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 Asunto: Re: La otra ópera
NotaPublicado: 30 Jun 2013 8:43 
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Zelenka escribió:
Esa fue la viñeta número 300.

:D :aplauso: :nw:


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 Asunto: Re: La otra ópera
NotaPublicado: 06 Jul 2013 14:13 
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Giovanni Battista Ferrandini (1710-1791). He was born in Venice. He was an oboist at the Munich court, becoming chamber composer in 1732 and director of chamber music in 1737. In 1755-c 1790 he lived in Padua. A successful opera composer, he wrote c 14 operas for Munich, 1727-81, notably Catone in Utica (1753), as well as cantatas, arias, a Fastenmeditation (1738) and instrumental music. In 1771, Wolfgang Amadeus Mozart and his father Leopold Mozart visited Ferrandini in Padua.

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Catone in Utica, ópera en tres actos (1753). Aria del acto segundo, Va ritorna al tuo tiranno. Aria del acto tercero, La fronda che circonda.

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Última edición por Zelenka el 26 May 2014 7:48, editado 2 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 13 Jul 2013 7:48 
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Paul Dessau (1894-1979) He was born in Hamburg into a musical family. His grandfather, Moses Berend Dessau, was a cantor, his uncle, Bernhard Dessau, a violinist at the Royal Opera House, Unter den Linden, and his cousin Max Winterfeld became generally known under the name Jean Gilbert as a composer of operettas. From 1909 he majored in violin at the Klindworth-Scharwenka Conservatory in Berlin. In 1912 he became répétiteur at the City Theatre (Stadttheater) in Hamburg. There he studied the works of the composers Felix von Weingartner and Arthur Nikisch and took classes in composition from Max Julius Loewengard. He was second Kapellmeister at the Tivoli Theatre in Bremen in 1914 before being drafted for military service in 1915. After World War I he became conductor at the Intimate Theatre (Kammerspiele), Hamburg, and was répétiteur and later Kapellmeister at the opera house in Cologne under Otto Klemperer between 1919 and 1923. In 1923 he became Kapellmeister in Mainz and from 1925 Principal Kapellmeister at the Städtische Oper Berlin under Bruno Walter.

In 1933 Dessau emigrated to France, and 1939 moved further to the U.S. where initially he lived in New York before moving to Hollywood. Dessau returned to Germany with his second wife, the writer Elisabeth Hauptmann, and settled in East Berlin in 1948. Starting in 1952 he taught at the Public Drama School (Staatliche Schauspielschule) in Berlin-Oberschöneweide where he was appointed to a professorship in 1959. He became a member of the Deutsche Akademie der Künste Berlin in 1952 and was vice-president of this institution between 1957 and 1962. He taught many Meisterschüler (pupils in a master class), including Friedrich Goldmann, Reiner Bredemeyer, Jörg Herchet, Hans-Karsten Raecke, Friedrich Schenker, Luca Lombardi and Karl Ottomar Treibmann. From 1954 he was married to the choreographer and director Ruth Berghaus. Their son Maxim Dessau (b. 1954) studied at the College of Film and Television (Hochschule für Film und Fernsehen) in Potsdam-Babelsberg. Maxim Dessau is now a movie director. Dessau died on 28 June 1979 at the age of 84, in the then East German city of Königs Wusterhausen, on the outskirts of Berlin.

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Die Verurteilung des Lukullus, ópera en doce cuadros (1949-1951). Primer cuadro.

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Puntila, ópera en trece cuadros y un epílogo (1956-1959). Cuadro noveno.

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Einstein, ópera en cinco actos, un prólogo, dos intermedio y un epílogo (1969-1972). Fragmento del acto segundo.

