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 Asunto: Re: La otra ópera
NotaPublicado: 20 Jun 2021 20:08 
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Yo tampoco he podido. Pensaba que era porque había muchas páginas pero parece que no.

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 Asunto: Re: La otra ópera
NotaPublicado: 25 Jun 2021 14:53 
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Kirill Vladimirovič Molchanov (1922-1982) He was born in Moscow. He graduated in 1949 from the Moscow Conservatory where he studied with Anatoly Aleksandrov. He became secretary to the board of the Composers' Union (1951–1956) and director of the Bol'shoy Theatre (1973–1975) as well as being nominated Honoured Representatove of the Arts of Russia (1963). Music theatre was the primary sphere of his work and the majority of his operas are based on contemporary themes, such as the events of World War II in which the composer was directly involved. His stage works are attractive for their unusual dramatic turns and their use of potently expressive theatrical techniques. The vivid melodies which populate his music have their roots in the Russian tradition; they combine recitative with elements of song and romance in an organic manner. His works were particularly popular in Russia during the Soviet era. He was involved in writing film music for more than 30 years of his career; his scores are cherished by Russian filmgoers. He wrote regularly for both the non-specialist and specialist press.

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The Dawns Here are Calm, ópera en dos partes (1973). Comienzo.

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 Asunto: Re: La otra ópera
NotaPublicado: 25 Jun 2021 15:17 
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Perseverancia no te falta, Zelenka. ¡Ánimo, y lamento la pérdida de datos!

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"Tornate all'antico e sarà un progresso" (Giuseppe Verdi, compositor y genio).

Esto y otras muchas cosas más en Desde el Nibelheim


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 Asunto: Re: La otra ópera
NotaPublicado: 25 Jun 2021 15:22 
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Gracias. Vamos ir improvisando. A Molchanov todavía no le tocaba pero dadas las circunstancias...

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 Asunto: Re: La otra ópera
NotaPublicado: 25 Jun 2021 16:39 
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 Asunto: Re: La otra ópera
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 Asunto: Re: La otra ópera
NotaPublicado: 02 Jul 2021 16:44 
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Riccardo Broschi (1698-1756) According to Prota-Giurleo, his approximate date of birth can be ascertained from a declaration signed on 6 November 1725 while he was witnessing the marriage banns of his younger sister Dorotea: ‘I, Riccardo Broschi, Neapolitan, son of Salvatore (deceased), testify that I am a maestro di cappella of about 27 years of age’. The same document discloses that the Broschi family moved to Barletta (probably from Andria) about 1707 and returned to Naples some four years later. If, as Prota-Giurleo believed, Riccardo Broschi became a student at the Conservatorio di S Maria di Loreto, then the likely time of his enrolment would have been after his family’s return to Naples about 1711–1712. The earliest news of his activities as a professional musician comes from the Gazzetta di Napoli for 6 February 1725 which states that on 3 February he provided sacred music for the festival of S Biagio in S Maria del Popolo degl’Incurabili. In the autumn of the same year he presented his one and only comic opera La vecchia sorda at the Teatro dei Fiorentini.

Broschi was in Rome by 1727, when his only known oratorio, Il Martirio di Santa Susanna Vergine, was performed at the Chiesa Nuova. In 1728 his first opera seria, L’Isola di Alcina, was produced at the Teatro Tordinona. An active and successful period of composition followed in northern Italy: Alcina, revised as Bradamante nell’isola d’Alcina, appeared in Parma in 1729; Idapse, Broschi’s only Venetian opera, was performed during Carnival 1730; and Ezio opened the carnival season at Turin in 1731. The cast for Ezio included Broschi’s brother Farinelli, Faustina Bordoni and Antonio Montagnano; a contract of 3 June 1729 from the Teatro Regio shows that Broschi was paid a salary of 50 luigi d’oro for the work. Earlier in 1730 both Broschi and his brother had been elected to the Accademia Filarmonica, Bologna (the libretto of Ezio confirms this honour). Broschi’s most popular opera, Merope, was first performed at Turin in 1732, where the composer had been given the additional title of virtuoso del principe di Carignano. There is no documentary evidence placing Broschi in London in 1734 for Farinelli’s English stage début in the pasticcio Artaserse (King’s Theatre, 29 October), even though the work included the apparently newly composed bravura aria ‘Son qual nave ch’agitata’ by him. He was certainly not in London for the revival of his opera Merope in 1736: the recently discovered Pepoli correspondence (see Vitali, 1998) includes a letter from Farinelli of 2 July 1735 describing his brother as penniless and in Milan. At the end of 1735 Broschi was probably still in Milan for the production of his new opera Adriano in Siria.

