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NotaPublicado: 16 Feb 2007 21:07 
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Cuando abrí este hilo dije que no iba a poner óperas completas, ni siquiera actos completos, y en esta ocasión he tenido que faltar a mi palabra :oops:

Entre 1922 y 1932 Hindemith organizó varios festivales de música contemporánea, primero en Donauschingen y luego en Baden-Baden. En 1927 le encargó a Mihlaud que compusiera una ópera lo mas corta posible. Así nació L'Enlèvement d'Europe, una obra que tiene todos los elementos escenicales de una ópera pero de manera reducida. Cuando Mihlaud le presentó la obra a su editor, Unversal Edition, este se negó a publicarla argumentando que nadie iba a representar una ópera que tan solo duraba ocho minutos y le propuso que compusiera por lo menos una trilogía. De esta forma Mihlaud compuso L'Abandon d'Ariane y La Déliverance de Thésée. y las tres obras recibieron el título de Trois Opéras-minute (Tres operas-minuto).

Como saco un fragmento de una ópera que dura ocho minutos? :?

Les Malheurs d'Orphée y Le pauvre matelot no son óperas-minuto pero casi. Cada una dura alrededor de treinta minutos y está dividida en tres actos. Mismo problema. Como sacar un fragmento de un acto tan corto y que el mp3 todavía guarde cierto sentido? :-|

Al no haber encontrado ninguna solución apropiada opté por faltar, espero que solo esta vez :roll: a mi palabra. Espero que se entineda que se trata de un caso extraordinario :wink:


P.D. si con esto no convencemos a tu amigo, Idi, no lo convencemos con nada :roll:


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Johan Peter Emilius Hartmann (1805-1900) He was born in Kopenhagen. Hartmann's father was a violinist, organist, and choirmaster from whom he learned theory, piano, organ, and violin. His mother was a governess to Prince Christian VIII's household, so Hartmann grew up in a physically comfortable and socially prominent environment. Hartmann's father urged him away from a career in music and instead toward law. He graduated from the University of Copenhagen in 1828, which enabled him to support himself for the next 42 years working for the government while also composing, playing the organ, conducting, and teaching. By this time, he had composed several orchestral overtures, three violin sonatas, and a sonata for flute and clarinet; one of his cantatas was premiered in 1826 at the first concert devoted to his works. He held a permanent organist position at Vor Frue Kirke, devoted time to several music societies, and received numerous awards and an honorary doctorate from the University of Copenhagen.

Hartmann wrote three operas: Ravnen, eller Broderprøven (The Raven, or The Brother Test, Op. 12, 1832), Korsarerne (The Cosairs, Op. 16, 1835), and his masterpiece, Liden Kirsten (Little Christine, Op. 44, 1846), with its evocations of the medieval Danish balladic style; the last of these was staged in Weimar in 1856 thanks to the support of Franz Liszt. Hartmann's cantatas also celebrate the Scandinavian spirit in works such as the early classical-style Weyses minde (In memory of Weyse, 1843), Vølvens spaadom (Vølven's Prophecy, 1872) for male voices and orchestra, and Hinsides bjergene (Beyond the Mountain, 1865). Ancient cultural styles figured into Hartmann's incidental music for Adam Oehlenschlaeger's dramas Olaf den hellige (1838), Hakon Jarl (1844-1857), Axel og Valborg (1856), and the Carl Nielsen-like Yrsa (1883). These influences are also evident in Hartmann's music for August Bournonville's ballets Et folkesagn (1854), Valkyrien (1861), and Thrymskviden (1868). Many of Hartmann's later works are religious choruses and songs; his Piano Sonata of 1885 has many forward-looking aspects.

All Music Guide

Liden Kirsten, ópera romántica en dos actos (1846). Fragmento del acto segundo.

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Última edición por Zelenka el 23 May 2014 9:30, editado 1 vez en total

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Zelenka escribió:
P.D. si con esto no convencemos a tu amigo, Idi, no lo convencemos con nada :roll:


Qué amigo? Ahora no caigo...