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Última edición por Zelenka el 26 May 2014 7:46, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 19 Jul 2013 5:48 
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Johann Joseph Fux (1660-1741) Nació en Hirtenfeld, Estiria, Austria. Descendiente de una familia de campesinos, se desconocen los datos sobre su infancia y juventud. Se sabe que el 22 de mayo de 1680 se matriculó en la universidad de los jesuitas de Graz. Su talento musical llegó a ser evidente; a partir del 22 de febrero de 1682 fue también alumno del Ferdinandeum, que abandonó en 1684 en oscuras circunstancias. Fue asimismo organista en St. Moritz hasta 1688. Durante este período debió viajar a Italia, tal como demuestra la influencia en su obra de Arcangelo Corelli y compositores boloñeses. En 1690 estando en Viena atrajo la atención del emperador Leopoldo I, quien quedó tan impresionado que a partir de ese momento le ayudó en su carrera musical. Fue organista de la Schottenkirche (1696-1702). En 1698 fue nombrado compositor de la corte. Hacia 1700 viajó de nuevo a Roma donde adquirió veneración por Giovanni Pierluigi da Palestrina. De regreso en Viena, fue segundo (1705-1713) y después primer maestro de capilla de la catedral de San Esteban. En 1713 llegó a ser vicemaestro de capilla de Carlos VI y maestro de capilla de la emperatriz viuda Wilhelmina Amalia. En 1715 sucedió a Marc’Antonio Ziani en las funciones de maestro de capilla en la Corte y conservó este puesto hasta su muerte.

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Dafne in Lauro, componimento per camera (1714). Aria, Non v'è cor che del mio foco.

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Última edición por Zelenka el 26 May 2014 7:50, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 04 Ago 2013 9:32 
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Alfonso Rendano (1853–1931) was an Italian pianist and composer. He is mostly renowned for inventing the "third pedal", which augmented the interpretative resources of the piano. Rendano was born in Cosenza. He was particularly precocious and at the age of ten he was admitted to the Naples Conservatory, where he was noticed by Sigismund Thalberg who sent him to Paris, recommending him to Rossini. In 1866 he studied under Georges Mathias, Chopin's pupil. For about 15 years, he carried out an intense musical activity; he then devoted himself to teaching: first in Naples, then in Rome. Rendano wrote the opera Consuelo, successfully staged in Turin and in Germany. He held his last concert at Rome's Teatro Valle in 1925. He died in Rome. The main theatre of Cosenza is named after him.

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Consuelo, drama lírico en un prólogo y tres actos (1902). Comienzo del acto primero.

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Última edición por Zelenka el 26 May 2014 7:52, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 09 Ago 2013 19:46 
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André Cardinal Destouches (sometimes called des Touches) (-1672-1749) Born in Paris, the son of Étienne Cardinal, a wealthy merchant, André Cardinal was educated by Jesuits. With the Jesuit Father Guy Tachard, he went on a mission to Siam for two years, leaving in January 1687, and spending some time at the Cape of Good Hope, arriving in Siam in September. Coming back to France, in September 1688, he spent several months at the academy in the Manège royale, rue de Tournon. In 1692 he joined the army and participated in the invasion of Namur, discovering his musical talent while not occupied by combat. When his father died in August 1694, André Cardinal added "Destouches" to his name in memory of his father's title, Seigneur des Touches et de Guilleville. He quit the army in 1696 to pursue his musical aspirations. Destouches' opera Issé was performed for Louis XIV at the Trianon in 1697. Louis was impressed and said that he enjoyed his music as much as that of Jean-Baptiste Lully. The opera was successfully repeated at the Opéra a few weeks later. The following year found him dining with Boileau in the company of Racine.

After a series of successful operas and the commencement of his successful collaboration with the librettist Pierre-Charles Roy, in 1713 the king appointed Destouches inspector general of the Académie Royale de Musique, at a stipend of 4000 livres a year; later, in 1725 Louis XV would appoint him superintendent of chamber music for the Chambre du Roi, and then Director of the Académie. Under the Régence, as Destouches' operas were revived at the Opéra, Destouches was able to purchase the terroir of La Vaudoire at Sartrouville, conveniently close to Paris. The young Louis XV danced in Destouches' ballet Les élémens at the Tuileries, 31 December 1721, and the aged Destouches led the musicians for his daughters' masked ball on 13 January 1744. With the beginning of the public Concerts Spirituels in Paris, Destouches performed his De Profundis (1725) and his cantata Sémélé (1728) and motet for large chorus O dulcis Jesu (also 1728); Queen Maria Leszczyńska commanded Destouches to recreate the concert series at the Tuileries. With the death of Michel Richard Delalande in 1726, Destouches assumed control of the Musique du Roi.

