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 Asunto: Re: La otra ópera
NotaPublicado: 24 May 2024 2:36 
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Abdulmuslim Muhammad oghlu Magomayev [1885-1937] He was born in Grozny into a family of a blacksmith on the same day another prominent Azerbaijani composer Uzeyir Hajibeyov was born. He had studied at a primary school in Grozny before being admitted to the Gori Pedagogical Seminary [in present-day Georgia] in 1900. There Magomayev developed passion for music and conducting. That was also where he first met Uzeyir Hajibeyov, then his fellow student. However Magomayev found musical career financially unpromising and decided to focus on teaching. In 1905, he acquired his teaching certificate at the Tiflis Teachers' College and was appointed a teacher to the village of Bekovichi [now Kizlyar, Republic of North Ossetia–Alania]. In 1906, he was voluntarily reappointed to Lankaran [present-day Azerbaijan]. In 1911, he received a license that allowed him to teach in high schools and moved to a Baku suburb, Sabunchu. While teaching at a school he took up music and conducting once again. In 1916, Magomayev wrote his first opera entitled Shah Ismayil based on the homonymous Azeri folk epic. Unlike other early Azeri operas, Shah Ismayil was less focused on the ethnic musical component and embodied European opera styles. Magomayev's most major work was Nargiz. Written in 1935, this successful propaganda opera depicts Azerbaijani communists in their fight against the short-lived Azerbaijan Democratic Republic. Overall, Magomayev was the author of 15 musical compositions, mostly rhapsodies. In 1927, together with Hajibeyov, he published The Collection of Azerbaijani Folk Songs; a book where over 300 pieces of folk music had been documented in notes. In 1935 Muslim Magomayev was selected Honoured Arts worker of Azerbaijan SSR.

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Shah Ismayil, ópera en seis actos y siete escenas [1915-1919]. Aria: Ahvalim, Ey vezirler! Bilmirem ne edem.

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 Asunto: Re: La otra ópera
NotaPublicado: 31 May 2024 2:08 
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Niccolo Pasquali [c1718- 1757] It is assumed that Pasquali was born about 1718, since the Edinburgh burial records give the age at which he died as 39. According to Burney he came to London about 1743 and from then on was extremely active in the three main British musical centres. He spent the period 1748–1749 in Dublin, where he produced an oratorio, Noah, and a masque, The Temple of Peace. By 1750 he was back in London, returning to Dublin in 1751. From October 1752 onwards he lived in Edinburgh, where he led the orchestras at both the Canongate Theatre and the Musical Society, wrote and acted in a ‘whimsical Farce’ entitled The Enraged Musician [based on Hogarth’s print], and composed, among other works, a Stabat mater which continued to be performed in Edinburgh after his death. His arrangement of Corelli’s concerto grosso op.6 no.4, with additional parts for horns, trumpets and timpani, survived in the concert repertory until the 1770s. Much of Pasquali’s music is no longer extant. He was a fluent, prolific writer, accustomed to working in the theatre; he probably learnt a great deal from Handel. Cudworth suspected that he had a valuable influence on Boyce. Several of his Twelve Overtures of 1751 have sub-titles which show they belonged to theatrical productions for which the rest of Pasquali’s music is lost. Pasquali also wrote a figured bass instruction book, Thorough-bass made Easy, which was published in Edinburgh in 1757 at the end of his short, energetic career. It went through at least three British editions and – translated into French and Dutch – one in Amsterdam; it contains excellent advice which is still of value, e.g. on different ways to break chords when accompanying recitative. In restrospect it seems to be Pasquali’s most important achievement.

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The Nymphs of the Spring, masque [?]. Aria: Nature First Played Well Her Part.

The Triumphs of Hibernia, masque [?]. Aria: Let Earth and Air and Ocean.

