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 Asunto: Re: La otra ópera
NotaPublicado: 16 Abr 2021 20:24 
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Fernando Jaumandreu Obradors (1897–1945) Nació en Barcelona. De nombre Fernando, sus apellidos eran Jaumandreu Obradors, pero siempre como nombre artístico utilizó su segundo apellido. Su madre, Julia, era una acreditada pianista y además de su primera maestra. Por otra parte, su abuelo Joan Obradors, fue un prestigioso músico cubano-catalán, quizás fuera esta la razón por la que utilizó siempre el apellido materno para firmar sus obras. Como queda dicho, las primeras clases musicales las recibió de su madre, y aunque en parte le podemos considerar autodidacta en esta materia, prosiguió sus estudios musicales en la Escuela Municipal de Música de Barcelona. En el año 1921, escribió unos cuadernos de Canciones clásicas españolas, en los que daba versiones para canto y piano de melodías populares de diferentes regiones españolas. Durante estos años dirigió diferentes orquestas en la Ciudad Condal, como la del Gran Teatro del Liceo y la Sinfónica de Radio Barcelona. Posteriormente se traslado a las Islas Canarias, donde residió durante unos años, en que fue profesor en el Conservatorio de Las Palmas, y además dirigió la Orquesta Filarmónica de Gran Canaria y la de la Sociedad de Conciertos. Como autor de obras líricas podemos citar sus zarzuelas, La Veneciana, estrenada el 13 de Noviembre de 1924, en el Teatro Novedades de Barcelona, y La campana rota, que con libreto de José Tellaeche, fue estrenada en el Teatro Metropolitano de Madrid en 1930.

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Los Mosqueteros del Rey, zarzuela en dos actos (1923). Ronda Serenata.

La Campana Rota, zarzuela en dos actos (1930). Canción.

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 Asunto: Re: La otra ópera
NotaPublicado: 23 Abr 2021 19:07 
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Harry Stewart Somers (1925-1999) He was born in Toronto, Ontario, Canada. He independently began studying piano and composing in 1939 and studied at the Toronto Conservatory between 1942 and 1949, with an interruption for military service (1943–1945). His teachers were Weinzweig for composition and R. Godden and W. Kilburn for the piano; in 1948 he studied the piano briefly with E. Robert Schmitz in San Francisco. Although Somers showed exceptional promise as a pianist, widely performing his own music as well as that of colleagues such as Pentland, in 1948 he abandoned plans to become a concert pianist in order to devote himself to composition. In 1949 he was awarded a Canadian Amateur Hockey Association Scholarship to study for a year in Paris with Milhaud. Somers never held a teaching position or sought permanent employment. In the 1950s he earned a living in a variety of odd jobs, briefly driving a taxi, working as a part-time music copyist and playing the guitar professionally. From 1960 he supported himself through commissions from major institutions and orchestras. He returned to Paris in 1960 on a Canada Council Senior Arts Fellowship to observe recent musical developments and to pursue his interest in Gregorian chant in a brief period of study at Solesmes.

During the 1960s Somers became involved in broadcasting and music education. He served as a writer, commentator and host on a variety of CBC radio and television music programmes, including an important two-hour documentary in 1962 on the occasion of Stravinsky’s 80th birthday; from 1965 to 1969 he prepared and presented the CBC programme ‘Music of Today’. In 1968–1969 he was special consultant to the North York Board of Education, Toronto, working directly in the classroom to explore new methods of developing musical creativity among children. A grant from the Canadian Cultural Institute in Rome enabled him to spend two years there (1969–1971); this was above all a period of reflection and planning. On his way back to Canada in the autumn of 1971 he spent three months visiting India, Nepal, Thailand and Bali, gaining musical experiences which were to influence several important works of the 1990s. Among the many honours he received were honorary doctorates from the universities of Ottawa (1975), Toronto (1976) and York (1977). In 1972 he was made a Companion of the Order of Canada, the country's highest award. Somers's first wife, Catherine Mackie, died in 1963. In 1967 he married the distinguished Canadian actress Barbara Chilcott, whose involvement with theatre and non-Western religions and philosophy exerted a considerable influence on his own artistic development.

