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 Asunto: Re: La otra ópera
NotaPublicado: 19 May 2019 11:34 
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¡Por fín! Cuánto he echado de menos este hilo.


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 Asunto: Re: La otra ópera
NotaPublicado: 19 May 2019 12:06 
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 Asunto: Re: La otra ópera
NotaPublicado: 19 May 2019 12:51 
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MarttiT escribió:
¡Por fín! Cuánto he echado de menos este hilo.


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 Asunto: Re: La otra ópera
NotaPublicado: 19 May 2019 21:29 
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Espero que haya sido por buenas noticias. La última vez fue así.


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 Asunto: Re: La otra ópera
NotaPublicado: 25 May 2019 7:05 
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Robert O'Dwyer (1862-1949) Robert O'Dwyer was born to Irish parents in Bristol, England, where he received private musical education and acted as a chorister and assistant organist during the years 1872 to 1891. O'Dwyer's interest in opera manifested itself initially by becoming the conductor of a local amateur opera company in 1889, before he became a conductor of the Carl Rosa Opera Society (1891–1897) and the Arthur Rousby Opera Company (1892–1896), with which he undertook tours throughout the British Isles. After one such tour he settled in Dublin in 1897, where he held various positions as organist in the counties of Dublin and Wicklow. From 1899 he taught music at the Royal University of Ireland and from 1901 conducted the choir of the Gaelic League, for which he wrote numerous arrangements of Irish traditional music. He also wrote articles and concert reviews for The Leader, which became an outlet for his increasingly nationalist views. O'Dwyer completed his major composition, the three-act opera Eithne, in 1909, on the strengths of which he was appointed Professor of Irish Music at University College Dublin (1914–1939). Although he wrote (and published) a number of other works, including a second opera, none of his later works came near the success and significance of Eithne. O'Dwyer died in Dublin.

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Eithne, romantic Irish opera en tres actos (1909). Fragmento del acto primero.

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 Asunto: Re: La otra ópera
NotaPublicado: 31 May 2019 18:30 
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Mauricio Raúl Kagel (1931-2008) Nace en Buenos Aires, en el seno de una familia argentino-judía. Sigue estudios en academias privadas de música —piano, violonchelo, órgano, canto, dirección y teoría— ya que, al igual que Giuseppe Verdi, no aprobó su examen de ingreso al Conservatorio (fue alumno privado de Alberto Ginastera). Se forma en los principios dodecafónicos y seriales de Arnold Schönberg y Anton Webern. En 1949, a los 18 años, será consejero artístico de la «Agrupación Nueva Música», que había fundado Juan Carlos Paz. Colabora con la Cinemateca Argentina, que ayuda a fundar en 1950, y escribe para la revista «Nueva Visión» sobre fotografía y cine, siendo testimonio de su interés interdisciplinario. (Kagel compondrá en 1983 la música para una de las obras maestras del cine mudo surrealista: «Le chien andalou» (El perro andaluz), de Luis Buñuel y Salvador Dalí.) En la Universidad de Buenos Aires cursa las carreras de Historia de la Literatura y de Filosofía, y de 1955 a 1957, es director del departamento de Realizaciones Culturales. En 1955 es nombrado maestro preparador y director de estudios y de coro de la Opera de Cámara del Teatro Colón. Comienza a componer sus primeras piezas instrumentales y electroacústicas e intenta montar un estudio de música electrónica, pero fracasa en su intento (que logrará al poco tiempo Francisco Kröpfl). Pierre Boulez, durante una gira por Buenos Aires, examina sus partituras y le sugiere que viaje a Europa. Con una beca «Deustscher Akademischer Austauschdienst» (Servicio Alemán de Intercambio Académico)(DAAD) del gobierno alemán, Kagel llega en 1957 a Colonia, entonces centro neurálgico de la Nueva Música, lugar donde se establece y que no abandonará más. Tras su llegada a Alemania, comienza a dirigir la «Rheinland Chamber Orchestra» en sus programas de música contemporánea y, en 1959, participa en la creación en Colonia del «Kölner Ensemble für Neue Musik». En 1961 es nombrado profesor en el «Kranichsteiner Musikinstitut» de Darmstadt. Trabaja durante un largo periodo de tiempo en la «Westchentichev Rundfunk». En la temporada 1964-1965 es «Slee-Profesor» de composición en la Universidad del Estado de Nueva York en Buffalo (USA) y en 1968-1969 es nombrado Director de los «Scandinavian courses for new music» de Gotenburgo. Entre 1969 y 1975, dirige los «Kölner Kurse für Neue Musik» (Cursos de Nueva Música de Colonia), sucediendo a Karlheinz Stockhausen. Desde 1974 ocupa la cátedra (y la desempeñara hasta su retiro en 1997) de Nuevo Teatro Musical, la primera de Europa, creada para él en la Escuela Superior de Música de Colonia («Hochschule für Musik»), adquiriendo sus investigaciones sobre los principios del teatro instrumental estatus académico.