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Jun 2024 12:43 
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David Bontemps nace en Puerto Príncipe, Haití. Desde temprana edad, sus padres melómanos le inscriben en cursos privados de piano. Recibe lo esencial de su formación pianística y de solfeo del destacado pianista y compositor haitiano, Serge Villedrouin. Para financiar sus estudios musicales, participa en concursos de piano. Así, en 1998, consigue una primera medalla, por decisión unánime del jurado, en el concurso internacional de piano de Guadalupe. Además, en 2001, logra la estrella de bronce al nivel superior en el concurso nacional de piano de Puerto Príncipe. En 2000, actúa con éxito en la sala Sainte Cécile de la escuela de música Sainte Trinité en Puerto Príncipe. Cuenta en su repertorio: Bach, Mozart, Chopin, Ravel, Rachmaninoff y los compositores haitianos Ludovic Lamote y Justin Elie. También ejecuta sus propias composiciones. En 2002, se establece en Montreal donde el musicólogo Claude Dauphin le presenta a los miembros de la SRDMH como el relevo de los compositores haitianos.

La Flambeau, ópera (2023). Cette fête au quartier.

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 Asunto: Re: La otra ópera
NotaPublicado: 14 Jun 2024 7:39 
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Johann Georg [Adam] Schürer [c. 1720-1786] He was born in Raudnitz [now Roudnice], Bohemia. Schürer was working in about 1746 as resident composer and music director of an opera troupe that appeared in Dresden with the Mingotti company at the Zwinger; the Dresden repertory had been dominated by Hasse since 1734. On 29 October 1746 they performed Schürer’s opera Astrea placata [which had been given in Warsaw on 7 October in honour of the king’s birthday]; it was repeated several times. On 8 November of the same year his Galatea was given at Dresden, and repeated with new settings in the presence of the court a week later and again on 28 June 1747, the day before Gluck’s festival opera Le nozze d’Ercole e d’Ebe was given at Pillnitz. During the 1747 court festivities Schürer’s opera L’Ercole sul Termodonte and his German Singspiel Doris were performed. His last opera was Calandro, a comedy, performed on 20 January 1748 in the little Zwinger theatre; thereafter he confined himself to composing sacred music, beginning with the oratorios Il figliuol prodigo and Isacco. In 1748 he was appointed Kirchencompositeur in royal service. Schürer was thus one of a notable succession of musicians, headed by Hasse, who worked at the Dresden court of King August III of Poland. Zelenka had died in 1745 and Schürer succeeded him as director of church music, first in the Catholic court chapel at Taschenberg and from 1751 in the newly built Catholic court church, with G.A. Ristori, Tobias Butz and Father M. Breunich assisting him with the church music, and Porpora employed as Kapellmeister and composer.

His principal occupation was composing, which he did with enormous industry, especially in 1757 and 1758. In the former year he wrote a Requiem on the death of the Electress Maria Josepha. During the 1763 Carnival his cantata Donna Augusta perdona was performed and in the autumn of the same year he wrote the funeral motet for the king, Manus tuae fecerunt me. In autumn 1764 the young J.G. Naumann was appointed second church composer, but he soon left for Italy so that all the work was once again Schürer’s responsibility [although between 1765 and 1772 Domenico Fischietti was also contributing church music]. In 1767 Schürer sold the manuscript parts of his church compositions [978 sheets] to the Saxon court and in 1772, when Friedrich August was elector, he sold them the scores as well [522, dated 1742 to 1770] for 900 thalers. Schürer himself had compiled an index of these works, giving the opening bars and date of composition of each [Cursus annuus, MS, 1765, D–Bsb]. He retired in 1780 and sold a further 68 scores of sacred works written between 1767 and 1772 for 200 thalers in 1782, again with a detailed catalogue. The output of this prolific and indefatigable composer seems to have ceased in his last years in office, which were overshadowed by worry and illness; his pupils Joseph Schuster and Franz Seydelmann were working with him as church composers from 1772.

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La Galatea, componimento drammatico en dos actos [1746]. Aria: Dalla spelonca uscite. Aria: Se scordato il primo amore.


