Fecha actual 20 Jun 2018 3:47

Todos los horarios son UTC + 1 hora [ DST ]




Nuevo tema Responder al tema  [ 1075 mensajes ]  Ir a página Anterior  1 ... 29, 30, 31, 32, 33, 34, 35 ... 72  Siguiente
Autor Mensaje
 Asunto:
NotaPublicado: 05 Feb 2009 0:21 
Desconectado
Comprimario
Comprimario
Avatar de Usuario

Registrado: 12 Dic 2008 20:35
Mensajes: 302
Ubicación: Madrid
:nw: la obra de Toldrá el Giravolt la escuché hace bastante tiempo, al leer tu comentario y escuchar el fragmento me ha decidido a buscarla por ahí :roll:
¿pondrás algo de Martín y Soler y otros memorables?


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 05 Feb 2009 20:37 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2574
Si. :wink:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 06 Feb 2009 0:31 
Desconectado
Comprimario
Comprimario
Avatar de Usuario

Registrado: 12 Dic 2008 20:35
Mensajes: 302
Ubicación: Madrid
Estupendo, gracias
:lol:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 10 Feb 2009 20:02 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2574
Imagen

Johann Christian Friedrich Hæffner (1759–1833) He was born in Oberschönau, Germany. He received his first musical education with the Schmalkalden organist Johann Gottfried Vierling. He studied in Leipzig from 1776, and then worked as a music conductor in theatres in Frankfurt am Main and Hamburg 1778-1780. He moved to Stockholm, Sweden in 1781 at the invitation of the German congregation there (Tyska kyrkan) to assume the position of organist, which he held until 1793. The same year (1781) he was employed at the Royal Theatre in Stockholm as well as conductor of the orchestra for the Stenborg theatres. In 1786 Hæffner was appointed assistant conductor of the Royal Orchestra (hovkapellet) and 1795 - 1807 he held the post of hovkapellmästare (Chief conductor of the Royal Orchestra).

Since king Gustaf IV Adolf closed the Royal Opera (and its orchestra) in 1807, he moved to Uppsala, where he 1808 was appointed Director Musices of the university and simultaneously was employed as organist of the cathedral. In Uppsala he organized the studentsång ("Student singing") - four-voice male choir singing. This practice rapidly spread to the other Nordic universities and is still today a coveted tradition, not only among university students, but for the last century also in many (most ?) male choirs all over Sweden. Hæffner's passion and work for this has rendered him the name Studentsångens fader ("Father of 'studentsång'). The starting point of this tradition is usually set to a performance of Under Svea banér (words by P.D.A. Atterbom, music by Hæffner) by a student choir celebrating the war hero Klingspor on 24 October 1808. Hæffner composed three operas, theatre music, a mass, songs with piano accompaniment, and was responsible for the new Swedish chorale book in 1819. Noteworthy is his oratorio Försonaren på Golgatha ("The Saviour on Golgatha").

Answers

Electra, tragedia en tres actos (1787). Final.

Imagen


Última edición por Zelenka el 24 May 2014 19:43, editado 2 veces en total

Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 12 Feb 2009 2:32 
Desconectado
Elektricista
Avatar de Usuario

Registrado: 31 Dic 2007 16:07
Mensajes: 3924
Ubicación: Foro nuevo, vida nueva
¡Uy! Pero qué bien está esta Electra. Cuando hicimos la ópera del mes pensamos hacer un apartado a las otras Elektra pero ésta no la teníamos. ¿Está disponible por ahí?

_________________

Zu neuen Taten,
teurer Helde


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 13 Feb 2009 10:15 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2574
En los lugares de costumbre parece ser que no está. :roll:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 15 Feb 2009 0:36 
Desconectado
Comprimario
Comprimario
Avatar de Usuario

Registrado: 12 Dic 2008 20:35
Mensajes: 302
Ubicación: Madrid
Como a Emarty a mí también me ha gustado. La he buscado por todos los sitios y no la encuentro aj merce la pena esta obra.


