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 Asunto: Re: La otra ópera
NotaPublicado: 17 Mar 2023 3:14 
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Giovanni Girolamo Kapsperger (also: Johann(es) Hieronymus Kapsberger or Giovanni Geronimo Kapsperger; c. 1580-1651) Nothing is known about Kapsberger's date and place of birth. His father Colonel Wilhelm (Guglielmo) von Kapsperger was a military official of the Imperial House of Austria, and may have settled in Venice, the city which may have been Kapsberger's birthplace. After 1605 Kapsberger moved to Rome, where he quickly attained a reputation as a brilliant virtuoso. He cultivated connections with various powerful individuals and organizations; and himself organized "academies" in his house, which were counted among the "wonders of Rome". Around 1609 Kapsberger married Gerolima di Rossi, with whom he had at least three children. He started publishing his music at around the same time, with more than a dozen collections of music appearing during the next ten years. These included the celebrated Libro I d'intavolatura di lauto (1611), Kapsberger's only surviving collection of music for lute. In 1624 Kapsperger entered the service of Cardinal Francesco Barberini, where he worked with numerous important composers (such as Girolamo Frescobaldi and Stefano Landi) and poets (which included Giulio Rospigliosi, the future Pope Clement IX). Kapsberger worked in Barberini's household until 1646. He died in 1651.

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Apotheosis sive Consecratio SS Ignatii et Francisci Xaverii, ópera en cinco actos (1622). Aria: At mihi tantae gloria. Coro: De trojanis enata rogis.

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 Asunto: Re: La otra ópera
NotaPublicado: 24 Mar 2023 10:44 
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Thomas Cunningham (usually known as Tom) was born in Edinburgh, studied composition (under Melanie Daiken) and orchestral conducting (under Guy Woolfenden) at Morley College, London, then worked for many years in Belgium. His compositions, published by Hinshaw Music in the USA and Goodmusic / Roberton in the UK, have been performed by the Royal Scottish National Orchestra and Chorus, the London Symphony Orchestra, Northern Sinfonia, the Hallé Orchestra, the Royal Liverpool Philharmonic, Cappella Nova, the National Boys Choir of Scotland, the National Youth Choir of Great Britain, the Flemish Radio Choir and many orchestras and choirs throughout the world. From 1984 till 2002 he was Musical Director of the Brussels Choral Society and a guest conductor of the Flemish Radio Choir. Since returning to Edinburgh in 2003, he has completed five commissions for the National Youth Choir of Scotland and twelve collaborations with the world-famous writer Alexander McCall Smith, one of which, “A Tapestry of Many Threads”, won a Herald Angel Award at the 2012 Edinburgh Festival. Their opera The Okavango Macbeth was premièred in Botswana in October 2009 and subsequently performed in Edinburgh, Cambridge and Cape Town.

The Okavango Macbeth, ópera de cámara en cuatro actos (2009). At that time.

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 Asunto: Re: La otra ópera
NotaPublicado: 31 Mar 2023 10:24 
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Vincenzo Manfredini (1737-1799) He was born in Pistoia, near Florence. He studied music with his father, Francesco Onofrio Manfredini. Then he studied with Perti in Bologna and Fioroni in Milan. In 1758 his older brother Giuseppe, a castrato, went to Moscow with Locatelli's opera troupe, and Vincenzo went with him, possibly as one of the troupe. Moving to St. Petersburg, he became maestro di cappella to Peter Fedorovich, who on becoming Emperor in 1762 made him maestro of the court's Italian opera company. Confirmed in this post by Catherine II, he composed operas and occasional works, but on Galuppi's arrival in 1765 he was relegated to composing the ballets performed with Galuppi's operas and to serving as harpsichord teacher to Pavel Petrovich, heir to the throne. In 1769 he returned with a pension to Bologna. After two attempts at opera, Manfredini devoted himself mainly to writing and teaching, also publishing a set of symphonies (1776) and string quartets (?1781). When Pavel Petrovich became Emperor in 1796, he invited his former teacher, who arrived in September 1798, but took up no post and died in St. Petersburg the next year. Manfredini's theoretical research Regole armoniche, o sieno precetti ragionevoli per apprendere la musica (Venice, 1775) has two parts, an introduction to the elements of music and to keyboard accompaniment. It was translated into Russian by Stepan Degtyaryov, a Russian composer, conductor and singer. The observations of Manfredini on the proper method of teaching singing aroused vigorous opposition from Giovanni Battista Mancini. The second edition (Venice, 1797) was much revised and enlarged with new sections on singing and counterpoint. Manfredini composed numerous operas, as well as ballets, cantatas, sacred music (including a requiem), symphonies, string quartets, concertos, and chamber works. Vincenzo Manfredini died on 16 August 1799 in St. Petersburg, Russia.

