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 Asunto: Re: La otra ópera
NotaPublicado: 06 May 2022 9:35 
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Ketil Bjørnstad (*1952) He was born in Oslo, Norway. Ketil Bjørnstad was trained as a classical pianist and studied with Amalie Christie and Robert Riefling, and also in London and Paris. He showed great talent at a young age, and won the title of "Youth Piano Master" in 1966 and 1968. When he was 16, he made his debut as a concert pianist with Béla Bartók's third piano concerto. Bjørnstad subsequently turned towards jazz and rock, in close cooperation with the guitarist Terje Rypdal, bassist Arild Andersen, drummer Jon Christensen and the American cellist David Darling. He has recorded more than 50 albums, for labels which include Universal, Kirkelig Kulturverksted and ECM. He is particularly famous for the work Leve Patagonia (1978), which features Cornelis Vreeswijk and Lill Lindfors. His most famous song is "Sommernatt ved fjorden", sung by Ellen Westberg Andersen. Bjørnstad has released discs with a range of artists including Anneli Drecker, Kristin Asbjørnsen, Kari Bremnes, Lill Lindfors, Randi Stene, Lynni Treekrem, Frøydis Armand, the Stavangerensemblet, Anders Wyller, Per Vollestad and Ole Paus. He is internationally known for his Universal and ECM recordings, including The Sea, duo recordings with David Darling and Terje Rypdal, Grace, with Anneli Drecker, Bendik Hofseth and Trilok Gurtu, Floating with bassist Palle Danielsson and percussionist Marilyn Mazur, which went to the top of the jazz charts in Germany, solo triple album Rainbow Sessions and The Light, with Randi Stene and Lars Anders Land. Gramophone magazine has compared Bjørnstad's songs to those of Leonard Cohen. His ECM-album, Remembrance (2010), adds to his catalogue of his serene, meditative work.

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Flagstad - The Opera (2020). The war. Felt like it would never end.

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 Asunto: Re: La otra ópera
NotaPublicado: 13 May 2022 12:10 
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Helena Mathilda Munktell (1852-1919) She was born at Grycksbo in Dalarna County, Sweden. She was the youngest of nine children of Henrik Munktell (1804–1861) and Christina Augusta Eggertz (1818-1889). Her mother lived separately in Stockholm and after her father died, the family moved there. Her sister Emma Josepha Sparre (1851–1913) was a painter. Munktell studied music at the Stockholm Conservatory with Conrad Nordqvist, Johan Lindegren, Ludwig Norman and Joseph Dente, and then in Vienna with Julius Epstein. She studied both piano and voice, and continued her education in composition in Paris with Benjamin Godard and Vincent d'Indy. Her debut as a composer took place in Sweden in 1885. In the late 1890s, Helena Munktell began to compose music for orchestra. In 1915 she became a member of the Royal Swedish Academy of Music and in 1918 she co-founded the Swedish Society of Composers. She suffered from eye disease and died at the age of 67 in Stockholm. She was buried at Norra begravningsplatsen in Solna.

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I Firenze, ópera cómica en un acto (1889). Min fru, nu jag är på det klara.

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 Asunto: Re: La otra ópera
NotaPublicado: 20 May 2022 10:09 
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Antal Doráti (1906-1988) He was born in Budapest, where his father Alexander Doráti was a violinist with the Budapest Philharmonic Orchestra and his mother Margit Kunwald was a piano teacher. He studied at the Franz Liszt Academy with Zoltán Kodály and Leó Weiner for composition and Béla Bartók for piano. His links with Bartók continued for many years: he conducted the world premiere of Bartók's Viola Concerto, as completed by Tibor Serly, with the Minneapolis Symphony Orchestra in 1949, with William Primrose as the soloist. He made his conducting debut in 1924 with the Budapest Royal Opera. As well as composing original works, he compiled and arranged pieces by Johann Strauss II for the ballet Graduation Ball (1940), premiered by the Original Ballet Russe in Sydney, Australia, with himself on the conductor's podium. For Ballet Theatre (later renamed American Ballet Theatre) he created scores for the ballets Bluebeard (1941) from music by Jacques Offenbach and The Fair at Sorochinsk (1943) from music by Modest Mussorgsky. His autobiography, Notes of Seven Decades, was published in 1979. In 1983, Doráti was appointed an honorary Knight Commander of the Order of the British Empire. His wife was Ilse von Alpenheim, an Austrian pianist. Doráti died at the age of 82 in Gerzensee, Switzerland.

