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 Asunto: Re: La otra ópera
NotaPublicado: 19 Ago 2022 14:28 
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Ludovico Peroni is an Italian musicologist and composer. He was born in 1990 and now lives in Montappone, a small town in Marche. After completing musicology studies (Università di RomaTor Vergata) and music studies (Conservatorio Santa Cecilia), he devoted himself to research on improvisational music languages and experimental composition. He usually works with Conducted Improvisation systems with large and small ensemble; in particular, since 2016 he has been working continuously with the QRO ensemble from Rome. His transversal formation – between jazz, rock, research and avant-garde music – pushes him to compose works with many facets: he usually work with concrete music and with a non-convential notation in according with classic or jazz compositional techniques. Now he’s attending a PhD programme (Università degli Studi di Firenze) with a research on conducted improvisation.

Il Sognatoio, ópera experimental en nueve escenas (2017). Escena VII: Notte e Nebbia.

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 Asunto: Re: La otra ópera
NotaPublicado: 26 Ago 2022 6:59 
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Alexander Tansman (1897-1986) Nació en Lodz, Polonia. Sus primeros años transcurrieron en su Polonia natal, cuando el territorio pertenecía al Imperio Ruso de los zares. Las primeras lecciones musicales las tomó a temprana edad de su madre, que era pianista aficionada, a los 11 años ingresó en el conservatorio de Lods, donde estudió composición y piano, en 1914 inició estudios de derecho en la Universidad de Varsovia, graduándose en 1918. En 1919 se trasladó a Francia, donde vivió el resto de su vida, exceptuando el periodo de la Segunda Guerra Mundial. En París entabló contacto con Maurice Ravel y cultivó la amistad de otros músicos extranjeros, entre ellos Martinu y Andrés Segovia, para quien compuso varias obras guitarrísticas. El estallido de la Segunda Guerra Mundial y la persecución de los judíos por los nazis, le obligó a huir de Francia, junto a su familia, para refugiarse en Estados Unidos, donde estableció una gran amistad con Stravinsky y escribió dos sinfonías, una de ellas dedicada a los muertos en la contienda, In Memoriam por los muertos por Francia, y música para cine en colaboración con realizadores como Julien Duvivier, Fritz Lang y Dudley Nichols. También se interesó por la música de jazz, conociendo a artistas de este género, como Duke Ellington. En 1946, una vez derrotado el ejército alemán y finalizada la contienda, volvió a París. Tras su regreso a Francia, alcanzó su plena madurez como compositor, siendo reconocido internacionalmente y sus obras interpretadas como parte del repertorio de numerosas orquestas, asimismo realizó giras por diferentes países, entre ellos Polonia, España, Alemanía, Italia, Bélgica, Holanda e Israel. En 1986, el mismo año de su fallecimiento, fue nombrado Doctor Honoris Causa por la Academia de Música de Lods, su ciudad natal, en Francia se le concedió la Orden de las Artes y las Letras poco antes de su fallecimiento.

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Le Serment, ópera (1953). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 02 Sep 2022 9:40 
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Dieter Schnebel (1930-2018) He was born in Lahr/Baden. He began general private music studies with Wilhelm Siebler from 1942 until 1945, when he started piano lessons with Wilhelm Resch, and continued study with him until 1949 at the age of 19. He continued with music history through 1952, under Eric Doflein. Simultaneously he began to study composition, from 1950, with Ernst Krenek, Theodor W. Adorno and Pierre Boulez, among others. He entered formal studies at the University of Tübingen where he took musicology with Walter Gerstenberg, as well as theology, philosophy and further piano studies. In 1955, he left with a degree in theology, but with a dissertation about Arnold Schoenberg. Soon after, he married Camilla Riegger in 1956, and the couple had a son and a daughter. Schnebel became a minister, and taught theology and religion until 1963 when he began teaching philosophy and psychology. After his first wife died, he underwent a period of psychoanalysis. In 1970 he married translator Iris von Kaschnitz (1928–2014), daughter of Marie Luise Kaschnitz, and began teaching religious studies and music in Munich, which he continued until 1976. His students included Australian composer Norma Tyer. In 1976, he began teaching in Berlin as a professor of experimental music and music research, a chair created for him. He held it until his retirement in 1995.

