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 Asunto: Re: La otra ópera
NotaPublicado: 19 Jun 2011 13:16 
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Samuel Arnold (1740–1802) He was born in London, the son of Thomas Arnold and probably Princess Amelia, Handel's pupil. He studied under Bernard Gates, a student of John Blow, at the Chapel Royal and from the mid 1760s he was an active composer for the summer gardens concerts. Arnold began his theatrical activities in 1764 and within a decade established his reputation, particularly with The Maid of the Mill (1765), the first modern English opera with action-finales, and The Prodigal Son, an oratorio performed at the Oxford University encaenia in 1773. At the age of 29, Arnold, in partnership with the violinist Thomas Pinto, took up the proprietorship of Marylebone Gardens but despite good-quality music performed there, the owners faced a constant struggle against financial adversity and strenuous efforts were necessary to attract the public. Burlettas (Italian comic operas in translation) were a particular speciality, being staged in a separate small theatre, and so were Torre's fireworks displays. Francois Hippolyte Barthelemon, one of London's foremost virtuosi (admired by Fanny Burney's Evelina) was leader of a small but accomplished orchestra. Arnold retired from Marylebone in financial ruin when he lost around ?0,000 as a result of embezzlement.

Arnold resumed his professional association with the patent theatres when, in 1777, he was engaged by George Colman, the elder as composer and music director of the Little Theatre in the Haymarket. He composed over 60 stage works over the next twenty years, some with impressive overtures, such as those for The Castle of Andalusia (1782) and Turk and No Turk (1785), as well as incidental music, overtures and and insertion arias for other composer's works. From the mid 1780s Arnold was in a position to combine his summer directorship of the Little Theatre with several other posts in London, such as organist and composer to the Chapel Royal (from 1783) and organist to Westminster Abbey (from 1793). In 1789 he became conductor of the Academy of Ancient Music and in 1790 founded the Graduates Meeting, a society of academic musicians which included Haydn among its associates. From 1786 Arnold was dedicated to editing a complete Handel edition, 180 parts of which were completed. Arnold was buried in Westminster Abbey.

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Polly, ballad opera (1777). Fragmento.

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Última edición por Zelenka el 25 May 2014 9:41, editado 2 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 27 Jun 2011 1:20 
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Domenico Sarro (1679-1744). He was born in Trani, Apulia. He studied at the Neapolitan conservatory of S. Onofrio and had court posts as vice-maestro di cappella (1704-7, 1725-35) and acting maestro di cappella (from 1735). He had his first operas staged in 1706-7 and from 1718 he emerged as a prominent and prolific writer of operas, oratorios, serenatas etc; most were given in Naples. His opera Didone abbandonata, premiered in 1724 at the Teatro San Bartolomeo in Naples, was the first setting of a major libretto by Pietro Metastasio. His earliest works use a Baroque style akin to Scarlatti's, but he contributed to the evolution of the simpler, more melodic Neapolitan style later popularized by Vinci and Leo. Around 1720 he was an innovatory composer; by 1740 his style was out of fashion. He is best remembered today as the composer of Achille in Sciro, the opera that was chosen to open the new Teatro di San Carlo in 1737.

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Moschetta e Grullo, intermezzo (1727). Comienzo.

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Última edición por Zelenka el 25 May 2014 10:01, editado 3 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 03 Jul 2011 20:23 
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Max von Schillings (1868–1933) He was born in Düren, Germany. Schillings was brother to the photographer Carl Georg Schillings. He received his first musical training in violin, piano and theory at the same time as his formal education in Bonn. His teachers were Caspar Joseph Brambach and Otto von Königslow. Schillings later studied jurisprudence, philosophy, literature and art history at the University of Munich. Max Schillings was given a professorship by the Royal Bavarian Ministry of the Interior (Königliches Bayerisches Staatsministerium des Innern) in 1903. In 1911 he was named an Honorary Doctor of Philosophy by the Philosophy Faculty at the University of Heidelberg. He was awarded the Ehrenkreuz (Ger. honorary cross) by the Order of the Württemberg Crown, the fifth highest rank awarded. With this honor, he was allowed to use the name Max von Schillings. In Düren, the street between Goethestraße and Aachener Straße was renamed "Schillingsstraße".

As early as the 1890s, he was given a position as an assistant at the Bayreuth Festival; later he was engaged as a conductor and music teacher in Munich. Between 1908 and 1918 he was the Intendant at the Königlichen Hoftheater (Royal Court Theatre) in Stuttgart, for which he received the honor mentioned above. From 1918 to 1925, he succeeded Richard Strauss as intendant of the State Opera in Berlin, whilst concurrently being the musical director of the summer-time Zoppot Forest Opera. In the second half of this decade, he undertook concert tours which took him through Europe and to the USA. Having returned to Germany, he took over the job of President of the Prussian Academy of the Arts in 1932, succeeding Max Liebermann. From March 1933 until his death, Schillings was also the artistic director of the Berlin Staatsoper. He died in 1933 from a pulmonary embolism in Berlin.

