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 Asunto: Re: La otra ópera
NotaPublicado: 08 Jun 2012 20:31 
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Bruno Skulte (1905-1976) He was born in Kiev in the Ukraine, the eldest of five sons in the family of the building contractor Péteris Skulte and his wife Vittoria, the daughter of the Italian sculptor Pietro Rizzolatti. The family returned to Latvia in 1922, and in 1931 Bruno enrolled at the Latvian Conservatory to study composition with Jāzeps Vītols, thus joining his younger brother Ādolfs who was already studying there. He also studied orchestral conducting with Jānis Mediņš, graduating in both disciplines in 1937.He continued his studies with conductors Leo Blech in Berlin and Clemens Krauss in Salzburg. After graduating Skulte worked as composer and organist, and was also orchestral conductor at the Latvian Radio.

The years of the second World War saw him as conductor and artistic director of the Latvian Radio and the Liepāja Opera. Toward the end of the war he fled to Germany worked for radios in Berlin and Rostock, and later went on to Lübeck where he organized a mixed voice choir at the Latvian refugee camp in Herrenwyck. In 1945 he founded and directed a Latvian opera company in Oldenburg. In 1949 Skulte traveled on to the USA where he became organist for the Latvian congregation in New York. In New York, as in Germany, Skulte found refuge for his soul in his work with choirs.

Arvīds Bomiks

Vilkaču mantiniece, ópera en cinco actos (1947). Fragmento del acto segundo.

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Última edición por Zelenka el 25 May 2014 17:27, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 15 Jun 2012 21:02 
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Bonifacio Domenico Pasquale Anfossi (1727–1797) Nació en Taggia, Liguria, iniciándose en los estudios musicales con su padre. A continuación, ingresó en el Conservatorio de Santa María de Loreto de Nápoles, donde estudió violín con Francesco Barbella, y composición con Francesco Durante y Niccolo Piccinni. En Nápoles presentó, en colaboración con Pietro Alessandro Guglielmi, la ópera bufa Lo sposo di tre e marito di nessuna. En 1771, se establece en Roma, bajo la protección de su amigo Piccinni, aunque éste era un año menor que él, donde presenta, entre otras, la ópera seria Quinto Fabio, en el Teatro delle Dame, alcanzando un discreto éxito. El verdadero triunfo no llega hasta el año 1773, en el Teatro delle Dame, con la ópera bufa Giannetta, ossia L’incognita perseguitata, con libreto de Petrosinelli, basado en otro de Goldoni. Al año siguiente, 1774, estrenó, siempre en el Teatro delle Dame, La finta giardiniera, ópera que lo consagró definitivamente. Con esta obra le arrebató a su querido amigo Piccinni, el favor de público, y no sólo el romano, sino el de toda Italia, pues la obra se representó con gran éxito en las ciudades más importantes.

Del año 1771 al 1780, Anfossi fue maestro de coro del Ospedale dei Derelitti de Venecia, para el que escribió numerosos oratorios, antífonas, motetes, etc. Siendo ya un reconocido operista, se trasladó a París, donde La finta giardiniera, Il geloso in cimento e Il matrimonio per ingagno ocuparon durante muchos meses los escenarios parisinos. La Ópera de París le brindó la oportunidad de presentar su ya célebre L’incognita perseguitata, bajo el nuevo título de L’infante de Zamora. En 1781, ante la animadversión de gran parte de los cantantes franceses, se trasladó a Londres, en calidad de director de la ópera italiana, cargo que ocupó hasta 1783. Entre finales de 1783 y mediados de 1784, viajó a Praga y Berlín, donde presentó Il triunfo di Arianna e Il cavalier per amore. A finales de 1784, regresó a Italia, donde estrenó la ópera bufa Chi cerca trova en Florencia. Los siguientes tres años los pasó recorriendo toda la península italiana con motivo de la puesta en escena de alguna de sus óperas. En 1787, se trasladó definitivamente a Roma, donde ejerció durante cinco años como maestro de capilla de la Basílica de San Juan de Letrán.

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La maga Circe, farsa en un acto (1788). Final.

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Última edición por Zelenka el 25 May 2014 17:29, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 22 Jun 2012 20:39 
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Olof Wilhelm Peterson-Berger (1867-1942) He was born in Ullånger, Ångermanland, Sweden. After matriculating in Umeå he studied the organ and composition at the Stockholm Conservatory (1886-9); he then went to Dresden (1889-90), where his teachers included Kretzschmar (orchestration). He returned to Umeå to teach music and languages (1890-92), and went again to Dresden as a music educationist (1892-4). In 1895 he settled in Stockholm, where he was music critic of the Dagens nyheter from 1896 to 1930, except for a period when he was stage manager at the Stockholm Opera (1908-10) and for an Italian visit in 1920-21. From 1930 he lived at his villa on Frösön in Jämtland, northern Sweden. Peterson-Berger’s criticism immediately aroused great interest, and in 1896 he became well known as the composer of the piano pieces Frösöblomster and the song collection Svensk lyrik. In both fields he made a major contribution to the Swedish national-Romantic movement. His Wagnerian aesthetic standpoint was expressed in a series of music dramas, for which he wrote the texts, creating a Swedish Gesamtkunstwerk.

