La otra ópera

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

Tocó subirla completa porque es muy corta :roll:

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

Maria Antonia Walpurgis (von Bayern) (1724-1780) She was born in Munich to Archduchess Maria Amalia of Austria and to Elector Karl Albert of Bavaria (later Emperor Karl VII). Throughout her life she received an outstanding education, particularly in the arts (including painting, writing poetry, as well as music). In 1747 she married Friedrich Christian, who would become the Elector of Saxony; that same year she became a member of the Accademia dell’Arcadia of Rome, a significant institution in operatic reform. With her marriage, she moved to Dresden and remained there through the Seven Years War and the death of her husband (1763), eventually dying there herself in 1780.

While in Munich, Maria Antonia studied music with renowned opera composers Giovanni Ferrandini and Giovanni Porta. After moving to Dresden she continued her studies with Nicola Porpora and Johann Adolf Hasse. Indeed, opera played a major part throughout Maria Antonia’s life. The court of Munich celebrated her birth with a performance of the opera Amadis de Grecia (Pietro Torri). Her betrothal to Friedrich Christian was likewise celebrated with opera performances, including Hasse’s La Spartana generosa, sets by Bibiena, and Gluck’s Le nozze d’Ercole e d’Ebe. Shortly after moving to Dresden, she penned the libretto for Hasse’s oratorio, La conversione di Sant’Agostina (1750), in addition to her composing work. Her own compositional style shows a strong affinity for that of Hasse, especially his conception of opera seria. She also performed actively as a singer and keyboard player in court performances, including leading roles in both of her operas. In addition to her two operas, a number of arias, a pastorale, intermezzos, meditations and motets are attributed to her.

Wikipedia

Talestri, Regina delle Amazzoni, commedia per Musica (1760). Aria, Pensa, che ancora io posso. Aria, Da me ti dividi.

Imagen

helena gabriela · **Registrado:** 01 Mar 2006 8:02 **Mensajes:** 2206

Muy bonito esto ùltimo que has colgado Zelenka :wink:

.
Una pregunta, ¿quièn es la cantante que interpreta el aria "Presa, che ancoro io posso"?.

tamiri · **Publicado:** 06 Nov 2007 21:45

jo que envidia con la Walpurgis esta,poder estudiar con Porpora y Hasse!

por cierto,no puedo escuchar las arias,para variar,y quiero,asi que,Zelenka,lo puedes poner de otra manera???

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

helena gabriela escribió:

¿quièn es la cantante que interpreta el aria "Presa, che ancoro io posso"?.

Jana Frey.

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

tamiri escribió:

por cierto,no puedo escuchar las arias,para variar,y quiero,asi que,Zelenka,lo puedes poner de otra manera???

No lo puedo subir a otro servidor porque va en contra de los lineamientos del foro :roll:

Prueba con esto :wink:

[youtube]http://www.youtube.com/watch?v=qmo5p6NQFdo[/youtube]

tamiri · **Publicado:** 06 Nov 2007 22:58

gracias!

cortito pero efectivo :lol:

menos mal que no lo canta el contratenor del Giulio Cesare,ehhhh? :twisted:

pues la Walpurgis esta es muy Mozartina,no??? :lol:

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

tamiri escribió:

pues la Walpurgis esta es muy Mozartina,no??? :lol:

Claro.

Sobre todo porque Mozart nació en 1756 y la ópera es de 1760

Mister Scorpio · **Registrado:** 30 Sep 2006 20:33 **Mensajes:** 1976

Qué risa pasamos con la Walpurgis hace un par de años en un Foro ya fallecido...

tamiri · **Publicado:** 07 Nov 2007 15:10

Zelenka escribió:

tamiri escribió:

pues la Walpurgis esta es muy Mozartina,no??? :lol:

Claro.