His composition work includes several operas, melodramas, choral works, chamber music pieces, violin and piano concertos, symphonic poems and works for stage. His most important work is undoubtedly his opera Mona Lisa, which became one of the most-performed operas in Germany until his death. He stands beside Humperdinck and Richard Strauss as one of the composers who re-established the music form of melodrama at the start of the 20th century. Schillings was renowned as a music educator - one of his more famous students was Wilhelm Furtwängler. He was the dedicatee of Sea Drift by Frederick Delius.

Max von Schillings was an opponent of the Weimar Republic and a declared anti-Semite. The expulsion and exclusion of important Jewish and free-thinking artists from the Prussian Academy of the Arts began during his time as President - some artists affected were Käthe Kollwitz, Heinrich Mann, Ricarda Huch, Alfred Döblin, Thomas Mann, Max Liebermann, Alfons Paquet, Franz Werfel and Jakob Wassermann. He laid off Arnold Schönberg from the teaching staff of the Academy, in contravention of Schönberg's contract and in 1933, he ordered Franz Schreker, the leader of masterclasses in composition at the Academy, into early retirement.


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Mona Lisa, ópera en dos actos (1913-1915). Fiordalisa....

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Última edición por Zelenka el 25 May 2014 9:50, editado 2 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 04 Jul 2011 23:49 
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Menuda perla, el Schilling éste. Además, no me ha gustado mucho el fragmento de Fiordalisa. En cambio, los dos barrocos anteriores son dos joyitas. Sobre todo el dúo de Arnold, que además tiene una apacible cara de buena persona.


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 Asunto: Re: La otra ópera
NotaPublicado: 10 Jul 2011 17:39 
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Anónimo (primera mitad del S. XVIII) El drama evangelizador, a menudo en lenguas indígenas, fue muy popular en la vida de las reducciones, y resultó en un aporte único al repertorio americano de la ópera del tiempo de la Colonia. Se ponía en escena óperas en español, italiano y lenguas originarias. Es de suponer que para la visita del obispo o gobernador se elegían obras en lenguas entendidas por los ilustres huéspedes (español o italiano), en tanto que las demás representaciones optarían por la lengua del lugar, ya que muchos no entendían ninguna de las lenguas europeas. Las óperas se interpretaban repetidas veces al año. No obstante, los momentos más destacados para ello fueron la fiesta del Patrón del Pueblo, las mayores fiestas religiosas (Navidad, Corpus Christi, etc.), la visita del obispo o del gobernador, o las fiestas reales, como, por ejemplo, la coronación del Rey o sus bodas. Los actores eran los aborígenes mismos y, a menudo, - en su adaptación y composición – tanto el argumento como la escenificación insertaban elementos del mundo indígena. El teatro musical se hacía a la hora del anochecer, al aire libre, junto al pórtico de la Iglesia o al castillo del estandarte real.

Son tres las óperas remanentes, o sus fragmentos, de las misiones jesuíticas. Las tres formaron parte del repertorio musical de Chiquitos, donde fueron compiladas y guardadas. Las obras son: (1) San Ignacio, con argumento en español (copias de algunas partes de esta ópera han sido encontradas en el archivo de Moxos, Bieni, Bolivia); (2) San Francisco Xavier, con libreto en chiquitano; y (3) fragmentos de El Justo y el Pastor, también en chiquitano. (Fuera del contexto de las misiones, en los archivos del Perú, se conservan otras dos obras dramáticas del repertorio hispanoamericano de la época de la Colonia: La púrpura de la Rosa, de Tomás de Torrejón y Velasco (en Lima) y, en el Archivo del Seminario San Antonio Abad, Cuzco, una ópera-serenata Venid, venid Deydades, de Fray Esteban Ponce de León) Y aunque en ninguna de ellas hay temas musicales, ritmos ni instrumentos autóctonos identificables, la cultura reduccional en la que surgieron imprimió su huella en cada una de ellas, ante todo en la preferencia por el tema – las tres son óperas sacras - , en su arreglo vocal e instrumental y en la selección de la lengua y destinatario (los chiquitos mismos).

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San Francisco Xavier, ópera (ca. 1740). Aria cuarta, Aipoostij Tupas ape.

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Última edición por Zelenka el 25 May 2014 10:03, editado 2 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 10 Jul 2011 18:22 
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Interesante.