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Der Künder, ópera en tres actos (1984). Grausamer!

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 Asunto: Re: La otra ópera
NotaPublicado: 27 May 2022 10:29 
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Christian Frederik Emil Horneman (1840-1906) He was born in Copenhagen, the son of the composer Emil Horneman and of Camilla Scheuermann (a cousin of composer Emma Hartmann). He studied at the Leipzig Conservatory with Ignaz Moscheles, Ernst Friedrich Richter, Moritz Hauptmann, and Julius Rietz. After his return to Denmark he composed divertimenti and opera fantasies and began work on the opera Aladdin, the composition of which occupied him for more than twenty years. The overture, completed in 1864, is Horneman's best known work, along with the four-movement suite drawn from incidental music for the Holger Drachmann drama Gurre. Together with composers Gottfred Matthison-Hansen, Edvard Grieg, and others he founded in 1865 the music institute Euterpe to encourage newer Danish music. This was in reaction to the Music Society (Musikforeningen), which was controlled by Niels Wilhelm Gade and was regarded by the younger composers as too conservative. Horneman conducted the organization's concerts. During a trip to Germany in 1867 he wrote his Ouverture héroïque and led a performance of his Aladdin Overture at the Leipzig Gewandhaus. In 1874, together with Otto Malling, he founded the Concert Association (Koncertforeningen) and in 1879 the Horneman music conservatory (Hornemans Konservatorium) that bore his name until its closing in 1920.

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Aladdin, ópera en cuatro actos (1888). Hvilken glans og hvilken rigdom.

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 Asunto: Re: La otra ópera
NotaPublicado: 03 Jun 2022 10:19 
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Bernardo Sabadini (also known as Sabatini) (?-1718) He was a member of the clergy. According to the libretto of his oratorio I disegni della divina sapienza, he was a Venetian. From 1662 to 1672 he was maestro d’istrumenti and Rosenmüller’s assistant at the Ospedale della Pietà, Venice. He may be the Don Bernardino Sabatini who in December 1673 was a singer at Urbino Cathedral. From 1 July 1681 he was organist at the Farnese court at Parma and on 1 March 1689 became maestro di cappella there; he was organist and ‘resident’ of the ducal church from February 1689 and maestro di cappella from 1692. In January 1711 he received a benefice attached to that church. As court composer he was, from 1686 to 1700, responsible for the musical preparation of operas performed at the Novissimo Teatro Ducale, Parma, and the Nuovo Teatro Ducale, Piacenza (the second capital of the state), in collaboration with the court poets: Lotto Lotti until 1687, then Aurelio Aureli until 1694 and finally Giovanni Tamagni. Ferdinando Galli-Bibiena designed the scenery, Federico Crivelli the dances and Gasparo Torelli the costumes. With this team Ranuccio II Farnese raised the court operatic spectacles to a level comparable with that of the major Italian theatre cities. The highpoint of the Farnese theatrical venture was the marriage celebration of Odoardo II Farnese in 1690, for which Sabadini, ‘heroic composer of our times’, wrote La gloria d’Amore and Il favore degli dei. Sabadini’s operatic output is divided between apparently original operas and adaptations of works first performed elsewhere, mainly in Venice. His arias are tuneful and well constructed. He was one of several composers in the region to write virtuoso passages not only for the singer, but also for continuo instruments, particularly cello obbligato; in one case he apparently composed a new scene to accommodate a visiting virtuoso harpist. In later years Sabadini gained some productions outside the duchy, at Turin, Rome, Genoa and Pavia. Francesco II of Modena acquired 11 aria anthologies from performances in Parma and Piacenza before 1692; these contain most of Sabadini’s surviving music. A Gasparo Sabadini was court organist from 1696 to 1707.

