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 Asunto: Re: La otra ópera
NotaPublicado: 11 Mar 2016 23:08 
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Karel Kovařovic (1862-1920) Born in Prague as third son of Frantisek Pavel Kovarovic in a musical family. In 1873-1879 he studied clarinet, harp and piano at the conservatory of Prague. In 1878-1882 also composition under Zdeněk Fibich. After finishing studies in 1879, he became the first Harp Player in the orchestra of Interim Theatre (since 1881 National Theatre). He also accompanied the most prominent Czech violinists on a piano. In 1885 he became the bandmaster of the Czech Theatre of Brno. Next year he got the same position in Plzen. In 1890 he came back to Prague to teach at the private Prague singing school. He became director there in 1898. In 1900-1920 he worked as conductor and director of the Opera of the Czech National Theatre. He propagated music of Smetana, Dvorak and Fibich. However, he did not recognize the talent of Leos Janacek, and refused to put his first opera on stage of the National Theatre for 12 years. When he finally did it, he took a lot of patience and also thanks to his corrections, Jenufa became famous all over Europe. As compositor he was active in his early years only. He was influenced by the classicist-romantic style of Dvořák and tried to continue in the national spirit built by Smetana and Dvořák. After becoming the director ot the National Theatre Opera, he just concentrated on conducting and dramaturgy.

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Psohlavci, ópera en tres actos (1897). Comienzo del acto tercero.

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 Asunto: Re: La otra ópera
NotaPublicado: 19 Mar 2016 22:01 
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Marin Marais (1656-1728) He was born in Paris. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. He wrote five books of Pièces de viole (1686–1725) for the instrument, generally suites with basso continuo. These were quite popular in the court, and for these he was remembered in later years as he who "founded and firmly established the empire of the viol" (Hubert Le Blanc, 1740). His other works include a book of Pièces en trio (1692) and four operas (1693–1709), Alcyone (1706) being noted for its tempest scene.

Titon du Tillet included Marais in Le Parnasse françois, making the following comments on two of his pieces, Le Labyrinthe, perhaps inspired by the labyrinth of Versailles, and La Gamme:

A piece from his fourth book entitled The Labyrinth, which passes through various keys, strikes various dissonances and notes the uncertainty of a man caught in a labyrinth through serious and then quick passages; he comes out of it happily and finishes with a gracious and natural chaconne. But he surprised musical connoisseurs even more successfully with his pieces called La Gamme [The Scale], which is a piece de symphonie that imperceptibly ascends the steps of the octave; one then descends, thereby going through harmonious songs and melodious tones, the various sounds of music.

As with Sainte-Colombe, little of Marin Marais' personal life is known after he reached adulthood. Marin Marais married a Parisian, Catherine d'Amicourt, on 21 September 1676. They had 19 children together. He was hired as a musician in 1676 to the royal court of Versailles. He did quite well as court musician, and in 1679 was appointed ordinaire de la chambre du roy pour la viole, a title he kept until 1725. Marais is credited with being one of the earliest composers of program music. His work Tableau de l'Opération de la Taille, for viola da gamba and harpsichord, includes composer's annotations such as "The patient is bound with silken cords" and "He screameth."

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Alcyone, tragédie lyrique (1706). Fragmento del acto primero.

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Sémélé, tragédie lyrique (1709). Final.

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 Asunto: Re: La otra ópera
NotaPublicado: 25 Mar 2016 23:34 
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Ferdinando Paer (1771-1839) He was born in Parma. Paer received his first musical instruction from his father Giulio, a horn player in the Parma court theatre orchestra after 1778, and later studied with the court maestro di cappella Gian Francesco Fortunati. Paer's first known stage work was Orphée et Euridice (1791, Parma), on a French text with spoken dialogue, and his earliest Italian opera was Circe (1792, Venice). On the strength of these initial accomplishments he was appointed honorary maestro di cappella to the Parma court, a post which allowed him to compose numerous comic operas, many for other cities (among them L'intrigo amoroso for Venice in 1795 which as Saed, ossia Gl'intrighi del serraglio was his first opera to make a mark outside Parma), and three opere serie (L'Idomeneo, Ero e Leandro and Il Cinna). In 1797 he was promoted to direttore musicale di tutti i regi servizi in Parma, a position which called for him to substitute for the two regular maestri di cappella when they were ill or absent.