In November 1736 Duke Carl Alexander of Württemberg appointed Broschi his compositore di musica. The Italian opera company then in the duke’s employ at Stuttgart performed Broschi’s Adriano in Siria at the beginning of 1737. The composer had no further chance to show his abilities at the court of Stuttgart, however, for on 12 March 1737 the duke died. His opera company was disbanded and Broschi lost his post on 1 April. In the autumn of that year, his Merope saw its last performance at the command of Count Johann Adam of Questenberg at Jaromeritz in Moravia, but Broschi was apparently not offered a permanent position there. He then made his way to Naples, where he was made a musician without pay on 8 October 1737. According to Strohm, Broschi composed act 3 of Demetrio, a new opera performed at the Teatro S Carlo on 30 June 1738, for which Leonardo Leo composed act 1, and various others act 2. Broschi failed, however, to gain other significant commissions for music from the Neapolitans. Nonetheless, he was not totally overlooked, for in October 1739 he was given the salaried post of administrator of wine within the city of Naples. These favours were bestowed because of intercessions made on his behalf by the Spanish court (whose viceroy ruled Naples), of which Farinelli had in 1737 become an influential member. However, all attempts to procure an official musical position failed, and during the 1740s Broschi joined his brother in Madrid, where he was named ‘familiar’ to the King. Letters in the state archives of Naples (see DBI) reveal that later attempts were made to acquire the position of maestro di cappella there for Broschi, after the deaths of Sarro and Leo in 1744, but these also failed. Broschi died in Madrid in 1756.

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Merope, ópera en tres actos (1732). Aria: Si, traditor tu sei.

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Artaserse, ópera en tres actos (1734). Aria: Son qual nave ch'agitata.

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 Asunto: Re: La otra ópera
NotaPublicado: 09 Jul 2021 13:15 
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Louis Andriessen (1939-2021) He was born in Utrecht to a musical family. The son of the composer Hendrik Andriessen (1892–1981), his brothers are composers Jurriaan Andriessen (1925–1996) and Caecilia Andriessen (1931–2019) and he is the nephew of Willem Andriessen (1887–1964). Andriessen originally studied with his father and Kees van Baaren at the Royal Conservatory of The Hague, before embarking upon two years of study with Italian composer Luciano Berio in Milan and Berlin. He later joined the faculty of the Royal Conservatory. In 1969 Andriessen co-founded STEIM in Amsterdam. He also helped found the instrumental groups Orkest de Volharding and Hoketus, both of which performed compositions of the same names. He later became closely involved in the ongoing Schonberg and Asko ensembles and inspired the formation of the British ensemble Icebreaker. Andriessen was married to guitarist Jeanette Yanikian (1935–2008). They were a couple for over 40 years and were married in 1996. He is currently married to violinist Monica Germino. In December 2020 Germino announced that the composer was suffering from dementia.

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La Commedia, film opera in five parts (2004–2008). Luce eterna.

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Theatre of the World, a grotesque stagework in nine scenes (2013–2015). Escena 3.

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 Asunto: Re: La otra ópera
NotaPublicado: 16 Jul 2021 15:16 
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The music of Susan Kander has been heard throughout the United States and in cities around the world, including London, Paris, Mexico City, Lima, Birmingham, Vancouver, Cape Town, St. Petersburg and Guangzhou. She has received commissions from Opera Minnesota, Opera Theater of St. Louis, Lyric Opera of Kansas City, and Columbus Opera. Dwb (driving while black), written with Roberta Gumbel, librettist, was developed at University of Kansas School of Music and premiered in 2020 during the Covid pandemic in a streamed video co-presented by Baruch Performing Arts Center, New York and Opera Omaha. In 2012, Minnesota Opera and Lyric Opera of Kansas City co-commissioned an adaptation of the seminal dystopian novel The Giver by Lois Lowry; the 85-minute chamber opera received its third production at Tulsa Opera. Knight Arts, St. Paul, called it a “remarkable new work…. sophisticated and subtle.” The News from Poems, about the wife of American poet William Carlos Williams, was given a staged reading in 2017 at the American Opera Center with Katherine Pracht, Keith Phares, and John Taylor Ward. Never Lost a Passenger, about Harriet Tubman and black abolitionist William Still, was commissioned by Lyric Opera of Kansas City in 1996 and subsequently produced by nine opera companies, many of them in multiple years. One False Move, about girl bullying, commissioned as well by Lyric Opera of Kansas City in 2002, has been produced by at least fourteen different companies and schools, including in South Africa and China.

dwb (driving while black), ópera de cámara (2017). Escena VII: No! Strike me with your anger.