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Angelica nel Catai, pasticcio (1702). Aria: Mi vedrà più fiera in campo.

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 Asunto: Re: La otra ópera
NotaPublicado: 10 Jun 2022 11:26 
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Jean-Frédéric Edelmann (born Johann Friedrich Edelmann; 1749-1794) He was born in Strasbourg to a Protestant family of Alsatian descent. After studying law and music, he moved to Paris in 1774 where he played and taught the piano. It is possible that Edelmann worked for some time in London. During the French Revolution he was appointed administrator of the Bas-Rhin. In late May 1794 he was arrested after a false accusation of treason (he was in fact an opposer of the terroristic policy and paid the hatred of Saint-Just). Sentenced to death by the Revolutionary Tribunal on 17 July 1794 (29th Messidor), he was executed the same day by guillotine in Place de la Barrière du Trône together with his brother Louis, other two Strasbourg citizens, and the sixteen Carmelite nuns of Compiègne (only eleven days before the fall of Robespierre). Edelmann composed two operas, an oratorio and various pieces of chamber music.

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Ariane dans l’isle de Naxos (1782). Aria: Mais Thésée est absent.

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 Asunto: Re: La otra ópera
NotaPublicado: 17 Jun 2022 10:50 
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Jeanine Tesori (*1961) She was born in Port Washington, New York. Tesori made her Broadway debut when she arranged the dance music for the 1995 revival of How to Succeed in Business Without Really Trying. In 1997 she composed the score for the Off-Broadway musical Violet, for which she won an Obie Award, the New York Drama Critics Circle Award for Best Musical, and the Lucille Lortel Award for Outstanding Musical, and arranged the music for the Johnny Mercer revue Dream, which she repeated with the 1998 revival of The Sound of Music and the 1999 revue Swing! She also served as associate conductor for the Broadway productions of The Secret Garden and The Who's Tommy. In 2000, Tesori joined forces with lyricist Dick Scanlan to write eleven new songs for a stage adaptation of Thoroughly Modern Millie. A successful run at the La Jolla Playhouse in San Diego resulted in a transfer to Broadway in 2002, and Tesori was nominated for the Tony Award for Best Original Score and the Drama Desk Award for Outstanding Music. Tesori has collaborated with Tony Kushner four times. In 2004 she supplied music for the sung-through musical Caroline, or Change, which garnered her a second Tony nomination for Best Original Score. In 2006 she wrote incidental music for Kushner's new translation of Bertolt Brecht's Mother Courage and Her Children, which was produced as part of the 2006 Shakespeare in the Park season staged at the Delacorte Theater by The Public Theater. In the summer of 2011, their opera A Blizzard on Marblehead Neck premiered at Glimmerglass. In 2019, Tesori was credited as voice coach on the new Steven Spielberg film of West Side Story for which Kushner wrote a screenplay based largely on the original stage musical. Filmed over two months in and around New York City, the film saw its 2020 release rescheduled to December 2021 due to the COVID-19 pandemic.

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Blue, ópera en dos actos (2019). Acto I, Escena I: I love him.