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The Fool, ópera de cámara en dos escenas (1961). Final.

Death of Enkidu, ópera de cámara (1977). Comienzo.

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A Midwinter Night's Dream, ópera para niños en un acto (1988). Fragmento.

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Serinette, ópera en dos actos (1992). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 30 Abr 2021 21:45 
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Nicola Conforto (1718-1793) He studied music in his hometown at the Conservatorio di Santa Maria di Loreto (Music conservatories of Naples), under the tutorship of John Whistles and Francesco Mancini . After receiving his training, he made his debut during the carnival of 1746 in Naples as an opera composer with La finta vedova (The false widow). In the following years he staged his other works both in Naples and in Rome; the fame he achieved thanks to these successes meant that in 1750 he received the commission from the Teatro San Carlo for his first opera seria, Antigonus. In 1749 he married the singer Zefferina Anselmi, with whom he had three children. In 1751 he wrote the cantata Gli orti esperidi (The Hesperides gardens) in honor of the Empress Maria Theresa of Austria, to celebrate the name day of the Spanish king Ferdinand VI on 30 May 1752 he presented the drama Siroe, and on 23 September 1754 for the birthday celebrations of the King of Naples Charles III he presented L'eroe cinese (the Chinese hero). These latter two works gained much acclaim in Madrid, so much so that in 1756 he was named compositore d'opera di corte (composer of the work of the court). Later he received the title of Kapellmeister, but despite this his importance as a composer began to decline and in his later years he devoted himself less to creating compositions writing only occasionally music for the holidays.

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Nitteti, dramma per musica (1756). Aria: Se d'amor, se di contenti.

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 Asunto: Re: La otra ópera
NotaPublicado: 08 May 2021 7:46 
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Josef Tal (1910-2008) He was born Josef Grünthal in the town of Pinne (now Pniewy), near Poznań, German Empire (present-day Poland). Soon after his birth, his family (parents Ottilie and Rabbi Julius Grünthal, and his elder sister Grete), moved to Berlin, where the family managed a private orphanage. Rabbi Julius Grünthal was a docent in the Higher Institute for Jewish Studies (Hochschule für die Wissenschaft des Judentums), specializing in the philology of ancient languages. Tal's first encounter with music was at the synagogue, where there was a choir and his grandfather served as a non-professional cantor. After attending his first concert, he began to take piano lessons. Tal was admitted to the Staatliche Akademische Hochschule für Musik in Berlin and studied with Max Trapp (piano and composition), Heinz Tiessen (theory), Max Saal (harp), Curt Sachs (instrumentation), Fritz Flemming (oboe), Georg Schünemann (history of music), Charlotte Pfeffer and Siegfried Borris (ear training), Siegfried Ochs (choir singing), Leonid Kreutzer (piano methodology), and Julius Prüwer (conducting). Paul Hindemith —his composition and theory teacher— introduced him to Friedrich Trautwein, who directed the electronic music studio in the building cellar. Tal completed his studies in the academy in 1931, and married dancer Rosie Löwenthal one year later. He worked giving piano lessons and accompanying dancers, singers, and silent movies.

Nazi anti-Jewish labour laws rendered Tal unemployed and he turned to studying photography with Schule Reimann with the intention of acquiring a profession that would make him eligible for an "immigration certificate" to Mandate Palestine. In 1934, the family immigrated to Palestine with their young son Re'uven. Tal worked as a photographer in Haifa and Hadera for a short time. The family moved then to Kibbutz Beit Alpha and later to Kibbutz Gesher, where Tal intended to dedicate his time to his music. Finding it hard to adjust to the new social reality in the kibbutz, the family settled in Jerusalem where Tal established professional and social connections. He performed as a pianist, gave piano lessons and occasionally played harp with the newly founded Palestine Orchestra. In 1937, the couple divorced. Tal accepted an invitation from Emil Hauser to teach piano, theory, and composition at the Palestine Conservatory, and in 1948 he was appointed director of the Jerusalem Academy of Music and Dance in Jerusalem, a post he held until 1952. In 1940 Tal married the sculptress Pola Pfeffer. In 1951 Tal was appointed Lecturer at the Hebrew University of Jerusalem and Full Professor in 1978. In 1961 he established the Centre for Electronic Music in Israel. He published academic articles, and wrote many music entries in the Encyclopaedia Hebraica. In 1965 he was appointed senior professor and later chairman of the Musicology Department at the Hebrew University, a post he held until 1971. Among his many pupils are the composers Ben-Zion Orgad, Robert Starer, Naomi Shemer, Jacob Gilboa, and Yehuda Sharett, conductor Eliahu Inbal, musicologist Michal Smoira-Cohn, cellist Uzi Wiesel, pianists Walter Hautzig, Bracha Eden, and Jonathan Zak, and soprano Hilde Zadek.