Arnljot, based on the story of the warrior Arnljot Gelline from Sturlasson’s Saga of St Olav, has often been viewed as the Swedish national opera. Each summer from 1936 it has been performed, as a spoken drama with incidental music, at Frösön. The comedy Domedagsprofeterna, concerning a wager as to the date of the Last Judgment, presents a charming blend of lyrical freshness with textual and musical 17th-century pastiche. Adils och Elisiv combines the restraint of a saga with a yearning for peace and reconciliation determined by the period at which it was composed (after World War I); there are melodic features of Italian opera. The most successful of Peterson-Berger’s symphonies is the third, a work permeated by Scandinavian nature mysticism and drawing on the Sami jojkar music notated by Karl Tirén. The other symphonies are also more or less programmatic, and the Violin Concerto is a work of nature lyricism. Peterson-Berger’s lyrical gift appears to greatest advantage in the piano miniatures and songs, among which the Karlfeldt songs, highly varied in mood, hold a special position.

Óperas

Arnljot, ópera en tres actos (1907-1909). Fragmento del acto segundo.

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Domedagsprofeterna, ópera cómica en tres actos (1912-1917). Del acto tercero, Eders majestät?.

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Última edición por Zelenka el 25 May 2014 17:31, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jun 2012 20:51 
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York Höller (*1944) Nació en Leverkusen, Alemania. Höller estudió entre 1963 y 1970 en la Musikhochschule de Colonia. Tuvo como profesores de composición a Joachim Blume y a Bernd Alois Zimmermann, de piano a Else Schmitz-Gohr y a Alfons Kontarsky, y de dirección orquestal a Wolfgang von der Nahmer. Al tiempo, también estudió musicología y filosofía en la Universidad de Colonia. Completó su educación musical con Pierre Boulez en los Cursos de Verano de Darmstadt. Höller trabajó durante un breve perido de tiempo como director de ensayos en el Staatstheater de Bonn. Frecuentó el estudio electrónico de la Westdeutscher Rundfunk donde, según unas fuentes, «continuó sus estudios con Karlheinz Stockhausen» o «trabajó en sus propias obras por invitación de Stockhausen». En cualquier caso, frecuentó a Stockhausen y desarrolló durante este periodo una forma peculiar de serialismo. Pronto sus obras tuvieron reconocimiento internacional. A mediados de los 70 tuvo encargos del IRCAM y en 1989 su ópera Der Meister und Margarita (basada en la novela de Mijaíl Bulgákov) se estrenó en la Ópera Garnier. De 1986 a 1990 Höller dió clases de Análisis y Teoría Musical en la Musikhochschule de Colonia. Después, sucedió a Stockhausen como director artístico del Estudio de Música Electrónica de la WDR (1990-1999). En 1993 aceptó la propuesta de la Hochschule für Musik Hanns Eisler de Berlín para impartir clases de Composición. A la vez, dio numerosas conferencias y cursos de composición en instituciones académicas de Europa y América. Desde 1991 York Höller es miembro de la Akademie der Künste de Berlín.

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Der Meister und Margarita, ópera en dos actos (1984-89). Comienzo del acto segundo.

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Última edición por Zelenka el 25 May 2014 17:33, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 09 Jul 2012 10:15 
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Daniel François Esprit Auber (1782–1871) He was born in Caen in Normandy. Destined by his father for the print selling trade, he was allowed, nevertheless, to indulge his fondness for music, and at an early age learned to play several instruments, his first teacher being the Tirolean composer, Josef Alois Ladurner. Sent at the age of 20 to London to complete his business training, he was obliged to leave England as a result of the breach of the Treaty of Amiens (1804). He had already attempted musical composition, and at this period produced several concertos pour basse, in the manner of the violoncellist Lamarre, in whose name they were published. The praise given to his concerto for the violin, which was played at the Conservatoire by Mazas, encouraged him to undertake a resetting of the old comic opera, Julie (1811). Conscious by this time of the need for regular study, he placed himself under the severe training of Cherubini, by whom the special qualities of the young composer were successfully developed.

In 1813 the unfavourable reception of his one-act debut opera Le séjour militaire put an end for some years to his attempts as composer. But the failure in business and death of his father, in 1819, compelled him once more to turn to music, and to make that which had been his dream the serious employment of his life. He produced another opera, Le testament et les billets-doux (1819), which was no better received than the former. But he persevered, and the next year was rewarded by the complete success of La bergère châtelaine, an opera in three acts. This was the first in a long series of brilliant successes. In 1822 began his long association with Eugène Scribe as librettist. The opera Leicester, in which they first worked together (1823), is remarkable also as showing evidences of the influence of Rossini. But his own style was an individual one, marked by lightness, sparkling vivacity, grace and elegance, clear and piquant of melody— characteristically French. Le maçon (1825) was his first major triumph, staying in the repertory until the 20th century, with 525 performances at the Opéra Comique alone.

