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 Asunto: Re: La otra ópera
NotaPublicado: 09 Feb 2018 21:55 
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Christoph(er) Ernst Friedrich Weyse (1774-1842) Weyse was born at Altona in Holstein, which was in a personal union with Denmark. He gained much interest in music in his hometown and Hamburg, where C.P.E. Bach was the municipal director of music. At age fifteen (1789), Weyse was sent to live with his uncle in Copenhagen to be educated, and lived there for the rest of his life. While in Copenhagen he studied music with Johann Abraham Peter Schulz. Schulz helped Weyse get an unpaid internship at the Reformed Church in Copenhagen. In 1794, he was appointed organist at the same church following the former organist's death. He later served in the same post at the Vor Frue Kirke after 1805. In 1819, he was appointed Court composer. He died in Copenhagen.

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Sovedrikken, Singspiel en dos actos (1809). Final.

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 Asunto: Re: La otra ópera
NotaPublicado: 16 Feb 2018 21:22 
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Nancy Van de Vate (*1930) Van de Vate was born in Plainfield, New Jersey. She studied piano at Eastman School of Music and music theory at Wellesley College and completed graduated degrees in music composition at the University of Mississippi and Florida State University. She later pursued further studies in electronic music at Dartmouth College and the University of New Hampshire and is known worldwide for her music in the large forms. In 1975, Van de Vate founded the League of Women Composers (later renamed the International League of Women Composers, now part of the International Alliance for Women in Music). Van de Vate now lives permanently in Vienna, Austria and teaches composition at the Institute for European Studies in Vienna. In 2010 the IES named her Composer-in-Residence.

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The Death of the Hired Man, ópera en un acto (1961). Comienzo.

In the Shadow of the Glen, ópera en un acto (1994). Fragmento.

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Nemo: Jenseits von Vulkania, ópera en cuatro actos (1995). Fragmento.

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All Quiet on the Western Front, ópera en tres actos (1999). Final.

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Hamlet, ópera en cinco actos (1999). Fragmento.

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Where the Cross is Made, ópera en tres actos (2003). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 16 Feb 2018 22:00 
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De Nancy Van de Vate no alcanzo a comprender esa tendencia al circunloquio, una tendencia obsesiva, producto del ensimismamiento (bastante artificioso por otra parte a mi entender). La música, así, se resiente al intentar proyectar de forma machacona una especie de sombra envolvente, pero sin aportar verdadera entidad al drama. Las obras citadas no me acaban de convencer, sobre todo respecto a la ausencia de signos que debieran hacerla más personal e identificable.

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 Asunto: Re: La otra ópera
NotaPublicado: 22 Feb 2018 22:07 
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Stefan Wolpe (1902-1972) He was born in Berlin. He attended the Klindworth-Scharwenka Conservatory from the age of fourteen, and the Berlin Hochschule für Musik in 1920–1921. He studied composition under Franz Schreker and was also a pupil of Ferruccio Busoni. He also studied at the Bauhaus and met some of the dadaists, setting Kurt Schwitters's poem An Anna Blume to music. In 1928, Wolpe's first opera, Zeus und Elida, was premiered in Berlin. This soon was followed by two more operas in 1929, Schöne Geschichten and Anna Blume. The music Wolpe was writing between 1929 and 1933 was dissonant, using Arnold Schoenberg's twelve-tone technique. However, possibly influenced by Paul Hindemith's concept of Gebrauchsmusik (music that serves a social function), and as an avid socialist, he wrote a number of pieces for workers' unions and communist theatre groups. For these, he made his style more accessible, incorporating elements of jazz and popular music. His songs became popular, rivaling those of Hanns Eisler.

When the Nazis came to power in Germany, Wolpe, a Jew and a convinced communist, fled the country, passing through Romania and Russia en route to Austria in 1933–1934, where he met and studied with Anton Webern. He later moved to Palestine in 1934–1938, where he wrote simple songs for the kibbutzim. The music he was writing for concert performance, however, remained complex and atonal. Partly because of this, his teaching contract with the Palestine Conservatoire was not renewed for the 1938–1939 school year. In 1938, Wolpe moved to New York City in the United States of America. There, during the fifties, he associated with the abstract expressionist painters. He was introduced to them by his wife, the poet Hilda Morley. From 1952 to 1956 he was director of music at Black Mountain College. On January 24, 1956, he was appointed to the faculty at the C.W. Post College of Long Island University in Brookville, New York. He also lectured at the summer schools in Darmstadt in Germany. His pupils included Jack Behrens, Herbert Brün, Morton Feldman, Matthew Greenbaum, John Carisi, M. William Karlins, Gil Evans, George Russell, Robert D. Levin, Boyd McDonald, Ralph Shapey, Netty Simons, and David Tudor.