Tal represented Israel at the International Society for Contemporary Music (ISCM) conferences and in other musical events and attended many professional conferences around the world. He was a member of the Berlin Academy of the Arts (Akademie der Künste), and a fellow of the Institute for Advanced Study, Berlin (Wissenschaftskolleg zu Berlin). Until his sixties Tal appeared as a pianist and conductor with various orchestras, but his major contribution to the music world lies in his challenging compositions and his novel use of sonority. In the 1990s Tal conducted, together with Dr Shlomo Markel, a research project (Talmark) aimed at the development of a novel musical notation system in cooperation with the Technion – Israel Institute of Technology, and Volkswagen Foundation. During these years his eyesight deteriorated due to macular degeneration and it became increasingly difficult for him to continue composing. Using a computer screen to enlarge the music score, he managed to compose short musical works for few instruments, write his third autobiography, and complete his visionary analysis of future music.

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Saul at Ein Dor, ópera de cámara (1955). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 14 May 2021 18:41 
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Jakob Haibel (1762-1826) He was born in Graz. Around 1789, Haibel joined Emanuel Schikaneder's company of performers at the Freihaus-Theater auf der Wieden. While there, he acted in plays and sang in operas and other musical productions. In the mid-1790s he started composing incidental music for company's plays and writing Singspiele. His first score for the company was the ballet Le nozze disturbate, which premiered in 1795 to great success. The company performed the work 39 times that year alone. Beethoven based his 12 variations on a Menuett à la Vìganò WoO 68 (1795) on an air from the ballet. In 1796, his opera Der Tiroler Wastel premiered at the theater to rave reviews. The work was Haibel's greatest success and was given 66 times that year and 118 times in all at the Freihaus-Theater. The work was staged in a multitude of other theatres throughout the Austro-German part of Europe and no other original score by Haibel ever equalled its success. Haibel continued to compose music for the theater until the death of his first wife Katharina (ca. 1768 – Vienna, 14 February 1806). At the time, he was not to be found in Vienna, for in 1804 he had already left for Diakowar (Đakovo), Slavonia, where he spent the rest of his life as the cathedral choirmaster. Recent research has brought to light 16 Masses by Haibel written during this time, preserved in the Kuhač collection at the Nacionalna i Sveučilišna Knjižnica in Zagreb. Haibel became Mozart's posthumous brother-in-law when he married Sophie Weber, Constanze's sister, on 7 January 1807. After Haibel's death in 1826, Sophie moved to Salzburg to live with her sister.

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Der Tiroler Wastel, ópera (1796). Aria: Alles will ich brechen, beugen.