Por cierto, no eres el primero en colgar las óperas minuto...ya las colgó en su día Simón Boccanegra para publicitar su candidatura a ser incluidas en nuestro "Repertorio básico"... :wink:


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Tu amigo que dice que si las óperas no duraran tres horas... :roll:

Me imagino que muchas cosas de este hilo ya se comentaron, pero me es imposible leerme TODO el foro a ver si vale la pena poner la vigneta o no :?


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Matthew Locke (1621/22-1677) Nació en Exeter, Inglaterra. Locke fue corista de la catedral de Exeter entre 1638 y 1641, donde estudió con Edward Gibbons. Entre 1641 y 1651 estuvo exiliado en Holanda, posiblemente en compañía de otros realistas. De vuelta en Inglaterra se cree que vivió cerca de Hereford hasta 1660. Luego de la restauración, en 1660 es nombrado compositor real, y provee música para la coronación de Carlos II de Inglaterra, luego de la era de Richard Cromwell . En 1662 es nombrado organista de la reina. Su personalidad difícil y vengativa lo envolvió en diversas controversias en sus últimos años. Igualmente fue amigo dilecto de Henry Purcell, quien lo sucedería como compositor real y a quien influyó notablemente en el estilo musical. También trabajó asociado con compositores como John Playford, Henry Lawes y Cristopher Gibbons, con quien colaboró en la ópera Cupid and Death (1653). Locke escribió una importante cantidad de himnos, motetes, piezas vocales para servicios litúrgicos, obras dramáticas y música de danza. También es autor de un tratado de música, titulado Melothesia

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Psyche, ópera en cinco actos (1675). Comienzo.

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Última edición por Zelenka el 23 May 2014 13:04, editado 1 vez en total

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Este hilo es maravilloso :)

:nw: :nw: :nw:

¿Podrías poner los vínculos para leer los textos originales y recurrir a las fuentes? :wink:

La música de Psyche me encanta :)


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Lo siento, Jalu, pero no entiendo tu petición :roll:


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Gino Marinuzzi (1882-1945) Se formó musicalmente en el Conservatorio de Palermo, su ciudad natal, donde estudió composición con Zuelli. En 1900, con dieciocho años, obtuvo su diploma del Conservatorio y el mismo año se presentó al público con su obra Requiemen honor al Rey Umberto I . Esta obra le abrió las puertas a un público que, como el deseaba, le regaló atención y reconocimiento. Un año después le confiaron la dirección de Rigolleto de Verdi, en el Teatro Massimo de Palermo. El público y la crítica derrocharon alabanzas sobre este joven y ambicioso director. De esta forma rapidamente pudo hacerse un gran renombre internacional. El plato fuerte de su amplio repertorio lo constituyeron las obras de Richard Strauss - por las que Marinuzzi siempre había sentido predilección y para las que en Italia había hecho un trabajo pionero - y Giacomo Puccini quien le confió el estreno de La Rondine. En 1916 Marinuzzi sucedió a Busoni en la dirección del Conservatorio de Bologna. Dos años mas tarde, al darse cuenta de que su trabajo en el Conservatorio interfería con su carrera de director musical, se muda a los Estados Unidos donde fue nombrado en 1920 director artístico de la Chicago Opera Association. Hacia finales de los años treinta regresó a Italia y se encargo de la dirección artística y musical de la casa de la ópera de Roma, la cual abandonó para convertirse en director musical de la Scala de Milan, y mas tarde, en 1944, también en su direcotr artístitco.

Jaquerie, ópera en tres actos (1918). Comienzo.

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Última edición por Zelenka el 23 May 2014 13:08, editado 1 vez en total

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Aaaargg!! Por qué no he descubierto yo este hilo antes!!!

GRACIAS Zelenka, esto era lo que yo quería ver.

Ahora me pegaré un atracón para escuchar todas los óperas citadas. :mrgreen: \:D/


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Zelenka escribió:
Lo siento, Jalu, pero no entiendo tu petición :roll:


Me refiero a poner los vínculos para leer los textos de las fuentes de cada una de las presentaciones que haces, por ejemplo, la dirección del sitio de donde sacas las biografías, o los comentarios que transcribes, tanto sea en castellano o en otros idiomas, asi nosotros podemos recurrir a las páginas originales si queremos leer más información sobre ese compositor, etc
¿Se entiende?


