Fecha actual 28 Mar 2024 16:21

Todos los horarios son UTC + 1 hora [ DST ]




Nuevo tema Responder al tema  [ 1462 mensajes ]  Ir a página Anterior  1 ... 37, 38, 39, 40, 41, 42, 43 ... 98  Siguiente
Autor Mensaje
 Asunto:
NotaPublicado: 21 May 2010 13:22 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2899
:wink:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 28 May 2010 19:53 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2899
Imagen

Tauno Pylkkänen (1918-1980) He was born in Helsinki. He was a pupil of Madetoja, Palmgren and Ranta at the Helsinki Academy (1937-1940), where he began teaching in 1967, having also worked in radio, as a critic, and as artistic director of the Finnish National Opera (1960-1970). Pylkkänen was an unusual figure on the Finnish musical scene because he was the only Finnish composer of his generation to devote himself first and foremost to opera. A Late Romanticist full of vitality, he was known by such epithets as “the Nordic verist” and “the Puccini of the North”. His interest in opera was further reflected in the fact that he was Artistic Director of the Finnish National Opera 1960-1969. Opera was a natural choice for Pylkkänen, for he had been introduced by his actress foster mother to the world of the theatre at any early age. As he once said, “My first memories are of the enchanting atmosphere of the theatre. I was present when plays were being directed, I listened secretly outside the door when parts were being rehearsed, and all the games I played with my pals out in the yard were theatre ones. [...] Growing up in an atmosphere and environment such as this developed my sense of drama and directed my thoughts, once I had received my musical awakening, towards opera.” Pylkkänen composed ten operas in all, though the first of them, Jaakko Ilkka (1937), written before he was twenty, has never been performed. The earliest opera to actually be staged was Batsheba Saarenmaalla (Bathsheba of Saaremaa, 1940-1958), completed when he was only 22 though later revised for its premiere in Tampere in 1959. Bathsheba is based on a subject by the Estonianised Finnish writer Aino Kallas, as were his later operas Mare ja hänen poikansa (Mare and her Son, 1943) and Sudenmorsian (The Wolf’s Bride, 1950).

The premiere of Mare and her Son in Helsinki in 1945 marked Pylkkänen’s breakthrough. Tauno Karila wrote in the daily newspaper Helsingin Sanomat of Pylkkänen’s public opera debut: “There is no doubt whatsoever that Pylkkänen has a special instinct for stage music. His recitative flows and is at the same time eloquent. The melody grows in glowing lines, proceeding from one situation to another and bearing the listener with it.” The Wolf’s Bride was, however, the opera that brought Pylkkänen international recognition: originally written as a radio opera, it won third prize in the Prix Italia competition in 1950. Pylkkänen’s operas tend to be classified under two headings: full-length ones and small-scale ones lasting under an hour. This classification is primarily one of length, since even in the miniature operas he used a larger-than-usual orchestra. The full-length operas are, in addition to Mare and her Son, Simo Hurtta (1948), Ikaros (Icarus, 1944-1953), described by Pylkkänen as a “musical legend”, Opri ja Oleksi (Opri and Oleksi, 1957) and Tuntematon sotilas (The Unknown Soldier, 1967). All were premiered at the Finnish National Opera (or its predecessor, the Finnish Opera). The first of the small-scale operas, Bathsheba of Saaremaa, was followed by The Wolf’s Bride, Varjo (The Shadow, 1954) and the TV opera Vangit (The Prisoners, 1964). Pylkkänen is generally said to have given his best in the dramatically compact small-scale operas, and The Wolf’s Bride and The Shadow are said to mark the apex of his career. The core theme of the shorter operas is woman and forbidden love. In The Wolf’s Bride Kallas’s variation on the ballad-like human wolf theme acquires an absorbing depth psychology dimension and addresses the conflicts that arise when the narrow role ascribed to a woman by society fails to accommodate her sensuous world. The Shadow is more realistic in its handling of its topic and has been likened to Menotti.

