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 Asunto: Re: La otra ópera
NotaPublicado: 14 Jul 2012 13:29 
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Tomás Bretón y Hernández (1850-1923) Nació en Salamanca. A los dos años, y con dos hermanos también de escasa edad, quedó huérfano de padre. Aprendió a tocar el violín muy joven en la Escuela de Bellas Artes de San Eloy y a los once años tocaba ya en la orquesta del Teatro del Liceo de Salamanca. En 1865, la familia se trasladó a Madrid, en cuyo Conservatorio ingresó el joven Bretón, que para sobrevivir tenía que componer piezas ligeras y tocar el violín en teatros diversos. Poco antes de terminar los estudios, dirigidos por Emilio Arrieta, consiguió el cargo de director de la orquesta del Circo Price. En 1872 terminó los estudios, compartiendo el primer premio de composición con Ruperto Chapí. En 1874, mientras tenía la imaginación puesta en el mundo operístico, compuso varias zarzuelas, como Los dos caminos, El viaje a Europa y El bautizo de Pepín. En el ínterin, basándose en un Libreto de Arnao, compuso una ópera, Guzmán el Bueno, que se estrenó el 25 de noviembre de 1875 en el Teatro Apolo de Madrid, con una buena acogida del público que se repitió poco después en el Liceo de Barcelona. En 1881 obtuvo, al igual que Chapí, una beca para estudiar en la Escuela Española de Bellas Artes de Roma, beca que la Casa Real complementó con un subsidio para que el compositor pudiera atender a las necesidades de su familia. En Roma compuso el oratorio Apocalipsis y en Viena escribió una Sinfonía. Entre Roma y París escribió parte de su siguiente ópera, Los amantes de Teruel, que terminó para justificar la beca concedida y que se estrenó tiempo después, el 12 de febrero de 1889, en el Teatro Real de Madrid, en italiano, con el título de Gli amanti di Terolo.

Entre 1885 y 1890 fue director de la madrileña Sociedad de Conciertos. La buena acogida de Los amantes de Teruel se repitió en el Liceo de Barcelona, teatro para el que compuso expresamente su tercera ópera, Garin, que se estrenó el 14 de mayo de 1892 y se representó varias veces en el mismo Liceo y en el Teatro Tívoli. En Madrid se representó en el Teatro Real aquel mismo año. Poco después compuso su zarzuela más célebre, La verbena de la Paloma, en un acto, con Libreto de Ricardo de la Vega, que se estrenó en el Teatro Apolo de Madrid el 17 de febrero de 1894. Al año siguiente estrenó en el Teatro de la Zarzuela de Madrid su última ópera de éxito arrollador, La Dolores, en tres actos, basada en el drama de Feliu y Codina; se representó en la capital española más de sesenta veces seguidas; en Barcelona se repitió el éxito, en el Teatro Tivoli, con más de cien representaciones consecutivas. La ópera se representó con igual acogida en Lisboa, Viena y Praga. Otras óperas de Bretón fueron El certamen de Cremona, Raquel (estrenada en el Teatro Real de Madrid en 1900), Farinelli (1903), Tabaré (estrenada en el Teatro Real de Madrid en 1903) y Don Gil. Debe destacarse además su intensa labor como director de orquesta, primero en la Unión Artístico Musical (1878-81), que él mismo fundó, como en la Sociedad de Conciertos de Madrid, principal orquesta madrileña que dirigió entre 1885 y 1891. Logró consolidar los ciclos de conciertos en Madrid con programaciones abiertas a la música española y a las novedades internacionales. En 1901 asumió la dirección del Conservatorio de Madrid, puesto que mantuvo hasta su jubilación en 1921, luchando por modernizar las enseñanzas del centro y buscando relaciones internacionales.

Óperas

La Dolores, ópera en tres actos (1895). Fragmento del acto primero.