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Callirhoé, tragédie en musique (1712). Final del acto segundo.

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Última edición por Zelenka el 26 May 2014 7:54, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 16 Ago 2013 19:46 
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Hugo Wolf (1860-1903) Nació en Windischgraz, actualmente Slovenj Gradec, Eslovenia. Entusiasta seguidor de Richard Wagner, se mezcló en las disputas existentes en Viena, por aquel entonces, entre wagnerianos y formalistas o brahmsianos. Fue una persona muy entusiasta, pero muy desequilibrada también. Destacó en el género del Lieder, en el que publicó varias antologías de poemas agrupados por el nombre de poetas de los que estaban tomadas: Mörike, Eichendorff, Goethe En torno a 1888, las tres cuartas partes de su catálogo eran de canciones (más de 200). Aparte de estos tres ciclos de Lieder, también compuso Lieder en torno a poemas basados en textos españoles e italianos, traducidos al alemán: Spanisches Liederbuch, Italienisches Liederbuch . El romanticismo tradicional estaba cansado de los temas nórdicos, y su lugar fue ocupado por lo meridional, la parte sur de Europa.

Su Das Verlassene Mägdlein es una pieza muy corta, pero en ella se condensa el drama wagneriano de forma concentrada. De ritmo tróqueo, cambio de modo según el cambio anímico. Además de Lieder, compone igualmente Serenata Italiana para orquesta de cámara (o cuarteto de cuerda), un poema sinfónico Penthesilea, una ópera completa Der Corregidor inspirada en el mismo texto de Pedro Antonio de Alarcón que Manuel de Falla utilizó para su ballet El Sombrero de Tres Picos. También en 1896 inició una ópera llamada Manuel Venegas, basada como la anterior en un texto de Alarcón, pero tal obra quedó inconclusa debido a que Wolf sufrió un nuevo ataque de psicosis (atribuida a los efectos de una sífilis) que le indujo a intentar el suicidio arrojándose a las aguas de un lago, rescatado fue internado en un manicomio en donde falleció.

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Der Corregidor, ópera cómica en cuatro actos (1895, rev. 1897). Fragmento.

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Última edición por Zelenka el 26 May 2014 7:56, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 17 Ago 2013 19:05 
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Minteresantísimo (quiero decir me parece interesantísimo) Dessau (no digamos Wolf, claro).


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 Asunto: Re: La otra ópera
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Baldassare Galuppi (1706–1785) He was born on the island of Burano in the Venetian Lagoon, and as a result he became known as Il Buranello. His first attempt at opera, La fede nell'incostanza ossia gli amici rivali (1722), was a spectacular failure, being hissed off the stage. He subsequently studied music with Antonio Lotti, and after a brief period in Florence working as a harpsichordist, returned to Venice for another attempt at opera. This time, his opera seria Dorinda (1729) was a success and launched his theatrical career. In 1740, he was appointed music director of the Ospedale dei Mendicanti, and he worked at St. Mark's in Venice from 1748, being appointed maestro di cappella (considered Venice's top musical post) there in 1762. He lived and worked for most of his life in Venice, though from 1741 to 1743 he worked in London, and from 1765 to 1768 he worked for Catherine the Great in St. Petersburg.

His first opera buffa was L'Arcadia in Brenta (1749). This was also his first collaboration with librettist Carlo Goldoni, with whom he produced a number of operas. These works were very popular, with Il filosofo di campagna (1754) a particular success. Goldoni's libretto Il mondo della luna, first set by Galuppi, was later used by a number of other composers, including Joseph Haydn and Giovanni Paisiello. Subsequent operas include L'amante di tutte (1760) and I tre amanti ridicoli (1761), written on libretti by the composer's son Antonio Galuppi, who wrote under the name "A. Liteo." In his later years, his operatic output decreased somewhat. Among his nonoperatic works are a large number of pieces for harpsichord and several oratorios. By the time of his death, in Venice, Galuppi was one of the best-known and most respected figures in the Venetian musical establishment. A requiem mass was held in his memory at St Mark's.

