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 Asunto: Re: La otra ópera
NotaPublicado: 02 Dic 2022 8:07 
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Frederik Rung (1854-1914) He was born in Copenhagen. He was the son of composer Henrik Rung (1807-1871). His sister Sophie Keller (1850–1929) was an opera singer at the Royal Danish Theatre. His son P. S. Rung-Keller (1879-1966) was also an organist and composer. He studied 1867-1870 at the Royal Danish Academy of Music under Johan Peter Emilius Hartmann and Niels Gade. from 1881 to 1893, he was a piano teacher at the Conservatory of Music. In 1877, he became conductor of the special Madrigal choir at the Cecilia Association (Caeciliaforening) of Copenhagen. From 1884 until his death in 1914, he was a conductor of the Royal Danish Orchestra.

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De trekantede Hat, ópera en tres actos (1893). Fragmento.

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Jean-Michel Damase (1928-2013) He was born in Bordeaux, the son of harpist Micheline Kahn. He was studying with Marcel Samuel-Rousseau at the age of five and composing by age nine. He was admitted to the Conservatoire de Paris in 1940, studying with Alfred Cortot for piano, and won first prize for piano in 1943, afterwards studying with Henri Büsser, Marcel Dupré and Claude Delvincourt for composition – winning his first prize for composition in 1947, in which year he won the Grand Prix de Rome. He made the first complete recording of Gabriel Fauré's nocturnes and barcarolles, for which he received the Grand Prix du Disque.

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Colombe, comedia líricaen cuatro actos y seis cuadros (1961). Comienzo.

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 Asunto: Re: La otra ópera
NotaPublicado: 16 Dic 2022 8:30 
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Paul Hertel (*1953) He was born in Vienna. First music lesson at age five (violin), later guitar and piano. Doctorate in theatre sciences, Universität Wien 1978. Diploma in composition, Hochschule für Musik in Vienna 1983. Course in jazz harmony, Konservatorium der Stadt Wien 1978-1979. Course in electroacoustic music, Hochschule für Musik in Wien 1979 Choral conducting, Hochschule für Musik in Wien 1975-1976.

The Mozartautomat or The Secrets of Bizarre Doctor Mesmer, ópera de cámara (2021). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 23 Dic 2022 7:47 
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Nicolas-Marie Dalayrac [d'Alayrac] (1753-1809) He was born in Muret, Haute-Garonne. His father was a king’s counsellor and a wealthy aristocrat either by birth or through personal ennoblement. Nicolas’ musical talents were cultivated at Toulouse College, where he went from the age of eight, and, on his return to Muret six years later, in singing lessons and playing the violin in a local orchestra. He was obliged by his father to study law, in which he qualified by the age of 21. In 1774 he went to Versailles, where a commission had been obtained for him as a sub-lieutenant in the personal guard of the Count of Artois, later Charles X. In Paris, Dalayrac encountered influential musicians and musical amateurs such as the Baron de Bésenval and the Chevalier de Saint-Georges; he later received composition lessons from Honoré Langlé. Grétry reported in his Mémoires that Dalayrac was admitted to his study, but was not a formal pupil.

Dalayrac’s earliest compositions were violin duos and string trios and quartets, some of which are lost. Published under an Italian pseudonym, the quartets were very popular; Pixérécourt related how the composer’s identity was found out. Surviving sets of quartets start with op.4; the earliest known publication date for any Dalayrac work is 1777 when the Gazette de France of 28 November announced ‘Six [unidentified] quatuors concertants’. Pixérécourt wrote that Dalayrac was a member of the masonic Lodge ‘Neuf-Soeurs’ and that in 1778 he composed music both for Voltaire’s masonic reception and for that of Franklin at Mme Helvétius’s. None of his masonic music has been preserved (Porset, 1990).

In 1781 Bésenval asked Dalayrac to set two stage works to music for private performance: Le petit souper and Le chevalier à la mode. These were well received, and the following year, under the protection of Marie-Antoinette, L’éclipse totale became Dalayrac’s first public opera. He rapidly consolidated his position, and by 1786 could be viewed as Grétry’s successor. Before the Revolution his chief successes were Nina (1786), Azémia (1786) and Les deux petits Savoyards (1789). Most of his output was published in full score; Beethoven possessed copies of Les deux petits Savoyards and La soirée orageuse.