Auber achieved another great musical triumph in La muette de Portici, once familiarly known as Masaniello after its hero. Produced at Paris in 1828, it rapidly became a European favourite, and its overture, arias and choruses were heard everywhere. The duet Amour sacré de la patrie was welcomed like a new Marseillaise; its performance at Brussels on 25 August 1830, in which Adolphe Nourrit sang the leading tenor role, engendered a riot that became the signal for the Belgian Revolution that drove out the Dutch. Official and other dignities testified to the public appreciation of Auber's works. In 1829 he was elected a member of the Académie des Beaux-Arts. Fra Diavolo, which was premiered in 1830 was destined to be his most successful opera, and never completely left the international repertory. That same year, 1830, he was named director of the court concerts. Next year he had another big success, with his Le philtre, starring the great tenor, Adolphe Nourrit. The libretto was soon translated into Italian, and set by Donizetti as L'elisir d'amore, one of the most successful comic operas of all time.

Two years later in 1833 Gustave III, his second grand opera also triumphed, and stayed in the repertory for years. The libretto was to be used twice more, first by Saverio Mercadante for Il reggente, with the action transferred to Scotland, and, next by Giuseppe Verdi, as Un ballo in maschera. He enjoyed several more successes in the mid 1830s, late 1830s, and early 1840s, all at the Opéra Comique. These were Le cheval de bronze (1835), L'ambassadrice (1836), Le domino noir (1837), Les diamants de la couronne (1841) and La part du diable (1843). In the meantime, in 1842, at the wish of Louis Philippe, he succeeded Cherubini as director of the Conservatoire. Auber was also a member of the Legion of Honour from 1825, and attained the rank of commander in 1847. That year also saw the premiere of Haydée, another opéra comique, even though it was on a serious subject. The tenor lead in Haydée was sung by the same Gustave Roger who, two years later, was to create the title role in Meyerbeer's Le prophète at the Opéra. Napoleon III made Auber his Imperial Maître de Chapelle in 1857.

In his later years, Auber's output slowed down considerably. The 1850s were marked by Manon Lescaut, an opéra comique with a tragic end (1856), and revisions of Le cheval de bronze and Fra Diavolo (both 1857). He did have one major success in the 1860s: Le Premier jour de bonheur (Opéra comique, 1868). His witty sayings, and his ever-ready kindness and beneficence won for him a secure place in the respect and love of his fellow-citizens. He remained in his old home during the German siege of Paris, 1870-71, but the miseries of the Paris Commune which followed sickened his heart, and he died in Paris.

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La muette de Portici (Masaniello), ópera en cinco actos (1828). Del acto segundo, Amis, la matinnée est belle.

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Fra Diavolo, ou L’hôtellerie de Terracine, ópera cómica en tres actos (1830). Del acto primero, En Bons Militaires.

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Gustave III, ou Le bal masqué, ópera histórica en cinco actos (1833). Comienzo del acto quinto.

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Le domino noir, ópera cómica en tres actos (1837). Final del acto segundo.

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Les diamants de la couronne, ópera cómica en tres actos (1841). Quinteto del acto tercero.

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Manon Lescaut, ópera cómica en tres actos (1856). Final del acto primero.

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Última edición por Zelenka el 25 May 2014 17:36, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 14 Jul 2012 13:29 
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Tomás Bretón y Hernández (1850-1923) Nació en Salamanca. A los dos años, y con dos hermanos también de escasa edad, quedó huérfano de padre. Aprendió a tocar el violín muy joven en la Escuela de Bellas Artes de San Eloy y a los once años tocaba ya en la orquesta del Teatro del Liceo de Salamanca. En 1865, la familia se trasladó a Madrid, en cuyo Conservatorio ingresó el joven Bretón, que para sobrevivir tenía que componer piezas ligeras y tocar el violín en teatros diversos. Poco antes de terminar los estudios, dirigidos por Emilio Arrieta, consiguió el cargo de director de la orquesta del Circo Price. En 1872 terminó los estudios, compartiendo el primer premio de composición con Ruperto Chapí. En 1874, mientras tenía la imaginación puesta en el mundo operístico, compuso varias zarzuelas, como Los dos caminos, El viaje a Europa y El bautizo de Pepín. En el ínterin, basándose en un Libreto de Arnao, compuso una ópera, Guzmán el Bueno, que se estrenó el 25 de noviembre de 1875 en el Teatro Apolo de Madrid, con una buena acogida del público que se repitió poco después en el Liceo de Barcelona. En 1881 obtuvo, al igual que Chapí, una beca para estudiar en la Escuela Española de Bellas Artes de Roma, beca que la Casa Real complementó con un subsidio para que el compositor pudiera atender a las necesidades de su familia. En Roma compuso el oratorio Apocalipsis y en Viena escribió una Sinfonía. Entre Roma y París escribió parte de su siguiente ópera, Los amantes de Teruel, que terminó para justificar la beca concedida y que se estrenó tiempo después, el 12 de febrero de 1889, en el Teatro Real de Madrid, en italiano, con el título de Gli amanti di Terolo.

