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 Asunto: Re: La otra ópera
NotaPublicado: 10 May 2014 3:15 
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Michaël Levinas (*1949) He was born in Paris. Levinas was the son of the philosopher Emmanuel Lévinas. Marguerite Long encouraged him to become a pianist and he entered the Paris Conservatoire as a pupil of Lazare Lévy at the age of five. He took first prizes in piano (Yvonne Loriod’s class), chamber music, accompaniment, and composition (Messiaen’s class). He has an international reputation as a concert pianist, in particular for his study of the works of Liszt and his complete recording of Beethoven’s sonatas. Co-director of the Paris-based ensemble L’Itinéraire (a collective of composers and performers), he has since 1973 championed the music of his contemporaries (Scelsi, Crumb, Lachenmann). Having experienced the influence of Stockhausen, he turned to the aesthetics of ‘son sale’, altering pure sonorities from acoustic sources by various means: mechanical (Appels, 1974), magnetic (Concerto pour un piano espace, 1976), electronic (Ouverture pour une fête étrange, 1979) and computerized (Préfixes, 1991). At IRCAM in the early 1990s he worked on hybridizing the characteristic features of different instrumental sounds (crossing a trombone with a bass drum, or a soprano’s laugh with the eddy of a cymbal, for example). The outcome of these researches manifests itself in his opera Go-gol (1996), after Gogol’s story The Overcoat. Lévinas’s aesthetic is enriched by a sense of the fantastic (Réminiscences d'un jardin férique, 1987), supported by a liking for birds and the myth of the Ascension (Résonances polyphoniques, 1985).

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Les nègres, ópera en tres actos (2003). Final.

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De este señor programan esta temporada en Lille un estreno basado en "el principito" de Sant-Exupery.

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 Asunto: Re: La otra ópera
NotaPublicado: 16 May 2014 23:20 
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Carl Martin Reinthaler (1822-1896). Reinthaler was born in Erfurt. He had early training in music from A.G. Ritter and then studied theology in Berlin, but after passing his state examination devoted himself entirely to music and studied with A.B. Marx. His first attempts at composition attracted the attention of Friedrich Wilhelm IV and procured him a travelling grant. He visited Paris, Milan, Rome and Naples, taking singing lessons from Geraldi and Bordogni. On his return to Germany in 1853 he obtained a post at the Cologne Conservatory and in 1858 became organist in Bremen Cathedral and conductor of the Singakademie. He had already composed an oratorio, Jephtha (performed in London in 1856 by Hullah), and in 1875 his opera Edda was successfully produced at Bremen, Hanover and elsewhere. His Bismarckhymne obtained the prize at Dortmund, and he composed a symphony and a large number of part-songs. His cantata In der Wüste was highly successful and his opera Das Käthchen von Heilbronn, based on Kleist's drama, was chosen by competition for the opening in 1881 of the new opera house at Frankfurt. Reinthaler was a member of the Berlin Academy from 1882 and became Royal Professor in 1888. He retired from the Singakademie in 1890.

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Das Käthchen von Heilbronn, ópera en cuatro actos (1881). Comienzo.

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Última edición por Zelenka el 26 May 2014 9:03, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 23 May 2014 22:53 
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Giuseppe Bonno (1711-1788). The son of a footman from Brescia who served at the Austrian court, he was born in Vienna and studied music with Johann Georg Reinhardt, imperial court organist, later Kapellmeister of St Stephen's. A gifted pupil, he was then sent to Naples in 1726 where he studied church music under Francesco Durante and opera under Leonardo Leo. He moved back to Vienna in 1736, becoming a court composer there, and working as Kapellmeister to the Prince of Saxe-Hildburghausen in the 1750s and 1760s. Bonno's works are rarely heard today, but he was a prominent figure in Viennese musical life in his day and his works were often performed. He worked with two main librettists: Giovanni Claudio Pasquini and Metastasio. The latter was Bonno's contemporary in Vienna, and the composer wrote the first music for Metastasio's Il natale di Giove (also set by Hasse), Il vero omaggio, Il re pastore (later set by Hasse and Mozart), L'eroe cinese (also set by Hasse), L'isola disabitata (also set by Haydn) and L'Atenaide ovvero Gli affetti più generosi. Most of his output was for vocal forces, including stage works, oratorios, masses and other sacred pieces.

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L'isola disabitata, ópera en un acto y dos partes (1753). Aria, Se in ogni petto.