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 Asunto: Re: La otra ópera
NotaPublicado: 21 May 2021 18:52 
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Franco Evangelisti (1926-1980) Born in Rome, Evangelisti abandoned engineering studies in order to dedicate himself to musical composition. In 1948 he became a composition student of Daniele Paris in Rome, where he also studied piano with Erich Arndt. In 1952 he moved to Germany, where he pursued advanced composition studies with Harald Genzmer at the Hochschule für Musik Freiburg. Starting in 1952 he took part in the Darmstädter Ferienkurse, where he had the opportunity of meeting Werner Meyer-Eppler of the University of Bonn, thanks to which he began to be interested in electronic music. At the invitation of Herbert Eimert, in 1956–1957 he worked in the electronic studio of the Westdeutscher Rundfunk in Cologne. In 1957, the orchestral conductor Hermann Scherchen invited him to work in the Studio of Experimental Electroacoustics of UNESCO in Gravesano, where he became involved with biophysics and explored the possibility of directly translating brain impulses into sonic vibrations. In 1960, together with other musicians such as Francisco Pennisi and Aldo Clementi, he founded the Nuova Consonanza association and, in 1964, the improvisation group of the same name. In 1980, after nearly twenty years' work, he finished his book Dal silenzio a un nuovo mondo sonoro (From Silence to a New Sonorous World), which has come to be regarded as "an important record of one of the most radical minds of the Italian postwar avant garde". He died in Rome on 28 January 1980.

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Die Schachtel, azione mimoscenica (1962-1963). Struttura No. 3.

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 Asunto: Re: La otra ópera
NotaPublicado: 28 May 2021 20:24 
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Nicolau Guanyabens i Giral (1826-1889) Nació en Mataró. Su padre, Manuel Bonaventura Guanyabens i Clausell, fue un comerciante dedicado a la homeopatía. Estudió música en la Escuela Pía de Mataró, donde aprendió a tocar la flauta y la guitarra, además de composición. Por presión familiar estudió comercio y náutica, y ejerció un tiempo de navegante. Durante la epidemia de cólera de 1854 se interesó por la Medicina, carrera que cursó en la Universidad de Zaragoza, donde se tituló en 1871. En 1874 se instaló en Palma de Mallorca, donde ejerció la homeopatía. Dos años después regresó a Mataró, donde siguió ejerciendo su oficio con su hijo Manuel. De ideas liberales, escribió varios artículos en El Liberal. Se dedicó a la música como afición, principalmente música religiosa, género del que fue autor de un Te Deum, un Stabat Mater y una Misa que estrenó en Mataró en 1852. El 12 de mayo de 1859 estrenó en el Gran Teatro del Liceo de Barcelona la ópera en italiano Arnaldo di Erill, con libreto de Joan Cortada, una obra de influencia donizettiana. Compuso también zarzuelas, canciones, obras para piano y piezas corales. Una de sus obras más famosas fue la barcarola La calma (1858).

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Arnaldo d'Erill, ópera en dos actos (1859) Aria: Nell'aprile della vita.

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 Asunto: Re: La otra ópera
NotaPublicado: 04 Jun 2021 13:32 
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Maria Teresa Agnesi (1720-1795) She was born in Milan. As a girl she performed in her home while her elder sister Maria Gaetana (1718–1799; she became a distinguished mathematician) lectured and debated in Latin. Charles de Brosses, who heard them on 16 July 1739 and was highly impressed, reported that Maria Teresa performed harpsichord pieces by Rameau and sang and played compositions of her own invention. Her first cantata, Il restauro d’Arcadia, was written in honour of the Austrian govenor Gian-Luca Pallavicini in Milan in 1747. In the following years, she sent La Sofonisba to Vienna for possible performance on Empress Maria Theresa’s nameday. At about this time she dedicated collections of her arias and instrumental pieces to the rulers of Saxony and Austria; according to Simonetti the Empress Maria Theresa sang arias that Agnesi had given her. She married Pier Antonio Pinottini on 13 June 1752. Her next opera, Ciro in Armenia, was produced at the Regio Ducale in 1753. In 1766 her Insubria consolata was performed in Milan on the engagement of Beatrice d’Este and the Archduke Ferdinand. Her final years were spent in poverty. Her portrait hangs in the museum of La Scala; other depictions are reproduced in the encyclopedia Storia di Milano (vols. xii, xiv).