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 15 Feb 2009 11:35 
Desconectado
Div@
Div@

Registrado: 24 Mar 2004 11:24
Mensajes: 8705
Ubicación: Gasteiz
Ya se que no es la mejor alternativa, pero...

http://www.amazon.co.uk/s/ref=nb_ss_w_h ... &x=12&y=18


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 15 Feb 2009 23:25 
Desconectado
Comprimario
Comprimario
Avatar de Usuario

Registrado: 12 Dic 2008 20:35
Mensajes: 302
Ubicación: Madrid
Zelenka gracias :wink:
Marttit gracias :lol:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 17 Feb 2009 0:05 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2574
Imagen

Louis Moreau Gottschalk (1829-1869) He was born to a Jewish businessman from London and a white Haitian Creole in New Orleans, where he was exposed to a wide variety of musical traditions. He had six brothers and sisters. His family lived for a time in a tiny cottage at Royal and Esplanade in the Vieux Carré. Louis later moved in with relatives at 518 Conti Street; his Grandmother Buslé and his nurse Sally had both been born in Saint-Domingue (later known as Haiti). Gottschalk played the piano from an early age and was soon recognized as a wunderkind by the New Orleans bourgeois establishment. In 1840, he gave his informal public debut at the new St. Charles Hotel. Only two years later at the age of 13, Gottschalk left the United States and sailed to Europe, as he and his father realized a classical training was required to fulfill his musical ambitions. The Paris Conservatoire, however, initially rejected his application on the grounds of his nationality. His examiner commented that "America is a country of steam engines". Gottschalk gradually gained access to the musical establishment through family friends. After Gottschalk returned to the United States in 1853, he traveled extensively; a lengthy trip to Cuba in 1854 marking the beginning of a series of trips to Central and South America. By the 1860s, Gottschalk had established himself as the foremost pianist in the New World.

Although born and reared in New Orleans, he was a supporter of the Union cause during the American Civil War. He returned to his native city only occasionally for concerts, but Gottschalk always introduced himself as a New Orleans native. In 1865, he was forced to leave the United States because of a scandalous affair with a student at the Oakland Female Seminary. Gottschalk chose to travel to South America, where he continued to give frequent concerts. During one of these concerts, in Rio de Janeiro in 1869, he collapsed from having contracted malaria. Just before his collapse, he had finished playing his romantic piece Morte!! (interpreted as "she is dead"), although the actual collapse occurred just as he started to play his celebrated piece Tremolo. Gottschalk never recovered from the collapse. Three weeks later, at the age of 40, he died at his hotel in Tijuca, Rio de Janeiro, Brazil, probably from an overdose of quinine. In 1870 his remains were returned to the United States and were interred at the Green-Wood Cemetery in Brooklyn, New York. His burial spot was originally marked by a magnificent monument, which has eroded over the years. Gottschalk's music was very popular during his lifetime, and his earliest compositions created a sensation in Europe. Early pieces like Le Bananier and Bamboula were based on Gottschalk's memories of the music he heard during his youth in Louisiana. In this context, some of Gottschalk's work, such as the 13 minute opera Escenas campestres, retains a wonderfully innocent sweetness and charm.

Answers

Escenas campestres, ópera en un acto (1860).

Imagen


Última edición por Zelenka el 24 May 2014 19:46, editado 3 veces en total

Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 18 Feb 2009 19:03 
Desconectado
Div@
Div@

Registrado: 24 Mar 2004 11:24
Mensajes: 8705
Ubicación: Gasteiz
Zelenka escribió:
epdlp

Los jugadores (1941) ópera incompleta. Comienzo.

Imagen


Me acabo de hacer con la grabación. ¿Podríais darme el título original de Los jugadores? Muchas gracias.


