After her dance, she offers him some grapes.
The miller hides and the magistrate sees the miller's wife dancing. The miller tells his wife that he will hide and that they will play a trick on the magistrate. The dandified, but lecherous, magistrate is heard coming back. The procession goes by and the couple returns to their work.
Soon the magistrate, his wife, and their bodyguard pass by, taking their daily walk. The miller and his wife laugh over this and continue their work. The bird takes the grape and chirps twice. The miller gets angry at the bird again and his wife offers it a grape. Annoyed, the miller scolds the bird and tells it to try again. He tells the bird to chirp twice, but instead it chirps three times. The miller is trying to teach a pet blackbird to tell the time. Danza del corregidor (Dance of the Magistrate)Īfter a short fanfare, the curtain rises revealing a mill in Andalusia.Danza del molinero (Farruca) (Dance of the Miller).Danza de los vecinos (Seguidillas) (Dance of the Neighbors).Danza de la molinera (Fandango) (Dance of the Miller's Wife).The story of a magistrate, infatuated with a miller's faithful wife, who then attempts to seduce her, derives from the novella of the same name by Pedro Antonio de Alarcón and has been adapted for film several times, usually in Spanish. De Falla was called home to Granada at the last moment to see his dying mother the premiere was conducted in his stead by Ernest Ansermet. Massine, Pablo Picasso, and de Falla worked separately on the choreography, sets/costumes, and music for the ballet over subsequent months after some delays, the ballet was eventually premiered in London at the Alhambra Theatre on 22 July 1919.
In preparation for producing Spanish choreography, Diaghilev and Leonid Massine enlisted the services of dancer Félix Fernández García, who accompanied the two men with de Falla on a tour of Spain in July 1917, introducing them to dancers and performances in Zaragoza, Toledo, Salamanca, Burgos, Sevilla, Córdoba, and Granada. He requested permission to use de Falla's already-completed Noches en los jardines de España ( Nights in the Gardens of Spain) and the work-in-progress El corregidor y la molinera for future choreographies, but only managed to secure permission for the latter. Sergei Diaghilev of the Ballets Russes had been introduced to de Falla by Igor Stravinsky during the company's first visit to Spain in 1916. The work premiered at Madrid's Teatro Eslava on April 6, 1917. In 1916-17, Manuel de Falla composed the music for Gregorio Martínez Sierra's two-scene pantomime El corregidor y la molinera ( The Magistrate and the Miller's Wife), built on Pedro Antonio de Alarcón's 1874 novel of the same title.
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