Later that same year Paer moved to Vienna to become musical director of the Kärntnertortheater and thus, like many other Italian composers of his day, began a series of foreign appointments that was to lead him to achieve his greatest success outside Italy. In 1798 he married the soprano Francesca Riccardi, whom he had known in Parma and for whom he later created the roles of Briseis in Achille, Isabella in I fuorusciti di Firenze, Sofia in Sargino and Leonora in Leonora, ossia L'amore conjugale. The first two of Paer's operas in the semiseria style that made him famous were produced during his tenure in Vienna, Griselda (1798, Parma), on a famous Boccaccio tale of feminine virtue, set by many other Italian composers, and Camilla, ossia Il sotterraneo (1799, Vienna), a macabre ‘rescue opera whose libretto was based on that used for Dalayrac's opera Camille; his very successful though rather old-fashioned opera seria Achille was also given there in 1801. While in Vienna, Paer met Beethoven and encountered a broad spectrum of musical styles, which probably enriched his already skilful treatment of the orchestra.

After a short time in Prague in 1801, Paer accepted the post of court Kapellmeister in Dresden, where for the court theatre he wrote in successive years three of his most important works: I fuorusciti (1802), Sargino (1803) and Leonora (1804), the last based on a story that Mayr and Beethoven used in operas staged the following year. In Dresden he came to the attention of Napoleon, who is said to have particularly admired Achille. Paer followed Napoleon to Posen (now Poznań) and Warsaw in 1806, became his maître de chapelle in Paris in 1807 and eventually director of the Opéra-Comique and, after Spontini's dismissal, music director of the Théâtre-Italien in 1812. After Napoleon's abdication in 1814 he retained only the last of these positions (until 1818, serving again in 1819-1824 and 1826–-1827), but through connections made previously was able to support himself handsomely as a singing master and composition teacher to members of the upper classes (Liszt studied composition with him in the 1820s). Apart from L'oriflamme (1814, written in collaboration with Mehul, Berton and Kreutzer), Paer's operas written in Paris were exclusively Italian (including Agnese for Parma, 1809) until 1816. Then, perhaps to regain some of the popularity he had lost to Rossini and to such new stars as Boieldieu, he began with Le maître de chapelle, ou Le souper imprévu (1821) an intermittent series of French works which ended with the opιra comique Un caprice de femme (1834). His last opera, Olinde et Sophronie, was never completed.

From 1824 to 1826 Paer yielded his directorship of the Théâtre-Italien to Rossini, who agreed to assume the position only if his older colleague were not displaced. Rossini's solicitude seems surprising, since Paer had for years been accused publicly of intriguing against Rossini's operas in Paris,– a charge that Paer himself felt obliged to rebut in a pamphlet printed after his dismissal as director in 1826. He received the cross of the Légion d'Honneur in 1828 and in 1831 succeeded Catel as a member of the Acadιmie des Beaux-Arts; in 1832 he became director of chamber music and maître de chapelle to Louis-Philippe. From 1837 until his death he taught composition at the Conservatoire, where he had been superintendent since 1834.

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Leonora, ossia L'amore conjugale, dramma semiserio en dos actos (1804). Del acto primero, Oh, cielo!.

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Sofonisba, dramma serio en dos actos (1805). Del acto primero, Vuoi ch'io vada in mezzo al campo.

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 Asunto: Re: La otra ópera
NotaPublicado: 01 Abr 2016 21:10 
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Tom Cipullo (*1956). He was born into a musical family on Long Island, New York. His father, a jazz bassist playing under the name Ray Carle, performed throughout the New York area and hosted a successful radio show in the late 1950s and early 1960s, broadcasting with a quartet from the Café Rouge of the Statler Hilton Hotel. Cipullo’s brother, Chris, was a drummer in Los Angeles. Cipullo’s father named him after the bandleader Tommy Dorsey. Dorsey, who appeared frequently at the Café Rouge, died just a few days after Cipullo’s birth. Cipullo attended Hofstra University, Boston University, and the City University of New York Graduate School. His teachers included David Del Tredici, Elie Siegmeister, Albert Tepper, Thea Musgrave (orchestration), and Graham Forbes, a highly regarded jazz pianist and the accompanist for Frank Sinatra during a period in the 1950s.