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Última edición por Zelenka el 25 May 2014 17:39, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 21 Jul 2012 22:03 
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Antonio Caldara (1671-1736) He was born in Venice. He was the son of Giuseppe Caldara, a local violinist of no great fame. In his childhood, Caldara was a choirboy at St. Mark's Cathedral in Venice and also studied the viol, the cello, and keyboard. He may well have been a pupil of the maestro di cappella of St. Mark's, Giovanni Legrenzi, but this is uncertain. By 1689 he was known as a cellist and his growing number of compositions included operas, sonatas da chiesa and da camera, and solo cantatas. Performances of his operas had been given at Venice and Rome by the early 1690's and a personal visit made to Rome towards the end of the 17th century, about this time implies an acquaintance with and perhaps instruction from Corelli, Alessandro Scarlatti and Pasquini. He returned to Venice around 1698.

In 1699, Antonio Caldara left Venice for Mantua: he was appointed maestro di cappella da chiesa e dal teatro to Ferdinando Carlo (Charles IV), the Duke of Mantua, a pensionary of France with a French wife, who took the French side in the War of the Spanish Succession. The Duke had a reputation for a dedication to grandiose opera productions, the cost of which threw the finances of Mantua into disarray. It is difficult to determine exactly what Caldara was doing during the period of his employment with the Duke, for virtually none of his music from this time survives. Caldara remained in the Duke's service until 1707; the Duke died mysteriously the following year. In 1708, Caldara was in Rome; while there, he composed of church music and oratorios for Cardinal Ottoboni, and became acquainted with such luminaries as Georg Frideric Handel, Alessandro Scarlatti and Domenico Scarlatti, and Antonio Corelli. In this same year, Caldara also composed a number of operas, including Sofonisba.

Later in 1708, Antonio Caldara departed for Barcelona and his first association with the Habsburg dynasty in the person of the Archduke Charles (Charles III). The performance of Caldara's Componimento da camera per musica: Il più bel nome nei festeggiarsi il Nome Felicissimo di Sua Maesta Cattolica Elisabetha Christina Regina delle Spagne at the celebration of Charles' marriage to Elisabeth Christine of Braunschweig-Lüneburg (Barcelona, August 1708) firmly established him as a favourite and despite his return to Rome to take up the position as Maestro di Cappella to Francesco Maria Ruspoli, Prince of Cerveteri (July 1709), contact with the Spanish Court was not broken. Indeed, as later developments proved, it was a most fortunate connection. In the light of Ruspoli's eminence as a patron of the arts, Caldara's appointment as director of the noblemans, distinguished band of virtuosi di canto e suono is proof of an established fame. From his compositional output during the next seven years it is clear that Caldara's muse flourished in this more stable environment and he composed mainly secular works including 150 solo cantatas, over 50 duets, four operas and nine oratorios.

After marrying contralto Caterina Petrolli, Caldara left Rome in 1711, travelling to Vienna and Milan, then returning to Rome to fulfil his duties to the Prince. Between 1711 and 1715, Caldara composed, among other things, a significant collection of two and three voice motets. Yet despite an obviously secure position, the news of the death of the Habsburg Emperor Joseph I (April, 1711) and the proclamation of his brother Charles III of Spain as Charles VI, Holy Roman Emperor, brought Caldara to Vienna hoping that the earlier favouritism would secure a court appointment. In the event, the present Vice-Kapellmeister Marc' Antonio Ziani had been made Kapellmeister before Caldara's arrival; Johann Joseph Fux secured the post of Vice-Kapellmeister. Caldara returned to his position in Rome - retained by means of a steady flow of compositions from Vienna - but not before making a detour through Salzburg to court the favour of Franz Anton von Harrach, the Prince-archbishop.