Sobre todo porque Mozart nació en 1756 y la ópera es de 1760

claro,eso quiere decir que Walpurgis escucho mucho la obra de infancia de Mozart :twisted:

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

Krzysztof Penderecki (*1936) One of the best known, most listened to, and most popular composers of the late twentieth and early twenty-first centuries, Krzysztof Penderecki has undergone a marked evolution in compositional style. After achieving fame with such astringent, often anguished, scores as his Threnody for the Victims of Hiroshima (1960) and Passion According to St. Luke (1965), both of which stretched tonal language, Penderecki followed a personal imperative in moving toward more tonal music. As early as 1980, his Symphony No. 2 embraced pre-serialist notions of melody and harmony. This fertile exploration of traditional language has continued to yield rewarding works into the new millennium.

He was born in Dębica, Krakow. His father, a lawyer and an enthusiastic violin player, brought his son into contact with music very early. Penderecki was given violin and piano lessons at an early age. He studied art and literary history and philosophy at the local university while also attending the Kraków Conservatory. He studied composition privately with Franciszek Skołyszewski and then (1955-8) with Artur Malawski and Stanisław Wiechowicz at the State Higher School of Music in Kraków, where he also taught, being appointed its rector (i.e., president) in 1972 (in the 1980s the School was renamed "Academy of Music). Penderecki's career had a very auspicious beginning. In 1959 he came suddenly to prominence when three of his works, Strophes, Emanations and Psalms of David won first prizes in a national competition organized by the Polish Composers' Union (he submitted them under different pseudonyms). His reputation quickly spread abroad, notably through perfomances of such works as Anaklasis (written for the 1960 Donaueschigen Festival) and Threnody for the Victims of Hiroshima. The latter piece, as well as the Passion according to St. Luke, found an unusually wide audience for contemporary works, and Penderecki soon received important commissions from diverse organizations in Europe and the USA. He has also appeared widely as a lecturer and in 1972 began to conduct his own compositions.

Penderecki's teaching career developed in Germany, the U.S. and Poland. He taught composition at the Volkwang Hochschule fur Music, Essen (from 1966 to 1968); in 1973-78 he lectured at Yale University in New Haven. In 1982-87 he was rector of the Academy of Music in Kraków, in 1987-1990 he served as the artistic director of the Cracow Philharmonic. Since his conductor's debut with the London Symphony Orchestra (1973), he has performed with prominent symphony orchestras in the United States and Europe, and he is chief guest conductor of the Norddeutscher Rundfunk Orchestra in Hamburg. Apart from his own works, his conducting repertoire covers the works of composers from various epochs, with a preference for 19th-century and early 20th-century compositions. In 1997 he published a book entitled The Labyrinth of Time. Five Lectures at the End of the Century (Warsaw, "Presspublica"). In 1996 the performance of his piece Seven Gates of Jerusalem, commissioned by the city, commemorated the celebrations of "Jerusalem - 3000 Years." in Israel.

Schott

Die Teufel von Loudun, ópera en tres actos (1968-1969). Final.

Imagen

Lenz · **Publicado:** 12 Nov 2007 23:03

Penderecki rules

.
Por cierto, hay una ópera rulando por ahí titulada Lost Paradise que me gusta mucho.

tamiri · **Publicado:** 17 Nov 2007 16:18

pues mira por donde Penderecki si me gusta.

Pero puedes poner mas cosas raras barrocas??anda,a ver si me encuentras algo de Porpora que no conozca o de Vinci,(no Leonardo :lol:

).

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

Poco a poco :wink:

Trato de no poner dos vignetas seguidas ni de la misma estética ni del mismo país.

Werther · **Publicado:** 17 Nov 2007 16:43

tamiri escribió:

o de Vinci,(no Leonardo :lol:

).

Pues es que yo de compositores sólo conozco a un tal Leonardo Vinci.... autor de le zite 'nngalere (o algo así, me salió en el examen de Historia de la ópera y no pude contestarla.... :oops:

)

La otra ópera

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