His works from this time sometimes used the twelve-tone technique, were sometimes diatonic, were sometimes based on the Arabic scales (such as maqam saba) he had heard in Palestine and sometimes employed some other method of tonal organisation. His work was radical, but avoided the punctualism of composers such as Pierre Boulez (in his works of 1951–1953), instead employing more conventionally expressive gestures. Wolpe developed Parkinson's disease in 1964, and died in New York City in 1972. Elliott Carter commemorated Wolpe with the following comment: "Comet-like radiance, conviction, fervent intensity, penetrating thought on many levels of seriousness and humor, combined with breathtaking adventurousness and originality, marked the inner and outer life of Stefan Wolpe, as they do his compositions."

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Schöne Geschichten, ópera de cámara (1927-1929). Fragmento.

Zeus und Elida, a musical grotesque (1928). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 02 Mar 2018 22:10 
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Jean René Désiré Françaix (1912-1997) He was born in Le Mans, France. Françaix's natural gifts were encouraged from an early age by his family. His father, Director of the Conservatoire of Le Mans, was a musicologist, composer, and pianist, and his mother was a teacher of singing. Jean Françaix studied at the Conservatoire of Le Mans and then at the Paris Conservatory, and was only six when he took up composing with a style heavily influenced by Ravel. Françaix's first publication, in 1922, caught the attention of a composer working for the publishing house who steered the gifted boy toward a gifted teacher, Nadia Boulanger (who, after her sister's death in 1918, devoted her life to conducting, playing the organ and teaching). Boulanger encouraged Françaix's career, considering the young composer to be one of the best, if not the best, of her students. Noted pianist and pedagogue Isidor Philipp also taught him. Françaix himself often played his own works, to public acclaim; notably in the premiere of his Concertino for Piano and Orchestra at the festival of Baden-Baden in 1932.

By 1932 Françaix had his Huit Bagatelles played at the Vienna Festival by the Kollisch Quartet and himself at the piano, while in Paris his Concertino for piano and orchestra was heard in 1933. Françaix's compositions continued to be played during the 1930s in Paris. A String Trio (1933), a Fantaisie for cello and orchestra, Three duos for two sopranos, a Sonatine for violin and piano, a Quintet and a Serenade for small orchestra (1934). 1935 saw the premiere of his Quadruple Concerto for Flute, Oboe, Clarinet, Bassoon and Orchestra, and 1936 of a Piano Concerto. Françaix's music was also used for ballets: Le Roi nu, Les Malheurs de Sophie (both for Paris) and Jeu Sentimental (for Brussels).

Françaix was an accomplished pianist from an early age, earning a First Prize in Piano at the Paris Conservatory, and toured throughout Europe and the U.S. He performed notably in a duo with the French cellist Maurice Gendron, and also performed the Poulenc Two Piano Concerto with Francis Poulenc for several engagements when Jacques Février was not available. Françaix even premiered his Concerto for two pianos with his daughter, pianist Claude Françaix, in 1964. Jean Françaix's primary occupation was his extraordinarily active compositional career. He remained prolific throughout his life; even in 1981 Françaix described himself as "constantly composing", barely finishing one piece before beginning another, and continued thus until his death in 1997. Françaix was named an Officier de la Légion d'honneur in 1991.

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Le diable boiteux, ópera de cámara (1937). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 03 Mar 2018 14:44 
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4/4 N. P. I. desde la última vez que entré en este hilo. A veces quiero creer que el amigo Zelenka se los inventa para dejarnos en evidencia. :rolling:

Gracias por la contribución, una vez más. :wink:

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 Asunto: Re: La otra ópera
NotaPublicado: 03 Mar 2018 20:13 
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:wink:

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 Asunto: Re: La otra ópera
NotaPublicado: 09 Mar 2018 20:37 
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Ugo Bottacchiari (1879-1944) Nació en Castelraimondo. Bottacchiari estudió en el Liceo Musicale di Pesaro, llegando a ser el discípulo favorito de Mascagni. Siendo todavía estudiante, compuso su primera ópera L'ombra que fue representada en el teatro Lauro Rossi de Macerata. Compuso cerca de 120 obras, operetas, canciones, etc., muchas de ellas de alto valor lírico, según fueron juzgadas por los críticos de la época.