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 Asunto: Re: La otra ópera
NotaPublicado: 24 Jun 2022 6:11 
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Joseph Bologne Chevalier de Saint-George (1745-1799) He was born in Baillif, Basse-Terre, Guadeloupe. Joseph Bologne was the son of a planter and former councilor at the parliament of Metz, Georges de Bologne Saint-Georges (1711–1774) and Anne, dite Nanon, his wife's 16-year-old African slave of Senegalese origin, who was forced to serve as her personal maid. Bologne was legally married to Elisabeth Mérican (1722–1801) but acknowledged his son by Nanon and gave him his surname. At the age of 13 Saint-Georges became a pupil of La Boëssière, a master of arms, and excelled in all physical exercises, especially fencing. When still a student Saint-Georges beat Alexandre Picard, a fencing-master of Rouen, who had mocked him as ‘La Boëssière’s upstart mulatto’, and was rewarded by his father with a horse and buggy. On graduating, at the age of 19, he was made a Gendarme de la Garde du Roi and dubbed chevalier. After the end of the Seven Years War, George Bologne returned to his Guadeloupe plantations, leaving his son with a handsome annuity. The young chevalier became the darling of fashionable society; all contemporary accounts speak of his romantic conquests. In 1766 the Italian fencer Giuseppe Faldoni came to Paris to challenge Saint-Georges. Faldoni won, but proclaimed Saint-Georges the finest swordsman in Europe. Nothing is known of Saint-Georges’ early musical training. However, after 1764, works dedicated to him by Gossec and Lolli suggest that Gossec was his composition teacher and that Lolli taught him violin. Saint-Georges’ technical approach was similar to that of Gaviniés, who may also have taught him, but Fétis’s claim that he studied with Leclair is mere conjecture. In 1769 he became a member of Gossec’s new orchestra, the Concert des Amateurs, at the Hôtel de Soubise, and was soon named its leader.

Saint-Georges made his début as a solo violinist with the Amateurs in 1772, performing his first two violin concertos op.2 to critical acclaim. These concertos reveal him to have been a prodigious virtuoso. The solo parts make extensive use of the highest positions and the composer revels in the possibilities of the newly invented Tourte bow, with bold, détaché strokes and intricate batteries and bariolage. But virtuosity was not his principal aim. The slow movements of the concertos are songful and expressive, with occasional touches of Creole nostalgia. When Gossec became a director of the Concert Spirituel in 1773, Saint-Georges was appointed musical director of the Amateurs, which rapidly became one of the best orchestras in Europe. After his father’s death in 1774, Saint-Georges’ annuity stopped and music became his livelihood. Between 1773 and 1779 he published most of his instrumental music, including two sets of string quartets (some of the first in Paris), a dozen violin concertos and at least 10 symphonies concertantes, becoming a chief exponent of that new, intrinsically Parisian genre. Like the string quartets, the symphonies concertantes have only two movements, while the violin concertos have three.

In 1776 a proposal to make Saint-Georges music director of the Paris Opéra was blocked by a quartet of its leading ladies, who petitioned Queen Marie Antoinette to spare them from ‘degrading their honour and delicate conscience by having them submit to the orders of a mulatto’. To defuse the scandal, Louis XVI nationalized the Opéra. A year after his first serious setback due to his colour, Saint-Georges presented his first opera, Ernestine, at the Comédie-Italienne. The critics praised the music but predicted that it could not overcome the weak libretto; it did not survive its première. Undaunted, Saint-Georges abandoned composing instrumental music to devote himself to operas. Mme de Montesson, morganatic wife of the Duke of Orléans, engaged him as music director of her private theatre and, as an added incentive, appointed him Lieutenant de chasse of the Duke’s hunting estate at Raincy. His opera La partie de chasse (1778) was performed there, while L’amant anonyme received its première at Mme de Montesson’s theatre in 1780. In January 1781 the Amateurs were disbanded, owing to financial losses incurred during the American War of Independence. Soon after, Saint-Georges founded the Concert de la Loge Olympique, part of the exclusive freemason club La Loge Olympique. As its fame increased, the orchestra moved from the Palais Royal to larger quarters at the Tuileries. It was for this ensemble, at the behest of the Loge’s grand-master, Baron d’Ogny, that Saint-Georges commissioned Haydn’s Paris symphonies.