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 Asunto: Re: La otra ópera
NotaPublicado: 23 Jul 2021 14:05 
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Marcel Lattès (1886-1943) Nació en Nice. Alumno de Louis Diémer y Charles-Marie Widor, 1er premio de piano en el Conservatorio de París en 1906, amigo de André Messager, Marcel Lattès es autor, entre 1908 y 1935, de la música de varias obras líricas, en su mayoría operetas, tres de las de ellas en colaboración con el letrista y libretista Albert Willemetz. En el cine, le debemos la música de una treintena de películas (principalmente francesas), de 1929 a 1941, en particular películas musicales, entre ellas tres protagonizadas por el cantante Carlos Gardel y rodadas en lengua española. Compone en particular para G. W. Pabst (Du haut en bas, 1933), Abel Gance (Lucrèce Borgia, 1935), Maurice Tourneur (Avec le sourire, 1936) y Marcel L'Herbier (Entente cordiale, 1939). Durante la Primera Guerra Mundial, sirvió en las Ambulancias Rusas, dirigidas por el coronel Dimitri d'Osnobichine. Como judío, fue arrestado en diciembre de 1941 durante la redada de los llamados 'notables' y fue internado durante varios meses en el campo de Compiègne y luego en el de Drancy. Liberado gracias a la intervención de Sacha Guitry con las autoridades alemanas, se benefició de una exención temporal de llevar la estrella amarilla de mayo a septiembre de 1943, e incluso fue autorizado a componer para cine y teatro en derogación de la ley conocida como el “segundo estatuto de los judíos”. Nuevamente arrestado e internado en Drancy el 4 de octubre de 1943, finalmente fue deportado por el convoy No. 64 el 7 de diciembre de 1943 a Auschwitz donde murió el 12 de diciembre de 1943, con toda probabilidad gaseado a su llegada. Marcel Lattès aparece en el Muro de los Nombres del Memorial de la Shoah en París (losa n ° 27, columna n ° 9, fila n ° 3).

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Le Diable à Paris, opereta (1927). Del acto segundo: Couplets blues.

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 Asunto: Re: La otra ópera
NotaPublicado: 30 Jul 2021 12:44 
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Francesca Caccini (1587-1641) She was born in Florence, and received a humanistic education (Latin, some Greek, as well as modern languages and literature, mathematics) in addition to early musical training with her father. According to Liliana Panella, the first well-founded testimony of Francesca's singer's activity, together with her sister Settimia, at the Medici court, is 1602: in his diary Cesare Tinghi notes that on 3 April 1602 St. Nicholas church in Pisa, where the court moved every year during Lent, polychoral music was directed by "Giulio Romano [Giulio Caccini], having the wife (the second wife, Margherita) and the two daughters singing well". In her early life, Caccini performed with her parents, her half-brother Pompeo, her sister Settimia, and possibly other unnamed Caccini pupils in an ensemble contemporaries referred to as le donne di Giulio Romano. After she was hired by the court, she continued to perform with the family ensemble until Settimia's marriage and resulting move to Mantua caused its breakup. Caccini served the Medici court as a teacher, chamber singer, rehearsal coach and composer of both chamber and stage music until early 1627. By 1614 she was the court's most highly paid musician, in no small part because her musical virtuosity so well exemplified an idea of female excellence projected by Tuscany's de facto Regent, Grand-Duchess Christina of Lorraine. By 1623 she earned 240 scudi.

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La liberazione di Ruggiero dall'isola d'Alcina, commedia in musica en un prólogo y tres escenas (1625). De la escena primera: Chi nel fior di giovinezza.