Los fragmentos de San Francisco Xavier estan completos en youtube:

http://www.youtube.com/watch?v=YHFlgFcsAUA

Los estoy escuchando ahora mismo.


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 Asunto: Re: La otra ópera
NotaPublicado: 10 Jul 2011 23:20 
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Ubicación: ¿Invadiendo Polonia?
Estupendo aporte, Zelenka. A ver si saco un ratico...

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 Asunto: Re: La otra ópera
NotaPublicado: 10 Jul 2011 23:45 
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Gracias. :wink:

Por cierto, esa fue la vigneta No. 200. :D

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 Asunto: Re: La otra ópera
NotaPublicado: 17 Jul 2011 18:20 
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Nikolaos Halikiopoulos Mantzaros (1795-1872) He was born in Corfu. Mantzaros was of mixed Greek and Italian noble descent, coming from one of the most important and wealthy families of the "Libro d'Oro" di Corfu and therefore he never considered himself a "professional composer". He was taught music in his native city by the brothers Stefano (pianoforte) and Gerolamo Pojago (violin), Stefano Moretti from Ancona (music theory) and cavalliere Barbati, possibly a Neapolitan (music theory and composition). Mantzaros presented his first compositions (three concert or substitute arias and the one-act azione comica Don Crepuscolo) in 1815 in the theatre of San Giacomo of Corfu.

From 1819 onwards he was regularly visiting Italy (Venice, Bologna, Milan, Naples), where, among others, he met the veteran Neapolitan composer Niccolo Antonio Zingarelli. His compositions include incidental music, vocal works in Italian and demotic Greek, sacred music for the Catholic Rite (three masses (1819?, 1825, 1835?), a Te Deum (1830)) and the Orthodox Church (notably, a complete mass based on the septinsular polyphonic traditional chanting (1834)), band music, instrumental music (24 piano sinfonie, some of them also for orchestra) etc. Mantzaros also composed the music for the first concert aria in Greek in 1827, the Aria Greca. He was the major representative of the so called Ionian School of music.

His most known composition remains the musical setting for the poem of Dionysios Solomos' Ýmnos eis tīn Eleutherían (Hymn to Liberty, 1829–1830), the first and second stanzas of which were adopted initially in 1864 as the Royal Anthem of Greece and on 28 June 1865 as the Greek national anthem. However, recent research has proved that Mantzaros had broader activities in composition, music theory and music aesthetics, which go beyond the established perception of him as the mere composer of the National Anthem.


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Don Crepuscolo, azzione comica d'un atto solo (1815). Aria, Figli del amor mio, Numi d'antichità.

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Última edición por Zelenka el 25 May 2014 10:05, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 18 Jul 2011 10:18 
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¡Enhorabuena por la viñeta 200, Zelenka! Y por la 201. Y espero que lleguemos a darte la enhorabuena por la viñeta 1000.


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 Asunto: Re: La otra ópera
NotaPublicado: 18 Jul 2011 14:33 
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Nunca deja de sorprenderme la cantidad y calidad de contenidos, la de cosas que se pueden aprender en este foro. Este hilo que acabo de descubrir es un buen ejemplo... ¡y lleva así desde 2006!! Chapeau Zelenka... :aplauso:


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 Asunto: Re: La otra ópera
NotaPublicado: 18 Jul 2011 17:31 
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Gracias a ambos. :wink:

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 Asunto: Re: La otra ópera
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Thomas Augustine Arne (1710–1778) He was born in the Covent Garden area of London. He was baptised in the Roman Catholic faith, his mother's religion. Arne's father and grandfather were both upholsterers and both became officials of the City Company of Upholsterers. His grandfather fell upon hard times and died in the Marshalsea Prison for debtors. Arne's father earned enough money not only to rent a large house in Covent Garden but also to have Arne educated at Eton College. But later in life, he also managed to lose most of his wealth and had to earn extra cash by acting as a numberer of the boxes at Drury Lane Theatre.

Arne was so keen on music that he smuggled a spinet into his room and, dampening the sounds with his handkerchief, would secretly practice during the night while the rest of the family slept. He also dressed up as a liveryman in order to gain access to the gallery of the Italian Opera. It was at the opera that Arne first met the musician and composer Michael Festing, who was a major influence on Arne. He not only taught him to play the violin, but also took him to various musical events, including going to hear Thomas Roseingrave compete for the post of organist at Hanover Square and a visit to Oxford in 1733 to hear Handel's opera Athalia.