The roots of Pylkkänen’s idiom lie in the Late Romantic era and the flowing melodies of Puccini. In The Wolf’s Bride and The Shadow he nevertheless adopted a more chromatic approach to harmony and free tonality, and he even momentarily introduced a 12-note row in The Prisoners and The Unknown Soldier. The Pylkkänen operas lost some of their lustre in the 1970s alongside the new works by Kokkonen and Sallinen, but both The Wolf’s Bride and The Unknown Soldier got a good reception when revived in the late 1990s, thus proving that they still have much to offer. Although opera is by far the weightiest genre in Pylkkänen’s output, he did compose a fair amount of music of other types. Closely related to the world of the theatre is the ballet Kaarina Maununtytär (1961). Pylkkänen felt quite at home with the human voice. The best-known of his song cycles is Tuonelan joutsen (The Swan of Death, 1943) - settings of poems by Aino Kallas - but others include Kuun silta (Moonbridge, 1953), Visioner (Visions, 1958) and Ilon ja surun lauluja (Songs of Joy and Sorrow, 1976). He also composed a Symphony (1945), but he was not particularly suited to this genre. Other notable orchestral works by him are Ultima Thule (1949), a work at times in Impressionistic vein inspired by the northern regions, and the Preludio sinfonica (1952). He further wrote a certain amount of chamber music, such as a String quartet (1945).

Kimmo Korhonen

Mare ja hänen poikansa, ópera en tres actos (1943). Final del acto primero.

Imagen
1952


Última edición por Zelenka el 25 May 2014 8:58, editado 2 veces en total

Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 07 Jun 2010 0:05 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2899
Imagen

Nicolas Isouard (or Nicolò Isouard) (1775–1818) He was born in Mosta, Malta. Isouard studied in Valletta with Francesco Azopardi, in Palermo with Giuseppe Amendola, and in Naples with Nicola Sala and Pietro Alessandro Guglielmi. From 1795 he was organist and St. John de Gerusalemme in Valletta and conductor at the church of the Order of Saint John, San Giovanni di Malta. He moved to Paris, where he worked as a free composer and befriended composer Rodolphe Kreutzer. The pair worked together on several operas, including Le petit page ou La prison d'état (1800) and Flaminius à Corinthe (1801). Isouard adopted the pseudonym Nicolò (or Nicolò de Malte) and found rapid success in the field of opera comique with Michel-Ange (1802) and L'intrigue aux fenêtres (1805). He composed regularly for the Théâtre de l'Opéra-Comique, writing some thirty works for them. He composed masses, motets, cantatas, romances, and duos, along with over 40 operas. Isouard had two daughters, Sophie-Nicole (1809–?), a composer of romances, and Annette-Julie (1814–1876), a pianist and composer. His brother Joseph (1794–1863) had a career as a singer and opera director before being named inspector of historic monuments in Rouen. Nicolas Isouard was buried in Notre-Dame-des-Victoires. A bust of the composer was placed on one of the facades of both the Théâtre de l'Opéra-Comique and the Palais Garnier, and one of the main squares in Paris was given his name.

Wikipedia

Cendrillon, ópera seria en tres actos (1810). Comienzo del acto primero.

Imagen


Última edición por Zelenka el 25 May 2014 8:59, editado 2 veces en total

Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 07 Jun 2010 11:38 
Desconectado
Operistic baby
Avatar de Usuario

Registrado: 24 Abr 2008 11:09
Mensajes: 6765
Ubicación: entre flórez valencianas
uyva! :o

¿esa cenicienta dónde se consigue Zelenka? :D

_________________
AIUTO! viewtopic.php?f=4&p=654258#p654258


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 15 Jun 2010 22:48 
Desconectado
Figurante
Figurante
Avatar de Usuario

Registrado: 09 May 2010 1:01
Mensajes: 19
Ubicación: Barranquilla, Colombia
Zelenka, podría publicar algo acerca del compositor mexicano Daniel Catán?
Pero eso sí, les quedaría debiendo el audio.... :oops:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 16 Jun 2010 6:09 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2899
Ya lo hizo delaforde.

http://www.unanocheenlaopera.com/viewtopic.php?p=271245

:wink:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 16 Jun 2010 18:14 
Desconectado
Figurante
Figurante
Avatar de Usuario

Registrado: 09 May 2010 1:01
Mensajes: 19
Ubicación: Barranquilla, Colombia
Zelenka escribió:
Y ya han hablado algo de Zoltán Kodály? Espero que no...porque de este compositor sí tengo. Parece que en este foro ya se han agotado todos los temas relacionados con la ópera.:wink:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 16 Jun 2010 19:09 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 30 Dic 2005 13:54
Mensajes: 13465
Ubicación: Madrid
Ya lo hizo Zelenda:

http://www.unanocheenlaopera.com/viewtopic.php?p=154133&highlight=kodaly#154133

:wink:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 16 Jun 2010 19:16 
Desconectado
Figurante
Figurante
Avatar de Usuario

