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NotaPublicado: 05 May 2008 22:17 
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¡Gracias Zelenka! Precisamente hoy estaba repasando un tema donde aparece Kurt Weill y tenía algunas dudas. :D


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Otra duda. En mis apuntes tengo que Pierre Schaeffer y Pierre Henry compusieron, en colaboración, la primera ópera de música concreta que se llamó "Orfeo 53", precisamente en el año 1953. Bien. Más adelante tengo una obra de Pierre Henry titulada "Le voile d'Orphèe", compuesta también en 1953. ¿Sabéis si se trata de la misma obra pero la tengo copiada con dos títulos diferentes?

Muchísimas gracias. :D


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Hasta donde yo sé, primero compusieron la ópera Orphée y más adelante añadieron a la pieza el fragmento del Voile d'Orphée. Es decir, se trata de un añadido sobre la composición original.


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Gaetano Latilla (1711 – 1788) He was born in Bari. Latilla was a choirboy at the Bari Cathedral, then from 1726 he studied at the Conservatorio S. Maria di Loreto in Naples. From 1738 he composed comic operas for theaters in Italy. After periods of service at S. Maria Maggiore, Rome (1738-41), and at the Conservatorio della Pieta, Venice (1753-66), he was made second maestro di cappella at St. Mark's, Venice. He returned to Naples ca. 1772, possibly to escape the law, where he remained for the rest of his life. In addition to sacred music and instrumental works he composed many operas, including Li marite a forza (Naples, 1732), Gismondo (Naples, 1737), La finta cameriera (Naples, 1738), Zenobia (Turin, 1742), Ezio (Naples, 1758), and Antigono (Naples, 1775).

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La finta cameriera, opera bufa en tres actos (1738). Aria, Più non mi cucchi. Aria Colà sul praticello vicino al fonticello.

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Última edición por Zelenka el 24 May 2014 12:43, editado 2 veces en total

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Delaforce, olvidé darte las gracias. Ya he tomado nota. :D


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[quote="Zelenka"]

La finta cameriera (1738) Opera bufa en tres actos. Aria: Più non mi cucchi




Está precioso, ¿quién es el cantante?.


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asi me gusta,Zelenka,que me pongas a mis coleguis italianos barroqueros :wink:

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Al lampo dell'armi quest'alma guerriera vendetta farà.


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helena gabriela escribió:
Está precioso, ¿quién es el cantante?.


Stefano Di Fraia.


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Albert Charles Paul Marie Roussel (1869-1937) He was born in Tourcoing, Nord-Pas-de-Calais, Francia, into an affluent family, Roussel lost both his parents when he was very young, and was entrusted to the care of his grandfather at age seven; in 1880, the grandfather died, and a maternal aunt took over the responsibility of raising the boy. Although he was interested in music, Roussel decided to pursue a naval career; he graduated from the Ecole Navale in 1889, eventually serving in Indochina as an officer. In 1894, however, Roussel resigned his commission, devoting himself completely to music. He went to Paris, where he studied with the composer and organist Eugene Gigout. Four years later, he began studies with Vincent d'Indy at the newly-founded Schola Cantorum. In 1902, although he had not yet completed his studies, Roussel became professor of counterpoint at the Schola Cantorum. Having already composed several significant works (including his Piano Trio and the First Symphony), Roussel married Blanche Preisach in 1908; the following year, the two traveled to India, where he was exposed to the medieval Hindu legend of Queen Padmâvatî, who sacrificed her life for love. Fascinated by this story, Roussel decided to set it to music (his opera, Padmâvatî, 1923).

At the outbreak of World War I in 1914 Roussel applied for active duty, eventually obtaining an artillery commission; after the war, having retired to Perros-Guirec on the coast of Brittany, he focused on unfinished projects, which included the opera-ballet Padmâvatî. This work, which incorporates elements of traditional Indian music, marked a new period for Roussel, whose earlier compositions showed influences of Impressionism. During the 1920s, Roussel struggled to balance an increasing structural complexity with emotional expressiveness in his works. His Second Symphony, completed in 1921, exemplifies this tension; in Roussel's subsequent works, the listener can also detect elements of neo-Classicism. In 1922, Roussel settled in Vasterival, in the coast of Normandy. Despite increasingly frail health, he devoted much of his energy to composing; he completed the Piano Concerto in 1927. His increasing public esteem is evidenced by a festival entirely devoted to his works in Paris (1927) as well as a commission from the Boston Symphony Orchestra for that organization's 50th anniversary (Third Symphony, 1930); Roussel traveled to the United States for the performance. Works composed toward the end of Roussel's life, such as the String Quartet (1931-1932), the Fourth Symphony (1934), and the String Trio (1937), show his melodic idiom to be enriched by elements of chromaticism and polytonality. In these compositions, Roussel managed a successful synthesis of these new elements with the transparency of his earlier style.

Zoran Minderovic

Padmâvatî, ópera-ballet en dos actos (1923). Ah!... Ô mes soeurs fidèles....

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Última edición por Zelenka el 24 May 2014 12:46, editado 2 veces en total

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Roussel me gusta, tengo algunos trabajos orquestales de él, y esa grabación con la Horne.
Muy bueno!.