From about 1790, Dalayrac was obliged to spell his name in a non-aristocratic fashion (rather than D’Alayrac). In 1792 he married the actress Gilberte Sallarde, who later, during the Directory and Consulate, presided over a lively salon. In the difficult days of 1793–1795 Dalayrac’s musical popularity seems to have guided him safely through. He wrote one or two Republican songs, but his most usual contribution was indirect: others adapted his popular operatic tunes to Republican words. The ubiquitous ‘Veillons au salut de l’empire’, for example was originally from his Renaud d’Ast (1787). In 1795 he was a co-signatory with the foremost Parisian composers to a prospectus advertising the sale of Republican music. Yet his success set him somewhat apart from the ‘Conservatoire school’ (Méhul, Cherubini, Gossec etc.) and he could afford not to join the Conservatoire staff.

In 1798 Dalayrac was awarded membership of the Swedish Royal Academy, and in 1804 he was made one of the first members of the Légion d’honneur. He put particular effort into Le poète et le musicien, which was intended for Napoleon’s coronation anniversary (4 December 1809), but caught a fever and died before the destined day. Pixérécourt stressed the composer’s modest, friendly nature and his restrained style of living. That Dalayrac never received a government annuity was ascribed by Pixérécourt to his retiring disposition. A marble bust of the composer by Pierre Cartellier, funded by subscription, was placed in the foyer of the Opéra-Comique in 1811.

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L'éclipse totale, ópera cómica en un acto (1782). Duo: Quoi, ce billet vient de Léandre.

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Camille, ou Le Souterrain, comédie mêlée de musique en tres actos (1791). Duo: Ciel protecteur des malheureux.

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 Asunto: Re: La otra ópera
NotaPublicado: 30 Dic 2022 6:21 
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Bernardo Pasquini (1637-1710) He was born in Massa in Val di Nievole (today Massa e Cozzile, in the province of Pistoia, Tuscany). He was a pupil of Mariotto Bocciantini in Uzzano (Pistoia). When he was 13, he moved to Ferrara with his uncle Giovanni Pasquini, where, at the age of 16, he would become the organist of Accademia della Morte and serve from 1653–1655, a prestigious post that would later serve as a launching pad for his successors. He was quickly drawn to Rome, and, in 1657, he was appointed as the organist of Santa Maria in Vallicella (Chiesa nuova). In February 1664 he was appointed organist of the Basilica di Santa Maria Maggiore and Santa Maria in Aracoeli. Finally, after ten years in Rome, in November 1667 he entered into a long period of service of the Borghese family, enjoying the patronage of Prince Giovanni Battista Borghese, and, from May 1693, his son and successor, Prince Marcantonio Borghese. As a composer and keyboard player, Pasquini collaborated on music performances for a host of famous patrons in Rome, such as cardinals Flavio Chigi, Benedetto Pamphilj, and the politically savvy Pietro Ottoboni. Queen Christina of Sweden played an important role in his career, and it was in her honour that his operas L'Alcasta (libretto by Giovanni Filippo Apolloni), and Il Lisimaco (libretto by Giacomo Sinibaldi) were performed respectively in 1673 and 1681. His first opera for Queen Christina focused on the theme of just feminine revenge, and included an incredibly ornate dedication which compared the Queen to Alexander the Great.

From 1671 until 1692, Pasquini wrote "no fewer than 16 operas, 15 oratorios and about 70 cantatas." He composed numerous operas, all staged in Rome between 1672 and 1692, and which were performed again or excerpted in shows at several Italian theatres (Florence, Pisa, Naples, Ferrara, Perugia, Genoa, Rimini etc.). Pasquini was a renowned teacher of harpsichord. Among his pupils were Tommaso Bernardo Gaffi and his nephew Felice Bernardo Ricordati. Many important musicians of the late 1600s and early 1700s had lessons from him including Georg Muffat, who praised Pasquini for having taught him "the Italian way of playing the organ and harpsichord." Pasquini taught many other notable musicians of the era, including Johann Philipp Krieger, Giuseppe Fabbrini, Floriano Arresti, Johann Georg Christian Störl, and Franz Jakob Horneck, and probably also Ferdinand Tobias Richter and Carlo Domenico Draghi. Together with Arcangelo Corelli and Alessandro Scarlatti, in 1706 Pasquini became member of the Academy of Arcadia. He is frequently paired with Scarlatti in discussions of keyboard technique and compositional style. Pasquini died in Rome on 21 November 1710, and was buried in his parish church of San Lorenzo in Lucina. A sepulchral monument, still existing in the church, was erected by the nephew Felice Bernardo Ricordati and the pupil Tommaso Bernardo Gaffi. His keyboard music is almost entirely preserved in four manuscript volumes (partially autographs), which were compiled between circa 1691 and 1708, by the composer and other collaborators, now preserved in Berlin (Staatsbibliothek – Preußische Kulturbesitz, Landsberg 215), and London (British Library, Add. 31501/I-II-III).