Cipullo is a composer of tonal music, though his use of harmony may occasionally stretch to include bitonality and extremely dissonant passages. His vocal music is lyrical in the extreme, but marked by large leaps, lengthy phrases with surprising breaths, numerous shifts in meter, virtuosic piano accompaniments, and a love of musical allusion. Writing for the New York Times, Allan Kozinn said, “Mr. Cipullo’s vocal writing is fresh and natural, and he amplifies it with thoughtful, sometimes picturesque commentary in the piano line.” Cipullo’s compositions are text-driven, and Fanfare magazine noted that “he excels by pulling off the conjuror’s trick mastered by all the great writers of poem-based song from Schubert forward—the blurring of the demarcation between where the word ends and the music begins.” In presenting him with its ' Arts & Letters Award, the American Academy of Arts & Letters cited Cipullo’s music for its “inexhaustible imagination, wit, expressive range and originality.”

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After Life, ópera de cámara en un acto (2015). I resisted in my art.

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 Asunto: Re: La otra ópera
NotaPublicado: 08 Abr 2016 20:34 
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José Padilla Sánchez (1889-1960) Nació en Almería. Se cuenta que en el momento de nacer, una banda de música pasó bajo el balcón de su casa, situada en la almeriense plaza de San Pedro. Al parecer, la partera auguró que el niño sería músico, y acertó de pleno. El padre se lo llevó de ayudante a su sastrería, pero al joven Padilla no le gustaba este trabajo y, afortunadamente, apareció pronto un personaje decisivo para él que modificó el curso de su vida: Eugenio Lloret, director de la banda de música de Infantería de Marina, quien, adivinando sus aptitudes, le propuso estudiar música con él. En Almería actuó en el Casino y, ya por entonces, siendo tan pequeño, empezó a componer. Él mismo dirigió una obrita suya al frente de una pequeña orquesta, quedando claro que su vocación definitiva era la música.

Su primer desplazamiento a Madrid tiene lugar con 15 años, cuando su profesor de música, Lloret, recomienda el viaje a sus padres. Comienza sus estudios en el madrileño Real Conservatorio Superior de Música y pronto destaca su trabajo bajo la influencia de los grandes profesores que tuvo la suerte de conocer. Visita los lugares de moda de esta época y se hace amigo de las personas que frecuentan estos lugares: militares, toreros, músicos, artistas. En 1906 lo contratan como director del teatro Barbieri y presenta su primera obra de teatro: Socorro o la hija de Chispa, que se estrenó en Almería. De este mismo año es la zarzuela en un acto ¡Mala hembra!, con letra de D. Ventura de la Vega, estrenada en el Barbieri y en la que Padilla utiliza un tema popular de Andalucía: «el garrotín». Dirigirá igualmente el teatro Martín, pero su gran ilusión es estrenar en el prestigioso Apolo, tan de moda por aquellos días, consiguiéndolo el 28- XI-1910 con su obra Pajaritos y flores. Realizó varios viajes sucesivos a Barcelona, donde llegó a tener residencia permanente durante largas temporadas. Descubre la ciudad gracias a su amigo Amadeo Vives, compositor; asiste a reuniones de ambientes teatrales, conoce al poeta Muntaner, al músico Pahissa, a grandes personajes como Ramón Casas, Pablo Picasso y otros, que luego se convertirían en admiradores suyos.

Viajó por distintos lugares de Europa y América, que le ayudaron en su creación musical, ya que se relacionó con artistas de distintos ámbitos: escritores, músicos, pintores, artistas que forman parte de la Historia Universal del siglo XX. Ciudadano del mundo, sus canciones son adoptadas por distintos pueblos, se universaliza. Buenos Aires, donde realizó numerosos viajes, también ejerció una fuerte influencia en su obra. Primero, como director de orquesta en la compañía de Úrsula López y alternando este trabajo con sus composiciones. La inspiración en Buenos Aires le sirvió para componer unos tangos: Porteñita, Vidalita y El taita del arrabal, entre otros; este último, con letra de Manuel Romero, alcanzó tal éxito que es considerado como una tradición; lo han cantado distintos artistas, entre ellos, el gran Carlos Gardel. En la ciudad porteña estrena la zarzuela La corte del amor, en el Teatro de la Comedia (1916), con el tenor Tito Schipa. Allí conoció a los empresarios Emilio Losada, Fernando Rey y a los artistas de una compañía que venía contratada por estos empresarios, el matrimonio Ibáñez Menta con su hijo Narcisín (7 años). Dedicada al pequeño, compuso la obra El príncipe Cañamón. Sigue relacionándose con grandes personajes del mundo artístico: Miguel Ligero y Carlos Gardel, quien interpretaría varias canciones de Padilla. De su etapa americana también podemos destacar Las burladoras, en la que, en un pequeño papel, actuó una jovencita que más tarde se convertiría en una gran vedette: Celia Gámez.