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Gustavo Primo, re di Svezia, dramma per musica en tres actos (1740). Aria del acto primero, Delle perfide stelle.

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Il mondo della luna, dramma giocoso en tres actos (1750). Aria del acvto segundo, Voi lo sapete.

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Il mondo alla roversa ossia Le donne che commandano, dramma giocoso en tres actos (1750). Aria del acto segundo: Fra tutti gli affetti.

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La diavolessa, dramma giocoso en tres actos (1755). Aria del acto primero, Chi v'ha detto del tesoro.

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La clemenza di Tito, dramma per musica en tres actos (1760). Aria del acto segundo, Tu infedel.

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Il caffè di campagna, dramma giocoso en tres actos (1761). Aria del acto segundo, Se non sa.

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Última edición por Zelenka el 26 May 2014 8:00, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 16 Sep 2013 12:09 
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Anton Urspruch (1850-1907) He was born in Frankfurt am Main. Urspruch was a pupil of Ignaz Lachner and Joachim Raff in Frankfurt, and later one of the favourite students of Franz Liszt in Weimar. In 1878 he was appointed one of the first teachers at the Hoch Conservatory in Frankfurt when it opened there, teaching piano and composition and had friendly communication with Clara Schumann and Johannes Brahms. After the death in 1882 of the Conservatory director Joachim Raff, Urspruch moved to the newly founded Raff-Konservatorium in Frankfurt, where he taught until his death. In 1883 Urspruch married Emmy Cranz, daughter of the music publisher August Cranz.

In addition to his teaching, he produced a wide variety of compositions from piano solo, solo voice, choir, chamber music up to large orchestral works as well as two operas. Many of his works had successful performances in Berlin, Hamburg, Cologne, Leipzig and Frankfurt. In the last years of his life Urspruch was part of the revival of Gregorian Chant, having contact with the Beuron Archabbey and the cloister at Maria Laach Abbey. In his lifetime Urspruch was highly recognised internationally as an advocate of the late romantic period. After his early death he was soon forgotten.

Das Unmöglichste von Allem, opera comica en tres actos (1897). Escena primera del acto primero.

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Última edición por Zelenka el 26 May 2014 8:01, editado 1 vez en total

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 Asunto: !
NotaPublicado: 09 Oct 2013 6:18 
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Me encanta Fux!!, Galuppi!!, Dessau maravillosoo y Caccini un sueño, gracias Zelenka y que decir de Wolf :D:D
Por cierto han publicado sobre Antonio Sacchini?, tengo que revisar el hilo completo, me muero por adquirir La Contadina in corte :D ya estoy apunto de tener las partituras!!! jajaja xD
saludoss


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 Asunto: Re: La otra ópera
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Francesco Cilea (1866-1950) Born in Palmi near Reggio di Calabria, Cilea gave early indication of an aptitude for music when at the age of four he heard a performance of Vincenzo Bellini's Norma and was greatly affected by it. He was sent to study music at the Conservatorio San Pietro a Maiella in Naples, where he quickly demonstrated his diligence and precocious talent, earning a gold medal from the Ministero della Pubblica Istruzione. In 1889, for his final examination at the end of his course of study, he submitted his opera Gina, with a libretto by Enrico Golisciani which was adapted from the old French play Catherine, ou La Croix d'or by Baron Anne-Honoré-Joseph Duveyrier de Mélésville (1787—1865). This melodramma idilico was performed in the college theatre, and it attracted the attention of the publishers Sonzogno, who arranged for a second production, in Florence, in 1892. Sonzogno also then commissioned from Cilea La Tilda, a verismo opera in three short acts along the lines of Cavalleria Rusticana. With a libretto by Angelo Zanardini, La Tilda had a successful first performance in April 1892 at the Teatro Pagliano in Florence, and after performances in a number of Italian theatres, it arrived at the Vienna Exhibition on 24 September 1892, alongside other works from the firm of Sonzogno. The composer never showed much sympathy for this work, the subject of which he reluctantly agreed to set to music in order to please Sonzogno and to avoid throwing away a rare professional opportunity. The loss of the orchestral score has prevented the modern revival of this work, whose fresh and catchy melodies can nevertheless be discovered in the transcription for voice and piano.