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 22 Feb 2009 1:42 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 10 Sep 2005 1:10
Mensajes: 2195
Ubicación: Ciudad Autonoma de Buenos Aires
Zelenka escribió:
Imagen

Louis Moreau Gottschalk (1829-1869) He was born to a Jewish businessman from London and a white Haitian Creole in New Orleans, where he was exposed to a wide variety of musical traditions. He had six brothers and sisters. His family lived for a time in a tiny cottage at Royal and Esplanade in the Vieux Carré. Louis later moved in with relatives at 518 Conti Street; his Grandmother Buslé and his nurse Sally had both been born in Saint-Domingue (later known as Haiti). Gottschalk played the piano from an early age and was soon recognized as a wunderkind by the New Orleans bourgeois establishment. In 1840, he gave his informal public debut at the new St. Charles Hotel. Only two years later at the age of 13, Gottschalk left the United States and sailed to Europe, as he and his father realized a classical training was required to fulfill his musical ambitions. The Paris Conservatoire, however, initially rejected his application on the grounds of his nationality. His examiner commented that "America is a country of steam engines". Gottschalk gradually gained access to the musical establishment through family friends. After Gottschalk returned to the United States in 1853, he traveled extensively; a lengthy trip to Cuba in 1854 marking the beginning of a series of trips to Central and South America. By the 1860s, Gottschalk had established himself as the foremost pianist in the New World.

Although born and reared in New Orleans, he was a supporter of the Union cause during the American Civil War. He returned to his native city only occasionally for concerts, but Gottschalk always introduced himself as a New Orleans native. In 1865, he was forced to leave the United States because of a scandalous affair with a student at the Oakland Female Seminary. Gottschalk chose to travel to South America, where he continued to give frequent concerts. During one of these concerts, in Rio de Janeiro in 1869, he collapsed from having contracted malaria. Just before his collapse, he had finished playing his romantic piece Morte!! (interpreted as "she is dead"), although the actual collapse occurred just as he started to play his celebrated piece Tremolo. Gottschalk never recovered from the collapse. Three weeks later, at the age of 40, he died at his hotel in Tijuca, Rio de Janeiro, Brazil, probably from an overdose of quinine. In 1870 his remains were returned to the United States and were interred at the Green-Wood Cemetery in Brooklyn, New York. His burial spot was originally marked by a magnificent monument, which has eroded over the years. Gottschalk's music was very popular during his lifetime, and his earliest compositions created a sensation in Europe. Early pieces like Le Bananier and Bamboula were based on Gottschalk's memories of the music he heard during his youth in Louisiana. In this context, some of Gottschalk's work, such as the 13 minute opera Escenas campestres, retains a wonderfully innocent sweetness and charm.

Answers

Escenas campestres (1860) ópera en un acto.

Imagen


Me sorprendió gratamente escuchar ópera que desconocía en castellano.
Como siempre mil gracias Daniel por desaznarnos :wink:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 22 Feb 2009 1:47 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 10 Sep 2005 1:10
Mensajes: 2195
Ubicación: Ciudad Autonoma de Buenos Aires
Zelenka escribió:
Imagen

Othmar Schoeck (1886–1957) He was born in Brunnen, Switzerland. He studied briefly at the Leipzig Conservatory with Max Reger, in 1907/08, but overall spent his whole career in Zürich. His father, Alfred Schoeck was a landscape painter, and as a young man, Othmar seriously considered following in his father's footsteps and attended classes an art school in Zürich before dropping out to go to the Zürich Conservatory. He was known mainly for his considerable output of art songs and song cycles, though he also wrote a number of operas (mosty notably his one-act Penthesilea, premiered in Dresden, 1927, and revived at the Lucerne Festival, 1999) and instrumental compositions including two string quartets and concertos for violin (for Stefi Geyer, dedicatee also of Béla Bartók's first concerto), cello and horn.