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 Asunto: Re: La otra ópera
NotaPublicado: 21 Jun 2024 10:11 
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Peter-Jan Wagemans [*1952} He was born in The Hague. Wagemans studied organ [diploma 1974}, composition with Jan van Vlijmen [diploma 1975} and music theory [diploma 1977} at the Royal Conservatory of The Hague. After his studies he also worked with Klaus Huber in Freiburg. According to Wagemans' philosophy, music is shaped in the observation of the listener. Therefore, Wagemans tries to focus on ways a work can be recognised, rather than on its fundamental structure. He generally makes use of what he prefers to call musical archetypes, unifying ambivalent elements. Peter-Jan Wagemans is one of the founders of the Rotterdam School. He teaches composition and music theory at the Rotterdam Conservatory since 1984. Wagemans founded the Dutch Doelen Ensemble and for some years was also the artistic director of the Amsterdam-based Holland Symfonia.

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Legende, ópera en tres actos [2004-2006}. Finale.

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 Asunto: Re: La otra ópera
NotaPublicado: 21 Jun 2024 10:13 
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Esa fue la viñeta No. 800.

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 Asunto: Re: La otra ópera
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 Asunto: Re: La otra ópera
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 Asunto: Re: La otra ópera
NotaPublicado: 21 Jun 2024 12:32 
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Esa fue la viñeta No. 800.

¡Enhorabuena! Gran recurso.


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 Asunto: Re: La otra ópera
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 Asunto: Re: La otra ópera
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Andrea Bernasconi [c. 1706-1784] He was born in Marseilles. His father, a French officer, settled in Parma after his withdrawal from military service. Little is known of Bernasconi’s education. In the librettos of his early operas he is referred to as a Milanese dilettante [1737 and 1743] and as a Veronese [1742 and 1745], but mainly as a Milanese [1737, 1743–1753]. In 1744–1753 he was maestro di cappella at the Ospedale della Pietà in Venice, and in 1747 he married Maria Josepha Wagele [c1722–1762] in Parma. He instructed his stepdaughter, Antonia, in music and helped launch her successful singing career. A decree of 24 November 1753 refers to his engagement as assistant Kapellmeister of vocal music in Munich from 1 August 1753; his appointment coincided with the opening of the Residenztheater. He was soon appointed electoral councillor. On 5 June 1754 he was named music teacher to the princesses Maria Anna Josepha [until July 1755] and Josepha Maria [until January 1765]; the Elector Maximilian III Joseph also received music lessons from him. Following the death of Giovanni Porta, Bernasconi was appointed Kapellmeister on 7 September 1755. In 1778 Elector Carl Theodor confirmed his official post, but he probably rendered no further service. His successor in 1784 was Paul Grua.

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Demofoonte, ópera seria en tres actos [1741]. Aria: Non dura una sventura.

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L’huomo, festa teatrale [1754]. Aria: Fuggi da me t'invola.

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Semiramide riconosciuta, ópera seria en tres actos [1765]. Aria: Ah non è vano il pianto.

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 Asunto: Re: La otra ópera
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Ali N. Askin [*1962] He was born in Munich, the son of Turkish immigrants, Askin studied there from 1982-1986 at the Academy of Music [composition, with Dieter Acker and Wilhelm Killmayer] and also attended the Academy of Film and Television in 1987. Parallel to his studies, he began early on to work with a number of different kinds of bands and projects as pianist, keyboarder and composer; he also worked as a radio moderator, copyist, editor, music teacher and night porter. In the late 80s and early 90s, Askin worked intensively with several theaters as a composer, musician and musical director [Residenztheater, Münchner Kammerspiele, Zürcher Schauspiel, Schauspiel Düsseldorf, etc.]. From 1991-1993, Askin was Frank Zappa's assistant for the project "The Yellow Shark" [with the Ensemble Modern]. He continued to work with the Zappa Family Trust in Los Angeles. For example, he arranged and transcribed Zappa's compositions and recordings to create an evening-length concert program "The Adventures of Greggery Peccary and Other Persuasions" [for the Ensemble Modern with Peter Eötvös, Omar Ebrahim and David Moss], which has been performed to acclaim in many European cities. For the Holland Festival in 2000, he reconstructed the original scores of the orchestral pieces in Zappa's legendary film "200 Motels", which had never before been performed 'live' in this form. Since 1993, a collaboration has developed with Heiner Goebbels. It includes works such as the orchestral project "Surrogate Cities", for which Askin provided transcriptions and orchestrations, and the music theater work "Die Wiederholung", for which he was the assistant and did the programming and transcriptions. He has appeared as a guest artist [keyboards] in performances of both works with various orchestras [Bochum Symphony, BBC Scottish Orchestra, etc.] and theaters [TAT Frankfurt, Hebbel Theater Berlin, ATEM Nanterre/Paris, Theaterfestival Zürich, etc.].