Registrado: 09 May 2010 1:01
Mensajes: 19
Ubicación: Barranquilla, Colombia
delaforce escribió:
Y algo de Ginastera, por ejemplo "Don Rodrigo"? Perdonen la preguntadera es que me queda muy dificíl buscar entre tantos temas del foro :)


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 16 Jun 2010 19:36 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2899
A ver, no son competencias. Don Rodrigo no está grabada comercialmente, y por lo menos yo he tratado de poner vignetas con obras "conseguibles" en formato CD por si alguien quiere ahondar en la obra o el compositor, es decir, mi objetivo al abrir el hilo era despertar la curiosidad de los demás hacía compositores y obras que casi nunca se tratan en el foro.

Lenz nos hizo el enorme favor de hacer un índice con las vignetas aparecidas en los hilos La otra ópera y Ópera actual.

http://www.unanocheenlaopera.com/viewto ... 43&start=0

:wink:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 16 Jun 2010 19:45 
Desconectado
Figurante
Figurante
Avatar de Usuario

Registrado: 09 May 2010 1:01
Mensajes: 19
Ubicación: Barranquilla, Colombia
Zelenka escribió:
A ver, no son competencias. Don Rodrigo no está grabada comercialmente, y por lo menos yo he tratado de poner vignetas con obras "conseguibles" en formato CD por si alguien quiere ahondar en la obra o el compositor, es decir, mi objetivo al abrir el hilo era despertar la curiosidad de los demás hacía compositores y obras que casi nunca se tratan en el foro.
Pero me encontré con una grabación radiofónica (aunque no se oye muy bien) y no quiero competir, simplemente colaborar con el hilo con una obra que si bien es cierto no es "conseguible", es bien rara. Perdón por las molestias y gracias por el índice.


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 16 Jun 2010 20:01 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2899
De ninguna manera estás molestando :wink: y por lo menos a mi no me parece que suene tan mal la grabación, lo que suena mal es la obra que no me convence por ningún lado. :roll: lo que quise decir es que el hilo es un anzuelo y si alguien pica que mejor que mejor que pueda conseguir la obra completa. :wink:


Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 20 Jun 2010 23:03 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2899
Imagen

Eduard Künneke (also spelled Künnecke) (1885-1953) He was born in Emmerich, Germany. Künneke studied musicology and literature in Berlin, and was also an advanced student of Max Bruch. He worked as a repetiteur and chorus master at a Berlin operetta theater, the Neues Operettentheater am Schiffbauerdamm, but relinquished his post as chorus master after his opera Robins Ende (1909) was premiered in Mannheim and then received productions at 38 different German opera houses. Künneke later worked under Max Reinhardt and wrote incidental music for Reinhardt’s staging of Part Two of Goethe's Faust. Künneke only composed in order to earn a living; his true love was scholarship. He held the M . D. and Ph. D. degrees. His translation of the Anglo-Saxon epic Beowulf earned him an honorary doctorate from the University of Marburg. Künneke's graceful music is distinguished by its rhythm and striking harmonies. His best-known work is the 1921 operetta Der Vetter aus Dingsda; many of his songs are still familiar today. In 1926, when his operetta Lady Hamilton was premiered in Breslau (now Wrocław), he formed what would become a long friendship with the conductor Franz Marszalek. Marszalek was a dedicated advocate of Künneke's music, and during his tenure at the Westdeutscher Rundfunk in Cologne (1949-65) made numerous recordings of his works (many currently unavailable) with the Cologne Radio Orchestra and the Cologne Radio Symphony Orchestra.

Answers

Die lockende Flamme, romantisches Spiel in acht Bildern (1933). Comienzo.