Entre 1885 y 1890 fue director de la madrileña Sociedad de Conciertos. La buena acogida de Los amantes de Teruel se repitió en el Liceo de Barcelona, teatro para el que compuso expresamente su tercera ópera, Garin, que se estrenó el 14 de mayo de 1892 y se representó varias veces en el mismo Liceo y en el Teatro Tívoli. En Madrid se representó en el Teatro Real aquel mismo año. Poco después compuso su zarzuela más célebre, La verbena de la Paloma, en un acto, con Libreto de Ricardo de la Vega, que se estrenó en el Teatro Apolo de Madrid el 17 de febrero de 1894. Al año siguiente estrenó en el Teatro de la Zarzuela de Madrid su última ópera de éxito arrollador, La Dolores, en tres actos, basada en el drama de Feliu y Codina; se representó en la capital española más de sesenta veces seguidas; en Barcelona se repitió el éxito, en el Teatro Tivoli, con más de cien representaciones consecutivas. La ópera se representó con igual acogida en Lisboa, Viena y Praga. Otras óperas de Bretón fueron El certamen de Cremona, Raquel (estrenada en el Teatro Real de Madrid en 1900), Farinelli (1903), Tabaré (estrenada en el Teatro Real de Madrid en 1903) y Don Gil. Debe destacarse además su intensa labor como director de orquesta, primero en la Unión Artístico Musical (1878-81), que él mismo fundó, como en la Sociedad de Conciertos de Madrid, principal orquesta madrileña que dirigió entre 1885 y 1891. Logró consolidar los ciclos de conciertos en Madrid con programaciones abiertas a la música española y a las novedades internacionales. En 1901 asumió la dirección del Conservatorio de Madrid, puesto que mantuvo hasta su jubilación en 1921, luchando por modernizar las enseñanzas del centro y buscando relaciones internacionales.

Óperas

La Dolores, ópera en tres actos (1895). Fragmento del acto primero.

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Última edición por Zelenka el 25 May 2014 17:39, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 21 Jul 2012 22:03 
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Antonio Caldara (1671-1736) He was born in Venice. He was the son of Giuseppe Caldara, a local violinist of no great fame. In his childhood, Caldara was a choirboy at St. Mark's Cathedral in Venice and also studied the viol, the cello, and keyboard. He may well have been a pupil of the maestro di cappella of St. Mark's, Giovanni Legrenzi, but this is uncertain. By 1689 he was known as a cellist and his growing number of compositions included operas, sonatas da chiesa and da camera, and solo cantatas. Performances of his operas had been given at Venice and Rome by the early 1690's and a personal visit made to Rome towards the end of the 17th century, about this time implies an acquaintance with and perhaps instruction from Corelli, Alessandro Scarlatti and Pasquini. He returned to Venice around 1698.

In 1699, Antonio Caldara left Venice for Mantua: he was appointed maestro di cappella da chiesa e dal teatro to Ferdinando Carlo (Charles IV), the Duke of Mantua, a pensionary of France with a French wife, who took the French side in the War of the Spanish Succession. The Duke had a reputation for a dedication to grandiose opera productions, the cost of which threw the finances of Mantua into disarray. It is difficult to determine exactly what Caldara was doing during the period of his employment with the Duke, for virtually none of his music from this time survives. Caldara remained in the Duke's service until 1707; the Duke died mysteriously the following year. In 1708, Caldara was in Rome; while there, he composed of church music and oratorios for Cardinal Ottoboni, and became acquainted with such luminaries as Georg Frideric Handel, Alessandro Scarlatti and Domenico Scarlatti, and Antonio Corelli. In this same year, Caldara also composed a number of operas, including Sofonisba.

Later in 1708, Antonio Caldara departed for Barcelona and his first association with the Habsburg dynasty in the person of the Archduke Charles (Charles III). The performance of Caldara's Componimento da camera per musica: Il più bel nome nei festeggiarsi il Nome Felicissimo di Sua Maesta Cattolica Elisabetha Christina Regina delle Spagne at the celebration of Charles' marriage to Elisabeth Christine of Braunschweig-Lüneburg (Barcelona, August 1708) firmly established him as a favourite and despite his return to Rome to take up the position as Maestro di Cappella to Francesco Maria Ruspoli, Prince of Cerveteri (July 1709), contact with the Spanish Court was not broken. Indeed, as later developments proved, it was a most fortunate connection. In the light of Ruspoli's eminence as a patron of the arts, Caldara's appointment as director of the noblemans, distinguished band of virtuosi di canto e suono is proof of an established fame. From his compositional output during the next seven years it is clear that Caldara's muse flourished in this more stable environment and he composed mainly secular works including 150 solo cantatas, over 50 duets, four operas and nine oratorios.