Schoeck spent World War I in Zürich, where he had an affair with the pianist Mary de Senger. After hearing the music of Les Six in Paris, Schoeck abandoned his tonal style in favor of serialism, with the music of Alban Berg as a model. His work with the German poet Hermann Burte on the opera Das Schloss Dürande, for production at the Berlin State Opera, caused great controversy for Schoeck with the Swiss, because of his association with artists of Nazi Germany. The opera premiered in Berlin in 1943, with the composer in attendance. Schoeck himself did not harbor Nazi sympathies, but the angry Swiss reaction to Schoeck's actions damaged his reputation and put great strain on Schoeck. He suffered a heart attack in March 1944, but continued to compose.

Wikipedia

Erwin und Elmire (1911-1916) música para el Sinspiel de Goethe.Fragmento.

Imagen

Venus (1919-1921/1933) ópera en tres actos. Comienzo.

Imagen

Penthesilea (1923–1925) òpera en un acto. Comienzo.

Imagen

Massimilla Doni (1934/35) ópera en cuatro actos y seis cuadros. Cuarto cuadro.

Imagen



Yo tengo la versión de 1991 de la Swiss Workshop Philharmonic dirigida por Mario Venzago con Lucia Popp y James O'Neal, es una ópera que me encanta. :lol:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 24 Feb 2009 23:10 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2574
Imagen

Luciano Berio (1925-2003) Nació en Oneglia, Italia (hoy día llamado Borgo d'Oneglia, un pequeño pueblo a 3 km al norte de Imperia). Recibió sus primeras clases de piano de su padre y su abuelo que eran organistas. Durante la Segunda Guerra Mundial fue reclutado por el ejército, pero en su primer día de servicio fue herido en una mano mientras aprendía a usar la pistola. Después de un tiempo en un hospital militar, escapó y se integró a la lucha en grupos anti-nazis. Después de la guerra, Berio estudió en el Conservatorio de Milán con Giulio Cesare Paribeni y Giorgio Federico Ghedini. Abandonó los estudios de piano debido a la herida en su mano y se concentró en la composición. En 1947 se estrenó en público uno de sus primeros trabajos, una Suite para piano. Berio se ganó la vida durante ese tiempo acompañando clases de canto. Así conoció a su primera mujer, la mezzo-soprano americana Cathy Berberian con quien contraería matrimonio en 1950, poco después de graduarse (se divorciaron en 1964). Berio escribió numerosas piezas en las que explotaba la única y versátil voz de su esposa.

En 1951 viajó a los Estados Unidos para estudiar con Luigi Dallapiccola en Tanglewood, quien le despertó interés por el serialismo. Posteriormente acudió a los «Internationale Ferienkurse für Neue Musik» de Darmstadt, donde conoció a Pierre Boulez, Karlheinz Stockhausen, György Ligeti y Mauricio Kagel. Comenzó a interesarse en la música electrónica, fundando con Bruno Maderna, en 1955, el Studio di Fonologia, un estudio de música electrónica en Milán. Invitó a varios compositores significativos a trabajar allí, como Henri Pousseur y John Cage. También creó una publicación sobre música electrónica, Incontri Musicali. En 1960, Berio volvió a Tanglewood, esta vez como compositor residente, y en 1962, invitado por Darius Milhaud, ingresó como profesor en el Mills College en Oakland, California. En 1965 comenzó a impartir clases en el Juilliard School y allí fundó el Juilliard Ensemble, un grupo dedicado a interpretar música contemporánea. En ese mismo año, Berio se casó por segunda vez, esta vez con la notoria filósofo Susan Oyama (se divorció en 1971). Entre sus estudiantes se encontraban Louis Andriessen, Steve Reich, Luca Francesconi y, para nuestra sorpresa, Phil Lesh de la banda Grateful Dead.

