ideology that could be defined as universal, in addition the argument takes place in a political moment that is located in the struggle for the independence of Mexico, therefore, it raises the human being's right to realization and freedom, respect for human rights and against any slavery.
Although I consider that it was not created specifically with slogans to influence politically in our days. Its message is universal, timeless and the people of Mexico, from here to eternity, will always be invited to preserve their ideals, sovereignty and independence.
This opera was originally premiered in 2014. Are there any differences between the version of Nuestro Tresguerras that premiered in June 2014 and the one you have just presented in Celaya in 2024? During these 10 years did you revise the score? If so, could you please explain the main variations in both the libretto (by Gustavo Rébora) and the vocal lines and orchestration?
The booklet
There are definitely many differences between the two versions, especially in the restructuring of the libretto. It is the same story, but told with a different dramatic organization. The first act outlines the life of Architect Francisco Eduardo Tresguerras until the construction of his masterpiece: the Templo del Carmen, in Celaya, Guanajuato. The second act emphatically addresses the importance of Celaya in the beginnings of the Mexican Independence and gives way to the presence of characters such as Father Miguel Hidalgo, as well as the presence of the guerrilla or insurgent Albino Garcia, an important character of the region who kept alive the libertarian struggle by order of Hidalgo. This second act deals with aspects of Tresguerras' life, but perhaps it could be understood as a second episode in which Tresguerras acts as a witness and sympathizer of the libertarian struggle. Thus, in the second act the script expands by presenting three parallel stories: that of Tresguerras, Father Hidalgo and the insurgent Albino García.
It is important to mention that the final revision for this second staging was in charge of Francisco Méndez Padilla (great opera connoisseur) who, based on an initial brainstorming with Gustavo Rébora (author of the libretto), and a team formed by Aurora Cárdenas (director of the Conservatorio de Música y Artes de Celaya), César Piña (stage director), Cecilia Zárate de Rébora (choreographer) and myself, exceptionally materialized this second story.
The participation of soprano Amelia Sierra and Jesús Almanza, chief conductor of the Orquesta Sinfónica Juvenil Silvestre Revueltas, as well as the entire production team, who always acted with great commitment, was essential in the staging work.
Music
Due to the restructuring of the libretto, the music had to be adjusted and I even composed new sections to achieve a fluid and adequate scenic transition. I took advantage of this restructuring to fine-tune details of the entire orchestral score, I think that, 10 years later, and as is natural in composition, the pen becomes more and more finely tuned and the control of the orchestra is more precise. Think of how many composers have taken advantage of revisions of their operas in search of better achievements. It is a natural and desirable process in opera.
Of course, the vocal lines were also revised and I adjusted several aspects that contributed to the projection of the voice. Likewise, the choral parts were revised. For example, I rewrote the "Hymn to Freedom" by changing the original key from F major to G major, achieving more brilliance in chorus, soloists and orchestra. I could say that it was an exhaustive revision that always sought a colorful, clear and consistent orchestration.
How did the public receive these Tresguerras presentations?
The audience's reception was simply extraordinary, the ovation lasted for about 10 minutes and without exception, the audience was on its feet in all the performances, which, personally and for all of us, was a great satisfaction.
I think the audience was shaken and moved to see part of our history reflected on stage. I think this response is also due to the fact that the tone of the opera is absolutely accessible. As I have mentioned, it is a score with the rigor of concert music but in audience-friendly terms, to such a degree that I have defined it as a popular opera; there are no extravagant pursuits, nor is it abstract music.
Where are you in your career and what projects are you currently working on?
I consider that creatively I am in the fortunate moment of artistic maturity. I can transmit through a score whatever is necessary, in this 2024 I celebrate 53 years in music.
Currently, I am about to perform the world premiere of the Suite "X Cantos Antiguos" for mezzo/tenor and guitar, a series inspired by the pre-Hispanic poets of ancient Mexico.