A reshuffling of posts at the Imperial Court upon Ziani's death in 1715 and a more or less firm promise of an appointment brought about Caldara's final break with Rome. He was appointed Vice-Kapellmeister to Charles VI in 1717 (J.J. Fux became Kapellmeister). He left Rome for good in 1716, after composing some cantatas for his former patron, Prince Ruspoli, and settled in Vienna. Once in Vienna, Caldara was faced with a demanding new position in which he was required to compose many large and small-scale dramatic works each year, including many operas and oratorios. In addition to his busy schedule, Caldara also accepted outside commissions, composing operas for nobles in Salzburg and Monrovia. He was well-respected and well-paid in Vienna (though he had a reputation for lavish spending), and was able to be active as a composer until his death in December 1736. The compositions of these last twenty years were prolific in number, diverse in genre, often brilliant and certainly never less than highly competent in quality, mature and personal in expression and style, and above all, secured for Caldara a European fame that lasted long after his death.

Bach-Cantatas

Il più bel nome, componimento da camera per musica in dui parti (1708). Aria Quela Liria innamorata. Aria Al grande onor di sposa.

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Última edición por Zelenka el 25 May 2014 17:40, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 27 Jul 2012 21:42 
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Karl-Birger Blomdahl (1916-1968) He born in Växjö, Sweden. He was educated in biochemistry, but was primarily active in music and by his experimental compositions he became one of the big names in Swedish modernism. His teachers included Hilding Rosenberg. His third symphony, Facettes - a work in one subdivided movement - from 1950 is a major contribution to the repertoire. In 1959 he composed the opera Aniara based on the poem by Harry Martinson. His output of compositions also includes concertos for violin and viola, a chamber concerto for piano, winds and percussion, at least one other opera (Herr von Hancken), and much chamber music, including a trio for clarinet, cello and piano.

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Aniara, ópera espacial en dos actos (1959). Comienzo del acto segundo.

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Última edición por Zelenka el 25 May 2014 17:44, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 04 Ago 2012 0:26 
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Louis-Nicolas Clérambault (1676-1749) He was born in Paris. Louis-Nicolas showed precocious musical talents. He probably received his earliest training from his father, in violin and harpsichord playing. He studied the organ with André Raison; some indication of the pupil´s regard for his teacher can be gauged from the warm words of the dedication to Raison which Clérambault placed at the head of his Livre d´orgue. His other teacher was Jean-Baptiste Moreau (1656-1733), with whom he studied composition and singing. In 1707 Clérambault was organist of the Grands-Augustins in Paris, but like his forebears he found service in the royal household. His first appointment in this capacity was as supervisor of the concerts arranged by Mme de Maintenon for Louis XIV in the last few years of the king´s life; this was followed by an appointment as organist of the Maison Royale de Saint-Cyr, near Versailles, after the death of Nivers in 1714. He also took over Nivers´ position at St Sulpice in Paris about the same time. Clérambault may have been assisting Nivers for some time before his death; in an archival document, according to Brossard, Clérambault used the title ‘organiste de la maison royale de Saint-Louis à Saint-Cyr, et de l´église paroissiale Saint-Sulpice’ six months before Nivers died. Founded in 1688 by Mme de Maintenon as a school for poor but well-born girls and run on strictly religious lines, Saint-Cyr provided some musical training for its pupils in order to elevate the standard of singing in the chapel.

Clérambault´s duties were mainly concerned with playing the organ for the special services during the year, and training the girls´ voices from time to time. There were also occasions when the pupils took part in semi-dramatic performances. Racine´s Esther (set to music by Moreau) was written specially for them, and in later years Clérambault was to provide them with his L´idile de Saint-Cyr. Some years later he relinquished his position at Saint-Cyr in favour of one of his sons (probably César-François-Nicolas), but owing to the lack of first names in the official documents relating to their work there, it is not known for certain when this change was made (Bert believed that it was as early as 1721). Nevertheless, Clérambault le père, as he was to become known, retained his association with Saint Cyr. On the death of Raison in 1719 Clérambault was named his successor at the Jacobins in rue St Jacques in Paris, an appointment which he accepted in addition to that at St Sulpice. His prestige remained high for the rest of his life. He was widely regarded as one of France´s finest organists, while as a composer of French cantatas his reputation soared beyond all others. These works began appearing from 1710 and occupied his attention until a few years before his death. From his marriage to Marie-Marguerite Grulé (before 1709) there were seven children, of whom three survived infancy; they included two sons who inherited positions held by their illustrious father.