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 Asunto: Re: La otra ópera
NotaPublicado: 30 May 2014 23:23 
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Erkki Melartin (1875-1937) He was born in Käkisalmi, Finland (now Priozersk, Russia). He studied at the Helsinki Music School with Wegelius (1892–1899) and in Vienna with Robert Fuchs (1899–1901). Despite uncertain health he worked unstintingly at the Helsinki Music School, first as assistant teacher (1895–1898), then as teacher (1901–1907) and finally as director (1911–1936). Between 1908 and 1911 he worked as a conductor in Viipuri where he founded an orchestra school; his rendition of the Andante from Mahler's Second Symphony was the first performance of Mahler in the Nordic countries (1909). Melartin conducted primarily his own work in Finland and also in Scandinavia, Russia and Germany. His extensive trips abroad took him also to North Africa, India and Egypt. He was given an honorary professorship in 1919.

He raised an entire generation of composers as a teacher, and supported young modernists. He approved of atonality as a working method, but not as a systematic style. His large output can be divided into two distinct groups: serious music that is stylistically radical and artistically ambitious, and salon music. Despite his essentially lyrical talent, Melartin's focal concern remained the symphony; he wrote six at about the same time as Sibelius but remained distinctly free of his influence. Hints of Impressionism and Expressionism are present in his symphonies, as is the imprint of Mahler. The Fifth Symphony by Melartin is perhaps his most masterly, the last movement combining all the work's main themes in a four-part fugue in a summary of the composer's polyphonic skills. His theosophical outlook is reflected in the opera Aino, which is built on post-Wagnerian leitmotifs.

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Aino, ópera en dos actos (1907). Final del acto primero.

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 Asunto: Re: La otra ópera
NotaPublicado: 03 Jun 2014 11:03 
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Gracias a la amabilidad de la Moderación ha sido posible cambiar a mi autoría el primer mensaje del Índice de Compositores, que en su época Lenz nos hizo el favor de recopilar, con el propósito de crear un índice de La otra ópera. Aunque todavía hay algunos enlaces que no han sido actualizados, estoy en ello, por lo menos ya tenemos un índice de todo el hilo.

Agradezco sinceramente a la Moderación por el cambio y a Lenz por su apoyo. :aplauso:

Ya he mandado el índice. :wink:

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 Asunto: Re: La otra ópera
NotaPublicado: 03 Jun 2014 12:58 
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Era de justicia. Felicito a la Moderación por entenderlo así. Y a Zelenka, además de felicitarle hay que agradecerle el gigantesco esfuerzo de actualizar ese índice tan grande. Está muy bien hecho y ahorra mucho tiempo.


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 Asunto: Re: La otra ópera
NotaPublicado: 06 Jun 2014 22:57 
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André Charles Messager (1853-1929) Nació en Montluçon, Francia. Fue discípulo de Gigout y Loret en la École Niedermeyer y también recibió lecciones de Saint-Saëns. A los 21 años fue nombrado organista del coro de St. Sulpice y, más tarde, maestro de capilla de St. Paul (1882) y Sta. Marie des Batignoles (1884). Atraído por el teatro, el editor Enoch le encargó terminar François les bas bleus, partitura que dejó inconclusa F. Bernicat, y que alcanzó gran éxito en los escenarios parisinos. Gracias a Saint-Saëns se le abrieron las puertas de la ópera y en 1885 triunfó con La fauvette du temple y La Béarnaise, obra, esta última, que le consagró en el género de la ópera ligera. Un año más tarde presentó su ballet Les deux pigeons (el cuarto de sus diez ballets), que fue uno de los títulos más representados de su repertorio. Todas sus operetas fueron bien acogidas; destacaron La basoche, Madame Chrysanthème, Les petites michu, Vèronique y Monsieur Beaucaire. Junto con Offenbach y Lecocq, Messager fue uno de los principales exponentes de la opereta francesa, que también fue muy apreciada en los escenarios londinenses. Como director de orquesta era un wagneriano convencido, pero siempre estuvo al servicio de la música francesa. A principios de 1908 sucedió a Pedro Gailhard en la dirección de la Ópera de París, puesto en el que permaneció hasta 1914.

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Véronique, opéra comique (1898). Duetto de l'âne, De ci, de là.

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Fortunio, comédie lyrique en cuatro actos y cinco escenas (1907). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 13 Jun 2014 22:54 
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Detlev Glanert (*1960) Nació en Hamburgo. Estudió con Henze en Köln. Es aclamado en particular por sus óperas y obras para orquesta, que demuestran dones líricos y una fascinación con el pasado romántico visto desde una perspectiva moderna. Admira a Mahler por su inclusión expresiva del mundo entero y a Ravel por sus superficies artificiales y relucientes. Fue galardonado con el prestigioso premio Rolf Liebermann en 1993 por The Mirror of the Great Emperor, representada en Mannheim en 1995 y Mönchengladbach en 1997 y el Premio del Teatro Bávaro en 2001 por Jest, Satire, Irony and Deeper Meaning que, con numerosas representaciones, es su ópera más exitosa hasta el momento. Sus producciones orquestales incluyen tres sinfonías y conciertos para piano y violín. Sus obras son dirigidas por, entre otros, Markus Stenz, Oliver Knussen, Kent Nagano, Semyon Bychkov, Donald Runnicles, Iván Fischer, Christian Thielemann y Jun Märkl.