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Kantrimiusik, Pastoral para voces e instrumentos (1973-1975). 5. Intermedium.

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Jun 2019 21:33 
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Daron Aric Hagen (*1961) He grew up in New Berlin, a suburb west of Milwaukee. Hagen was the youngest of the three sons of Gwen Hagen, a visual artist, writer and advertising executive who studied creative writing with Mari Sandoz and enjoyed a successful advertising career as creative director of Exclusively Yours Magazine and Earl Hagen (an attorney). Hagen began composing prolifically in 1974, when his older brother Kevin gave him a recording and score of Benjamin Britten's Billy Budd. Two years later, at the age of fifteen, he conducted the premiere of his first orchestral work, a recording and score of which came to the attention of Leonard Bernstein, who enthusiastically urged Hagen to attend Juilliard to study with David Diamond. He studied piano with Adam Klescewski, and studied composition and conducting at the Wisconsin Conservatory of Music while attending Brookfield Central High School.

After two years at the University of Wisconsin–Madison, where his teachers included Catherine Comet (conducting), Jeanette Ross (piano), and Leslie Thimmig and Homer Lambrecht (composition), he was invited to attend the Curtis Institute of Music in Philadelphia by Ned Rorem (with whom he developed a lifelong friendship). While a student of Rorem's at Curtis, he studied piano with Marion Zarsecsna and also studied privately with Lukas Foss. Hagen moved to New York City in 1984 to complete his formal education as a student at Juilliard, studying first for two years with Diamond, then for a semester each with Joseph Schwantner and Bernard Rands. After graduating, Hagen was a Tanglewood composition fellow before briefly living abroad, first at the Camargo Foundation in Cassis, France, and then at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy, where he has twice been a guest. Between 1984 and 1998 Hagen was also a frequent guest at the MacDowell Colony. When he returned to the United States, Hagen studied privately with Bernstein, whose guidance during the composition of Hagen's Shining Brow (1992) — the opera that launched Hagen's career internationally — prompted him to dedicate the score to Bernstein’s memory.

Hagen served in 2007 as composer in residence at the Music Conservatory of the Chicago College of Performing Arts and joined the artist faculty there in 2017 "in a multi-disciplinary position created for him that enables him to share his skills as a stage director, dramaturge, composer, and social activist with students from throughout the Roosevelt University community as they shadow him and collaborate in the development of a new Hagen opera each year." He has served as the Franz Lehár Composer in Residence at the University of Pittsburgh (2007), twice as composer in residence for the Princeton University Atelier (1998, 2005); as artist in residence at the University of Nevada, Las Vegas (2000–2002); Sigma Chi-William P. Huffman Composer in Residence at Miami University, Oxford, Ohio (1999–2000); artist in residence at Baylor University, Waco, Texas (1998–1999); on the musical studies faculty of the Curtis Institute of Music (1996–1998); as an associate professor at Bard College (1988–1997); as a visiting professor at the City College of New York (1997, 1993–1994); and as a lecturer in music at New York University (1988–1990).