Óperas

Le Triomphe d'Iris, pastorale (1706). Fragmento.

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Última edición por Zelenka el 25 May 2014 17:44, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 10 Ago 2012 21:58 
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Julio Gonzalo Elías Roig Lobo (1890-1970) Nació en La Habana, Cuba. En 1902 comenzó a estudiar piano, teoría musical y solfeo y luego se graduó en estudios musicales en el Conservatorio de La Habana. En 1907 comenzó su carrera profesional como pianista y compuso su primera pieza musical para piano y voz solista. Dos años más tarde, comenzó a tocar el violín en el Teatro Martí de La Habana. En 1917 viajó a México. En 1922 fue co-fundador de la Orquesta Sinfónica de La Habana, de la cual se convirtió en director musical. En 1927 fue nombrado director de la Banda Municipal de Música de La Habana. Durante su mandato como director (ocupó el cargo hasta su muerte) hizo innumerables aportes a la música cubana. En 1929 fundó la Orquesta de Ignacio Cervantes y un año después fue invitado por la Unión Panamericana para dirigir una serie de conciertos en Estados Unidos. En 1931, durante su participación en la creación del Teatro Nacional, compuso y estrenó su zarzuela Cecilia Valdés. En 1938 fundó la Ópera Nacional de La Habana, que dirigió durante algunos años. Fundó la Sociedad de Autores de Cuba, la Federación Nacional de Autores de Cuba, la Unión Nacional de Autores de Cuba y la Sociedad Nacional de Autores de Cuba.

Wikipedia

Cecilia Valdés, zarzuela cubana (1931). Coro y canción de los esclavos.

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Última edición por Zelenka el 25 May 2014 17:56, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 17 Ago 2012 21:12 
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Johann Carl Gottfried Loewe (1796-1869) He was born in Löbejün, Saxony-Anhalt, Germany, and received his first music lessons from his father. He was a choir-boy, first at Köthen, and later at Halle, where he went to grammar school. The beauty of Loewe's voice brought him under the notice of Madame de Staël, who procured him a pension from Jérôme Bonaparte, then king of Westphalia, which enabled him to further his education in music, and to study theology at Halle University. This ended in 1813, on the flight of the king. In 1820, he moved to Stettin in Prussia (now Szczecin in Poland), where he worked as organist and music director of the school. It was while there that he did most of his work as a composer, publishing a version of Goethe's Erlkönig in 1824 (written 1817-18) which some say rivals Schubert's far more famous version. He went on to set many other poets' works, including Friedrich Rückert, and translations of William Shakespeare and Lord Byron. In 1821 he married Julie von Jacob, who died in 1823. His second wife, Auguste Lange, was an accomplished singer, and they appeared together in his oratorio performances with great success.

In 1827, he conducted the first performance of the 18-year old Felix Mendelssohn's Overture A Midsummer Night's Dream, Op. 21. He and Mendelssohn were also soloists in Mendelssohn's Concerto in A-flat major for 2 pianos and orchestra. Later in life, Loewe became very popular both as a composer and as a singer. As a youth, he had a high soprano voice (he could sing the music of the Queen of the Night in Die Zauberflöte as a boy), and his voice developed into a fine tenor. He made several tours as a singer in the 1840s and 1850s, visiting England, France, Sweden and Norway amongst other countries. He eventually moved back to Germany, and, after quitting his posts in Stettin after 46 years, moved to Kiel, where he died from a stroke on 20 April 1869.