Eisenhans!, ópera para niños [2007]. Blumen für die Prinzessin.

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 Asunto: Re: La otra ópera
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Pierre-Montan Berton [Le Breton] [1727-1780] He was born in Maubert-Fontaine, Ardennes. He was a boy chorister in Senlis Cathedral, and studied the organ, the harpsichord and composition at the choir school. Some of his youthful motets were performed at the cathedral. He left for Paris to continue his studies, receiving encouragement from J.-M. Leclair, and at 16 joined the choir of Notre Dame as a tenor. After two years he was engaged as a singer at the Paris Opéra, but withdrew immediately [possibly because of shyness] and joined the cello section. From about 1746 he sang bass parts at Marseilles for two years and then became musical director at the Bordeaux Grand Théâtre, where he began the career of editing and arranging for which he is remembered. He also directed concerts, served as organist at two churches and composed ballet music which was well received.

Berton returned to Paris in about 1753, and in 1755 won by competition the post of orchestral director at the Opéra in succession to Boyer. In September of the same year his first stage work, the opera-ballet Deucalion et Pyrrha, composed in collaboration with F.J. Giraud, was performed at the Opéra. Although his own stage works had little success, he excelled in the arrangement of older stage works to suit contemporary taste. In general, this process involved cuts, reorchestration, new recitatives and the insertion of newly composed material, including ballets, arias and choruses; existing recitatives were sometimes modernized with string accompaniment. The first work known to have received such attention was Campra’s Camille, reine des Volsques in 1756, and eventually Lully’s and even Rameau’s operas were modified similarly. Berton’s most successful personal contribution was a chaconne [commonly known as the Chaconne de Berton], originally heard in the 1762 revival of Campra and Desmarets’ Iphigénie en Tauride. All the works that Berton arranged were performed at the Paris Opéra; some were published and manuscripts survive [in F-Pc and Po], but research has yet to determine the exact extent of these revisions and the dates on which they were definitely introduced.

In 1767 Berton and J.-C. Trial succeeded François Rebel and Francoeur as managers of the Opéra; Berton remained a director when the city of Paris resumed financial control in 1769. He became general administrator of the Opéra in 1775–1776 and 1777–1778, retiring after the young Devismes bought control. The pension he secured lapsed with his death, this bearing upon the career of his son Henri-Montan. Berton was also master of the King’s music [1760], and director of the Concert Spirituel [1771–1773]. He had taken direction of performances at Versailles from 1768 in both the royal theatre and the chapel. He apparently died of complications following the fatigue of directing his own arrangement of Rameau’s Castor et Pollux on 7 May 1780. Berton radically raised orchestral standards at the Opéra from 1755 and assiduously looked for new talent; by updating performance techniques and facilitating the arrival in Paris of Gluck and Piccinni he paved the way for those composers in France. [He composed the ballets for the 1775 production of Gluck’s La Cythère assiégée at the Opéra.] In his own compositions no conspicuous individuality of style is apparent. There are reminders of Stamitz and Rameau and, in Silvie, italianate display arias and secco recitative. Occasionally there are fetching melodies [such as the musette ‘L’âge d’or’ in Deucalion] or an unexpected harmonic ellipsis [as in the ‘Gigue gratieuse’ from Erosine].

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Deucalion et Pyrrha, opera-ballet [1755]. Dans ce fatal instant, quels vœux puis-je former!.

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Erosine, pastorale-héroïque [1765]. Ce n'est pas un crime en aimant.

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Silvie, ópera en tres actos [1767]. Conduisez ces captifs.

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