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Yes, I will, monodrama rediofónico (2016). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 10 Sep 2022 13:54 
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Filiberto Laurenzi (1618–...) He was born in Bertinoro. His birthdate may be deduced from the inscription ‘aetatis ann. XXIIII’ appended to the portrait in his 1644 book, but the portrait and its inscription may date from earlier than 1644. From late spring 1631 to 30 September 1633 he was a soprano at S Luigi dei Francesi, Rome. He probably began his career as an opera composer while in Rome: in a manuscript of Castelli's libretto for Il favorito del principe, first performed there in 1640, he is credited with the musical setting (now lost). Late in 1640 he moved to Venice together with the singer Anna Renzi, who was his pupil and with whom he remained associated until at least 1644. Laurenzi is not known to have held a post in Venice, though on 20 November 1641 he dedicated his Concerti ed arie to Giovanni da Pesaro, procurator-elect of S Marco, perhaps in the hope of obtaining employment. This collection includes settings of texts both by contemporary Roman poets such as Domenico Benigni and Ottaviano Castelli and by poets such as Orazio Persiani and Giulio Strozzi who were working in Venice in the mid-17th century. The longest single work in the book is the serenata Guerra non porta, to a text by Giulio Strozzi, written for a celebration for Giovanni da Pesaro. The work, which is scored for various combinations of one to five voices and includes instrumental movements, opens with a short passage for solo soprano and two violins written in the genere concitato. The rest of the volume consists mainly of strophic arias but also includes sets of strophic variations, among them a very florid setting for solo voice of Persiani’s sonnet Già del sacro Leon. For Carnival 1642–1643, Venice, Laurenzi contributed most of the music for the opera La finta savia, and a year later he rehearsed and performed in (and may have written the music for) Deidamia, staged at the Teatro Novissimo. For Carnival 1647 in Rome he wrote music for a carro musicale, Il trionfo della fatica, the libretto of which ends with the same duet as that found at the conclusion of the surviving manuscripts of Monteverdi's L'incoronazione di Poppea. The course of his career after 1651, when he collaborated on the opera L'esiglio d'Amore for Ferrara, is uncertain, but he may have been the Filiberto Laurenti mentioned in connection with a performance at S Petronio, Bologna, in 1659.

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La finta savia, ópera (1642–1643). Tant'armi inventate.

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 Asunto: Re: La otra ópera
NotaPublicado: 16 Sep 2022 10:40 
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Gérard Pesson (*1958) He was born in Torteron. After studying literature and musicology at the Sorbonne and the Conservatoire National Supérieur de Musique in Paris he founded Entretemps, a magazine for contemporary music, in 1986. From 1990 to 1992 he received the scholarship of Villa Medici in Rome. He has won a number of awards, including the composition award of Studium International in Toulouse in 1986, the award of the UNESCO International Rostrum of Composers in 1994, the prize of the Fondation Pierre de Monaco in May 1996, and the music award of the Akademie der Künste Berlin in March 2007. In 2004, his diaries were published by Van Dieren under the title Cran d’arrêtdu beau temps. His opera Pastorale, a work based on Honoré d’Urfé’s L’Astrée and commissioned by the Stuttgart opera house, was premiered in May 2006 (French premiere in June 2009 at the Théâtre du Châtelet in Paris, directed by Pierrick Sorin). The Festival d’automne 2008 in Paris dedicated a major part of its program to Pesson’s music. His first portrait CD was released by Accord Una corda in 1996. Mes béatitudes, performed by Ensemble Recherche, was released by Æon in 2001; and in 2009, Aggravations et final, performed by the WDR Orchestra and Ensemble Modern, will also be released by Æon. Since 2006 Gérard Pesson teaches at the Conservatoire National Supérieur deMusique in Paris.

