(Credit: Gemma Escribano)

This month Ruth Iniesta is set to return to the Teatro de la Zarzuela, where she will sing the role of La duquesa de Medina in “Jugar con Fuego.”

The zarzuela by Francisco Asenjo Barbieri, which premiered in 1851, is relatively unknown and for this production, the Madrid theater will present a new production.

Throughout the past years, Iniesta has performed on many of the great European stages including the Teatro Real, Semperoper Dresden, Arena di Verona, Teatro San Carlo, Teatro dell’Opera di Roma, and Gran Teatre del Liceu. She has also performed at the Teatro de la Zarzuela. Her repertoire has included “La Traviata,” “Lucia di Lammermoor,” “Thaïs,” “La Sonnambula,” and Liù in “Turandot.”

In anticipation for “Juego con Fuego,” OperaWire spoke to Iniesta about the differences between Zarzuela and opera.

OperaWire: This month you’re returning to the Teatro de la Zarzuela for “Jugar con Fuego.” What does it feel like to sing in this historic theater, especially as a Spaniard?

Ruth Iniesta: Whenever I sing zarzuela, I feel immense pride, but doing so at the Teatro de la Zarzuela, such an iconic and special theater, makes that pride even greater. During my student years, I went there many times to enjoy performances as an audience member and admire the singers and productions, dreaming of one day being a part of it all.

It was in that theater that I took my first steps in opera, and it will always hold a very special place in my heart. Returning to the theater is like embracing that family you see less often than you’d like, but with whom you feel a strong connection. I hope to return to its stage every year, and I hope it becomes an even more renowned theater worldwide, because it deserves it.

OW: The work is not widely known. Tell me about this zarzuela and what the audience can expect?

RI: At its premiere, it was a watershed moment for the zarzuela genre and a huge box office success. Its music is elegant and vibrant. This time, the plot remains the same, but it’s set in the present day, abandoning the original recited verse.

OW: Musically, what are the challenges of the work?

RI: Vocally, the high point is in the romanza of the third act, “Un tiempo fué,” where the phrasing is more demanding, making it one of my favorite parts. Also, the duet in the first act, where she almost confesses her identity but decides to continue playing at being someone else.

OW: Tell me about Barbieri’s music and what makes this Spanish composer so popular.

RI: His writing is heavily influenced by Italian bel canto, but he enriches it with Spanish folklore, which, while providing a great showcase for singers, also resonates strongly with audiences. He strikes a perfect balance between lyricism and popular dances of the era, which still resonate with audiences today. I think his music is both refined and catchy!

OW: As a singer, what is the difference between singing zarzuela and opera?

RI: The main difference lies in the significant amount of spoken dialogue between musical numbers, and therefore the need for good vocal placement to protect the instrument and make register changes less noticeable. Likewise, solo roles are often characterized by a wide vocal range, precisely because of this tendency to emphasize the acting aspect. The experience for the same singer can vary greatly from one number to another!

OW: Later this season you will be performing “Rigoletto” and “La Bohème.” These are two works you have sung extensively. How have they evolved in your voice?

RI: It’s true that Gilda has been with me practically since the beginning of my career, and I’ve had the opportunity to witness my vocal growth alongside her, noticing the evolution each time I’ve taken up the role again.

I may have performed “La Bohème” less often, but Musetta is a role I feel very comfortable in and enjoy performing on stage. Puccini’s writing has a theatrical sensibility that resonates with our time, and despite the demanding orchestral weight, it allows you to play with a wide range of vocal colors.

I will return to this role at the end of the season to make my debut at the Royal Opera House in London, after having sung it previously, for the last time, at the Teatro Real in Madrid, and I’m eager to see how it has evolved in me. It will be a debut at one of my most admired theaters, finally coming after a long time on my schedule and some necessary schedule changes that caused a longer delay than I would have liked. I am very grateful to the ROH for their flexibility and for welcoming me with open arms.

OW: Why do you feel these roles are so good for your voice?

RI: In Gilda, I find a range of very intense colors, and the rapid journey she takes to that final sacrifice, and the love she implores and in turn bestows upon her father, resonates deeply.

However, with Musetta, I can play the role of a much more experienced woman, who also, deep down, yearns for love, like all of us, but can’t fully open herself to it, precisely because of all her past experiences. She plays at having fun to avoid falling into vulnerability, and that’s very well reflected in Puccini’s score.

Both roles involve complex vocal writing with very delicate passages (especially Gilda), but an orchestral weight that can take you by surprise because they are so closely linked to the acting. Perhaps that’s why my voice feels free in them.

OW: What other roles would you like to sing in the coming years?

RI: Performing Massenet’s “Manon” would be a dream. I would like to explore the world of Donizetti’s queens.