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Ok :wink:


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Johann Gottlieb Naumann (1741-1801) He was born in Blasewitz, Germany. He received his earliest musical instruction at the Kreuzschule, Dresden, where he was probably placed in the tutelage of Kapellmeister Hasse. He was invited by the Swedish violinist Wesström to tour Italy as his accompanist in 1757, but the trip proved far longer than planned. In fact, it lasted some seven years, during which Naumann studied with Tartini in Padua and Padre Martini in Bologna. His debut as an operatic composer followed in 1762 when, after a meeting in Venice with Hasse, the Teatro San Samuele staged Naumann's Il tesoro insidiato. Two years later, Naumann's Li creduti spiriti, composed for the Venetian carnival in collaboration with two other composers, secured the endorsement of Hasse and Ferrandini, both of whom recommended him for a post as second church composer in Dresden. There, Naumann was soon promoted to chamber composer in 1765. Subsequently, he decided to return to Italy for three years, where he composed his opera La clemenza di Tito, staged in Dresden in 1769. Naumann's next stay in Italy between 1772 and 1774 further consolidated his reputation as a major operatic composer. He was finally appointed Kapellmeister at Dresden in 1776.

In 1777, the Swedish ambassador Count Lowenhjelm asked him to travel to Stockholm, where he assisted King Gustavus III in re-forming the Hovkapell. He also composed operas for the Swedish court, many of which were tremendously successful. The finest, Cora och Alonzo, was staged for the inauguration of the Royal Opera House. In 1782, Gustavus III commissioned a Swedish nationalist opera, Gustaf Wasa, which received its premiere in 1786 and remained Sweden's most popular opera for over a century, with more than 250 performances. In 1785, Naumann guested as opera composer and conductor for the Danish court and reorganized the opera at Copenhagen. He would not commit to an extended contract there, however, and returned to Dresden, becoming Oberkapellmeister. In 1792, he married Catarina von Grodtschilling, daughter of a Danish vice-admiral, and although during his final years he contemplated a German national opera based on his experiences in Scandinavia, it never materialized.

Michael Jameson, All Music Guide

Aci e Galatea osia I Ciclopi Amanti, dramma giocoso per musica diviso in due atti (1801). Comienzo

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Última edición por Zelenka el 23 May 2014 13:12, editado 1 vez en total

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Jean Joseph Mouret (1685-1732) He was born in Avignon, France. His father was a silk merchant and avid amateur violinist who saw to it that his son received complete instruction in music. Details of this education are unknown, but musical historians consider it likely that it occurred in the choir school of Notre Dame des Doms, an important regional church. Mouret's family's wealth, his charm, and his lovely singing voice made him welcome in the best company. By 1707, he was in Paris, where he was appointed music master for the Marshall of Noailles. By 1709, he had the position of surintendent de la musique at the court of Sceaux. There, from 1714 through 1715, the Duchess of Maine was the hostess of the renowned Grandes Nuits, for which Mouret wrote much of the music. In 1714 to 1718, he was the orchestra director of the Paris Opéra. In an age when elevated Greek tragedy, pastoral romance, and histories based on figures of antiquity were de rigeur, Mouret was bold enough to introduce comedy into his operas.

Mouret's first opera, Le fêtes ou le triomphe de Thalia, told of the humiliating rout by Thalia, the Muse of Comedy, over her sister, Melpomene, the Muse of Tragedy. The main body of the story is not set in some vague legendary scene, but involves clearly contemporary figures, such as a group of "coquettish widows" all dressed in recognizably French costumes. Mouret and his librettist, La Font, daringly placed this production on the august stage of the Paris Opéra, a virtual shrine to tragedy. This resulted in a scandal and La Font honorably took the blame for the sacrilege and in a new prologue said all the success of the work was due to the music and dance. Mouret went on to write Le mariage de Ragonde (1714), a true lyric comedy anticipating by 30 years Rameau's Platée, which is often considered the origin of French musical comedy. Mouret also wrote standard tragedies and heroic ballets, but was notably less successful with them than in his more lighthearted works, which also included a series of divertissements for Paris' French Theater (beginning in 1716) and the New Italian Theater, where Mouret became director in 1717; he also wrote motets and cantatas.