Durante todo este tiempo, Berio estuvo constantemente componiendo y forjándose su reputación, ganando el Premio Italia en 1966 por Laborintus II. Su labor como compositor quedó consolidada cuando su Sinfonía, estrenada en 1968. En 1972, Berio regresó a Italia. Desde 1974 hasta 1980 fue director de la sección de electroacústica del IRCAM en París, y en 1977 contrajo matrimonio por tercera vez, ahora con la musicólogo Talia Pecker. En 1987 creó Tempo Reale en Florence, un centro con intenciones similares al IRCAM. En el año 1989, le fue concedido el Premio Ernst Siemens, en 1991 el Premio de la Fundación Wolf de las Artes y en 1994 se convirtió en Distinguido Compositor Residente en la Universidad de Harvard, manteniendo este cargo hasta el 2000. En el año 1996 le fue concedido el Praemium Imperiale y, en el año 2000, fue nombrado Presidente y Superintendente de la Accademia Nazionale di Santa Cecilia de Roma. Continuó componiendo hasta el final de su vida. Luciano Berio falleció en el 2003 en un hospital de Roma.

Wikipedia

Un Re in ascolto, azione musicale in due parti (1979-1983). Comienzo.

Imagen


Última edición por Zelenka el 24 May 2014 19:48, editado 2 veces en total

Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 04 Mar 2009 22:11 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2574
Imagen

André Ernest Modeste Grétry (1741–1813) He was born in Liège (now in Belgium) He learned music from his father, a violinist, and became a choirboy. After the young Grétry was brutally beaten for tardiness, he developed the habit of arriving so early for each of the three daily services that he spent long periods shivering on the church steps during winters. This may have accounted for his susceptibility to respiratory infections that eventually led to tuberculosis. In 1761 Grétry traveled to Rome, where he spent some years as a student of Casali; despite the city's burgeoning operatic scene, he produced mostly sacred music during these years (1761-1765). As a music teacher in Geneva in 1766, Grétry met Voltaire; at the writer's suggestion, he went to Paris, where he soon established himself as an operatic composer of some consequence. He met a Mlle. Grandon and apparently took a liking to her, judging from the appearance of the first of their three children prior to their marriage in 1771.

Grétry's central position in French opera (especially opéra comique) was undisputed during his lifetime, though the ascendancy of younger rivals such as Cherubini and Méhul eventually stole some of his thunder. Despite bouts of ill health, he maintained a more or less regular composition schedule of two new operas a year. He was decorated and received a pension from the King which, of course, was cancelled by the Revolution; finding favor with the new regime, however, he received a doubled pension by order of Napoleon, who also accorded him the Legion of Honor. Grétry eventually purchased Rousseau's "Ermitage" near Montmorency and eased into retirement there as his musical style became outdated.

Though never repertoire mainstays after the composer's lifetime, Gretry's operas enjoyed renewed interest as opera companies and audiences began to rediscover such unjustly overlooked composers of the Classical era. Richard Coeur-de-lion (1784) remains a seminal masterpiece of the opéra comique style; Zemire et Azor (1771), based on the story of Beauty and the Beast, received well-regarded productions in the 1980s and 1990s. Grétry's operas, despite a sometimes offhanded approach to the more academic rules of composition, are notable for a distinctive declamatory style, inventive use of ensembles, and graceful charm.

Answers

La Caravane du Caire, ópera-ballet en tres actos (1786). Fragmento del acto segundo.

Imagen


Última edición por Zelenka el 24 May 2014 19:51, editado 1 vez en total

Arriba
 Perfil  
 
Mostrar mensajes previos:  Ordenar por  
Nuevo tema Responder al tema  [ 1075 mensajes ]  Ir a página Anterior  1 ... 29, 30, 31, 32, 33, 34, 35 ... 72  Siguiente

Todos los horarios son UTC + 1 hora [ DST ]


¿Quién está conectado?

Usuarios navegando por este Foro: No hay usuarios registrados visitando el Foro y 9 invitados


No puede abrir nuevos temas en este Foro
No puede responder a temas en este Foro
No puede editar sus mensajes en este Foro
No puede borrar sus mensajes en este Foro

   
     
Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group
Traducción al español por Huan Manwë para phpbb-es.com