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L'Idalma, ovvero chi la dura la vince, commedia per musica en tres actos (1680). Escena primera del acto tercero: Se regna in te pietà.

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 Asunto: Re: La otra ópera
NotaPublicado: 06 Ene 2023 6:45 
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Esther Hilsberg (*1975) Nació en Berlín. Estudió canto (Hans Sotin), composición (Johannes Schild) y dirección (Volker Wangenheim y Michael Luig) en la Hochschule für Musik Köln. Sus diversas óperas para niños (incluyendo Max und Moritz / Die chinesische Nachtigall / Die Schneekönigin / Der Nussknacker) se encuentran regularmente en el repertorio de los teatros alemanes, incluidos Theater Coburg, Theater Halberstadt, Theater Lüneburg, Kammeroper Köln. Su ópera infantil Die chinesische Nachtigall se estrenó en la Festspielhaus Baden-Baden.

Die chinesische Nachtigall, ópera para niños (2009). Suche nach der Nachtigall.

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Knud Asbjørn Wieth-Knudsen (1878-1962) Nació en Copenhague. En su juventud estudió piano con Dagmar Wieth. Más tarde también aprendió a tocar el clarinete. Estudió con Otto Malling, y mas tarde se traslado a Alemania, Italia y Francia para continuar con sus estudios musicales. Después de la Segunda Guerra Mundial, Wieth-Knudsen se volvió muy impopular en Dinamarca porque en la década de 1930 había elogiado el nazismo, al que consideraba el único medio en la lucha contra el comunismo. Wieth-Knudsen también se opuso ferozmente al feminismo y por ello tuvo varios encontronazos con la escritora Thit Jensen. El más famoso es probablemente cuando, durante una de las conferencias sobre feminismo de Wieth-Knudsen, Jensen se puso de pie y gritó: 'Ahora estás yendo demasiado lejos, Wieth', a lo que Wieth-Knudsen respondió: 'Haces eso tan a menudo, Thit'.

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Døden og Moderen, ópera (1922-1931). Fragmento.

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Gioacchino Cocchi (circa 1712-1804) He was probably born in Naples in about 1712, although his place of birth has also been given as Padova. His first works were performed in Naples and in Rome; the most successful was La maestra, written in Naples in 1747. It was performed at the Teatro Nuovo sopra Toledo of that city in the spring of 1747, and at the Teatro Formagliari of Bologna in October of the same year; on 11 March 1749 it was given at the King's Theatre, and in 1752 at the Teatro de' Fiorentini of Naples, with the title La scaltra governatrice. As La scaltra governatrice it was given at the Académie de Musique in Paris on 25 January 1753, and as Die Schulmeisterin was performed in 1954 at the Schlosstheater in Berlin. The work established a solid international reputation for Cocchi. From 1749 to 1757 Cocchi was in Venice, where he became maestro di cappella of the Ospedale degli Incurabili, standing in for Vincenzo Legrenzio Ciampi, who had been given permission to visit London for an extended period. Cocchi also taught composition to Andrea Luchesi (1756-1757). In 1757 he travelled to London, where he stayed until about 1772, when he returned to Venice. He died there on 11 September 1796.

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Adelaide, ópera seria en tres actos (1743). Aria: Nobil onda.