As artistic director of the Perpetuum Mobile Concerts (1982–87) he premiered compositions by over a hundred American composers on concerts produced in Philadelphia and New York. Hagen served as president of the Lotte Lehmann Foundation (2004–2007) in New York City, an international nonprofit organization dedicated to encouraging the performance and creation of opera and art song; he is a trustee of the Douglas Moore Fund for American Opera and was elected a lifetime member of the Corporation of Yaddo in 2006. Hagen has been a featured composer at the Tanglewood, Wintergreen, and Aspen music festivals, and has served as artistic director and head of faculty for the Seasons Fall Music Festival in Yakima, Washington (2008–2012) and currently serves as Chair of Composition for the Wintergreen Summer Music Academy in Virginia. Hagen made his professional debut as a stage director for the Skylight Music Theatre with his musical I Hear America Singing (2014), for which he contributed book, lyrics, and score. In spring 2015 he directed his opera A Woman in Morocco for Kentucky Opera.

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Shining Brow, ópera en un prólogo y dos actos (1991). Fragmento.

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Vera of Las Vegas, ópera en cinco escenas (1997). Fragmento.

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Bandanna, ópera en un prólogo y dos actos (1998). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 14 Jun 2019 17:40 
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Hans Gál (1890-1987) Gál was born to a Jewish family in the small village of Brunn am Gebirge, Niederösterreich, just outside Vienna, the son of a doctor, Josef Gál. In 1909 his piano teacher Richard Robert (who also taught George Szell, Rudolf Serkin and Clara Haskil) appointed Gál as a teacher when he became director of the New Vienna Conservatory. From 1909 to 1913, Gál studied music history at the University of Vienna under music historian Guido Adler, who published Gál's doctoral dissertation on the style of the young Beethoven in his own Studien zur Musikwissenschaft. From 1909 to 1911, Gál studied composition in two years of intensive private study with Eusebius Mandyczewski, who had been a close friend of Johannes Brahms, and with whom he was later to edit ten volumes of the Complete Edition of Brahms’s works, published by Breitkopf & Härtel in 1926. Mandyczewski became a "spiritual father" to him. In 1915 Gál was the first recipient of the new Austrian State Prize for Composition for his first symphony, though he later discarded this work and its successors, as well as a large number of works composed up to that time. During World War I he served in Serbia, the Carpathians and Italy. He returned from the war with a completed opera, Der Arzt der Sobeide, which was performed in Breslau (modern Wrocław) in 1919 under the conductor Julius Prüwer. After World War I the political situation in Austria was extremely difficult, exacerbated by runaway inflation. Gál was appointed to the (initially unpaid) post of Lector for music theory at the University of Vienna (a post once held by Anton Bruckner). Despite the financial difficulties he married Hanna Schick (a relative of the philosopher and psychologist Wilhelm Jerusalem). His second opera Die heilige Ente (The Sacred Duck) received its première in Düsseldorf in April 1923 under George Szell and was performed with continued success in some twenty theatres. Together with his third opera, Das Lied der Nacht (The Song of the Night), it established his wider reputation. In 1928 he won a Columbia Schubert Centenary Prize for his Sinfonietta, later retitled his First Symphony. In the following year, with the support of such important musicians as Wilhelm Furtwängler, Fritz Busch and Richard Strauss, he was appointed to the directorship of the Mainz Conservatory. The next three years were among the happiest and most productive of his life.

The rise of the Nazis in Germany brought Gál's career in Mainz to an abrupt end on account of his Jewish ancestry. When the Nazis took over Mainz in March 1933, he was instantly dismissed from his post and performance and publication of his works in Germany were prohibited. His fourth opera, Die beiden Klaas (Rich Claus, Poor Claus), which was to have received a double première in Dresden and Hamburg, was cancelled and wasn't performed until an English translation was presented by York Opera in 1990. He and his family returned to Vienna, but the shadow of the German Reich was already clearly evident in Austria, and he could find no permanent position. Immediately after the Anschluss in 1938, Gál fled to London, with the intention of emigrating to the United States. However, he remained in Britain, where he met the musician and scholar Donald Tovey, who invited him to come to Edinburgh where Tovey taught at the University. There were no permanent openings for professors, but Tovey found him some work in late 1938, and when the war broke out in 1939 the Gáls moved to Edinburgh permanently. In 1940 he was interned as an enemy alien in Huyton Camp near Liverpool and Central Camp in Douglas, Isle of Man, from May through September. After his release he returned to Edinburgh, where he would remain for the rest of his life. He had continued to compose throughout this time, publishing his Second Symphony in 1942. He became a lecturer in musical education at the University of Edinburgh in 1945, where he taught until retiring in 1960. In Edinburgh he was a respected member of the local musical scene, and one of the founders of the Edinburgh International Festival in 1947. His later honours include the Grand Austrian State Prize for Music (1957), appointment as an Officer of the Order of the British Empire (1964) and the Austrian Cross of Honour for Science and Art, 1st class (1971).