After marrying contralto Caterina Petrolli, Caldara left Rome in 1711, travelling to Vienna and Milan, then returning to Rome to fulfil his duties to the Prince. Between 1711 and 1715, Caldara composed, among other things, a significant collection of two and three voice motets. Yet despite an obviously secure position, the news of the death of the Habsburg Emperor Joseph I (April, 1711) and the proclamation of his brother Charles III of Spain as Charles VI, Holy Roman Emperor, brought Caldara to Vienna hoping that the earlier favouritism would secure a court appointment. In the event, the present Vice-Kapellmeister Marc' Antonio Ziani had been made Kapellmeister before Caldara's arrival; Johann Joseph Fux secured the post of Vice-Kapellmeister. Caldara returned to his position in Rome - retained by means of a steady flow of compositions from Vienna - but not before making a detour through Salzburg to court the favour of Franz Anton von Harrach, the Prince-archbishop.

A reshuffling of posts at the Imperial Court upon Ziani's death in 1715 and a more or less firm promise of an appointment brought about Caldara's final break with Rome. He was appointed Vice-Kapellmeister to Charles VI in 1717 (J.J. Fux became Kapellmeister). He left Rome for good in 1716, after composing some cantatas for his former patron, Prince Ruspoli, and settled in Vienna. Once in Vienna, Caldara was faced with a demanding new position in which he was required to compose many large and small-scale dramatic works each year, including many operas and oratorios. In addition to his busy schedule, Caldara also accepted outside commissions, composing operas for nobles in Salzburg and Monrovia. He was well-respected and well-paid in Vienna (though he had a reputation for lavish spending), and was able to be active as a composer until his death in December 1736. The compositions of these last twenty years were prolific in number, diverse in genre, often brilliant and certainly never less than highly competent in quality, mature and personal in expression and style, and above all, secured for Caldara a European fame that lasted long after his death.

Bach-Cantatas

Il più bel nome, componimento da camera per musica in dui parti (1708). Aria Quela Liria innamorata. Aria Al grande onor di sposa.

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Última edición por Zelenka el 25 May 2014 17:40, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 27 Jul 2012 21:42 
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Karl-Birger Blomdahl (1916-1968) He born in Växjö, Sweden. He was educated in biochemistry, but was primarily active in music and by his experimental compositions he became one of the big names in Swedish modernism. His teachers included Hilding Rosenberg. His third symphony, Facettes - a work in one subdivided movement - from 1950 is a major contribution to the repertoire. In 1959 he composed the opera Aniara based on the poem by Harry Martinson. His output of compositions also includes concertos for violin and viola, a chamber concerto for piano, winds and percussion, at least one other opera (Herr von Hancken), and much chamber music, including a trio for clarinet, cello and piano.

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Aniara, ópera espacial en dos actos (1959). Comienzo del acto segundo.

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Última edición por Zelenka el 25 May 2014 17:44, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 04 Ago 2012 0:26 
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Louis-Nicolas Clérambault (1676-1749) He was born in Paris. Louis-Nicolas showed precocious musical talents. He probably received his earliest training from his father, in violin and harpsichord playing. He studied the organ with André Raison; some indication of the pupil´s regard for his teacher can be gauged from the warm words of the dedication to Raison which Clérambault placed at the head of his Livre d´orgue. His other teacher was Jean-Baptiste Moreau (1656-1733), with whom he studied composition and singing. In 1707 Clérambault was organist of the Grands-Augustins in Paris, but like his forebears he found service in the royal household. His first appointment in this capacity was as supervisor of the concerts arranged by Mme de Maintenon for Louis XIV in the last few years of the king´s life; this was followed by an appointment as organist of the Maison Royale de Saint-Cyr, near Versailles, after the death of Nivers in 1714. He also took over Nivers´ position at St Sulpice in Paris about the same time. Clérambault may have been assisting Nivers for some time before his death; in an archival document, according to Brossard, Clérambault used the title ‘organiste de la maison royale de Saint-Louis à Saint-Cyr, et de l´église paroissiale Saint-Sulpice’ six months before Nivers died. Founded in 1688 by Mme de Maintenon as a school for poor but well-born girls and run on strictly religious lines, Saint-Cyr provided some musical training for its pupils in order to elevate the standard of singing in the chapel.

Clérambault´s duties were mainly concerned with playing the organ for the special services during the year, and training the girls´ voices from time to time. There were also occasions when the pupils took part in semi-dramatic performances. Racine´s Esther (set to music by Moreau) was written specially for them, and in later years Clérambault was to provide them with his L´idile de Saint-Cyr. Some years later he relinquished his position at Saint-Cyr in favour of one of his sons (probably César-François-Nicolas), but owing to the lack of first names in the official documents relating to their work there, it is not known for certain when this change was made (Bert believed that it was as early as 1721). Nevertheless, Clérambault le père, as he was to become known, retained his association with Saint Cyr. On the death of Raison in 1719 Clérambault was named his successor at the Jacobins in rue St Jacques in Paris, an appointment which he accepted in addition to that at St Sulpice. His prestige remained high for the rest of his life. He was widely regarded as one of France´s finest organists, while as a composer of French cantatas his reputation soared beyond all others. These works began appearing from 1710 and occupied his attention until a few years before his death. From his marriage to Marie-Marguerite Grulé (before 1709) there were seven children, of whom three survived infancy; they included two sons who inherited positions held by their illustrious father.