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Carlo Magno, ópera (1763, rev. 1764). Coro: A noi vivi donna eccelsa. Aria: Fra' lacci tu mi credi.

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Abr 2023 8:18 
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Louis Clapisson (1808-1866) Clapisson's family was originally from Lyon where his grandfather had been a maker of wind instruments. Clapisson was born in Naples while his father Antoine was working there as a professor at the Naples Conservatory and as the principal horn-player in the orchestra of the Teatro San Carlo. The family returned to France after the Neapolitan War in 1815 and eventually settled in Bordeaux. Clapisson showed a precocious talent as a violinist. As a boy he toured the south of France giving violin concerts under the tutelage of Pierre-Louis Hus-Desforges. In 1830 he entered the Paris Conservatory to study violin under François Habeneck and harmony under Anton Reicha. He also obtained a position as first violinist in the orchestra of the Théâtre-Italien and later as second violinist in the Paris Opera orchestra. However, Clapisson soon decided to devote himself to composition instead. His first compositions were vocal pieces (quartets and duets) which were performed at the Paris Conservatory concert series from 1835. His first operatic work was La Figurante, a five-act opéra comique to a libretto by Eugène Scribe and Jean-Henri Dupin. It premiered on 24 August 1838. Twenty-one more would follow, almost all in the opéra comique genre, although he did produce one grand opera, Jeanne la folle, which premiered at the Paris Opera in 1848. His last work was an operetta, La Poularde de Caux. It was co-written with five other composers and premiered in 1861, the same year he was appointed professor of harmony at the Paris Conservatory. His most successful works were the opéras comiques La Promise (1854) and La Fanchonnette (1856). Clapisson was made Chevalier de la Légion d'Honneur in 1847 and elected to the Académie des Beaux-Arts in 1854. In addition to his activity as a composer, Clapisson built up a notable collection of antique musical instruments which he sold to the French government in 1861. The collection was housed in the Paris Conservatory's museum which officially opened in 1864 with Clapisson as its first curator, a position he held until his death two years later.

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Le Code noir, ópera cómica en tres actos (1842). Romance: Non, vous n'aurez pas…

Gibby la Cornemuse, ópera cómica en tres actos (1846). Romance du sommeil: Rêvons qu'un plus beau jour.

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 Asunto: Re: La otra ópera
NotaPublicado: 14 Abr 2023 8:36 
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Stanojlo Rajičić (1910-2000) He was born in Belgrade. A member of the interwar Prague group generation of Serbian composers along with other colleagues such as Mihovil Logar, Ljubica Marić or Milan Ristić, he studied in the Belgrade Music School and the Stanković Music School, and later in the Prague Conservatory under Rudolf Karel. He was also a disciple of Josef Suk in the Master School of Composition before returning to Belgrade in 1936. As a teacher he worked in the Belgrade Academy of Music from 1940 and directed its Composition and Orchestration department, retiring in 1977. His disciples include Petar Bergamo, Zoran Erić, Zoran Hristić, Ivan Jevtić, Milan Mihajlović, Vasilije Mokranjac, Mirjana Sistek-Djordjevic, and Vlastimir Peričić, who was his first biographer (Stvaralački put Stanojla Rajičića, 1971). Rajičić was a member of the Serbian Academy of Sciences and Arts since 1958 and received the Order of the Red Banner (1966), Seventh of July Award (1968), the Herder Award (1975) and the Order of Merit for the People (1987).

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Simonida, ópera (1956). Comienzo.

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 Asunto: Re: La otra ópera
NotaPublicado: 21 Abr 2023 11:38 
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Giuseppe Apolloni (1822-1889) He was born in Vicenza. Apolloni studied the piano (with F. Cannetti) and composition in Vicenza, where he lived until 1848, when his political involvement forced him to leave the city for Florence. He also lived for a time in Turin. Upon his return to Vicenza in 1852 his first opera, Adelchi, was staged there. His most widely produced work was L’ebreo (after Bulwer-Lytton’s Leila), first performed at Venice in 1855, and then in Barcelona and Malta; it was given a different title in Rome and Bologna, Lida [Leila] di Granata, at the insistence of the censors. On the strength of its very successful production at La Fenice, the management there invited Apolloni to revise Adelchi for a revival. His other operas include Pietro d’Abano (1856, Venice), Il conte di Königsmark (1866, Florence) and Gustavo Wasa (1872, Trieste). Besides his operas, which follow Verdi’s middle-period style at a distance, he composed an orchestral rhapsody, I canti dell’Appennino, using folk melodies, and a number of religious works.

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L'ebreo, ópera en un prólogo y tres actos (1855). Romito fior nel tramite.