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Amir Mahyar Tafreshipour (*1974) He specialises in contemporary music that reaches across time and continents and has worked with numerous major ensembles, soloists and orchestras. His music has been released in Iran, Turkey, Denmark and England. Amir Mahyar Tafreshipour received his Bachelor of Music from Esbjerg Academy of Music in Denmark inn 2001. In 2003 he won the first prize at the biennial composition competition for new music at Tehran University with his solo piano work Images of Childhood, featuring the celebrated Irish pianist Mary Dullea. In the same year he was awarded a Silver Medal for Outstanding Achievement at Trinity College of Music, presented by the Duke of Kent. His studies continued at the Guildhall School of Music and Drama. The BBC commissioned Persian Echoes in 2005, the first ever Iranian harp concerto, premiered under the baton of Pascal Rophé and broadcast on BBC Radio 3. The concerto was recorded with the English Chamber Orchestra conducted by Alexander Rahbari. In 2015 his opera, The Doll Behind the Curtain, was premiered at the Tête à Tête Opera Festival in King’s Place, London. Based on a work by the famous Persian writer Sadegh Hedayat, it was the first Iranian composed opera with an English libretto. In 2016 Amir Mahyar Tafreshipour completed his PhD in composition at Brunel University, London, under the supervision of Professor Christopher Fox, and in 2018 Naxos Records released Persian Echoes on CD. He is currently working on his new opera based on the story of the Anglo Iranian Oil Company, written by Dominic Power.

The Doll Behind the Curtain, ópera en dos actos (2015). Another Night in the Vortex.

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António Teixeira (1707 – after 1769) He was born and died in Lisbon. Teixeira was sent to Rome as a royal scholar at the age of nine and remained there until 1728, when he returned to Lisbon and, on 11 June, was elected chaplain-singer of Lisbon Cathedral and examiner in plainchant of all the ordinands in the Lisbon patriarchy. He wrote a few festive cantatas for members of the aristocracy, including Gli sposi fortunati, performed at the house of Antónia Joaquina de Menezes de Lavra during Carnival 1732, and a Componimento drammatico to celebrate the wedding of the Marquis of Cascais during Carnival 1738. He also composed the music for two Singspiel-type Portuguese operas by the Brazilian-born lawyer António José da Silva, Guerras do Alecrim e Manjerona and (according to a contemporary diary) Os encantos de Medeia. José Mazza, writing at the end of the 18th century, stated that Teixeira composed seven operas and he may therefore have written the music to the remaining librettos of António José da Silva, who was burnt at the stake by the Inquisition in 1739: Vida do grande D. Quixote de la Mancha e do gordo Sancho Pança, Anfritrião, ou Júpiter e Alcmena, O labirinto de Creta, As variedades de Proteu, Precipício de Faetonte and Esopaida, ou Vida de Esopo. These operas, all but two of which are on mythological subjects, were performed by large-size puppets at the Teatro do Bairro Alto in Lisbon between 1733 and 1739. Teixeira's extant theatrical music shows him to be a competent practitioner of the contemporary Italian style. His most important sacred work, a 20-voice Te Deum for the church of S Roque, effectively alternates the massive polychoral style of the Roman Baroque with an operatic style in the solo sections. He was probably the same António Teixeira who became a member of the Irmandade de S Cecília on 28 November 1765 and was the composer of sacred works now in the archive of Lisbon Cathedral, one of which is dated 1770.

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As variedades de Proteu, ópera (1737). Aria: Tomara fazer-me em mil pedacinhos.

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Magret Wolf (*1960) Creció en Munich, estudió violín y piano y comenzó a componer a la edad de siete años. A partir de 1974 estudió composición y teoría musical con Richard Langley en Norfolk (Virginia), de 1980 a 1986 en Munich y en Viena estudios judaicos, musicología y filosofía. Participó en los cursos de verano de Darmstadt para música nueva en 1982 y 1984. En 2006 impartió clases magistrales de composición en la Universidad Bilkent de Ankara. Vive y trabaja en Berlín.

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Kirisk: der Junge und das Meer, ópera en un prólogo y tres actos (2000). Aria.

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Francisco Javier García Fajer (1730-1809) Nació en Nalda, La Rioja. Hijo de Juan Bautista García y de Manuela Fajer. No se conocen antecedentes directos en su familia relacionados con el ejercicio profesional de la música, aunque un sobrino suyo cuatro años menor, Juan Antonio García de Carrasquedo, fue maestro de capilla en la catedral de Santander. La biografía de García Fajer anterior a su toma de posesión como maestro de capilla de la seo de Zaragoza (1756) es incompleta y fragmentaria. Por un memorial escrito por el propio compositor (Actas capitulares de la seo, 3 de junio de 1784) se sabe que sirvió durante cinco años como infante de coro en la propia seo, presumiblemente recibiendo lecciones musicales de José Lanuza, entonces su maestro de capilla. Aunque el memorial no precisa las fechas, esta etapa pudo transcurrir entre 1738 y 1743.