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Forever Valley, ópera de cámara (1999-2000). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 23 Sep 2022 14:15 
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Mikhail Mikhaylovich Ippolitov-Ivanov (1859-1935) He was born in 1859 at Gatchina, near St. Petersburg, where his father was a mechanic employed at the palace. His birth name was Mikhail Mikhaylovich Ivanov; later he added Ippolitov, his mother's maiden name, to distinguish himself from a composer and music critic with an identical name (Mikhail Ivanov). He studied music at home and was a choirboy at the cathedral of St. Isaac, where he also had musical instruction, before entering the St. Petersburg Conservatory in 1875. In 1882 he completed his studies as a composition pupil of Rimsky-Korsakov, whose influence was to remain strong. Ippolitov-Ivanov's first appointment was to the position of director of the music academy and conductor of the orchestra in Tbilisi (Tiflis), the principal city of Georgia, where he was to spend the next seven years. This period allowed him to develop an interest in the music of the region, a reflection of the general interest taken in the music of non-Slav minorities and more exotic neighbours that was current at the time, and that was to receive overt official encouragement for other reasons after the Revolution. One of his notable pupils in Tbilisi was conductor Edouard Grikurov.

On 1 May 1886, in Tbilisi, he conducted the premiere of the third and final version of Tchaikovsky's Romeo and Juliet Overture-Fantasia. In 1893 Ippolitov-Ivanov became a professor at the Conservatory in Moscow, of which he was director from 1905 until 1924. He served as conductor for the Russian Choral Society, the Mamontov and Zimin Opera companies and, after 1925, the Bolshoi Theatre, and was known as a contributor to broadcasting and to musical journalism. Politically, Ippolitov-Ivanov retained a measure of independence. He was president of the Society of Writers and Composers in 1922, but took no part in the quarrels between musicians concerned either to encourage new developments in music or to foster a form of proletarian art. His own style had been formed in the 1880s under Rimsky-Korsakov, and to this he added a similar interest in folk-music, particularly the music of Georgia, where he returned in 1924 to spend a year reorganizing the Conservatory in Tbilisi. He died in Moscow in 1935. His pupils included Reinhold Glière and Sergei Vasilenko.

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Assya, ópera (1900). Aria: I wonder if it is misfortune.

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 Asunto: Re: La otra ópera
NotaPublicado: 30 Sep 2022 14:43 
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Francesco Sacrati (1605-1650) He was born in Parma. Sacrati was active in Venice as an opera composer during the early 1640s, always in collaboration with the scenographer Giacomo Torelli. He may subsequently have belonged to the Accademici Discordati, an itinerant troupe which performed one of his operas in Bologna and possibly elsewhere. He was maestro di cappella of the ‘musici di Bologna’, who in March 1648 were invited to perform his opera La finta pazza in Reggio nell'Emilia. Sacrati spent part of that year at the Villa Malvasia at Panzano near Bologna, where he composed L’isola di Alcina. In 1649 he became maestro di cappella of Modena Cathedral. Sacrati was highly esteemed by his contemporaries, including Prince Mattias de’ Medici, a close acquaintance, and the librettist Giacomo Badoaro in L’Ulisse errante likened him to Monteverdi as the moon to the sun. La finta pazza, taken to Paris in December 1645 by Torelli and the ballet-master G.B. Balbi, was the first Italian opera to be performed publicly in France; how much of Sacrati’s music remained in this version, which was only partly sung, and in the touring version given in several Italian cities from 1644, is not certain. Of Sacrati’s works, only the latter version of La finta pazza is known to survive. He may have had a hand in the score of Monteverdi’s L’incoronazione di Poppea.

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La finta pazza, drama en un prólogo y tres actos (1641). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Oct 2022 7:23 
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Leo Blech (1871-1958) He was born to a Jewish family in Aachen, Rhenish Prussia. After attending the Hochschule in Berlin where he studied piano with Ernst Rudorff and composition from Woldemar Bargiel, he studied privately with Engelbert Humperdinck. After working briefly in sales, he landed a position conducting at the Stadttheater Aachen in 1893. From 1899 to 1906, he conducted at the Neues Deutsches Theater in Prague before moving to the Königliches Opernhaus in Berlin. In 1913, he was promoted to General Music Director. Between 1923 and 1926, he took various positions at opera houses in Berlin and Vienna, including the Deutsches Opernhaus, the Volksoper Berlin and the Vienna Volksoper. In 1926 he returned to the Staatsoper unter den Linden, where he remained until Adolf Hitler's antisemitic policies forced him in 1937 into exile in Riga, the capital of Latvia, where he conducted the Latvian National Opera and Ballet Theatre. With an eye to Blech's substantial German and foreign reputation, Hermann Göring, then Hitler's second in command, issued an order to Major Karl Heise, head of the Schutzpolizei in German-occupied Riga in September 1941, to issue an exit visa to Blech for neutral Sweden, making him the only Jewish survivor in Riga to escape as a result of such high-level intervention. During and after World War II, Blech conducted at the Stockholm Royal Opera. In 1949, he returned to Berlin to conduct at the Städtische Oper (Civic Opera), where he worked until 1953. One of his pupils, conductor Herbert Sandberg, married his daughter Luise (Lisel) (1913–2006). Blech made recordings of operatic and orchestral music for the Deutsche Grammophon, HMV, Ultraphon/Telefunken, Decca, and Elite record labels.

