From fairly unpromising beginnings his score blossoms; and in the through-written concertante scenes he develops real musical momentum, defining the drama through skilful use of his wistfully attractive main themes: Alberto's serenade "Mis ojos al ver los tuyos", and the 'ideal love theme' of his letter, "Yo he pasado la vida en un sueño". No one would claim any great depth to Molinos de viento, but Luna's richly orchestrated score does succeed in making his characters' painful situations sympathetic and touching. Although Luna was to produce more lively and individual work - his later self would perhaps have made more of the Dutch settings on offer - his score still stands up as one of the two most perfect Viennese-style operettas in the Spanish repertoire: the other being Vives' La generala. The character of Principe Alberto is almost certainly modelled on the former heir to the English throne. Like his counterpart in the zarzuela, the (by-then deceased) Prince Albert, eldest son of King Edward VII, had been celebrated in his travels across Europe, both as an amorist and naval enthusiast. He had also more bizarrely been at one time viewed as a prime suspect in the notorious Jack the Ripper murder cases in London's East End!
Stok has news: the yacht is ready to sail again, and her Captain-Prince, Alberto, has declared a holiday to celebrate the departure. He leaves, and soon the villagers are at loggerheads again. The men choose young Romo to present an ultimatum to the girls, who in turn select the robust Sabina to answer their threats in kind. They will continue to flirt with the sailors unless their jealous menfolk agree to marry them decently. Romo is enamoured of the pert and lovely Margarita, but his shyness has prevented him speaking out; and when he calls her over to discuss peace terms, she makes fun of him and walks away. The indignant boys make a pact not to speak to the girls. Stok reappears with four Lieutenants, all opening love letters from village maidens. In the witty Quinteto: "Las misivas de diario" the delight of the four younger men is contrasted with Stok's horror at the passionate outpourings of the superannuated Sabina. She appears and asks the lieutenants to leave Stok behind in the village. They laughingly agree - as does the Prince himself, though he reprimands his officers for upsetting the villagers. Left alone, Alberto is approached by Romo, who tells him of the love he feels for Margarita and asks for advice. How should he declare himself? Alberto, equally enamoured of the girl but realising love between them would be impossible, advises the youth to sing to Margarita. He proceeds to show Romo how to do it, in the haunting, latinate Serenata: "Mis ojos al ver los tuyos". Better still, won't Alberto write an eloquent letter for Romo to present to the girl? Alberto agrees. In a comic Mimica (mime scene) over music, four village girls wash clothes whilst their boyfriends relax in the local brasserie. The four lieutenants arrive, present flowers to the girls and spirit them away, much to the boys' annoyance. Margarita, as much interested in Alberto as he in her, sees the Prince presenting the letter to Romo. She tentatively approaches the youth to discover her fate. At first the pair are too nervous to speak, but eventually Margarita opens the letter (Dúo: "Tralarara ... Por fin vencí".) When she reads Alberto's lyrical confession ("Yo he pasado la vida en un sueño") her joy is misinterpreted by Romo as a sign of feeling for him. Before the mutual mistake can be exposed, the village boys intrude; and Romo, anxious not to reveal that he has broken their pact to have nothing to do with the girls, says that the letter is from Alberto. The villagers turn on Margarita, but at this moment Alberto appears to defend her and himself from their anger (Concertante: "Atrás, miserable"). When she runs to the Prince, all is made clear to poor Romo. The boy's position is worsened when Alberto firmly declares that the letter was Romo's after all, and the villagers beat him up for his treachery. Left alone, Margarita faints into Alberto's protective arms as the scene ends.
The village girls can be heard in the distance, warning of the perils of love (Concertante: "En la fuente de cariño"); but when the moment comes Alberto is unable to lie to Margarita, and they pour out their love ("No te alejes, Margot de mi lado"), fondly recalling the beautiful words of Alberto's letter. The pair leave, to the despair of the hapless Romo, as the girls' warning song echoes through the countryside.
Margarita emerges from her house and tries to run after him; but Romo, who has heard everything, stops her firmly. There can be no happiness for any of them. They are like the arms of a windmill, blown hither and thither by the winds, eternally pursuing, destined never to come together. As the hapless pair weep, wrapped up in their solitary sadness, the voice of Alberto can be heard in the far distance, still singing of his ideal love (Final: "Yo he pasado la vida en un sueño".) A note on Volendam: (courtesy of Jan Kes) |