El enorme prestigio del que Fajer disfrutó en vida se debe, en buena medida, a su estancia en Italia durante aproximadamente una década, iniciada después de su paso por la seo. De entonces data el sobrenombre de Lo Spagnoletto con el que allí fue conocido, que se castellanizó como El Españoleto tras su regreso a España. El erudito aragonés Félix Latassa (canónigo en la seo durante los mismos años que el compositor ocupaba el magisterio de capilla) fue el primero en sugerir que García Fajer había completado su formación en el Conservatorio della Pietà dei Turchini de Nápoles. Este testimonio autorizado, sin embargo, no ha podido ser documentado por el momento. En abril de 1752 ejercía como maestro de capilla de la catedral de Terni (Umbría), sirviendo de intermediario en la contratación de nuevos cantantes procedentes de Nápoles, según recogen las actas del Consejo municipal.

El momento más activo del período italiano transcurrió entre 1752 y 1756, cuando compuso seis obras dramáticas, todas estrenadas en Roma (Congregación del Oratorio de los Filipinos, y teatros alla Valle, delle Dame y della Pace). Algunas de estas obras fueron representadas en distintas ciudades italianas y europeas durante los siguientes años, sobre todo La pupilla (repuesta en Bolonia en 1755, en Mannheim en 1758, en Múnich en 1758, en Florencia en 1760 y en Viena en 1763). Por el momento, sólo se conoce la música completa del oratorio Il Tobia, la ópera seria Pompeo Magno in Armenia y el intermezzo La finta schiava, aunque los últimos hallazgos invitan a pensar que en un futuro podrán aparecer nuevas fuentes hoy perdidas. Por otro lado, gracias a los libretos impresos de estas representaciones se puede documentar el relativo éxito de este compositor en los teatros europeos.

El 20 de marzo de 1756, García Fajer fue nombrado maestro de capilla de la seo de Zaragoza. En este puesto permaneció hasta su fallecimiento en 1809, pese al ofrecimiento para ocupar el magisterio de la catedral de Santiago de Compostela en 1769; a partir de 1784 contó con Baltasar Juste como asistente en el puesto y todo indica que desde la década de los noventa su ritmo compositivo para la seo disminuyó progresivamente. Sus obligaciones al servicio de una institución eclesiástica provocaron un cambio sustancial en su trayectoria compositiva en comparación con su etapa romana. A partir de su regreso a España, las obras teatrales en italiano dieron paso a las composiciones sacras destinadas a los servicios religiosos de la seo, fundamentalmente en latín, pero también en castellano, como los oratorios dedicados a santo Dominguito de Val (de los que se conserva sólo el libreto) y las arias al Santísimo Sacramento. Es destacable que su producción conocida no incluya obras instrumentales (salvo las oberturas que preceden a las obras escénicas), ni siquiera para órgano solo, un instrumento muy presente en la vida musical de las catedrales españolas. Por lo demás, su obra sacra abarca todos los géneros vocales de repertorio litúrgico. No se conoce, por el momento, prácticamente nada sobre la actividad de García Fajer al margen de su posición en la seo. Sin embargo, una insólita correspondencia encontrada recientemente revela que el compositor servía, desde Zaragoza, al conde de Luque en Madrid, escribiendo nuevas obras y asesorándole sobre distintos asuntos musicales. Como el propio compositor manifestaba que él mismo organizaba una academia musical, es muy probable que hubiera cultivado otros géneros musicales propios de entornos profanos de los que, por el momento, no parece haberse conservado nada.

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Pompeo Magno in Armenia, ópera (1755). Aria: Grato oblio, soave pace.