In 1897, the Teatro Lirico in Milan saw the première of Cilea's third opera L'Arlesiana, based on the play by Alphonse Daudet, with a libretto by Leopoldo Marenco. Among the cast was the young Enrico Caruso, who performed with great success the Lamento di Federico: È la solita storia del pastore, the romance which was to keep alive the memory of the opera even to the present day. In reality L'Arlesiana was a failure which Cilea, being convinced of the work's value, tried repeatedly to remedy, making drastic and detailed alterations throughout the remainder of his life. In the score which we hear today, it is hard to find a single bar which is completely unchanged from the original. The revised opera was however still not successful, apart from a brief period in the 1930s when it benefited from political support which the composer established through personal contact with Mussolini. Again at the Teatro Lirico in Milan, in 1902 and again with Enrico Caruso, the composer won an enthusiastic reception for Adriana Lecouvreur, a four act opera with a libretto by Arturo Colautti, set in 18th century Paris and based upon a play by Eugène Scribe. Adriana Lecouvreur is the opera of Cilea which is best known to international audiences today, and it reveals the spontaneity of a melodic style drawn from the Neapolitan school combined with harmonic and tonal shading influenced by French composers such as Massenet.

Cilea's last opera, premièred at La Scala in Milan on 15 April 1907 under the baton of Arturo Toscanini, was the three act tragedy Gloria, again with a libretto by Colautti, based on a play by Victorien Sardou. The opera was withdrawn after only two performances; and the failure of this work, even though the composer attempted a later revision, was enough to drive him to abandon the operatic stage for good. There are however indications of some later unfulfilled operatic projects, which survive as parts or sketches of libretti, such as Il ritorno dell'amore by Renato Simoni, Malena by Ettore Moschino, and La rosa di Pompei, also by Moschino. Some sources also refer to an opera of 1909, completed but never performed, called Il matrimonio selvaggio, but no copy of this survives and Cilea himself made no mention of it in his volumes of memoirs. Nevertheless he continued to compose chamber music, and some orchestral music. In 1913 he produced a symphonic poem in honour of Giuseppe Verdi with verses by Sem Benelli, which was first performed at the Teatro Carlo Felice in Genoa. After this he devoted himself principally to education and became director of the Conservatorio Vincenzo Bellini in Palermo, and then at his alma mater, the Conservatorio San Pietro a Maiella in Naples, where he ended his teaching career in 1936. In his last years Cilea's eyesight failed but his mind was active enough to encourage and work with singers of the day. Among his last musical activities was his championship of the soprano Magda Olivero, whose performances in the title role of Adriana Lecouvreur he especially admired. Cilea died in Varazze, a town near Savona in Liguria which offered him honorary citizenship and where he spent the last years of his life. The Conservatorio di Musica and the Teatro Communale of Reggio di Calabria were renamed in his memory, and his native town of Palmi built a mausoleum in his memory, decorated with scenes from the myth of Orpheus.

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Gina, melodramma idilico (1889). Fragmento.

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Última edición por Zelenka el 26 May 2014 8:02, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Dic 2013 9:34 
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Xavier Montsalvatge (1912-2002) Nació en Gerona. Estudió música en el Conservatorio Municipal de Barcelona, donde posteriormente sería profesor desde 1970 y catedrático de composición desde 1978. Fue discípulo de compositores como Lluís Maria Millet, Enrique Morera, Jaume Pahissa o Eduard Toldrá. Tras la Guerra Civil comenzó a escribir como crítico musical en la revista Destino (desde 1942), de la que sería director entre 1968 y 1975 y en el diario barcelonés La Vanguardia (desde 1962). Su producción musical atravesó diversas etapas. En sus inicios se considera nacionalista, muy influida por el dodecafonismo y el wagnerianismo que triunfaban en la escena musical catalana (Sinfonía mediterránea, 1949). Le siguió una época con influencias de la música antillana (Cinco canciones negras, 1945, y Cuarteto indiano, 1952). A continuación, entabló relación con compositores franceses como Olivier Messiaen y Georges Auric, los cuales le influyeron decisivamente en su obra, que se adentró en una etapa caracterizada por la politonalidad libre (Partida, 1958). Finalmente, se vio influida por los estilos vanguardistas.