:wink:


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Arthur Seymour Sullivan (1842-1900) He was born in Lambeth, South London; the son of a bandmaster, he was encouraged to pursue his musical talent from an early age. He learned the wind instruments of his father's band and joined the choir of the Chapel Royal. At 14, he won the Mendelssohn Scholarship at the Royal Academy, and in 1858 he went to study in Leipzig, where his teachers included Ignaz Moscheles and Julius Rietz. In 1861, Sullivan began to make an impact on the London music scene. His music to Shakespeare's The Tempest was performed at the Crystal Palace winter concerts in 1862; the following year he published Six Shakespeare Songs. In 1864, Sullivan became the organist at Covent Garden, where his ballet L'île enchantée had its premiere. In 1867, he collaborated with F.C. Burnand on two operettas, Cox and Box and The Contrabandista. Five years later, he worked for the first time with W.S. Gilbert when they jointly created the light opera Thespis for the Gaiety Theatre. The piece was moderately successful, but not enough for its creators to continue working together immediately.

In 1875, however, the theater manager Richard D'Oyly Carte reunited the to compose an afterpiece for a production of Offenbach's La Périchole. The result was Trial By Jury, a brief satire of the judicial process, featuring Sullivan's brother, Fred, in the lead. The afterpiece proved so successful that this time the partnership continued. In 1877, their full-length opera The Sorcerer premiered under Carte's auspices at the Opera Comique, followed by H.M.S. Pinafore in 1878. Pinafore proved wildly popular, solidifying a three-way partnership of Sullivan, Gilbert, and Carte that resulted in eight more operettas before a quarrel broke up the team. After a reconciliation, Gilbert and Sullivan wrote two more operas, Utopia Ltd. (1893) and The Grand Duke (1896), but these failed to catch on and the partnership ended permanently. During the run of Patience (1881), Carte moved his company from the Opera Comique to the Savoy; from then on, Gilbert and Sullivan's operas became collectively known as Savoy Operas. In these operas, Sullivan's unerring sense of musical parody, with targets ranging from Handel to Verdi, perfectly matched Gilbert's witty social satire.

While Sullivan is known today for his partnership with Gilbert, he was active in other compositional forms throughout his career. One of his best known compositions in his day was The Lost Chord (1877), a song to a text by Adelaide Proctor written at the time of Fred Sullivan's untimely death. Sullivan was acclaimed for his oratorios, including The Prodigal Son (1869), and hymns, of which Onward, Christian Soldiers (1871) was and remains particularly popular. An Irish Symphony in E minor is sometimes still performed. In 1883, Queen Victoria rewarded Sullivan for his contributions to English music with a knighthood. Sullivan's dearest ambition was to compose grand opera. Carte, wishing to establish an English opera tradition, built the English Opera House, and here Sullivan's opera Ivanhoe, to a libretto by Julian Sturgis, premiered in 1891. The opera failed and remained Sullivan's only attempt at grand opera.

Roberta Klarreich

The Rose of Persia, ópera cómica en dos actos (1899). Oh luckless hour!

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Última edición por Zelenka el 24 May 2014 12:50, editado 1 vez en total

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Nicolae Bretan (1887-1968) He was born in Nasaud, Transilvania. Nicolae Bretan was one of the leading figures in Romania's music world until his forced early retirement in 1948. Unlike many twentieth century composers, his works were generally Romantic in style, with little experimentation in harmony or rhythm, let alone serialism. During his lifetime, he composed more than 200 songs, as well as several operas, sacred compositions, and orchestral works, and wrote libretti to all but his first opera. He studied at the Cluj Conservatory and later at the Vienna Academy and the Royal Hungarian Academy of Music, studying both voice and composition (as well as taking a law degree). After graduating in 1912, he sang at the Bratislava Opera and Oradea Opera before returning to Cluj and the Romanian National Opera, where he not only sang as the leading baritone until 1940 and composed, but also directed productions.

His first opera, Luceafarul premiered at the Romanian Opera in 1921 and was followed by Golem Lasadasa in 1924, Eroii de la Rovine and Scrisoarea III in 1934, Horia in 1937, and Arald in 1942. In 1944, he was named general director of the house, but the political climate forced him to retire in 1948 after he refused to join the Communist Party. His music was no longer allowed to be performed and he himself was treated as no longer existing in any musical role and was not even allowed to be a member of the Musician's Union. After the fall of communism, however, his reputation in his native country dramatically rose and he is today considered one of Romania's greatest composers, with the famous Nicolae Bretan International Competition created in his honor in 1993.

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Luceafărul, ópera en un acto, un prólogo y un epílogo (1921). Fragmento.

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Golem, ópera en un acto (1924). Fragmento.

Arald, ópera en un acto (1939) . Fragmento.

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Horia, ópera en siete escenas (1937). Fragmento.

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Última edición por Zelenka el 24 May 2014 12:58, editado 2 veces en total

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Me ha encantado el fragmento de Luceafărul, inicio proceso de búsqueda y captura. :wink:


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De las cuatro óperas de la vigneta Luceafărul me parece la mejor de todas :wink:


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Sigmund Theophil [Gottlieb] Staden (1607 - 1655) He was born in Kulmbach, Germany. He studied with his father and with the instrumentalist Jakob Paumann. By 1627 he was a city instrumentalist in Nüremberg, and from 1634 he was organist at St Lorenz. He was also active as a conductor, notably in a historical concert of 1643. He was a member of the Hirten- und Blumenorden an der Pegnitz. Though a lesser composer than his father, he is important for his Seelewig (1644), the first extant Singspiel; it is modelled on the school dramas of the 16th and 17th centuries but includes recitatives. He also wrote other dramatic pieces, incidental music for oratorio-like religious plays, instrumental music (mostly lost) and sacred and secular songs. These last are mainly in a simple, conservative style, but his collection Seelen-Music (1644-8) was popular long after his death. Also successful was his musical manual for schools (1636).

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Seelewig, Ein Waldgedicht oder Freudenspiel (1644). Comienzo.

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Última edición por Zelenka el 24 May 2014 13:00, editado 2 veces en total

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