Imagen


Última edición por Zelenka el 25 May 2014 9:09, editado 3 veces en total

Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 27 Jun 2010 10:18 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2899
Imagen

Johann Nepomuk Hummel (1778–1837) He was born in Pressburg, Hungary, then a part of the Austrian Habsburg monarchy (now Bratislava, Slovakia). His father, Josef Hummel, was the director of the Imperial School of Military Music in Vienna and the conductor there of Schikaneder's Theater Orchestra; his mother was Slovak. He was named after St. John Nepomucene. Wolfgang Amadeus Mozart offered the boy music lessons at the age of 8 after being impressed with his ability. Hummel was taught and housed by Mozart for 2 years free of charge and made his first concert appearance at the age of nine, at one of Mozart's concerts. Hummel's father then led him on a European tour, arriving in London, where he received instruction from Muzio Clementi and stayed for four years before returning to Vienna. In 1791, Joseph Haydn, who was in London at the same time as young Hummel, composed a sonata in A flat for Hummel, who played its premiere in the Hanover Square Rooms in Haydn's presence. When Hummel finished, Haydn reportedly thanked the young man and gave him a guinea. The outbreak of the French Revolution and the following Terror caused Hummel to cancel a planned tour through Spain and France. Instead he returned to Vienna giving concerts along his route. Upon Hummel's return to Vienna he was taught by Johann Georg Albrechtsberger, Joseph Haydn, and Antonio Salieri.

At about this time, young Ludwig van Beethoven arrived in Vienna and took lessons from Haydn and Albrechtsberger, becoming a fellow student and a friend. Beethoven's arrival was said to have nearly destroyed Hummel's self-confidence, though he recovered without much harm. Despite the fact that Hummel's friendship with Beethoven was often marked by ups and downs, the mutual friendship developed into reconciliation and respect. Before Beethoven's death, Hummel visited him in Vienna on several occasions, with his wife Elisabeth and pupil Ferdinand Hiller. Following Beethoven's wishes, Hummel improvised at the great man's memorial concert. It was at this event that Hummel became good friends with Franz Schubert. Schubert dedicated his last three piano sonatas to Hummel. However, since both composers were dead by the time of the sonatas' first publication, the publishers changed the dedication to Robert Schumann, who was still active at the time. In 1804, Hummel succeeded Haydn as Kapellmeister to Prince Esterházy's establishment at Eisenstadt. He held this post for seven years before being dismissed for neglecting his duties. Following this, he toured Russia and Europe and married the opera singer Elisabeth Röckel. They had two sons.

Hummel later held the position of Kapellmeister at Stuttgart and Weimar, where he formed a close friendship with Goethe and Schiller, colleagues from the Weimar theater. During Hummel's stay in Weimar, he made the city into a European musical capital, inviting the best musicians of the day to visit and make music there. He started one of the first pension programs for fellow musicians, giving benefit concert tours when the musicians' retirement fund ran low. In addition, Hummel was one of the first to fight for musical copyrights against intellectual pirating. Hummel's music took a different direction from that of Beethoven. Looking forward, Hummel stepped into modernity through pieces like his Sonata in F sharp minor, Op. 81, and his Fantasy, Op. 18, for piano. These pieces are examples where Hummel may be seen to both challenge the classical harmonic structures and stretch the sonata form. However, Hummel's vision of music was not iconoclastic. The philosophy on which Hummel based his actions was to "enjoy the world by giving joy to the world". At the end of his life, Hummel saw the rise of a new school of young composers and virtuosi, and found his own music slowly going out of fashion. His disciplined and clean Clementi-style technique, and his balanced classicism, opposed him to the rising school of tempestuous bravura displayed by the likes of Liszt and Giacomo Meyerbeer. Composing less and less, but still highly respected and admired, Hummel died peacefully in Weimar in 1837. A freemason (like Mozart), Hummel bequeathed a considerable portion of his famous garden behind his Weimar residence to his masonic lodge.

Wikipedia

Mathilde von Guise, ópera en tres actos (versión de 1821). Fragmento del acto primero.

Imagen


Última edición por Zelenka el 25 May 2014 9:10, editado 2 veces en total

Arriba
 Perfil  
 
 Asunto:
NotaPublicado: 27 Jun 2010 10:19 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 05 Oct 2005 20:42
Mensajes: 2899
Esta es la última vigneta de la temporada. En octubre continuo. :wink:


Arriba
 Perfil  
 
Mostrar mensajes previos:  Ordenar por  
Nuevo tema Responder al tema  [ 1462 mensajes ]  Ir a página Anterior  1 ... 37, 38, 39, 40, 41, 42, 43 ... 98  Siguiente

Todos los horarios son UTC + 1 hora [ DST ]


¿Quién está conectado?

Usuarios navegando por este Foro: Google [Bot] y 36 invitados


No puede abrir nuevos temas en este Foro
No puede responder a temas en este Foro
No puede editar sus mensajes en este Foro
No puede borrar sus mensajes en este Foro

   
     
Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group
Traducción al español por Huan Manwë para phpbb-es.com