In 1718, he was given a royal privilege to publish music and in 1720 was appointed an ordinaire du Roy, as singer in the King's chamber. He was music director of the Concert Spirituel from 1728 to 1734. This appointment marked the beginning of the end of his great success, for the Concert Spirituel had financial and legal problems that affected him personally. Then in 1734, the troubled institution was taken over by the Académie Royale de Musique, which sacked Mouret. In 1736, the Duke of Maine died and Mouret lost his position at Sceaux. In 1737, the Italian Theater had a change of policy that resulted in Mouret losing that job as well. Within four years, he had lost all sources of income and was essentially maintained as a charity case by the Prince of Carignan, who annually gave him a pension. It is intriguing to note that George Frideric Handel went through periods of such reverses but was able to find a way to have a comeback. Mouret was not as fortunate or resilient; his spirit was progressively broken by all of these career misfortunes and in 1737, he began to go mad. Just after his 50th birthday, he was placed in the care of the Fathers of Charity at Carenton and died in that institution eight months later.

Joseph Stevenson, All Music Guide

Les amours de Ragonde ou La Veillée de Village, divertimento en música (1714). Comienzo.

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Última edición por Zelenka el 23 May 2014 13:32, editado 2 veces en total

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Ethel Mary Smyth (1858-1944) She was born in London into a military family. Taught piano and theory as ladylike accomplishments, she became so concentrated in her studies that her family deemed them unsuitably intense, and stopped her lessons. The teenaged Ethel went on a protracted and progressively more severe strike, finally confining herself to her room and refusing to attend meals, church, or social functions unless her father would send her to Leipzig to study composition. In 1877 she went to Leipzig to study with Jadassohn and Reinecke. She had some private tuition from Herzogenberg. There she won the encouragement and acceptance of Grieg, Tchaikovsky, Dvorák, Clara Schumann, Joachim, and Brahms. The 1880s saw a burst of chamber music production. In the 1890s her orchestral Serenade and overture Antony and Cleopatra were heard at Manns' Crystal Palace concerts and at Henschel's series. Opera became a major fixation of hers. The first was Fantasio produced at Weimar (1898) and Carlsruhe under Felix Mottl. Der Wald was given in Dresden in 1901 and then in Berlin in 1902. The Wreckers had prestige performances in Leipzig (1908), Prague (1908), Vienna (1908) and London (Walter and Beecham, 1909, 1910).

In 1910, Smyth met Emmaline Pankhurst, the founder of the British women's suffrage movement and head of the militant and extremely well organized Women's Social and Political Union. Struck by Mrs. Pankhurst's mesmerizing public speeches, Smyth pledged to give up music for two years and devote herself to the cause of votes for women.

Laggard Dawn and The March of the Women were written in 1911 and premiered by a chorus of Suffragettes at a fundraising rally at the Albert Hall in London in 1911. The latter tune became the battle cry of the suffrage movement, and was published in arrangements for mixed voices and unison singing. Its most famous, though least public perfomance occured in Holloway prison in London in 1912: over 100 suffragists, including Mrs. Pankhurst and Ethel Smyth, who had smashed windows of suffrage opponents' homes in well-coordinated simultaneous incidents all over London, were arrested, tried, and sentenced to two months' imprisonment. Ethel Smyth found her time in prison an exalting experience of communal determination and sacrifice by women of all ages and classes. One day, while the prisoners were taking their outdoor exercise, Ethel Smyth appeared at a window overlooking the prison yard, and conducted their singing of the suffrage battle anthem by waving her toothbrush.

Her 65 minute Symphony The Prison was given its first London outing in 1931 when it was conducted by Boult. The Prison in question has little if anything to do with the prison in which she was incarcerated for her suffragette activities. Rather it refers to the bars and constraints that hem in and suppress the divine within each human being. Her hearing deteriorated in her later years, and she wrote little music. She died in Woking at the age of 86.

Rob Barnett

The Wreckers, drama lírico en tres actos (1908). Comienzo.

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Última edición por Zelenka el 23 May 2014 13:27, editado 1 vez en total

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