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Caligula, ópera en cuatro actos (2006). Comienzo.

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 Asunto: Re: La otra ópera
NotaPublicado: 14 Jun 2014 16:46 
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A modo de complemento señalar que la Ópera de Bordeaux estrenará el próximo mes de enero de 2015 la obra Le journal de Nijinski, de este mismo compositor.

Más información en http://www.opera-bordeaux.com/detail-sp ... y-859.html


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 Asunto: Re: La otra ópera
NotaPublicado: 21 Jun 2014 22:57 
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Poul Schierbeck (1888-1949) He was born in Copenhagen. In 1906, while engaged in law studies, he began composition lessons with Nielsen and Laub; he also studied the piano, the organ and conducting. He served as an artillery lieutenant during World War I, but continued to pursue his musical interests: in 1916 he was appointed organist of Skovshoved Church, a post he held until his death. Appointed to the staff of the Royal Danish Conservatory in 1931, he became an influential teacher of composition and instrumentation. Among the honours he received were the Anckerske Legat (1919), the Lange-Müller Aeresstipendium (1926) and membership of the Royal Swedish Academy of Music (1947). Schierbeck made an important contribution to the literature of Danish song. His early style was less attuned to the new folklike idiom of Nielsen and Laub than to the more romantic manner of Lange-Müller, but the later songs, such as Alverden gaar omkring (‘The World Goes Round’), op.42, a collection which describes the cycle of life, are closer to the former two composers. In addition to art songs, he composed valuable material for Danish children’s songbooks. Among the occasional pieces he was always ready to provide, the Kantate ved Københavns Universitets Immatrikulationsfest op.16 has become a traditional part of the university’s annual ceremonies. His Symphony was first conducted by Nielsen at Göteborg in 1922.

From 1923 to 1930 Schierbeck worked on the opera Fête galante, whose first performance at the Kongelige Teater, Copenhagen, was directed by Schiøler, with Sylvia Larsen, the composer’s wife, as Suzon. Although the piece was well received by the public, the critics all commented on its excessive length, and it was taken off after six performances. Schierbeck undertook revisions in the expectation of further stagings, but it was not until after his death that a shortened version was broadcast by Danish radio (1949), and there was no complete performance again until the opera returned to the Kongelige Teater in 1960; that production met with success, but the work failed to gain a place in the repertory. Disappointed by the problems surrounding his opera, Schierbeck found an outlet for his inclination towards dramatic composition in Tiggerens opera, an arrangement of The Beggar's Opera, and in collaborating with the Danish film maker Carl Theodor Dreyer. The most impressive product of this partnership was Vredens dag (‘Day of wrath’), whose score employs a cantus firmus treatment of the Dies irae chant. After Schierbeck’s death Dreyer made use of his music in the soundtrack for Ordet (‘The word’).

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Fête galante, ópera en tres actos (1923–1930). Hvad har jeg gjort!.

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 Asunto: Re: La otra ópera
NotaPublicado: 27 Jun 2014 22:34 
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Robin de Raaff (*1968) He was born in Breda, the Netherlands. He was raised in a very musical family where classical music and popular music were part of his daily life. As a child he received weekly piano lessons from his father and practised daily. De Raaff discovered his own musical world through playing the bass guitar, which he taught himself to play. As a teenager, under the explosive influence of fretless bass guitar legend Jaco Pastorius, De Raaff switched to fretless bass guitar, introducing him to a new world of complex instrumental music, and ultimately Jazz.

But even more passionately, already as a young teenager, composing his own music was his most important musical expression. Starting with pop songs, with ever increasing instrumental parts, larger symphonic proportions were soon imposed which inevitably lead him towards the great classical composers. Inspired by this newly discovered music De Raaff developed a musical style for symphony orchestra installing the necessity to compose in full score. After enrolling as a composition student at the Sweelinck Conservatory of Amsterdam, playing the bass guitar moved to the background, but his very broad musical interest would greatly influence his view on style in contemporary Classical music.

De Raaff first studied composition with Geert van Keulen and later with Theo Loevendie, with whom he graduated cum laude in 1997. In 1999 De Raaff had the special privilege of being invited to work as George Benjamin’s only composition student at the Royal College of Music in London where he also studied with Julian Anderson. De Raaff is currently the Coordinator of the Composition Department at the Rotterdam Conservatory of Music (Codarts) where he has been a professor of composition and orchestration since 2001.