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Brett William Dietz (*1972) is the Carolyn Mattax Associate Professor of Percussion at the Louisiana State University School of Music. He is the music director of Hamiruge (the LSU Percussion Group). He earned the Bachelor of Music in Percussion and the Master of Music in Composition/Theory from the Mary Pappert School of Music at Duquesne University. In 2004, Dietz earned his Doctorate of Music from Northwestern University. He has studied percussion with Jack DiIanni, Andrew Reamer, Stanley Leonard, and Michael Burritt while his principal composition teachers include Joseph W. Jenkins, David Stock, and Jay Alan Yim. Dietz is in demand as a clinician and soloist throughout the United States and abroad. Recent performances have taken him Paris, France (perKumania International Percussion Festival), Bongkok, Thailand (College Music Society International Conference), and Genral Roca, Argentina (Patagonia International Percussion Festival), and appearances at Carnegie Hall (New York City). He has performed at several Percussive Arts Society International Conventions and is a founding member of the Tempus Fugit Percussion Ensemble. TFPE has performed throughout the United States and Europe and has released two compact discs (Tempus Fugit and Push Button, Turn Crank) that have received great critical acclaim. Dietz has released numerous compact disks with Cat Crisis Records including Seven Ghosts: The Percussion Music of Brett William Dietz, In Motion: The Percussion Music of David Stock, and Nocturne. An avid composer, Dietz's music has been performed throughout the United States, Europe, East Asia and Australia by numerous ensembles.

Headcase: Opera Introspective (2006). Please Try to Count.

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Giovanni Antonio Boretti (c1638-1672) He was born in Rome. Much of the information concerning his brief career, spent primarily in Venice, derives from prefaces to librettos of operas he wrote in the late 1660s and early 70s. The preface to Alessandro amante (dated 1667) cites him as the composer of the opera and also as interpreter of one of the leading roles. His singing career had in fact begun somewhat earlier, but he is not the Guid’Antonio Boretti from Gubbio who was listed in the cast of La maga fulminata (1638, Venice) and who was a singer in the papal chapel (1619–1646). He was a bass singer at S Antonio, Padua, between 1659 and 1661, when he was dismissed for being absent without leave. He probably moved to Venice in 1662, spending much of the next nine years there. However, his name appears in the cast-list of an opera performed in Turin in 1662, Le fortune di Rodope e di Damira by P.A. Ziani, and he was listed as a musico at the Savoy court there in 1663. The preface to a later libretto, Claudio Cesare (December 1671), mentions his recent appointment as maestro di cappella to the Duke of Parma, but he apparently did not take up a post there until April of the following year, and then it was only that of vicemaestro. He died in Venice several months later during preparations for his last opera, Domitiano. The only non-operatic works by Boretti to have survived are a cantata and the oratorio Ezzelino, for four voices and violins. Except for the earliest known opera, La Zenobia, possibly first performed in Vienna on 18 November 1662, all Boretti’s operas received their premières in Venice, many of them appearing subsequently in other Italian cities. His musical language is richly varied and dramatically flexible, moving easily between recitative, arioso and aria. Yet the frequency and elaboration of the arias in several of his operas reflect the growing tendency to abandon the realistic musico-dramatic flow characteristic of early opera in Venice, notably Cavalli’s, in favour of the more static, hedonistic vocal exhibitionism demanded by Venetian audiences from about the mid-17th century onwards. His most attractive arias include laments accompanied by strings and pieces in which a running bass participates in communicating the emotions of the text.

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Eliogabalo, ópera en tres actos (1667). Aria: Chi scherza con Amor.

Claudio Cesare, ópera en tres actos (1671). Aria: Crudo amor, non hai pietà.

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 Asunto: Re: La otra ópera
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Conrad Cummings (*1948) He was born in San Francisco, California, United States. He studied at Yale University, State University of New York at Stony Brook, and Columbia University, from which he received a doctorate. His teachers include Bülent Arel, Mario Davidovsky, and Jacob Druckman. He later conducted post-doctoral research at IRCAM in Paris under Pierre Boulez. He is a former professor at the Oberlin Conservatory of Music. Cummings lives in New York City, where he serves on the faculty of The Juilliard School, teaching composition in the Evening Division. Four recordings of his music have been released on CRI's Emergency Music label. The Golden Gate, an opera in two acts with music by Conrad Cummings and libretto from the novel-in-verse by Vikram Seth, adapted by the composer, is currently (2010) in development by LivelyWorks and American Opera Projects and receives a staged workshop production at the Rose Studio at Lincoln Center in New York City in January 2010.

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Photo-Op, ópera en un acto (1989/2012). I Believe in Something.

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