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Das Lied der Nacht, balada dramática en tres actos (1924–1925). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 21 Jun 2019 18:53 
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Grażyna Bacewicz (1909-1969) Bacewicz was born in Łódź, Poland. Her father and her brother Vytautas, also a composer, identified as Lithuanian and used the last name Bacevičius; her other brother Kiejstut identified as Polish. Her father, Wincenty Bacewicz, gave Grażyna her first piano and violin lessons. In 1928 she began studying at the Warsaw Conservatory, where she studied violin with Józef Jarzębski and piano with Józef Turczyński, and composition with Kazimierz Sikorski, graduating in 1932 as a violinist and composer. She continued her education in Paris, having been granted a stipend by Ignacy Jan Paderewski to attend the École Normale de Musique, and studied there in 1932–1933 with Nadia Boulanger (composition) and André Touret (violin). She returned briefly to Poland to teach in Łódź, but returned to Paris in 1934 in order to study with the Hungarian violinist Carl Flesch.

After completing her studies, Bacewicz took part in numerous events as a soloist, composer, and jury member. From 1936 to 1938 she was the principal violinist of the Polish Radio Orchestra, which was directed then by Grzegorz Fitelberg. This position gave her the chance to hear much of her own music. During World War II, Grażyna Bacewicz lived in Warsaw. She continued to compose, and gave underground secret concerts (premiering her Suite for Two Violins). Bacewicz also dedicated time to family life. She was married in 1936, and gave birth to a daughter, Alina Biernacka, a recognized painter. Following the Warsaw uprising they escaped the destroyed city and temporarily settled in Lublin. After the war, she took up the position of professor at the State Conservatoire of Music in Łódź. At this time she was shifting her musical activity towards composition, drawn by her many awards and commissions. Composition finally became her only occupation from 1954, the year in which she suffered serious injuries in a car accident. She died of a heart attack in 1969 in Warsaw.

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Przygoda Króla Artura, ópera radiofónica (1959). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jun 2019 15:59 
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Thomas Michael Sleeper (*1956) Sleeper was born in Wagoner, Oklahoma and is a member of the Cherokee Nation. He received his Bachelor of Music at the University of Texas, and subsequently received his Master of Music at Southern Methodist University, where he studied under Daryl F. Rauscher of the Dallas Symphony Orchestra, and James Rives-Jones. From 1975 -1978, while in Austin, Sleeper was active with an Avant-gard group of composer/performers called "Fermata". As a member of "Fermata" he worked with composers such as Jerry Willingham, Jerry Hunt and Robert Xavier Rodriguez. At 22 years of age Sleeper was appointed Associate Conductor of the Dallas Civic Symphony. Following his conducting stint with the Dallas Civic Symphony, Sleeper began to compose many pieces of music including, but not limited to, operas, concerti, symphonies, solo and chamber music. He is a frequent guest conductor all over the world and has performed with ensembles such as the Central Philharmonic of China (where he gave the Chinese premiere of Mahler's Symphony No. 5 in 1992), Argentina's San Juan Symphony Orchestra, and Bulgaria's Ruse State Philharmonic. In addition, he was named the Artistic Advisor of the China-Wuhan Symphony in 1993 where he gave the Chinese premiere of Brahms' 2nd Piano Concerto with soloist Justin Blasdale. Sleeper is an advocate of new music, and has commissioned and conducted the premiers of works of composers including Roberto Sierra, Thomas Ludwig, Henry Brant, Carlos Surinach, Robert Xavier Rodriguez. He currently lives in Miami, Florida, and is on the faculty of the University of Miami.