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 Asunto: Re: La otra ópera
NotaPublicado: 06 Ago 2021 15:36 
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Alexey Lvovich Rybnikov (*1945) He was born in Moscow. Having come into the world in a family of a violinist and an artist, he was surrounded by art and music from the first days of his life. Alexey composed one of his first works, The Thief of Baghdad, being influenced by a very popular at those times trophy film under the same name. Rybnikov passed exams to the Central Music School at the Moscow Conservatory. The boy's father introduced his son to Aram Khachaturian, who proposed the boy to study in his class. After finishing the music school in 1962, Rybnikov entered the conservatory where his close contact with the teacher went on. Later Alexey did post-graduate studies under Khachaturian's supervision as well. In 1969 Rybnikov was admitted to the Union of Soviet Composers. After that, during several years Alexey was teaching at the chair of theoretical disciplines and assisted in the class of Khachaturian. But then Alexey left teaching. During the period of 1960 and 1970s Rybnikov's creative work was marked by classical symphony traditions. He wrote camera music, concertos for the violin, for the string quartet and orchestra, for the bayan and orchestra of Russian Folk Instruments, Russian overture for the symphony orchestra, and many others. In 2005 Alexey Rybnikov celebrated his 60th Anniversary by a special concert conducted by Mark Gorenstein at Chaikovsky Concert Hall.

Years 2005-2008 were marked by presentations of Children Musicals composed by Alexey Rybnikov - Little Red Riding Hood and Bu-ra-ti-no! (the Russian fairy tale based upon the Pinocchio story) became the real events in the theater Moscow life not only for children but for their parents as well. Rybnikov's music and starring of famous Russian artists as well as stage direction of Alexander Rikhlov made the shows so popular that at the summer season 2007 Bu-ra-ti'no! went on stage 120 times despite the theater "dead season".

On February 29, 2009, a gorgeous first of scenes from Rybnikov's Musical Drama The Opera House went on in the legendary fifth studio of Moscow Recording House performed by the orchestra "Molodaya Rossia" conducted by Mark Gorenstein. In 2009, after an invitation by Pierre Cardin for participation in Lacoste Festival, Alexey Rybnikov created the author version of the Juno and Avos rock-opera. The first was really remarkable on July 3, 2009. Since then the new version is performed at the best venues of Russia and abroad, at theaters, concert halls and festivals. In the autumn 2012, the theater of Alexey Rybnikov presented at the theater venue of Moscow Music Hall the special show including scenes from the most famous theater performances composed by Rybnikov and movie soundtracks. The first became the official presentation of the new work of Rybnokov's musical art - Live Pictures of the time of Alexander I and Napoleon Bonapart based upon the novel War and Peace by the count Lev Tolstoy. In 2013 Rybnikov is planning to produce the whole show as well as the new version of the Liturgy and of Joakine. The entire life of Alexey Rybnikov is associated with music. But music is not the only field of activity — he has been contributing to some public projects. He takes an active part in the sessions of the Board, promoting cultural and social programs, has found his Theatre. Rybnikov is a President of the National Festival “The Musical Heart of the Theatre” and Russian Family Festival “Our Buratino”.

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Junon and Avos, ópera rock (1979). Comienzo.

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 Asunto: Re: La otra ópera
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István Vántus (1935-1992) He was born in Vaja, Szabolcs-Szatmár county, and spent his childhood years in Nyírbogát. He began his musical studies at the Debrecen Conservatory. In 1955 he entered the Budapest Music Academy, where he studied composition. He graduated in 1960; his diploma work was an organ concert entitled Musica Terrena. From that year until his death in 1992, for 32 years, he taught theory and history of music at the Szeged Conservatory, first as a teacher of the secondary musical institution, then of the Szeged Teacher Training College. He was appointed professor and head of department at the unified Szeged Music Conservatory, established in 1991.

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The Golden Coffin, ópera (1973). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 20 Ago 2021 15:33 
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Antonio Maria Bononcini (1677-1726) Bononcini was born and died at Modena in Italy. He worked alongside his more famous elder brother, Giovanni, until 1713. By 1686 both were students of G.P. Colonna in Bologna. When Cardinal Pamphili was papal legate there during the period 1690–1693 both played in his orchestra. Antonio composed a Laudate pueri with a florid obbligato for cello in 1693, and about the same time a set of 12 cello sonatas that employ the same kinds of patterned figuration. Only two cello sonatas preceded them, both by Gabrielli. In 1694 Bononcini was listed first among the cellists active in Rome; by November 1696 he had joined the Congregazione di S Cecilia; and during the years 1694–1698 he or his elder brother played for six events sponsored by Cardinal Ottoboni. In 1698 he wrote La fama eroica, a work praising the Venetian Cardinal Giorgio Vivente Cornaro, who might have employed Antonio.