RAAFF, ópera en dos actos (2004). Escena primera del acto segundo.

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 Asunto: Re: La otra ópera
NotaPublicado: 04 Jul 2014 23:32 
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Anton Foerster (1837-1926) He was born in Osenice, nr Jičín. Slovenian composer of Czech birth, uncle of Josef Bohuslav Foerster. He studied law and music in Prague (including work with Smetana) and was regens chori at Senj Cathedral, 1865–1867. From 1867 he worked in Ljubljana, holding the post of conductor of the dramatic society (1868–1909) among others. One of the most important Romantic composers in Slovenia during the second half of the 19th century, he strove in his secular compositions to found a national style of Slovenian music. The Slovenian spirit is particularly evident in his lyrical comic opera Gorenjski slavček (‘The Nightingale of Upper Carniola’). In three acts, to a libretto by E.F. Züngl after L. Pesjak and given in Ljubljana on 13 December 1896, it was originally composed as an operetta (Ljubljana, 17 April 1872). In this work Foerster tried to compose a national opera with an authentic Slovenian melodic idiom, taking as his model Smetana's Bartered Bride; The Nightingale has become a standard work of the Slovenian repertory. He also wrote a five-act opera, Dom in rod (‘Home and Family’, 1920–1923), to a libretto by F. Göstl and F. Mohorič; it has not been performed. Among his other compositions are sacred works (mass settings in Latin, two in Slovene and a Glagolitic Mass), secular choral works and pieces for piano and for orchestra.

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Gorenjski slavček, ópera en tres actos (1872, rev. 1895). Final del acto primero.

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 Asunto: Re: La otra ópera
NotaPublicado: 11 Jul 2014 21:17 
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Franz Koglmann (*1947) He was born in Mödling, Austria. Koglmann learned to play the trumpet and flügelhorn and, by 1973, had founded his first record label, Pipe Records, which released a few albums by Steve Lacy and Bill Dixon. In 1972 and 1976, Koglmann won the Music Award of the City of Vienna. His album Opium/For Franz came out on Pipe Records in 1976. From the mid-'70s through the mid-'80s, he was a member of the Improvising Music Orchestra, in addition to performing in other groups, including the Reform Art Unit (RAU) in the mid- to late '70s and pianist Georg Graewe's Grubenklangorchester for a couple of years in the early '80s. In 1983, Koglmann founded the Chamber Jazz Emsembles Pipetet, whose debut recording, Schlaf Schlemmer, Schlaf Magritte, came out on the Hat Art label the following year. Not too long after this, Koglmann began to focus on composing.

He received the Music Award of the Republic of Austria for his compositions in 1987, a state grant two years later, and, in 1990, enjoyed the debut performance of his works in Vienna. The following year, Koglmann was lauded by Wire magazine and in 1992 received the Music Award of Lower Austria. The Hat label released other Koglmann albums during this time, including The Use of Memory (Hat Art). His Diapasson (on the French label Disque d'Or) was also voted Record of the Year by the London Times in the early '90s. Melange de la Promenade came out in 1993, as did one of his major works for Hat Art, Cantos I-IV. Works by Franz Koglmann were performed at Wien Modern 1994 in Cologne, at major festivals in Canada, and at the Knitting Factory in N.Y.C. in 1995. The Austrian composer also received a second state grant in 1995. Commissioned for the 1997 Vienna Festival, Koglmann composed Ein Heller, Lichter, Schöner Tag. This year also brought the release of O Moon My Pin-Up, which won the Composers' Award from the Erste Österreichischen Sparcasse.

In 1998, Austrian group Klangforum Wien debuted his work Don't Play, Just Be, and the following year, Koglmann recorded the first album for his new Frankurt-based label Between the Lines. The album, entitled Make Believe, featured Koglmann on trumpet and flügelhorn, along with reeds player Tony Coe, guitarist Brad Shepik, and more, performing originals by Koglmann with the exception of the title track by Jerome Kern. Over the years, Koglmann has performed and recorded with renowned improvisers such as guitarist Derek Bailey, saxophonist Lee Konitz (We Thought About Duke Hat Hut, 1995), and pianist Paul Bley. By 2000, Franz Koglmann still resided in the city of his birth.

Rovi Joslyn Layne

Fear death by water, a beach opera (2003). Fragmento.

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Última edición por Zelenka el 25 Jul 2014 22:04, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 12 Jul 2014 21:56 
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Pues me ha gustado el fragmento, voy a ver si consigo escuchar la ópera completa. Gracias.


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 Asunto: Re: La otra ópera
NotaPublicado: 13 Jul 2014 11:31 
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:wink:

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