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Aceldama: Field of Blood, an opera performed throughout the world (1997). Fragmento.

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Einstein's Inconsistency, a series of eight operas that get progressively shorter (roughly following a reverse Fibonacci series) and may be recombined in any order or number creating a new overall structure (2014). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 05 Jul 2019 23:28 
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Richard Flury (1896–1967) He was born in Biberist, a tiny town outside the Baroque city of Solothurn in northern Switzerland. He went to school in Solothurn, later taught there, conducted its orchestra, and had his operas and ballets performed at the local theatre by its semi-professional ensemble. But Flury was more than just another conservative composer stuck in the provinces. His teachers included Ernst Kurth and Joseph Marx of Vienna, and his music was performed by conductors such as Felix Weingartner and Hermann Scherchen and star instrumentalists like Wilhelm Backhaus and Georg Kulenkampff. His first opera was conducted by a former student of Berg and Schoenberg who became his staunch advocate, and during the Second World War Flury worked closely with several Jewish emigré writers and musicians from Germany and Czechoslovakia. In his music of the early 1930s, the influence of Berg and Hindemith became apparent as Flury dabbled in modernism and free tonality before moving back to a more traditionalist stance; but he was also a fine tunesmith who loved writing Viennese waltzes and violin miniatures after the manner of Kreisler. In both his aesthetic and his career, Flury offers a fascinating case of a man negotiating constantly between the centre and the periphery – and composing some very good music in the process.

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Eine florentinische Tragödie, ópera en un acto (1926-1928). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 13 Jul 2019 17:43 
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Aldo Tarabella (*1948) He divides his time primarily between directing and composing. He has written for the Royal Academy of London, the Symphony Orchestra of Cannes, the ORT (Orchestra della Toscana), the Festival di Nuova Consonanza of Rome, RAI (Radiotelevisione italiana), the Two Worlds Festival of Spoleto and the Mozarteum of Salzburg. After his collaboration with the Piccolo Teatro of Milan, where he composed, among other pieces, the music for the second part of Faust-Framenti directed by Giorgio Strehler, his activity in theatre and film includes working with Russian director Nikita Mickalkov on the music for the film Oci Ciornie and the set for Pianola meccanica at the Teatro Argentina of Rome, with Marcello Mastroianni. For Paolo and Vittorio Taviani, he composed a suite that was performed in Brussels under the high patronage of the Italian Embassy. He has worked frequently in ballet, including collaborations with choreographer Micha von Hoekhe for Guitare and Voyage. He has also composed and directed his own lyric operas: Clown, directed by Antonio Ballista; Arlecchino, commissioned by the ORT; and the works Il Maestro e i piccoli cantori and Il pianeta della verità for the Accademia di Santa Cecilia of Rome. He debuted with a new work, Opera bestiale, at the Parco della Musica of Rome.

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Il servo padrone, intermezzo (2000). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 19 Jul 2019 22:09 
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Johannes Kalitzke (*1959) Born in Cologne, Kalitzke trained on the piano from 1967 to 1977 with Jeanette Chéro and studied church music in Cologne from 1974 to 1976. He studied further at the Musikhochschule Köln from 1978 to 1981, studying piano with Aloys Kontarsky, conducting with Wolfgang von der Nahmer, and composition with York Höller, and later electronic music with Ulrich Humpert. He focused on electronic music at the IRCAM in Paris with Vinko Globokar in 1982–1983, on a scholarship of the Studienstiftung des Deutschen Volkes. From 1984 to 1990, Kalitze was first Kapellmeister and then chief conductor at the Musiktheater im Revier in Gelsenkirchen. From 1986, he was also the leader of the Forum für Neue Musik there, succeeding Carla Henius. From 1991, he was artistic director of the ensemble musikFabrik. Since 1996, he has taught at the Darmstädter Ferienkurse and held master classes at several universities of music, and for the Deutscher Musikrat.