Upon leaving school, Arne was articled to a solicitor for three years. However, Arne's father discovered his son leading a group of musicians at what was probably one of Festing's musical gatherings. Following this disclosure of his son's real interest and talent, he was persuaded (again probably by Festing) to allow the young Arne to give up his legal career and to pursue music as a living. Arne's sister, Susannah Maria Arne, was a famous contralto, who performed in some of his works, including his first opera, Rosamund. (She would later become known professionally as "Mrs Cibber".) They and their brother Richard would often perform Arne's works together. Between 1733 and 1776, Arne wrote music for about 90 stage works, including plays, masques, pantomimes, and opera. Many of his dramatic scores are now lost, probably in the disastrous fire at Covent Garden in 1808.

Arne was a Freemason and active in the organisation, which has long been centred around the Covent Garden area of London, of which Arne was a native. Arne's Catholicism meant that he never composed music for the Church of England, unlike most other great English composers of his time. In 1737, Arne married singer Cecilia Young, whose sister, Isabella was the wife of John Frederick Lampe. Arne's operas and masques became very popular, and he received the patronage of Frederick, Prince of Wales, at whose country home, Cliveden, the Masque of Alfred, featuring "Rule Britannia", was debuted. In 1741, Arne filed a complaint in Chancery pertaining to a breach of musical copyright and claimed that some of his theatrical songs had been printed and sold by Henry Roberts and John Johnson, the London booksellers and music distributors. The matter was settled out of court.

As Mr. Arne has His Majesty's royal Patent for the sole printing and publishing of his works, he humbly hopes no Gentlemen or Ladies will give any Encouragement to pirated copies, written or printed, such persons who deliver them acting in open contempt of His Majesty's Authority and greatly injuring the Author in his Property. And as Mr. Arne can offend no honest Shopkeeper in maintaining his Right; he gives the Public Notice, that whosoever shall offer to write or print any of his works shall be prosecuted according to law.

Arne was certainly one of the very first composers to have appealed to the law over copyright issues.

In 1750, after an argument with David Garrick, Susannah left Drury Lane for Covent Garden Theatre, and Thomas followed. In 1755 during a period spent in Dublin, he separated from Cecilia, who, he alleged, was mentally ill. He began a relationship with one of his pupils, Charlotte Brent, a soprano and former child prodigy. Brent performed in several of Arne's works, including the role of Sally in his 1760 opera Thomas and Sally and Mandane in his 1762 opera Artaxerxes. Eventually Brent and Arne went their separate ways and she married a violinist Thomas Pinto in 1766. During the 1760s Arne frequently collaborated with the Irish writer Isaac Bickerstaff. Thomas and Sally was the first English comic opera to be sung throughout (it contained no dialogue).

Artaxerxes was one of the most successful and influential English operas of the eighteenth century and is the only known attempt to write an Italianate, Metastasian opera seria, in the English language. It was frequently performed in London into the 1830s. On 1791 visit to London Joseph Haydn was impressed by a performance of Ataxerses he attended and admitted that he had no idea such an opera existed in the English-language. In 1769 Arne composed the song Soft Flowing Avon, with lyrics by David Garrick, for the Shakespeare Jubilee held by Garrick in Stratford-upon-Avon to commerotate the life of William Shakespeare. In 1777, shortly before his death, Arne and his wife were reconciled. They had one son, Michael Arne. Arne is buried at St Paul's, Covent Garden, London.

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The Masque of Alfred, masque en tres actos (1740). When Britain first at heav'ns command.

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Artaxerxes, ópera seria en tres actos (1762). Air del acto primero, Amid a Thousand Racking Woes. Air del acto tercero, O Let the Danger of a Son.

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Última edición por Zelenka el 25 May 2014 10:09, editado 3 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 24 Jul 2011 21:35 
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¿La primera no es el himno inglés? :shock: ¿Salió de aquí o ya existía y lo incluyó Arne en su obra?


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 Asunto: Re: La otra ópera
NotaPublicado: 25 Jul 2011 0:49 
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"Rule, Britannia!" is a British patriotic song, originating from the poem "Rule, Britannia" by James Thomson and set to music by Thomas Arne in 1740.

This popular British national air was originally included in Alfred, a masque about Alfred the Great co-written by Thomson and David Mallet and first performed at Cliveden, country home of Frederick, Prince of Wales (the eldest son of George II and father of the future George III, as well as the great-grandfather of Queen Victoria), on 1 August 1740, to commemorate the accession of George II and the third birthday of the Princess Augusta.

The song soon developed an independent life of its own, separate from the masque of which it had formed a part. First heard in London in 1745, it achieved instant popularity. It quickly became so well known that Handel quoted it in his Occasional Oratorio in the following year. Handel used the first phrase as part of the Act II soprano aria, "Prophetic visions strike my eye", when the soprano sings it at the words "War shall cease, welcome peace!".

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