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The Impostor

Title: The Impostor

Composer: Anna Cazurra

Instrumentation: Soprano, Violoncello and Piano

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14,80 € tax incl.


(Complete set)  --  Farsante es aquel, for soprano, cello and piano, is an adaptation of the aria "Farsante es aquel” for soprano and orchestra, which is part of the masquerade in two acts El Farsante composed in the spring of 2004. The argument, inspired by autobiographical events which are subtly combined with fiction, presents an amusing situation in which comedy and irony predominate, converting this staged work into a strong critique of certain clichés about university life which can be extrapolated to the worlds of other institutions in which nepotism and inbreeding rule. The situation centres around the spectacular rise of a university librarian clerk (Torcuato) who becomes a university lecturer overnight thanks to the help of a professor (Fernández) from the same university, who organizes false examinations. Another applicant (Garcés) also sits the exams, with very much higher ability than the in-house candidate. The outsider, embittered by the farce that gave the position to the library clerk, decides to take revenge. At the celebration of a congress of musicology, she takes on the false identity of a foreign speaker, and lectures on a theory about the existence of a curious instrument called the “violicémbalo” which discredits a hypothesis defended by the professor about the supposed disappearance of the “clavicémbalos” in the royalty of Madrid in the 1800’s. This revelation brings the professor and the clerk-lecturer to loggerheads, as the latter is totally convinced by the false speaker that her research is more valid than that of the Professor.

This is the aria sung by Garcés (the applicant for the post of university lecturer) as she arrives to collect the results of the examination. When she realizes that, unaware, she has been part of a farce, Garcés gives voice to her disappointment, and denounces that she has been victim of a system, which is based on old-friend networks and corruption. She reveals that she will take revenge, and hatches a plan to use the congress of musicology to show up the lack of professionalism and ethics of those who organized the examinations.

The piece is divided in three parts.  In the first part, two themes appear, the first of which under scores the comic element of the situation that is unfolding, while the second emphasizes the ridiculousness of the character that it depicts.  The central section presents a new theme, which, due to its dramatic character, contrasts with the other two. It is the most emotional moment of the aria. The protagonist acknowledges his profound disappointment and gullibility. But, immediately following, he vows to do something about it since things cannot end like this.