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L'ombra, ópera lírica en un acto (1898). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 16 Mar 2018 21:37 
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Meredith Jane Monk (*1942) Meredith Monk was born to businessman Theodore Glenn Monk and singer Audrey Lois (Zellman) Monk, in New York City, New York. Her mother, a professional singer of popular and classical music known under the stage name of Audrey Marsh, was herself the daughter of professional musicians - the Russian Jewish bass-baritone Joseph B. Zellman, and Rose (Kornicker) Zellman, a concert pianist of German Jewish background from Philadelphia. Meredith Monk is primarily known for her vocal innovations, including a wide range of extended techniques, which she first developed in her solo performances prior to forming her own ensemble. In December 1961, she appeared at the Actor's Playhouse in Greenwich Village (NYC) as a solo dancer in an Off Broadway children's musical theater adaptation of Charles Dickens' A Christmas Carol, entitled Scrooge (music and lyrics by Norman Curtis; directed and choreographed by Patricia Taylor Curtis). In 1964, Monk graduated from Sarah Lawrence College after studying with Beverly Schmidt Blossom, and in 1968 she founded The House, a company dedicated to an interdisciplinary approach to performance.

Monk's performances have influenced many artists, including Bruce Nauman, whom she met in San Francisco in 1968. In 1978 Monk formed Meredith Monk and Vocal Ensemble (modeled after similar ensembles of musical colleagues, such as Steve Reich and Philip Glass), to explore new and wider vocal textures and forms, which often were contrasted with minimal instrumental textures. Monk began a long-standing relationship with the Walker Art Center of Minneapolis, which continues to showcase her work to this day. Monk during this period recorded Dolmen Music (1979), with her first album released at Manfred Eicher's record label ECM in 1981. In the 1980s, Monk wrote and directed two films, Ellis Island (1981), and Book of Days (1988). These developed from her idea; "One day during summer of 1984, as I was sweeping the floor of my house in the country, the image of a young girl (in black and white) and a medieval street in the Jewish community (also in black and white) came to me." Monk tells this account in the liner notes of the ECM-recording. Apart from the film, different versions exist of this piece. Two are for the concert hall, and an album, produced by Meredith Monk and Manfred Eicher, is "a film for the ears."

In the early 1990s, Monk composed an opera called Atlas, which premiered in Houston, Texas, in 1991. She has also written pieces for instrumental ensembles and symphony orchestras. Her first symphonic work was Possible Sky (2003). It was followed by Stringsongs (2004) for string quartet, which was commissioned by the Kronos Quartet. In 2005, events were held all over the world in celebration of the 40th anniversary of her career, including a concert in Carnegie Hall featuring Björk, Terry Riley, DJ Spooky (who sampled Monk on his album Drums of Death), Ursula Oppens, Bruce Brubaker, John Zorn, and the new music ensembles Alarm Will Sound and Bang on a Can All-Stars, along with the Pacific Mozart Ensemble. Meredith Monk has been composer in residence for Carnegie Hall, concluding in 2015. In an interview, Monk said that her favourite music includes Brazilian music, especially Caetano Veloso's recordings, the music by Mildred Bailey ("the great jazz singer from the ‘30s and ‘40s"), and Bartók's cycle for piano Mikrokosmos.

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Atlas, an opera in three parts (1991). Forest Questions.

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 Asunto: Re: La otra ópera
NotaPublicado: 23 Mar 2018 21:43 
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Julius Bittner (1874-1939) He was born in Vienna. The son of a judge, Bittner also initially pursued a career in law. Until 1920 he was a judge in Wolkersdorf im Weinviertel, in Lower Austria. From 1920 to 1922 or 1923 he was an official in the Austrian Department of Justice. In addition, Julius Bittner became one of the best known and most performed Austrian opera composers in the first half of the 20th Century. Many of his operas deal with Austrian-Alpine themes. He usually wrote his own libretti. After the Second World War, however, as a typical representative of late Romantic opera in the tradition of Richard Wagner, he was gradually forgotten. Critics gave him the somewhat derogatory nickname "the Anzengruber of the opera"; in importance he is comparable to his better known contemporary Wilhelm Kienzl.