On the death of the Duke of Orléans in 1785, Saint-Georges lost his position in that household. In 1787, invited by the fencing-master Angelo, he went to London, where he gave exhibition fencing matches, including one at Carlton House before the Prince of Wales; a painting by Robineau shows Saint-Georges fighting the enigmatic transvestite ‘La Chevalière’ d’Eon. The prince also commissioned the young Bostonian Mather Brown to paint Saint-Georges’ portrait. When asked if it was a good likeness the composer replied: ‘Oh Madame, so good, it’s frightful!’. Returning to Paris, he composed and produced his most successful comedy, La fille-garçon, and resumed work at the Loge Olympique. Saint-Georges was introduced to the revolutionary circle around the young Duke of Orléans (later Philippe-Egalité) by Laclos and Brissot, founders of the abolitionist Société des Amis des Noirs, and joined the duke and Laclos on their 1789 journey to London. The following year he undertook a tour of northern France with the actress Louise Fusil and the horn player Lamothe. In Belgium he was denounced as an agent for Philippe-Egalité and expelled from Tournai by the French émigrés there. Bedridden by a long illness in Lille, he wrote his last opera, Guillaume tout coeur, for that city. He also joined the National Guard, and in 1792 the Paris Assembly made him colonel of the Légion des Américains et du Midi, which comprised ‘citizens of colour’ (including Thomas-Alexandre Dumas, father of the novelist Alexandre Dumas père). Saint-Georges was accused of misconduct but managed to clear his name, going on to help save Lille from a counter-revolutionary plot by General Dumouriez. However, in November 1793 he became a victim of the Reign of Terror and spent 18 months in the military prison of Hondainville near Clermont-sur-Oise. Freed after the fall of Robespierre, the mulatto colonel fought a long battle to regain his regiment, ending with an order to avoid Arras, its garrison town. In 1795 Saint-Georges sailed with Lamothe to Saint Domingue, which was in the grip of a slave revolt. Having been given up for dead, they returned to Paris two years later. Saint-Georges directed another orchestra at the masonic Cercle de l’Harmonie, according to the Mercure ‘leaving nothing to be desired as to the choice of works or the superiority of the execution’. He died in 1799, of an ‘ulcerated bladder’.

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L’amant anonyme, comédie mélée d'ariettes et de ballets en dos actos (1780). Del acto primero: Son amour, sa constance extrême. Del acto segundo: Enfin une foule importune…

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 Asunto: Re: La otra ópera
NotaPublicado: 01 Jul 2022 7:43 
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Pietro Raimondi (1786-1853) He was born in Rome, and received his early education in Naples. He spent part of his early career in Genoa, and then in Sicily, where he had operas performed in Catania and Messina; however he moved back to Naples in 1820, and began a career as an opera composer there. While he was best known as an opera composer during this time, he was obsessed with counterpoint, and spent his spare time writing fugues for many voices, as well as simultaneous fugues in different keys and modes for multiple groups of different instruments. He considered this work to be experimental, and did not incorporate his experimentation, early in his career, into his operas. Few of Raimondi's operas were successful, and as soon as he realized he was being eclipsed by Rossini, and later by Bellini and Donizetti, he changed his compositional direction from production of operas to sacred music; in that domain he had a better opportunity to indulge his love of counterpoint. He published a counterpoint treatise in 1836, around the same time as the first of his experimental compositions for multiple choruses and orchestras; from this year forward he devoted most of his energies to such creations. However he had not forgotten his previous career as an operatic composer, and made a few last attempts to achieve a success on the operatic stage.

One of the most spectacular of his experiments in musical simultaneity was his triple oratorio, Putifar-Giuseppe-Giacobbe (1848). This work was a set of three independent oratorios designed to be performed first consecutively, and then simultaneously, one of the few such experiments before the music of Charles Ives in the twentieth century. Unlike the music of Ives, however, Raimondi's musical language was conservative, even anachronistic, using only the tonal language of the eighteenth century. The parts of the oratorios were designed to fit together tightly, all obeying the standard rules of counterpoint. The triple oratorio was first performed in Rome in 1852, in a concert lasting six hours, and requiring 430 performers. According to the contemporary account, Raimondi was so overcome with the colossal sound of the three oratorios together at the end that he fainted, and the concert caused the sensation he had desired for so long. As a result of this success he was honored by the Pope, receiving from him the position of maestro di cappella at St. Peter's, a level of acknowledgement he had never achieved in the operatic realm.