Agnesi’s career as a theatrical composer was made possible by the changes in women’s status taking place in Austrian Lombardy. Her talents seem to have found a warmer reception in Vienna and Dresden than in her native city, to judge by the elegant copies of La Sofonisba, Il re pastore and the arias produced for these courts. Stylistically, her operas show a progression from relative simplicity (Ciro in Armenia) to more ambitious and virtuoso writing in the later works. Il re pastore and Ulisse feature lengthy ritornellos and use da capo form almost exclusively; several of the arias in Il re pastore and in La Sofonisba are miniature two-part scenas. The latter opera includes some of Agnesi’s most powerful writing; Sophonisba’s last aria before dying, ‘Già s’appressa il fatal momento’, is a particularly moving and dramatic close to an opera seria. Agnesi’s keyboard music, less sharply characterized, is sometimes technically challenging, in a generic north Italian style.

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La Sofonisba, dramma eroico en tres actos (1747–1748). Aria: Dall'eterno felice soggiorno.

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 Asunto: Re: La otra ópera
NotaPublicado: 11 Jun 2021 19:01 
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Émile Paladilhe (1844-1926) He was born in Montpellier. He was a musical child prodigy, and moved from his home in the south of France to Paris to begin his studies at the Conservatoire de Paris at age 10. He became an accomplished pianist, and was the youngest winner of the Prix de Rome, three years after Bizet, in 1860. For a time Galli-Marié was his lover, and she helped create some of his works. Paladilhe married the daughter of the librettist Ernest Legouvé. He formed a friendship with the elderly Charles Gounod. He wrote a number of compositions for the stage, a symphony, over a hundred mélodies, piano works, and a wide range of sacred music, including cantatas, motets, masses, chorales, and a noted oratorio, Les Saintes-Marie de la mer. His opera Patrie! of 1886 was his greatest success, and was one of the last grand operas to premiere at the Paris Opéra. It was a piece d'occasion, created for a gala in honour of the French colony in Monaco, but had a Flemish-nationalist theme. The librettists were Victorien Sardou and Louis Gallet

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Patrie!, grand opera en cinco actos (1886). Aria: Pauvre martyr obscur.

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 Asunto: Re: La otra ópera
NotaPublicado: 20 Jun 2021 14:47 
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Falleció mi ordenador. No hubo posibilidad ni de recuperar los datos. Ya tengo uno nuevo, pero toda la información relacionada con este hilo se perdió. No se en que viñeta vamos, ni cual sigue, perdí las biografías, etc. :|

Así que va a pasar tiempo antes de que pueda continuar con el hilo. :(

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 Asunto: Re: La otra ópera
NotaPublicado: 20 Jun 2021 14:58 
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Registrado: 17 Feb 2010 23:50
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Ubicación: Calle Mossén Femades
Vaya, lo siento.
¿No había un índice en dos tramos?

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 Asunto: Re: La otra ópera
NotaPublicado: 20 Jun 2021 15:11 
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Me estás hablando en chino. De ordenadores no sé nada.

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 Asunto: Re: La otra ópera
NotaPublicado: 20 Jun 2021 15:25 
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Me refiero al índice, que por lo que veo está actualizado:
https://www.unanocheenlaopera.com/viewt ... =2&t=18478
https://www.unanocheenlaopera.com/viewt ... =2&t=18479

Ya los audios es otro cantar, si sólo estaban en tu ordenador los has perdido.
Veo que el foro permite grabar todo el hilo en formato pdf (aplicación Adobe Acrobat), en la opción "Download as PDF". Lo que no tengo claro es lo que tardará, porque son muchas páginas. Pero creo recordar que hace unos años, en un encuentro de foreros (Coinfo) le regalaron al señor Marqués (creo que era él) todo el hilo de Ópera abyecta, impreso en color y encuadernado. Así que se debe de poder.

Realmente tampoco sé si esto es lo que quieres y si te sirve de algo.

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 Asunto: Re: La otra ópera
NotaPublicado: 20 Jun 2021 15:29 
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Gracias. Tenía la lista en Excel por país, compositor y obras de la viñeta. Tengo que ir viñeta por viñeta, son mas de 600 a la fecha, y luego ver que es lo que falta.

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 Asunto: Re: La otra ópera
NotaPublicado: 20 Jun 2021 17:45 
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Registrado: 30 Dic 2005 13:54
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Parece que el create_pdf.php?t=3873 no está funcionando, al menos en mi ordenador (espero que no le pase lo mismo que al de Zelenka).


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