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Alpenkönig und Menschenfeind, ópera en tres actos (1903). Ertapp ich euch.

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 Asunto: Re: La otra ópera
NotaPublicado: 14 Oct 2022 6:11 
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Bernard Cavanna (*1951) has received a number of distinctions, including the grant for original creative work from the French Ministry of Culture (Bourse annuelle de la création 1984), a residency at the Villa Medicis in Rome (1985-1986), the SACEM award for the best original contemporary work (Messe un jour ordinaire/1998), the winning citation at the UNESCO International Rostrum of Composers (1999), a Victoire de la musique award (Concerto for violin/2000), the SACD Grand Prix for music (2007), and the prestigious International Price Arthur Honegger (2013/Fondation de France). Cavanna's compositional aesthetics are distinctively free of any dogma, showing genuine inventiveness based more on intuition than speculation, thereby producing a delightful eclecticism sith the composer willing to accept the most unexpected combinations, ranging from popular style to the legacy of the romantics. This may be explained, at least partially, by his rejection of cliques and clans and by his openness to a wide range of sources extending to popular realms. It may also explain the influence of two references he sometimes cites, even if spoken in jest: Bernd Aloïs Zimmermann and Kurt Weill.

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Raphaël, reviens !…, opéra pour jeune public (2000). Les Lascars.

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 Asunto: Re: La otra ópera
NotaPublicado: 21 Oct 2022 9:56 
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Giovanni Antonio Giay (sometimes spelled Giaj; 1690-1764) Born in Turin, Giay's father, Stefano Giuseppe Giay, was a chemist. His father died when he was 5 years old. In 1710 he entered the Collegio degli Innocenti at the Turin Cathedral where he studied music with Francesco Fasoli. His first opera, Il trionfo d'Amore ossia La Fillide, premiered at the Teatro Carignano during Carnival of 1715. In 1732 he succeeded Andrea Stefano Fiorè as the maestro di cappella at the royal chapel in Turin at the behest of Charles Emmanuel III of Savoy. He remained in that post until his death 26 years later, after which his son, Francesco Saverio, took over the post from 1764 until 1798. As master of the Cappella Regia, Giay wrote many religious and secular musical and operatic works. His work include Don Chisciotte in Venezia, an intermezzo written in 1748 to 1752, with lyrics by Giuseppe Baretti. The lyrics feature Miguel de Cervantes' characters Don Quixote and Dulcinea, during the carnival of Venice.

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Eumene, dramma per musica en tres actos (1737). Aria: Ricordati che offesa. Aria: Fra l’orror d’atra foresta.

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 Asunto: Re: La otra ópera
NotaPublicado: 28 Oct 2022 14:31 
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Albert Guinovart Mingacho (*1962) Nació en Barcelona. Formado musicalmente en el Conservatorio Superior Municipal de Música de Barcelona continuó sus estudios musicales en Londres en donde estudió con la pianista y pedagoga María Curcio. Su actividad musical es muy completa, habiendo destacado en la composición, orquestación, docencia y la interpretación pianística. Como pianista ha tocado con orquestas como la Orquesta Sinfónica de Barcelona y Nacional de Cataluña, la Orquesta Sinfónica de Madrid, la Orquesta del Festival de Sídney, la Orquesta Gürzenich -Filarmónica de Colonia, la Orquesta Nacional de Montpellier, la Orquesta Filarmónica de Helsinki, la Orquesta Nacional de Toulouse y la Franz Liszt de Budapest. Ha sido dirigido, entre otros directores por Christopher Hogwood, Lawrence Foster, Franz Paul Decker, Edmon Colomer, Enrique Diemecke, James Laughram y Josep Pons. Como intérprete ha colaborado con artistas como Victoria de los Ángeles, Barbara Hendricks, María Bayo, Emilio Aragón, Juan Diego Flórez, Julia Migenes, Jaume Aragall y Nacho Duato. En sus recitales como solista suele combinar la interpretación de sus propias composiciones con obras del gran repertorio pianístico, en las que destaca especialmente el repertorio del período romántico y la música española.