Raimondi followed the triple oratorio with the composition of a double opera, one serious and one comical, which like the triple oratorio was designed to be performed either consecutively or simultaneously. This work (Adelasia/I quattro rustici) was left incomplete at his death in 1853; however, much of the orchestration, counterpoint, and many of the scene changes had been worked out. As conceived, each opera would have served as a commentary on the other. This double opera has never been completed or staged, and along with Raimondi's other late music is an example of an experimental trend in the middle nineteenth century which was never followed up by anyone else. In his actual musical language, Raimondi was conservative, and his simultaneities work by following traditional rules of counterpoint, as well as by staying in a limited tonal universe. Raimondi makes a dramatic appearance in Michael Ayrton's satirical novel Tittivulus.

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L'orfana russa, azione romantica per musica divisa in due epoche (1835). Aria: Amor cagion possente.

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 Asunto: Re: La otra ópera
NotaPublicado: 08 Jul 2022 7:09 
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Ketil Hvoslef (*1939) He was born in Bergen, Norway. Hvoslef studied viola and organ at the Bergen Music Conservatory (now a part of Grieg Academy) graduating in 1962. He furthered his studies in Stockholm with Karl-Birger Blomdahl and Ingvar Lidholm, then in London with Thomas Rajna and Henri Lazarof. He taught music theory and ear training at the Bergen Music Conservatory (1963–1979). Hvoslef had his debut as a composer in 1964 with the Concertino for Piano and Orchestra. He has composed works for the stage including the opera Barabbas, for orchestra including the symphonic poem Mi-Fi-Li. Hvoslef has also written a number of solo concertos for piano, trumpet, double bass, violin, bassoon, cello as well as a double concerto for flute and guitar, a triple concerto for violin, cello and piano, a concerto for saxophone quartet and orchestra as well as major orchestral works such as Concertino for orchestra, Antigone and Il compleanno written for the 205th anniversary of the Bergen Philharmonic Orchestra. Key chamber music works in Hvoslef's production includes works such as Kvartoni, Clarinet Quintet, Sextet for flute and percussion, Serenata per archi and String Quartet No. III. His output also comprises a number of works for solo instruments including five major organ works as well as music for stage and TV productions.

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Barabbas, ópera sin cantantes en tres actos (2000–2003). Acto I: The Jail.

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 Asunto: Re: La otra ópera
NotaPublicado: 08 Jul 2022 11:46 
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Por fin, un puñetazo en la mesa. La respuesta definitiva al declive del canto operístico. Una ópera que puede cantar incluso Marco Vratogna.


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 Asunto: Re: La otra ópera
NotaPublicado: 08 Jul 2022 12:24 
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delaforce escribió:
Por fin, un puñetazo en la mesa. La respuesta definitiva al declive del canto operístico. Una ópera que puede cantar incluso Marco Vratogna.
:rolling:
Aun así habría que pasar un proceso de selección, que los candidatos son legión.

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 Asunto: Re: La otra ópera
NotaPublicado: 08 Jul 2022 13:27 
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Una ópera sin cantantes NO es una ópera, como tampoco sería un oratorio; en cambio, este Barrabás sí puede considerarse dentro de la órbita de la música incidental. Ya sabemos que el término ópera -y de eso Zelenka sabe MUCHO- abarca un gran número de obras consideradas como tales pero que difieren del concepto primigenio, pues incluye otros géneros, siempre y cuando se cante en ellos.

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 Asunto: Re: La otra ópera
NotaPublicado: 08 Jul 2022 13:52 
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No estoy de acuerdo. Una ópera no es otra cosa que el contar una historia. Se puede componer una ópera sin cantantes utilizando actores, mimos, marionetas, proyecciones,...

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 Asunto: Re: La otra ópera
NotaPublicado: 08 Jul 2022 13:58 
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Porque usted lo diga. La ópera, toda la vida de Dios, se ha considerado "Teatro CANTADO". Como sé que sabe alemán muy bien, puede leerse "Oper und Drama" de un tal Richard Wagner...

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