Óperas

Le Triomphe d'Iris, pastorale (1706). Fragmento.

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Última edición por Zelenka el 25 May 2014 17:44, editado 1 vez en total

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 Asunto: Re: La otra ópera
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Julio Gonzalo Elías Roig Lobo (1890-1970) Nació en La Habana, Cuba. En 1902 comenzó a estudiar piano, teoría musical y solfeo y luego se graduó en estudios musicales en el Conservatorio de La Habana. En 1907 comenzó su carrera profesional como pianista y compuso su primera pieza musical para piano y voz solista. Dos años más tarde, comenzó a tocar el violín en el Teatro Martí de La Habana. En 1917 viajó a México. En 1922 fue co-fundador de la Orquesta Sinfónica de La Habana, de la cual se convirtió en director musical. En 1927 fue nombrado director de la Banda Municipal de Música de La Habana. Durante su mandato como director (ocupó el cargo hasta su muerte) hizo innumerables aportes a la música cubana. En 1929 fundó la Orquesta de Ignacio Cervantes y un año después fue invitado por la Unión Panamericana para dirigir una serie de conciertos en Estados Unidos. En 1931, durante su participación en la creación del Teatro Nacional, compuso y estrenó su zarzuela Cecilia Valdés. En 1938 fundó la Ópera Nacional de La Habana, que dirigió durante algunos años. Fundó la Sociedad de Autores de Cuba, la Federación Nacional de Autores de Cuba, la Unión Nacional de Autores de Cuba y la Sociedad Nacional de Autores de Cuba.

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Cecilia Valdés, zarzuela cubana (1931). Coro y canción de los esclavos.

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Última edición por Zelenka el 25 May 2014 17:56, editado 1 vez en total

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 Asunto: Re: La otra ópera
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Johann Carl Gottfried Loewe (1796-1869) He was born in Löbejün, Saxony-Anhalt, Germany, and received his first music lessons from his father. He was a choir-boy, first at Köthen, and later at Halle, where he went to grammar school. The beauty of Loewe's voice brought him under the notice of Madame de Staël, who procured him a pension from Jérôme Bonaparte, then king of Westphalia, which enabled him to further his education in music, and to study theology at Halle University. This ended in 1813, on the flight of the king. In 1820, he moved to Stettin in Prussia (now Szczecin in Poland), where he worked as organist and music director of the school. It was while there that he did most of his work as a composer, publishing a version of Goethe's Erlkönig in 1824 (written 1817-18) which some say rivals Schubert's far more famous version. He went on to set many other poets' works, including Friedrich Rückert, and translations of William Shakespeare and Lord Byron. In 1821 he married Julie von Jacob, who died in 1823. His second wife, Auguste Lange, was an accomplished singer, and they appeared together in his oratorio performances with great success.

In 1827, he conducted the first performance of the 18-year old Felix Mendelssohn's Overture A Midsummer Night's Dream, Op. 21. He and Mendelssohn were also soloists in Mendelssohn's Concerto in A-flat major for 2 pianos and orchestra. Later in life, Loewe became very popular both as a composer and as a singer. As a youth, he had a high soprano voice (he could sing the music of the Queen of the Night in Die Zauberflöte as a boy), and his voice developed into a fine tenor. He made several tours as a singer in the 1840s and 1850s, visiting England, France, Sweden and Norway amongst other countries. He eventually moved back to Germany, and, after quitting his posts in Stettin after 46 years, moved to Kiel, where he died from a stroke on 20 April 1869.

Loewe wrote five operas, of which only one, Die drei Wünsche, was performed at Berlin in 1834, without much success; seventeen oratorios, many of them for male voices unaccompanied, or with short instrumental interludes only; choral ballads, cantatas, three string quartets (his opus 24), and a pianoforte trio; a work for clarinet and piano, published posthumously; and some piano solos. But the branch of his art by which he is remembered, and in which he must be admitted to have attained perfection, is the solo ballad with pianoforte accompaniment. His treatment of long narrative poems, in a clever mixture of the dramatic and lyrical styles, was undoubtedly modelled on the ballads of Johann Rudolf Zumsteeg, and has been copied by many composers since his day. His settings of the Erlkönig (a very early example), Archibald Douglas, Heinrich der Vogler, Edward and Die Verfallene Mühle, are particularly fine. In 1875, at Bayreuth, Richard Wagner remarked of Loewe, Ha, das ist ein ernster, mit Bedeutung die schöne deutsche Sprache behandelnder, nicht hoch genug zu ehrender deutscher Meister, echt und wahr! (Ha, that is a serious German Master, authentic and true, one who uses the beautiful German language with meaning, one who cannot be sufficiently revered!).