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Alba Eterna, ópera en dos actos (2019). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 04 Nov 2022 7:02 
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Kjartan "Kjarri" Sveinsson (*1978) is the keyboardist for the Icelandic post-rock band Sigur Rós. He joined the band in 1998. A multi-instrumentalist, he has also played such instruments as the flute, tin whistle, oboe, guitar and the banjo, as well as many of the unorthodox instruments that contribute to Sigur Rós's distinctive sound. Kjartan has performed under the pseudonym "The Lonesome Traveller" with Sigur Rós bandmate Orri Páll Dýrason and Amiina violinist María Huld Markan Sigfúsdóttir (whom Kjartan married in 2001). "The Lonesome Traveller" covered Sigur Rós songs acoustically in an alt-country style. Kjartan also composed scores for the 2005 Academy Award nominated short film Síðasti bærinn (The Last Farm) by Rúnar Rúnarsson, for award-winning director Ramin Bahrani's 2009 short film Plastic Bag which features the narration of filmmaker Werner Herzog, and for the 2009 film Ondine directed by Neil Jordan. Kjartan was the composer on Volcano (2011) and Sparrow (2015) both directed by Rúnar Rúnarsson. Kjartan also contributes to Sigur Rós's orchestral and string arrangements, along with the group Amiina. He is also featured heavily on The Album Leaf's album, In a Safe Place, playing a wide variety of instruments. Kjartan is a member of the advisory board for Kraumur Music Fund, which aims to "strengthen Icelandic musical life, primarily by supporting young musicians in performing and presenting their works."

On 16 November 2010 Kjartan Sveinsson performed in The Whitelight Festival, along with Jonsi & Alex and The Hilliard Ensemble. Kjartan composed Sonnets of his own, as well as the world premiere of his new piece entitled Credo. The performance was streamed live on NPR's website. On 17 April 2011 Q2 - a listener-supported, New York City-based Internet stream devoted to the music of living composers - along with NPR named Kjartan Sveinsson in a list of "100 Composers Under 40". In a post on Sigur Rós's Facebook page announcing an "ask me anything" Q&A session with fans via the social news website Reddit on 24 January 2013, the band referred to themselves as being a "now three-piece band." The band confirmed Kjartan Sveinsson's departure during a Reddit Q&A session, stating that "...he has left the band. He said he spent half his life in the band and it was time to do something different." On 19 February 2014 Kjartan showcased 'his most ambitious musical work' since leaving the band in the form of a collaborative theatre set-piece with Iceland's acclaimed contemporary artist, Ragnar Kjartansson. The work, titled Der Klang Der Offenbarung Des Göttlichen (The Sounds of the Revelation of the Divine) was performed at Berlin’s Volksbühne theatre, in cooperation with the Deutsches Filmorchester Babelsberg and the Filmchor Berlin.

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Der Klang Der Offenbarung Des Göttlichen, ópera en cuatro actos (2014). Teil IV.

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 Asunto: Re: La otra ópera
NotaPublicado: 11 Nov 2022 7:11 
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Johann Mattheson (1681-1764) He was born and died in Hamburg. He was a close friend of George Frideric Handel, although he nearly killed him in a sudden quarrel, during a performance of Mattheson's opera Cleopatra in 1704. Handel was saved only by a large button which turned aside Mattheson's sword. The two were afterwards reconciled and remained in correspondence for life: shortly after his friend's death, Mattheson translated John Mainwaring's Handel biography into German and had it published in Hamburg at his own expense ("auf Kosten des Übersetzers") in 1761. The son of a well-to-do tax collector, Mattheson received a broad liberal education and, aside from general musical training, took lessons in keyboard instruments, violin, composition and singing. By age nine he was singing and playing organ in church and was a member of the chorus of the Hamburg opera. He made his solo debut with the Hamburg opera in 1696 in female roles and, after his voice changed, sang tenor at the opera, conducted rehearsals and composed operas himself. He was cantor at St. Mary's Cathedral from 1718 until increasing deafness led to his retirement from that post in 1728. Mattheson's chief occupation from 1706 was as a professional diplomat. He had studied English in school and spoke it fluently. He became tutor to the son of the English ambassador Sir John Wich and then secretary to the ambassador. He went on diplomatic missions abroad representing the ambassador. In 1709 he married an English woman.