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La bien amada, zarzuela en dos actos (1924). Comienzo.

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1916

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 Asunto: Re: La otra ópera
NotaPublicado: 08 Abr 2016 21:16 
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La canción "Valencia", mil veces oída en distintas interpretaciones, entre las que se cuentan las de Tito Schipa, Mario Lanza y Alfredo Kraus, es una adaptación de un coro de "La bien amada".


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 Asunto: Re: La otra ópera
NotaPublicado: 09 Abr 2016 5:49 
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Precisamente el fragmento que puse. :P

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 Asunto: Re: La otra ópera
NotaPublicado: 15 Abr 2016 20:54 
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Carlo Enrico Pasta (1817-1898) He was born in Milan. He studied at the Milan Conservatory and in Paris. Claiming to be a nephew of Giuditta Pasta, he succeeded in having his first opera, I tredici, produced at Turin in 1851. He went to Lima in November 1855, announcing himself as having been the Sardinian king’s director of military bands for several years. In 1857 he joined the Lima fraternity of S Cecilia. The première of his zarzuela La cola del diablo at the Teatro Principal on 3 October 1865 was so successful that the work was repeated several times and his female pupils gave him a large gold medal inscribed ‘Al eminente compositor Enrique Pasta, sus discípulas’. On 11 April 1867 Pasta directed the première of his one-act zarzuela Rafael Sanzio, the first of his works to a libretto by Juan Cossio (1833–1881). In 1871 his four-act La Fronda was advertised as the first opera composed in independent Peru. After further stage successes, in 1873 he returned to Italy, where he composed the opera Atahualpa (first performed at Genoa in 1875). In 1876 he was back in Lima, where Atahualpa was produced to great acclaim on 11 January 1877; the first opera on an Inca subject to be presented there, it received eight more performances. He was rewarded by the dedicatee the banker Dionisio Derteano, and on his final departure from Lima, newspapers announced (February 1877) that his total profit from Atahualpa (including sales of the vocal score published by the composer, 1875) exceeded 5000 soles. Atahualpa was also performed in Milan at the Teatro Dal Verme in September 1877.

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Atahualpa, drama en cuatro actos (1875). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 22 Abr 2016 21:01 
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Ernst Toch (1887-1964) Toch was born in Leopoldstadt, Vienna, into the family of a humble Jewish leather dealer when the city was at its 19th-century cultural zenith. He studied philosophy at the University of Vienna, medicine at Heidelberg and music at the Hoch Conservatory (1909–1913) in Frankfurt. His main instrument was the piano, and he was a pianist of real stature, performing to acclaim throughout much of western Europe. Much of his writing was intended for the piano.

Toch continued to grow as an artist and composer throughout his adult life, and in America came to influence whole new generations of composers. His first compositions date from c. 1900 and were pastiches in the style of Mozart (quartets, 1905 album verses for piano). His first quartet was performed in Leipzig in 1908, and his sixth (Opus 12, 1905) in the year 1909. In 1909, his Chamber Symphony in F major (written 1906) won the Frankfurt/Main Mozart prize. From this time onwards, Toch dedicated himself to being a full-time composer. He won the Mendelssohn prize for composition in 1910. In 1913, he was appointed lecturer of both piano and composition at the College of Music in Mannheim. After winning a further five major prizes for his works, he served four years in the army on the Italian Front during World War I. In 1916, he married Lilly Zwack, the daughter of a banker.

After World War I, he returned to Mannheim to compose, developing a new style of polyphony. He received his Ph.D. degree from Heidelberg University in 1921. He then taught on the faculty of the Mannheim Conservatory where one of his pupils was Hugo Chaim Adler. Following Hitler's seizure of power in 1933, Toch went into exile, first to Paris and then London, where he wrote film scores. In 1935, he accepted an invitation from the New School for Social Research to go to New York. He could, however, only secure his living in California by composing film music for Hollywood. Unlike his colleague Erich Wolfgang Korngold, however, Toch never got much attention in the industry and was rarely top-billed. His score for the chase scene in Shirley Temple's 1937 Heidi perhaps remains his best-known piece of film music.