Loewe wrote five operas, of which only one, Die drei Wünsche, was performed at Berlin in 1834, without much success; seventeen oratorios, many of them for male voices unaccompanied, or with short instrumental interludes only; choral ballads, cantatas, three string quartets (his opus 24), and a pianoforte trio; a work for clarinet and piano, published posthumously; and some piano solos. But the branch of his art by which he is remembered, and in which he must be admitted to have attained perfection, is the solo ballad with pianoforte accompaniment. His treatment of long narrative poems, in a clever mixture of the dramatic and lyrical styles, was undoubtedly modelled on the ballads of Johann Rudolf Zumsteeg, and has been copied by many composers since his day. His settings of the Erlkönig (a very early example), Archibald Douglas, Heinrich der Vogler, Edward and Die Verfallene Mühle, are particularly fine. In 1875, at Bayreuth, Richard Wagner remarked of Loewe, Ha, das ist ein ernster, mit Bedeutung die schöne deutsche Sprache behandelnder, nicht hoch genug zu ehrender deutscher Meister, echt und wahr! (Ha, that is a serious German Master, authentic and true, one who uses the beautiful German language with meaning, one who cannot be sufficiently revered!).

Wikipedia

Die drei Wünsche, Singspiel cómico en tres actos (1834). Final del acto primero.

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Última edición por Zelenka el 25 May 2014 17:57, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 24 Ago 2012 23:34 
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Domenico Mazzocchi (1592–1665) He was born in Civita Castellana, Viterbo. After studying at the seminary at Civita Castellana, Mazzocchi took lower orders in 1606 and was ordained priest on 30 March 1619. In 1614 he went to Rome, where he obtained the right of citizenship, and in, or shortly before, 1619 he was made a Doctor of Laws. He entered the service of Cardinal Ippolito Aldobrandini, probably in 1621. Mazzocchi has sometimes been wrongly described as a musical dilettante. He acted as secretary to the cardinal (a type of position often occupied by poets), and was free to write music on special occasions for the Aldobrandini and other noble Roman families. His professionalism is exemplified by the fact that his brother Virgilio, who served as maestro di cappella at prominent Roman churches from 1626, would delegate to him the composition of music for certain important religious feasts.

The entrance of Domenico into the household of Cardinal Ippolito Aldobrandini was the start of a long association with that family. His opera La catena d´Adone, performed during Carnival 1626 at the palace of Evandro Conti, Duke of Poli, was commissioned by the cardinal´s brother Prince Giovanni Giorgio Aldobrandini. From spring to autumn 1626 Mazzocchi undertook a journey to Parma and Milan, accompanying Cardinal Ippolito. From this period we have a series of important letters written by Domenico to the wife of Prince Aldobrandini, revealing the exact itinerary of the excursion. In June or July 1626, at Parma, single scenes of Mazzocchi´s Catena d´Adone were performed for Odoardo Farnese and his mother, born an Aldobrandini. Perhaps in late summer Mazzocchi went to Venice to oversee the printing of his opera, which was published in October 1626. After the death of Cardinal Ippolito in 1638, Mazzocchi became a familiar of the latter´s niece Princess Olimpia Aldobrandini-Borghese-Pamphili. Important also is the protection that the Barberini family extended to him. In 1637 Pope Urban VIII (Maffeo Barberini) secured a lifelong benefice for the composer, who in the following year dedicated to him his Poemata, settings of Latin poems by the pope himself.

Around this time, in the famous academies that Cardinal Francesco Barberini arranged for the papal court, there were performances of Mazzocchi´s madrigals, accompanied in part by a consort of viols. Mazzocchi also received financial support from the next pope, Innocent X (Giambattista Pamphili), and the Aldobrandini family arranged to get him an additional benefice. Thus he was able to live in some style in the four rooms he occupied with his servant in the Palazzo Aldobrandini-Pamphili, and he kept also two additional rooms for his adopted son in the Palazzo Mancini opposite. Mazzocchi acquired considerable wealth, but his financial obligations were multiple: he was generous to his family in Civita Castellana and to the young Roman boy he adopted about 1640. According to G.B. Doni (Annotazioni sopra il Compendio, Rome, 1640, p.339) he had a ‘natural modesty and gentleness of manner’.