After his death in 1764, Johann Mattheson was buried in the vault of Hamburg's St. Michaelis' Church where his grave can be visited. Mattheson is mainly famous as a music theorist. He was the most abundant writer on performance practice, theatrical style, and harmony of the German Baroque. He is particularly important for his work on the relationship of the disciplines of rhetoric and music, for example in Das neu-eröffnete Orchestre and Der vollkommene Capellmeister. However his books raise more and more attention and suspicion because Mattheson was a brilliant polemist and his theories on music are often full of pedantry and pseudo-erudition. The bulk of his compositional output was vocal, including eight operas, and numerous oratorios and cantatas. He also wrote a few sonatas and some keyboard music, including pieces meant for keyboard instruction. All of his music, except for one opera, one oratorio, and a few collections of instrumental music, went missing after World War II, but was given back to Hamburg from Yerevan, Armenia, in 1998. This includes four operas and most of the oratorios. The manuscripts are now located at the Staats- und Universitätsbibliothek Hamburg, the former Hamburg Stadtbibliothek.

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Die unglückselige Cleopatra, Königin von Egypten oder Die betrogene Staats-Liebe, dramma per musica en tres actos (1704). Aria: Mein Leben ist hin.

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Boris Goudenow oder Der durch Verschlagenheit erlangte Thron oder Die mit der Neigung glücklich Verknüpfte Ehre, ópera en tres actos (1710). Aria: Io felice e fortunato. Aria: Mi prepara il ciel contento.

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 Asunto: Re: La otra ópera
NotaPublicado: 18 Nov 2022 11:17 
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Victor Massé (born Félix-Marie Massé; 1822-1884) He was born in Lorient (Morbihan) and studied at the Paris Conservatoire, winning the Prix de Rome in 1844 for his cantata Le Rénégat de Tanger before turning his attention to opera. While at the Conservatoire, Massé studied with Jaques Halévy. He wrote some twenty operas, including La Chanteuse voilée (1850), followed by the more ambitious Galathée (1852) and Paul et Virginie (1876). His best-known and most successful work was the opéra comique Les Noces de Jeannette (1853). His last work, Une Nuit de Cléopâtre, was performed posthumously in April 1885. Massé died in Paris and is buried in Montmartre Cemetery. Rue Victor Massé [fr] in the 9th arrondissement of Paris is named after him.

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Galathée, ópera cómica en dos actos (1852). Air de la Lyre.

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Les noces de Jeanette, ópera cómica en un acto. Au bord du chemin qui passe à ma porte.

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La Reine Topaze, ópera cómica en tres actos (1856). Carnaval de Venise.

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 Asunto: Re: La otra ópera
NotaPublicado: 25 Nov 2022 7:14 
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Giuseppe Porsile (1680-1750) He was born in Naples the son of one Carlo Porsile, composer of an opera Nerone (Naples, 1686). As a young man Giuseppe was well received for his sacred music at the Spanish Chapel in Naples and in 1707/1708 invited to the principal capilla real in Barcelona. At this time he was one of many Neapolitan Musicians invited to serve the court of Charles III. On July 3, 1707, on the oath of allegiance to the new Austrian Viceroy Georg Adam von Martinitz at Aversa Cathedral, Francesco Mancini and Porsile performed a Te Deum of the previous maestro de capella Gaetano Veneziano (1665–1716) who had fled Naples with the Spanish Viceroy Juan Manuel Fernández Pacheco, 8th Marquis of Villena. Mancini was awarded Veneziano's job, Porsile was awarded that of the former assistant Domenico Sarro. When Charles III removed to Vienna to become Emperor Charles VI Porsile was not among those immediately accompanying him. He remained a further two years in Barcelona and then in 1714 transferred to the service of the Emperor at Vienna. He remained in Vienna until 1735, where he composed several operas and oratorios.

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Il ritorno d’Ulisse alla patria, dramma per musica en tres actos (1707). Aria: Fiero sdegno dell'alma guerriero. Aria: Mi preparo a trionfar.

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