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 Asunto: Re: La otra ópera
NotaPublicado: 28 Abr 2023 8:09 
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Gustave Adolph Kerker (1857-1923) He was born in Herford, Germany and began to study the cello at the age of seven. His family emigrated to the U.S. in 1867, settling in Louisville, Kentucky. Kerker played in pit orchestras at local theatres and then began to conduct. His early operetta, Cadets, toured the South in 1879. Kerker then moved to New York City, where he was engaged as the principal conductor at the Casino Theatre. There, he began to add his own songs into the scores of foreign operettas, notably Charles Lecocq's The Pearl of Pekin, since these works had no effective copyright in the U.S. Kerker's first complete operetta in New York was Castles in the Air in 1890. He wrote over twenty shows, the most successful of which were the London musical burlesque Little Christopher Columbus (1893), and the international musical hit The Belle of New York (1897). Other notable musicals included An American Beauty (1896), The Girl from Up There (1901), Winsome Winnie (1903), The Tourists (1906), and Fascinating Flora (1907) to a book by R. H. Burnside and Joseph W. Herbert. In 1909, he was asked to leave Germany by authorities for having failed to perform military service in his youth. He was one of the nine founding members of ASCAP in 1914. Kerker was married twice: first to Rose Keene whose stage name was Rose Leighton (married 1884) and second to Mattie B. Rivenberg (June 5, 1908), a show girl in the musical Nearly a Hero who was 30 years his junior. Kerker died following an "attack of apoplexy" at his home on 565 West 169th Street in New York City at the age of 66.

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Burning to Sing, or Singing to Burn, a "VERY" Grand Opera en un acto (1904). Thank Heaven, we have found you.

Die oberen Zehntausend, Amerikanische Tanzoperette en tres actos (1909). Hier dies Bouquet.

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 Asunto: Re: La otra ópera
NotaPublicado: 05 May 2023 11:53 
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Santos Eusebio Inchausti Larrauri (1868-1925) Nació en Mungiaestuvo. Nieto e hijo de organistas estuvo vinculado al municipio de origen de por vida. Fue un sobresaliente profesional de la música, cuya actividad la ejerció en Bilbao y en su pueblo natal. Ocupó la Dirección de la Sociedad Coral de Bilbao en sustitición de su titular D. Aureliano Valle. Asimismo fue Director del Coro Euskeria y Juventud Vasca. Coros todos ellos que participaron en diversos certámenes regionales e internacionales. De su creación musical destacamos: Matxin, Nora zoaz, Illunabarra, Izazu nitzaz, Neure andria, Itxasoa, Orra or goiko… En ellas refleja el espiritu romantico de la época que vivió Euskadi. Se trata de temas mítico-guerrero, naturaleza y costumbrista, utilizando como vehículo el euskera y la música popular. Especialmente le dieron fama y renombre dos óperas: Lide ta Ixidor e Itxasondo. Compuso piezas musicales también para la Banda de Música de Bilbao y para las Bandas de Txistu.

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Lide ta Ixidor, cuento lírico infantil (1909). Basatxoritxu.

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 Asunto: Re: La otra ópera
NotaPublicado: 05 May 2023 12:17 
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¿Le ha abducido MarttiT? :twisted:


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 Asunto: Re: La otra ópera
NotaPublicado: 06 May 2023 13:17 
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Tarde o temprano esa ópera iba a acabar aquí. :wink:

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 Asunto: Re: La otra ópera
NotaPublicado: 12 May 2023 8:31 
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Jean-Baptiste Stuck (also known by the single moniker "Baptistin," "Batistin" or "Battistin") (1680-1755) He called himself ‘Florentin’, although Lesure gives Livorno as his birthplace. In the libretto of Rodrigo in Algeri (Naples, 1702), a reworking of Albinoni’s L’inganno innocente, he was called ‘virtuoso della Contessa di Lemos’. His appearance in Paris was marked by the publication of an aria in Ballard’s Recueil d’airs sérieux of 1705. He lived well at the hôtel of his patron, the Prince of Carignan, until the prince's death in 1740. The title-pages of his four books of cantatas (1706–1714) reveal that he was also favoured by the italophile Duke of Orléans and made an ‘Ordinaire de la musique’. La prise de Lérida, from book 2, celebrates a military victory that may also have been the inspiration for his Te Deum, commissioned by the duchess and performed at the Palais Royal on 27 November 1707. In 1708 Stuck wrote an italian aria for a revival of Collasse’s Thétis et Pélée. However, his first two French operas, Méléagre and Manto la fée, performed in 1709 and 1711, were not well received.

