On his deathbed, Laurentino shall we slip that earlier than he married Mark’s mom, he had a Mexican spouse, Renata (Cecilia Duarte, a creamy-voiced mezzo-soprano), and that they'd a son, Rafael, who's probably nonetheless residing in Mexico.
In the context of this tale, that Laurentino in his hazy psychological state confuses Mark with Rafael has unusual poignancy. He can’t endure to suppose of his previous existence and even go back to his hometown. Yet, he’s nonetheless claimed by means of it. Past and provide mingle in his thoughts.
The opera, which runs 75 mins with out a ruin, turns into a sequence of superbly juxtaposed scenes that shift from New York lately to Mexico 50 years previous, after we see Laurentino and Renata marry. At the middle is the a very powerful scene when Renata makes an attempt to achieve America with little Rafael, simplest to die within the desolate tract, lengthy recognized metaphorically because the “face of the moon.”
The mariachi musical idiom is administered thru with supple, animated rhythmic riffs. The vibrant trumpets lend aptitude. But the track is carried by means of lyrical, melodic stretches within the violins. There is restraint and modesty within the Martínez’s songs and ensemble numbers. During the jubilant scene when Laurentino and Renata marry, the track is festive but tinged with darkness, conveying, I felt, that existence is complete of unknowns. Most operas would milk the overall scene when Laurentino’s first son, Rafael, seems on the outdated guy’s deathbed and reconciles. This one performs it with melancholic understatement.
The spectacular eight-person solid contains Vanessa Alonzo as Lupita, Renata’s pal; Miguel De Aranda as Chucho, Lupita’s husband, who convinces Laurentino to come back search their futures in America; Daniel Montenegro because the grownup Rafael; and Miguel Nuñez as Victor, the well-meaning information employed by means of Renata to take her to America. David Hanlon is the track director.
Moment after second, this piece captured the quandary of immigration in unfortunately human techniques. When Laurentino tells his younger spouse that he will have to cross to America for the long run of the circle of relatives, she bluntly replies, “I didn’t marry you to get money in the mail.”