It was unfortunate for his musical productivity that Mazzocchi became involved in controversy and spent more than ten years, from 1642 at the latest to 1653, trying to prove that Civita Castellana was the site of the ancient Etruscan town of Veii; during this period he published polemical writings on this subject but virtually no music. Eventually he returned to music and published his Sacrae concertationes in 1664. But even this collection seems to date, at least in part, from a much earlier period; some of the works were apparently composed in the 1630s or early 1640s. The motets and oratorios contained in the print were written mainly for Roman oratories, including the Oratorio del SS Crocifisso, and perhaps also for the Confraternita della SS Trinità dei Pellegrini, beloved of Cardinal Ippolito Aldobrandini, and the houses of the Augustinian nuns of S Maria Maddalena delle Convertite al Corso favoured by Cardinal Francesco Barberini.

Óperas

La Catena d’Adone, favola boschereccia en un prólogo y cinco actos (1626). Final del acto primero.

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Última edición por Zelenka el 25 May 2014 18:06, editado 2 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 01 Sep 2012 20:49 
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Bruno Mantovani (*1974) Nació en Châtillon en los Altos del Sena, de padre de origen italiano y de madre de origen español. Bruno comienza a tomar cursos de piano, de percusión y de jazz en el conservatorio de Perpiñán. Después entró en el Conservatorio de París en 1993 y obtuvo cinco primeros premios. Sus profesores fueron Guy Reibel, composición, Alain Poirier, historia de la música, Alain Louvier, análisis, Rémy Stricker, estética, Laurent Cuniot, electroacústica y Jacques Charpentier, orquestación. Obtuvo una máster de musicología en la Universidad de Ruán y después siguió un curso de composición en la abadía de Royaumont. En 1998, acabó su formación participando en cursos de composición y de informática musical en el Ircam. El 2 de agosto de 2010 sucedió a Pascal Dumay a la cabeza del Conservatorio de París.

Wikipedia

L'enterrement de Mozart, ópera de cámara (2008). Comienzo.

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Última edición por Zelenka el 25 May 2014 18:06, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Sep 2012 21:08 
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Vicenç Cuyàs i Borés (1816-1839) He was born to Catalan family in Palma de Mallorca where his family had fled during the War of Independence. Shortly after the family returned to Barcelona where Cuyàs began studies in medicine, which he soon relinquished. At the age of 17 he began to study music with Ramón Vilanova, one of Barcelona's most prestigious teachers during the early nineteenth century, who in turn had trained in Milan with abbé Isidore Piantanida. Cuyàs' early works consist of operatic music and ramblings that were premiered widely in private salons. But it was at the Teatre de la Santa Creu where almost all of his works were produced. The First Symphony of Cuyàs is dated 1835 thought it is actually an extensive opera overture in a single movement. Of his Second Symphony only a fragment remains. To 1835 date several arias and duets composed for a drama of Antonio Ribot.

Cuyàs is known almost exclusively for La Fattucchiera - considered the first romantic opera Catalan - though sung in Italian. Premiered in July 1838 in Barcelona, it had 24 performances in a row. Cuyàs would probably have become an important composer of operas but had died of tuberculosis on the last feature of the opera, for 22 years. Cuyàs father had also died of tuberculosis during the rehearsals. The opera is based on a novel of the Viscount of Arlincourt which had already been a success among the sentimental literature of the period. The action takes place in the twelfth century, after the Third Crusade, and in the plot, historical references are mixed with mixture of love, magic and seriousness. Felice Romani had written a libretto based on the same plot for Saverio Mercadante's opera Ismalia ossia Morte ed amore. Ramón Carnicer reused the same libretto for an opera premiered in Madrid.

Wikipedia

La Fattucchiera, ópera en dos actos (1838). Fragmento del acto segundo.