According to Loewenberg, Stuck left France to spend some time in the service of Elector Max Emanuel of Bavaria (c1714). His opera Il Cid was performed at Livorno at Carnival 1715, and in the same year he married Bonne-Françoise Berain, daughter of Louis XIV’s court painter. He was awarded a pension of 500 livres as ordinaire de la musique du Roy on 18 December 1718. His third French opera, Polydore, was presented in 1720 and revived in 1739, and his duet cantata Démocrite et Héraclite was performed at the Opéra in November 1722. The death of the librettist La Font in 1725 prevented him completing his opera Orion, but an arietta from it appeared in the Mercure. He was active at the Concert Spirituel: an aria, four cantatas and the divertissement L’union de la musique italienne et françoise were given 18 performances between 1727 and 1729; Stuck, the violinist Jean-Pierre Guignon and flautist Michel Blavet played a trio on 24 and 25 December 1728; and one of his motets was performed on 13 April 1738. Stuck, now ‘M.L. Baptiste’, became a French citizen in June 1733. The inventory made after his wife's death in 1741 and his will dated 12 September 1752 survive in the Archives Nationales.

Although Stuck was not, as La Borde stated, the first to play the cello at the Opéra, the success of his performances as a soloist hastened the decline in the bass viol's popularity. Ancelet and Maisonelle agreed that he was the first cellist to be admired in France, and Corrette wrote that the rise to prominence of the cello began with the arrival in Paris of Stuck and L’Abbé (Philippe Pierre de Saint-Sévin). His French cantatas are notable for their italianisms and the extent to which he used accompanying instruments. Of particular interest is Démocrite et Héraclite, which musically juxtaposes two allegorical figures, Optimism and Pessimism. D’Aquin de Château-Lyon wrote that in the realm of the cantata Stuck was ‘the rival of Clérambault’.

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Polydore, tragedia lírica (1730). Air et choeur: Que ce rivage retentisse.... Tremblement de terre, air et choeur: L’air mugit, la terre tremble....

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 Asunto: Re: La otra ópera
NotaPublicado: 19 May 2023 7:25 
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Catherine Major (*1980) Originally from Outremont, she studied piano in childhood. She released her debut album Par-dessus bord, in 2004, and toured to support the album as an opening act for Richard Desjardins. In 2007 she composed music for Anaïs Barbeau-Lavalette's film The Ring (Le Ring), for which she won the Jutra Award for Best Original Music at the 10th Jutra Awards. The following year she released her second album, Rose sang. Le désert des solitudes was released in 2011. The following year she received a second Jutra nomination for Best Original Music, for her work on Micheline Lanctôt's film For the Love of God (Pour l'amour de Dieu). Her fourth album, La maison du monde, followed in 2015. In 2019, she participated alongside Ginette Reno, Diane Dufresne, Céline Dion, Isabelle Boulay, Luce Dufault, Louise Forestier, Laurence Jalbert, Ariane Moffatt, Marie Denise Pelletier and Marie-Élaine Thibert in a supergroup recording of Renée Claude's "Tu trouveras la paix", as a charitable fundraiser for Alzheimer's disease research after Claude's diagnosis with Alzheimer's was announced. Later the same year she performed a show with the Orchestre Symphonique de Québec, premiering several new songs from her forthcoming fifth album. The album, Carte mère, was released in 2020.

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Albertine en Cinq Temps, L’opéra (2022). Tant qu'à ça.

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 Asunto: Re: La otra ópera
NotaPublicado: 19 May 2023 9:34 
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He cometido el error de escuchar el fragmento... :P


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 Asunto: Re: La otra ópera
NotaPublicado: 19 May 2023 10:21 
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A mi tampoco me hace gracia, aunque, en su linea, no está mal hecha, pero como muchos insisten en que la ópera moderna no es melodiosa, que si no se entiende sin el manual de instrucciones,... pongo de todo en este hilo.

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 Asunto: Re: La otra ópera
NotaPublicado: 26 May 2023 7:46 
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Fortunato Chelleri (originally: Keller, also: Kelleri, Kellery, Cheler) (1690-1757) He was born in in Parma. Chelleri's father had emigrated from Germany to Italy; his mother was from the Italian family of musicians Bazzani. After the early death of his parents, he grew up with his uncle Francesco Maria Bazzani in Piacenza, who trained him as a musician. Chelleri started to compose operas for different opera companies in Northern Italy in 1708. He served in noble families in Barcelona, Florence and Venice, among others, including a post as maestro di capella of Anna Maria Luisa de' Medici. In 1722 Fürstbischof Johann Philipp Franz von Schönborn engaged him as Hofkapellmeister in Würzburg, together with Giovanni Benedetto Platti. After the death of the Fürstbischof in 1724, Chelleri was in Kassel Hofkapellmeister of the Landgraf Karl von Hessen-Kassel. Between 1732 and 1734, he followed Karl's son and successor Frederick of Sweden to the royal court of Stockholm. He returned to Germany with the title and fund of Hofrat (Court Councillor) and directed the private orchestra of Friedrich's brother Wilhelm VIII, von Hessen-Kassel until his death.

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Amalasunta, dramma per musica (1719). Aria: Astri aversi. Aria: La navicella.

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