During his residence in California, he was a professor at the University of Southern California, where he taught both music and philosophy. He was also a guest lecturer at Harvard University. He wrote a book on music theory, The Shaping Forces in Music (1948). From 1950 on, he composed seven symphonies, the third of which (Opus 75, 1954) received the Pulitzer Prize three years later. In these later works, he returned to the late Romantic style of his early years. In 1958, he received the Order of Merit of the Federal Republic of Germany (Grand Merit Cross). He died in Santa Monica, California, and was interred in the Westwood Village Memorial Park Cemetery in Los Angeles. He is the grandfather of authors Lawrence Weschler and Toni Weschler.

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Die Prinzessin auf der Erbse, cuento musical en un acto (1927). Final.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Abr 2016 17:44 
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Parece ser que de momento no sirve goear. Como no quero cambiar de servidor, deja los enlaces bastante tiempo activos, voy a esperar a ver si el asunto se resuelve antes de poner otra viñeta. :wink:

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 Asunto: Re: La otra ópera
NotaPublicado: 06 May 2016 15:14 
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Me podéis decir por favor si en España se pueden escuchar los mp3 de goear?

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 Asunto: Re: La otra ópera
NotaPublicado: 06 May 2016 15:34 
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Estoy probando con algunos enlaces de Goear y no me deja acceder a ellos (aparece "ERROR 404 - File not found").

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 Asunto: Re: La otra ópera
NotaPublicado: 06 May 2016 15:55 
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Los muy viejos están caducos, pero con los últimos te pasa igual?

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 Asunto: Re: La otra ópera
NotaPublicado: 06 May 2016 16:01 
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Sí, he probado varios de esta página y en todos ellos tengo ese problema.

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 Asunto: Re: La otra ópera
NotaPublicado: 20 May 2016 22:14 
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Dmytro Stepanovych Bortniansky (1751-1825) Nació en la ciudad de Hlukhiv de la actual Ucrania (llamada oficialmente "Glukhov" en ese tiempo, como parte del Imperio Ruso). A los siete años, su talento prodigioso en el coro de la iglesia local le dio la oportunidad de ir a la capital del imperio y cantar con el Coro Imperial de la Capilla en San Petersburgo. Allí el estudio música y composición con el director del Coro Imperial de la Capilla, el master italiano Baldassare Galuppi, con quien estableció relaciones. Cuando Galuppi volvió a Italia en 1769, Bortniansky fue con él. En Italia, tuvo considerable éxito componiendo operas: Creonte (1776) y Alcide (1778) en Venecia, y Quinto Fabio (1779) en Modena. También hizo composiciones sacras en latín y alemán, tanto a cappella como con acompañamiento de orquesta (incluyendo un Ave Maria a dos voces y orquesta).

Bortniansky retorno a la corte en San Petersburgo en 1779 y floreció en creatividad. Compuso al menos cuatro operas (todas en francés, con libreto de Franz-Hermann Lafermière): Le Faucon (1786), Le Fete du Seigneur (1786), Don Carlos (1786), y Le Fils-Rival ou La Moderne Stratonice (1787). Bortniansky escribió también composiciones instrumentales en dicha época. Compuso también música litúrgica para la Iglesia Ortodoxa Rusa, combinando estilos de música sacra de Europa del Este y Oeste, incorporando la polifonía que aprendió en Italia; algunas obras son policorales, utilizando un estilo derivado de la técnica policoral de Venecia de Gabrielis.

Poco después, el genio de Bortniansky probo ser muy bueno para ser ignorado, y en 1796 fue nombrado Director del Coro Imperial de la Capilla, el primer director que no era de fuera del Imperio Ruso. Con tan gran instrumento a su disposición, produjo más y más partituras de composiciones, incluidas 100 obras religiosas, conciertos sacros (35 para coros mixtos, 10 para coros dobles), cánticos e himnos. En 1882, Piotr Illich Tchaikovsky editó las obras litúrgicas de Bortniansky, que fueron publicadas en diez volúmenes.

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Alcide, ópera en tres actos (1778). Fragmento.

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