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Última edición por Zelenka el 25 May 2014 18:08, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 14 Sep 2012 19:28 
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Walter Braunfels (1882-1954) fue un compositor, pianista y pedagogo musical. Nació en Frankfurt. Sus primeros profesores fueron su propia madre, bisnieta de Louis Spohr, y James Kwast. Estudió derecho y economía en Múnich pero, tras asistir a una representación de Tristán e Isolda, decidió dedicarse por entero a la música, trasladándose a Viena para asistir a las clases de Theodor Leschetizky –uno de los más reputados profesores de piano, de quien también habrá que hablar como autor de un par de óperas. Posteriormente regresó a Múnich para continuar sus estudios de composición con el wagneriano Felix Mottl y el straussiano Ludwig Thuille. Tras el paréntesis de la Primera Guerra Mundial, en la que fue movilizado, sufrió una crisis espiritual que le llevó a convertirse al catolicismo.

En los años veinte comenzó una exitosa carrera como intérprete que se prolongaría, con altibajos, hasta su muerte. También alcanzó una notable reputación como profesor, que le llevó a dirigir la prestigiosa Hochschule für Musik de Colonia. Su labor de composición adquirió cierta fama gracias a la ópera Die Vögel (Los pájaros, 1920) y se habló de él como posible autor de un himno para el partido nazi, aunque, tras la llegada al poder de Hitler, se descubrieron sus antecedentes judíos y acabó siendo incluido en el listado del Entartete Kunst. Tuvo que renunciar a su puesto en Colonia, pero no abandonó Alemania.

Al terminar la guerra, fue rehabilitado y gozó de la protección del exalcalde de Colonia y hombre fuerte de la posguerra, Konrad Adenauer. En aquellos momentos su música era respaldada por la crítica más conservadora y por el público en general, especialmente sus óperas Prinzessin Brambilla (sobre temas de E.T.A. Hoffmann, 1909), la ya mencionada Die Vögel (basada en la obra de Aristófanes) y Verkündigung (según poemas de Claudel, 1938), las Phantastische Erscheinungen (variaciones sobre un tema de Hector Berlioz, de 1917), la Schottische Fantasie para violín y orquesta (1933) y el oratorio Spiel von der Auferstehung, compuesto poco antes de su muerte. Al poco tiempo, su figura había caído casi en el olvido.

Supermaño

Die Vögel, Lyrisch-phantastisches Spiel in 2 Aufzügen (1919). Del prólogo, Ach, ach, ach! Liebwerte Freunde, gegrüßt. Del acto segundo, Ah! Ah! Narzissus, zitterst du im Licht?.

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Verkündigung, Mysterium in 1 Vorspiel und 4 Akten (1935). Escena tercera del acto primero.

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Jeanne D'Arc, Szenen aus dem Leben der heiligen Johanna, Handlung in 1 Vorspiel und 3 Aufzügen (1943). De la primera escena de la tercera parte, Nie mehr, mein Freund y Lasst mich, ihr Lieben.

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Última edición por Zelenka el 25 May 2014 18:12, editado 1 vez en total

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 Asunto: Re: La otra ópera
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La viñeta de Braunfels es cortesía de Supermaño. :wink:

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 Asunto: Re: La otra ópera
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Ivar Kristian Hallström (1826-1901) He was born in Stockholm. As a pianist he was a pupil of E. Passy and the German pianist Theodor Stein. In 1844 he studied at the University of Uppsala, where he took his degree of bachelor of law in 1849. During his years there he wrote many works for piano and solo songs; and together with Prince Gustaf he composed the opera Hvita frun på Drottningholm (orchestrated by J.N. Ahlström and produced at the Swedish Royal Opera in 1848). After the Prince’s death, Hallström became librarian to Prince Oscar (afterwards King Oscar II) in 1853, and settled in Stockholm. He gave piano lessons, and from 1861 to 1872 he was the director of A.F. Lindblad’s music school. From 1881 to 1885 he coached singers at the Swedish Royal Opera. Most of Hallström’s compositions are vocal. His style is somewhat eclectic, reflecting Swedish classical and folk traditions (especially in Den Bergtagna), and showing the influence of French composers (especially Gounod) and of Wagner. His musical characteristics include humorous or rhetorically pathetic expression; in some of his earlier works he developed a refined lyric sentiment. Technically he shows a sure feeling for melody and form.