Around 1700 Antonio joined his brother in Vienna, and Telemann heard them perform at Berlin in summer 1702. Antonio was first commissioned to compose for the Viennese court in 1705, the year in which Joseph I became emperor. During Joseph’s reign Antonio was appointed Kapellmeister to Joseph’s brother, who was living in Spain as Charles III, claimant to the vacant throne. The emperor’s great favour for Giovanni Bononcini extended to Antonio, who provided the Viennese court with 13 richly scored cantatas, six festive serenatas, four two-part oratorios and a three-act opera. Only his brother and Joseph’s vice-Kapellmeister M.A. Ziani wrote a comparable number of works for the Viennese court between 1705 and 1711. Scores survive for all except the oratorio of 1705, and they are distinguished by intricate textures that incorporate contrapuntal artifice and extensive sequential development, underscored by the rapid harmonic movement characteristic of Corelli. Arias are mainly in minor keys, and they often feature dotted rhythms, angular melodic lines and chromatic harmonies that convey great pathos. Perhaps mainly on the basis of such style traits, Geminiani judged Antonio to be ‘much beyond his brother in point of depth and knowledge’. Joseph I must have appreciated their superb craftsmanship, for in 1710 he named Antonio a ‘composer to the emperor’, made the appointment retroactive to the beginning of 1707, provided a lucrative salary (equivalent to Ziani’s) and commissioned Antonio’s first opera, Tigrane. A year later Joseph died of smallpox, and his brother, Charles VI, did not retain the Bononcinis.

Antonio may have accompanied his brother to Rome when the two returned to Italy in 1713, but he settled in Modena, where his wife, Eleonora Suterin, bore him four sons and a daughter between 1715 and 1722. He subsequently achieved a modicum of fame throughout Italy with his settings of ten operas for Venice, Rome and cities ruled or dominated by the Austrian emperor. In these works his style resembles Vivaldi’s more than Corelli’s, since it features tuneful rather than angular lines, enticing syncopations rather than excruciating dotted notes, and doublings of voices rather than contrapuntal accompaniments for treble instruments. His acceptance of some galant features did not, however, suffice to make his dramatic works popular, for none of them received a second production. He also ‘directed’ (i.e. perhaps compiled the music for) L’enigma disciolto and Lucio Vero at Modena in October 1716 and Mitridate Eupatore at Reggio nell’Emilia in January 1723. During his last five years Bononcini was maestro di cappella at the Modenese court, and this appointment presumably terminated his need to compose operas in order to earn a living. He presumably wrote his extant mass and Stabat mater during his final years, and the contrapuntal complexities in the latter were largely (and perhaps wholly) responsible for Padre Martini’s judgment of his style: ‘so elevated, lively, artful and delightful, that he is distinguished above most early 18th-century composers’.

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La conquista del vello d’oro, dramma per musica en tres actos (1717). Aria: Più che freme il nembo irato.

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Griselda, dramma per musica en tres actos (1718). Aria: Non so se più mi piace per fede o per beltà.

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 Asunto: Re: La otra ópera
NotaPublicado: 27 Ago 2021 15:43 
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Mikael Leonovich Tariverdiev (1931-1996) He was born in Tbilisi, Georgian SSR to Armenian parents, but lived and worked in Russia. His father, Levon Tariverdiev, was from Baku but a native of Nagorno-Karabakh. His mother, Satenik, was Georgian Armenian. He studied at the Komitas State Conservatory of Yerevan for two years and then graduated from the Moscow Gnessin Institute in the class of Aram Khachaturian in 1957. Tariverdiev wrote over 100 romances and four operas, including the comic opera Count Cagliostro and the mono-opera The Waiting. However, he is mostly known for his scores to many popular Soviet movies (more than 130 in total), including Seventeen Moments of Spring and The Irony of Fate. He received many awards, including the USSR State Prize in 1977 and the Prize of the American Music Academy in 1975. In 1986 he was awarded the title of People's Artist of Russia. In 1990, he won three Nika Awards for Best Composer. The Best Music prize at the largest Russian National Film Festival Kinotaur is named after Tariverdiev. On May 31, 1990, Tariverdiev underwent cardiac surgery in the London Royal Hospital; his aortic valve was replaced with an artificial one. Upon his death in 1996, a group of admirers of his music founded the Mikael Tariverdiev Charity Fund and organized the Tariverdiev International Organ Competition. In November 2015, the first major release of Tariverdiev's work in the West was published in London by Antique Beat and the UK label Earth Recordings, as a set of three albums titled 'Film Music'. The release was curated by Vera Tariverdieva, the composer's widow, and Stephen Coates of the UK band The Real Tuesday Weld, who had heard Tariverdiev's music in Moscow in 2011.

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Count Cagliostro, ópera cómica en dos actos (1981). Comienzo.

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The Waiting, mono-ópera (1985). Comienzo.

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