Wikipedia

Die drei Wünsche, Singspiel cómico en tres actos (1834). Final del acto primero.

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Última edición por Zelenka el 25 May 2014 17:57, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 24 Ago 2012 23:34 
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Domenico Mazzocchi (1592–1665) He was born in Civita Castellana, Viterbo. After studying at the seminary at Civita Castellana, Mazzocchi took lower orders in 1606 and was ordained priest on 30 March 1619. In 1614 he went to Rome, where he obtained the right of citizenship, and in, or shortly before, 1619 he was made a Doctor of Laws. He entered the service of Cardinal Ippolito Aldobrandini, probably in 1621. Mazzocchi has sometimes been wrongly described as a musical dilettante. He acted as secretary to the cardinal (a type of position often occupied by poets), and was free to write music on special occasions for the Aldobrandini and other noble Roman families. His professionalism is exemplified by the fact that his brother Virgilio, who served as maestro di cappella at prominent Roman churches from 1626, would delegate to him the composition of music for certain important religious feasts.

The entrance of Domenico into the household of Cardinal Ippolito Aldobrandini was the start of a long association with that family. His opera La catena d´Adone, performed during Carnival 1626 at the palace of Evandro Conti, Duke of Poli, was commissioned by the cardinal´s brother Prince Giovanni Giorgio Aldobrandini. From spring to autumn 1626 Mazzocchi undertook a journey to Parma and Milan, accompanying Cardinal Ippolito. From this period we have a series of important letters written by Domenico to the wife of Prince Aldobrandini, revealing the exact itinerary of the excursion. In June or July 1626, at Parma, single scenes of Mazzocchi´s Catena d´Adone were performed for Odoardo Farnese and his mother, born an Aldobrandini. Perhaps in late summer Mazzocchi went to Venice to oversee the printing of his opera, which was published in October 1626. After the death of Cardinal Ippolito in 1638, Mazzocchi became a familiar of the latter´s niece Princess Olimpia Aldobrandini-Borghese-Pamphili. Important also is the protection that the Barberini family extended to him. In 1637 Pope Urban VIII (Maffeo Barberini) secured a lifelong benefice for the composer, who in the following year dedicated to him his Poemata, settings of Latin poems by the pope himself.

Around this time, in the famous academies that Cardinal Francesco Barberini arranged for the papal court, there were performances of Mazzocchi´s madrigals, accompanied in part by a consort of viols. Mazzocchi also received financial support from the next pope, Innocent X (Giambattista Pamphili), and the Aldobrandini family arranged to get him an additional benefice. Thus he was able to live in some style in the four rooms he occupied with his servant in the Palazzo Aldobrandini-Pamphili, and he kept also two additional rooms for his adopted son in the Palazzo Mancini opposite. Mazzocchi acquired considerable wealth, but his financial obligations were multiple: he was generous to his family in Civita Castellana and to the young Roman boy he adopted about 1640. According to G.B. Doni (Annotazioni sopra il Compendio, Rome, 1640, p.339) he had a ‘natural modesty and gentleness of manner’.

It was unfortunate for his musical productivity that Mazzocchi became involved in controversy and spent more than ten years, from 1642 at the latest to 1653, trying to prove that Civita Castellana was the site of the ancient Etruscan town of Veii; during this period he published polemical writings on this subject but virtually no music. Eventually he returned to music and published his Sacrae concertationes in 1664. But even this collection seems to date, at least in part, from a much earlier period; some of the works were apparently composed in the 1630s or early 1640s. The motets and oratorios contained in the print were written mainly for Roman oratories, including the Oratorio del SS Crocifisso, and perhaps also for the Confraternita della SS Trinità dei Pellegrini, beloved of Cardinal Ippolito Aldobrandini, and the houses of the Augustinian nuns of S Maria Maddalena delle Convertite al Corso favoured by Cardinal Francesco Barberini.

Óperas

La Catena d’Adone, favola boschereccia en un prólogo y cinco actos (1626). Final del acto primero.

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Última edición por Zelenka el 25 May 2014 18:06, editado 2 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 01 Sep 2012 20:49 
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Bruno Mantovani (*1974) Nació en Châtillon en los Altos del Sena, de padre de origen italiano y de madre de origen español. Bruno comienza a tomar cursos de piano, de percusión y de jazz en el conservatorio de Perpiñán. Después entró en el Conservatorio de París en 1993 y obtuvo cinco primeros premios. Sus profesores fueron Guy Reibel, composición, Alain Poirier, historia de la música, Alain Louvier, análisis, Rémy Stricker, estética, Laurent Cuniot, electroacústica y Jacques Charpentier, orquestación. Obtuvo una máster de musicología en la Universidad de Ruán y después siguió un curso de composición en la abadía de Royaumont. En 1998, acabó su formación participando en cursos de composición y de informática musical en el Ircam. El 2 de agosto de 2010 sucedió a Pascal Dumay a la cabeza del Conservatorio de París.