Óperas

Hertig Magnus och sjöjungfrun, opereta romántica en tres actos (1867). Del acto primero, Hvarthän min fot än länder. Del acto tercero, Och ringen ska vi knyta.

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Den Bergtagna, ópera romántica en cinco actos (1874). Final del acto primero.

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Última edición por Zelenka el 25 May 2014 18:15, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 25 Sep 2012 19:49 
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¿Me podéis contar algo de la ópera Of Mice And Men, de Carlise Floyd, estrenada creo en 1970 y que es para muchos su mejor obra? (algún dato, distribución vocal, estilo de música, grabaciones disponibles, representaciones destacables del título...)
Gracias.

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 Asunto: Re: La otra ópera
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Sólo conozco fragmentos de la obra. Antes estaba en Operashare. Que yo sepa existen dos grabaciones, una está descontinuada y creo que nunca llegó a ver el formato CD, la otra es esta:

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Gordon Hawkins, Anthony Dean Griffey, Joseph Evans, Julian Patrick, Elizabeth Futral, Houston Grand Opera Orchestra, Patrick Summers

La distribución es:

S,4T,2Bar; male chorus 2(II=picc).2(II=corA).2(II=bcl).2-4.2.2.1-timp.perc(3):vib/glsp/xyl/tgl/tamb/gong/SD/BD/TD/susp.cym/crash cym/whip-harp-cel-strings.

y el estilo de la música es un neoclasicismo gringo.

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 Asunto: Re: La otra ópera
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Henri Constant Gabriel Pierné (1863-1937) Nació en Metz, Francia. Su madre fue profesora de piano y su padre profesor de canto. La derrota francesa de 1870 condujo a su familia a París. Pierné ingresó en el Conservatorio de París, en el que estudió con Albert Lavignac, Antoine François Marmontel, Émile Durand, César Franck y Jules Massenet. En 1882 obtuvo el primer premio de órgano y el Segundo Grand Prix de Rome, con la cantata Edith. En el Conservatorio conoció a Claude Debussy, al que le uniría siempre un fuerte vínculo. En 1890, a la muerte de César Franck, reemplazó a su maestro en la tribuna de organista de la Iglesia de Santa Clotilde durante ocho años, hasta que Charles Tournemire tomó su relevo en 1898.

La verdadera carrera musical de Pierné se produjo en el campo de la dirección de orquesta. En 1903 se convirtió en adjunto de Édouard Colonne al frente de los Conciertos Colonne, antes de obtener, más adelante (de 1910 a 1934) la dirección principal de los mismos. Consiguió una gran reputación como director de orquesta, que aprovechó para fomentar la interpretación de música contemporánea (Claude Debussy, Maurice Ravel, Albert Roussel, Igor Stravinski). Atrajo las críticas de su amigo Camille Saint-Saëns al dirigir la Segunda suite de Darius Milhaud. También estrenó la sinfonía de Louis Vierne en 1919. En 1924 fue nombrado miembro de la Académie des beaux-arts ocupando la vacante de Théodore Dubois. Ese mismo año fue nombrado «Chevalier» de la Legión de Honor.

Pierné fue un compositor prolífico. Escribió al menos diez obras dramáticas, cuatro oratorios, ballets, música incidental para el teatro, un gran número de piezas de cámara y pianísticas, muchas canciones y varias piezas corales. Pierné soportó, a lo largo de toda su vida, el eclipse que su brillante carrera como director de orquesta proyectó sobre su faceta de compositor. René Dumesnil escribió a este respecto que: Todos aquellos que se fijen en las partituras de Gabriel Pierné tienen garantizados un gran provecho y un gran placer.

Wikipedia

Sophie Arnould, ópera en un acto (1921). Final.

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Última edición por Zelenka el 25 May 2014 18:16, editado 1 vez en total

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