His first opera, Bericht über den Tod des Musikers Jack Tiergarten, premiered at the Munich Biennale in 1996. On a commission from the state of Schleswig-Holstein, he composed his second opera, Molière oder die Henker der Komödianten, which premiered in Bremen in 1998, as did his opera Inferno in 2004. In 2007, Kalitzke received a commission from Theater an der Wien to compose Die Besessenen after Witold Gombrowicz, which premiered on 19 February 2010. His fifth opera, Pym, based on Edgar Allan Poe's novel The Narrative of Arthur Gordon Pym of Nantucket, premiered in Heidelberg in May 2016. The story is told by nine male singers and by dancers, while a quartet with also female voices performs from behind the scene. Online Musik Magazin wrote that Kalitzke's score "could be a musical representation of the world of Hieronymus Bosch." Kalitzke has been a professor of conducting contemporary music at the Mozarteum in Salzburg from 2015.

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Die Besessenen, ópera en cuatro actos (2008-2009). Final.

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 Asunto: Re: La otra ópera
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Garrett Fisher (*1970) Considered to be "a star of Seattle's new music scene" by The New Yorker, composer Garrett Fisher creates pieces that, with the Fisher Ensemble, integrate an eclectic mix of vocalists, movers, actors and musicians that harness ritual and myth to bridge ancient and modern forms. Each opera is a ritual that invites the audience into a mythical and archetypal world; and like a mosaic, each opera explores geometries inherent in its subjects. The aim is to take the viewer through a rite of passage in which the musical, poetic and dramatic facets of the piece help elicit a new awareness. Garrett draws inspiration from such forms as Japanese Noh theater and ancient Greek drama.

In creating the "blueprints" to his pieces, Garrett seeks a balance between structure and freedom to give the ensemble solid grounding with enough space to individualize the role. He weaves ragas, inspired by the Indian classical tradition, into his scores, and has extended this concept to "word ragas" or a general set of rules governing the creation of the libretto to create an organic link between the composition of music and words. Each piece evolves through a series of rehearsals in which each contributor's voice is heard and incorporated into the larger whole.

In creating the pieces, Garrett places a strong emphasis on the visual component of the performance. Whereas in traditional Western opera, staging and design are interpretations, the movement and visual elements, such as masks, are integral parts of these operas. In structuring the scores, Garrett aims to create an openness that allows the visual elements to be equal to the music, and collaborates with participants to develop and refine all aspects of the opera.

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The Passion of Saint Thomas More, ópera de cámara (1995). Fragmento.


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 Asunto: Re: La otra ópera
NotaPublicado: 02 Ago 2019 22:28 
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Hilda Paredes (*1957) Paredes nació en Tehuacán, México, donde estudió piano y flauta. A la edad de 21 años fue a Londres para continuar sus estudios universitarios y para desempeñarse con regularidad como flautista. Hizo arreglos de música popular y clásica con varios conjuntos. Durante este tiempo comenzó a realizar sus propias composiciones. Como estudiante asistió a clases de posgrado en el Dartington College of Arts, donde estudió con Peter Maxwell Davies y Richard Rodney Bennett.​ Después de graduarse en la Guildhall School of Music and Drama obtuvo una maestría en artes en la Universidad de la Ciudad de Londres y completó un doctorado en filosofía en la Universidad de Mánchester.

Su colaboración con coreógrafas le llevó a recibir el premio Música para Baile del Consejo de Artes de Gran Bretaña en 1988. Paredes siguió implicada en la vida musical de su país nativo, enseñando en la Universidad Nacional Autónoma de México, produciendo música nueva en la radio y colaborando con la Orquesta de Baja California, adaptando canciones tradicionales de España y México. Hilda continúa viviendo en Londres, donde es una compositora independiente. Ha enseñado composición y ha dado cátedras en la Universidad de Mánchester, la Universidad de California en San Diego, así como en México, España y en el Centro Acanthes en Francia. También fue la Profesora Visitante Darius Milhaud de 2007 en la Mills College en Estados Unidos.

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La tierra de la miel, ópera de cámara (2012). Fragmento.

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The Seventh Seed, ópera de cámara en tres actos (1991). Fragmento.

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