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cinco horas con mario

ópera en un solo acto en tres escenas

With this new perspective of Cinco horas con Mario, the composer Jorge Grundman maintains a tension that stretches and gathers for almost two hours in which the viewer cannot disconnect. It has a consonant musical structure, similar to that of Maurice Ravel's “Pavana para una infanta difunta”, in which few brass, strings, and some percussion are present in addition to the soprano and choir. In the opera, the character of Mario presents a challenge and challenges, demonstrating that from silence one also shouts. Thus, Grundman presents his perspective not so much from the moment the original work was written, but from the time when the opera was to be released, and that peripheral reading, and so curiously faithful to the spirit of the novel, was what that made the novelist's family fall in love, as well as the great Carmen Balcells.

Related news


Se estrena en Madrid un fragmento de la ópera ‘Cinco horas con Mario’ de Jorge Grundman.

La tercera escena de la ópera de Grundman nos rememora uno de los momentos de más dramáticos de la novela de Delibes, en la que, finalizado el velatorio, Carmen Sotillo se enfrenta a Mario, llevando la máxima tensión musical al conocido monólogo y aria de Carmen “Casa y Hacienda”.

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El Cervantes presenta la versión operística de "Cinco horas con Mario".

El Instituto Cervantes presenta la versión operística de "Cinco horas con Mario", basada en la novela homónima de Miguel Delibes, una obra que ha sido compuesta por Jorge Grundman y que protagonizará la soprano Pilar Jurado.

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jorge grundman

Jorge Grundman has the gift of creating beautiful melodies that directly impact our soul and transform our moods into serenity, joy and hope. In all his compositions, he leaves a light present that, if we allow it as a listener, covers each wound with intentional beauty, causing a moving chill.

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