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El gato con botas, ópera-ballet u ópera de magia en un acto y cinco escenas (1946). Comienzo.

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Última edición por Zelenka el 26 May 2014 8:04, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 14 Dic 2013 10:37 
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Rodolphe Kreutzer (1766-1831) Nació en Versalles. Su padre, músico alemán, violinista de la Capilla Real, le enseñó a tocar el violín, pero su verdadero maestro fue Anton Stamitz. A los 13 años ya interpretó un concierto compuesto por el mismo, a continuación viajó a Italia y Alemania donde realizó una serie de actuaciones. A los 16 años regresó a Francia, sucedió a su padre como primer violín de la Capilla Real (1783-1792). En 1792 también accede al puesto de violín solista del Teatro Italiano, donde, ese mismo año, representa su primera ópera Jeanne d’Arc à Orléans, seguida en 1791 de Paul et Virginia y Lodoïska. En 1795 es nombrado profesor de violín en el Conservatorio de París, puesto que ocupó hasta 1825. En 1801 sucede a Pierre Rode como primer violín solista de la Ópera y al año siguiente entra en la Capilla del Primer Cónsul. De 1815 a 1827, fue maestro de capilla de la Capilla Real, a la vez que desempeñaba las funciones de director de orquesta en la Ópera, la cual pasó a dirigir de 1824 a 1826. Kreutzer, junto a Pierre Rode y Pierre Baillot, fue uno de los mejores violinistas franceses de su tiempo. Junto a éstos fundó la Escuela francesa de violín y pusieron a punto el Método de violín del Conservatorio (Méthode de violon du Conservatoire). Murió en Ginebra. Conoció a Beethoven en 1798 en una gira en Viena. Éste le dedicó en 1805 su Sonata para violín y piano nº 9 Op. 47, que recibió el nombre de Sonata a Kreutzer. Dicha sonata inspiró una novela de León Tolstoi. Realizaba sus interpretaciones con un violín construido por Antonio Stradivarius de 1727, actualmente en manos de Maxim Vengerov.

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La mort d'Abel, tragédie lyrique en dos actos (1810, rev. 1823). Final.

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Última edición por Zelenka el 26 May 2014 8:05, editado 1 vez en total

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 Asunto: Re: La otra ópera
NotaPublicado: 20 Dic 2013 22:02 
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Stefano Pavesi (1779-1850) He was born in a village near Crema in the Venetian Republic. After studying with Piccinni in Naples followed by the Conservatorio di S Onofrio under Fenaroli, Pavesi was dismissed for political reasons. He traveled to Marseilles and Dijon and joined the army of Napoleon. Leaving the army at Crema he came under the guidance and protection of Gazzaniga who helped him produce his first opera in Venice. 1803 was the premiere of Un avvertimento di gelosi and it was followed by almost seventy other operas. Pavesi was appointed the master of the chapel at Crema followed by music director of the Court Opera in Vienna for six months out of every year between 1826 and 1830. Pavesi had succeeded Salieri. Pavesi's music was marked for its bold characteristics including vital sonorous originality and clear, concise and well-crafted orchestrations. Ser Mercantonio, 1810, received fifty four performances in a row at La Scala and other operas, notably La fiera, La festa della rosa and Fenella, ovvero La muta di Portici, also met with high acclaim.

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Ser Marcantonio, dramma giocoso en dos actos (1810). Final del acto primero.

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Última edición por Zelenka el 26 May 2014 8:10, editado 1 vez en total

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