Wikipedia

L'enterrement de Mozart, ópera de cámara (2008). Comienzo.

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Última edición por Zelenka el 25 May 2014 18:06, editado 1 vez en total

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 Asunto: Re: La otra ópera
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Vicenç Cuyàs i Borés (1816-1839) He was born to Catalan family in Palma de Mallorca where his family had fled during the War of Independence. Shortly after the family returned to Barcelona where Cuyàs began studies in medicine, which he soon relinquished. At the age of 17 he began to study music with Ramón Vilanova, one of Barcelona's most prestigious teachers during the early nineteenth century, who in turn had trained in Milan with abbé Isidore Piantanida. Cuyàs' early works consist of operatic music and ramblings that were premiered widely in private salons. But it was at the Teatre de la Santa Creu where almost all of his works were produced. The First Symphony of Cuyàs is dated 1835 thought it is actually an extensive opera overture in a single movement. Of his Second Symphony only a fragment remains. To 1835 date several arias and duets composed for a drama of Antonio Ribot.

Cuyàs is known almost exclusively for La Fattucchiera - considered the first romantic opera Catalan - though sung in Italian. Premiered in July 1838 in Barcelona, it had 24 performances in a row. Cuyàs would probably have become an important composer of operas but had died of tuberculosis on the last feature of the opera, for 22 years. Cuyàs father had also died of tuberculosis during the rehearsals. The opera is based on a novel of the Viscount of Arlincourt which had already been a success among the sentimental literature of the period. The action takes place in the twelfth century, after the Third Crusade, and in the plot, historical references are mixed with mixture of love, magic and seriousness. Felice Romani had written a libretto based on the same plot for Saverio Mercadante's opera Ismalia ossia Morte ed amore. Ramón Carnicer reused the same libretto for an opera premiered in Madrid.

Wikipedia

La Fattucchiera, ópera en dos actos (1838). Fragmento del acto segundo.

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Última edición por Zelenka el 25 May 2014 18:08, editado 1 vez en total

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 Asunto: Re: La otra ópera
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Walter Braunfels (1882-1954) fue un compositor, pianista y pedagogo musical. Nació en Frankfurt. Sus primeros profesores fueron su propia madre, bisnieta de Louis Spohr, y James Kwast. Estudió derecho y economía en Múnich pero, tras asistir a una representación de Tristán e Isolda, decidió dedicarse por entero a la música, trasladándose a Viena para asistir a las clases de Theodor Leschetizky –uno de los más reputados profesores de piano, de quien también habrá que hablar como autor de un par de óperas. Posteriormente regresó a Múnich para continuar sus estudios de composición con el wagneriano Felix Mottl y el straussiano Ludwig Thuille. Tras el paréntesis de la Primera Guerra Mundial, en la que fue movilizado, sufrió una crisis espiritual que le llevó a convertirse al catolicismo.

En los años veinte comenzó una exitosa carrera como intérprete que se prolongaría, con altibajos, hasta su muerte. También alcanzó una notable reputación como profesor, que le llevó a dirigir la prestigiosa Hochschule für Musik de Colonia. Su labor de composición adquirió cierta fama gracias a la ópera Die Vögel (Los pájaros, 1920) y se habló de él como posible autor de un himno para el partido nazi, aunque, tras la llegada al poder de Hitler, se descubrieron sus antecedentes judíos y acabó siendo incluido en el listado del Entartete Kunst. Tuvo que renunciar a su puesto en Colonia, pero no abandonó Alemania.

Al terminar la guerra, fue rehabilitado y gozó de la protección del exalcalde de Colonia y hombre fuerte de la posguerra, Konrad Adenauer. En aquellos momentos su música era respaldada por la crítica más conservadora y por el público en general, especialmente sus óperas Prinzessin Brambilla (sobre temas de E.T.A. Hoffmann, 1909), la ya mencionada Die Vögel (basada en la obra de Aristófanes) y Verkündigung (según poemas de Claudel, 1938), las Phantastische Erscheinungen (variaciones sobre un tema de Hector Berlioz, de 1917), la Schottische Fantasie para violín y orquesta (1933) y el oratorio Spiel von der Auferstehung, compuesto poco antes de su muerte. Al poco tiempo, su figura había caído casi en el olvido.

Supermaño

Die Vögel, Lyrisch-phantastisches Spiel in 2 Aufzügen (1919). Del prólogo, Ach, ach, ach! Liebwerte Freunde, gegrüßt. Del acto segundo, Ah! Ah! Narzissus, zitterst du im Licht?.

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Verkündigung, Mysterium in 1 Vorspiel und 4 Akten (1935). Escena tercera del acto primero.

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Jeanne D'Arc, Szenen aus dem Leben der heiligen Johanna, Handlung in 1 Vorspiel und 3 Aufzügen (1943). De la primera escena de la tercera parte, Nie mehr, mein Freund y Lasst mich, ihr Lieben.

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Última edición por Zelenka el 25 May 2014 18:12, editado 1 vez en total

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