Bittner was married to the alto Emilie Werner. As a leading member of Vienna's judiciary and close friend of Gustav Mahler, he assessed Mahler’s estate for probate after his death. He later won the Mahler Prize in 1915. He composed many operas, two symphonies and many songs and was helped and promoted by Mahler and Bruno Walter. He was also a close friend of Erich Wolfgang Korngold and Franz Schmidt. He was for a while editor of the Austrian music journal Der Merker and wrote music criticism for it and other newspapers. He was so influential that he was able to arrange Arnold Schoenberg's release from active military service in the First World War.He received numerous awards and honors and became a member of the German Academy of Arts in Berlin in 1925. In 1964, the archive containing almost all of his works (autograph sketches, text books, scores and piano reductions) was taken over by the Vienna City Library.

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Der Bergsee, ópera en un preludio y dos actos (1911). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 23 Mar 2018 22:07 
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Zelenka escribió:
Ugo Bottacchiari (1879-1944) Nació en Castelraimondo. Bottacchiari estudió en el Liceo Musicale di Pesaro, llegando a ser el discípulo favorito de Mascagni. Siendo todavía estudiante, compuso su primera ópera L'ombra que fue representada en el teatro Lauro Rossi de Macerata. Compuso cerca de 120 obras, operetas, canciones, etc., muchas de ellas de alto valor lírico, según fueron juzgadas por los críticos de la época.

L'ombra, ópera lírica en un acto (1898). Fragmento.
En el hilo de Ópera abyecta se nombró esta ópera, aunque otro fragmento.
viewtopic.php?f=2&t=13985&start=757

El que pone Zelenka, fabuloso, por cierto.

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 Asunto: Re: La otra ópera
NotaPublicado: 05 Abr 2018 20:21 
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Antonio Draghi (ca. 1634-1700) He was born at Rimini in Italy, and was one of the most prolific composers of his time. His contribution to the development of Italian opera was particularly significant. He began his musical career as a choirboy at Padua, but by 1657 he was appearing on stage, in the opera La fortuna di Rodope e di Damira which was produced in Venice. His first solo effort, the opera La Mascherata, appeared in 1666. In 1668, Draghi was appointed to the court of Leopold I, Holy Roman Emperor, at Vienna, and he remained there until his death.

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La Vita nella Morte, sepolcro (1618). Aria Amor II.

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 Asunto: Re: La otra ópera
NotaPublicado: 06 Abr 2018 20:26 
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Haukur Tómasson (*1960) He was born in Reykjavík. He has a Master's degree from the University of California, San Diego. He has also attended the Reykjavík College of Music, the Cologne University for Music and the Sweelinck Conservatory of Amsterdam. His works include six orchestral pieces, three concertos and the chamber opera Gudruns 4th Song, for which he was awarded the 2004 Nordic Council Music Prize. His orchestral piece Strati won the Icelandic National Broadcasting System Music Prize in 1993. Other prizes include the 1996 Bröste Optimism Prize and the 1998 Icelandic Music Award for Gudrun's 4th Song. His composition Saga (Fabella) for ensemble won the State Radio's 70th anniversary competition in 2000. His music is energetic, scintillating and vibrant, combining musical imagination and technical brilliance, with unusual instrumental combinations producing remarkable colourful and complex sounds. His earliest works (Octette and Eco del passato) used Fibonacci numbers to determine the intervals and durations. Later works such as Spiral, Strati and Offspring use a different approach based on his so-called "spiral technique". He also started to use Icelandic folk material in his compositions in the late 1990s.

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Guðrún´s 4th Song, ópera de cámara (1994-1996). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 13 Abr 2018 21:19 
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Everett Burton Helm (1913-1999) he was born in Minneapolis. He studied at Harvard, and then after having been awarded a travel fellowship, with Gian Francesco Malipiero in Italy and Ralph Vaughan Williams in England. In 1948, he was appointed Music Officer for the occupying US army in Germany which introduced him to the Darmstadt Internationale Ferienkurse für Neue Musik in contemporary classical music. Helm regularly participated in the Darmstadt summer schools over the next decades. From 1950 and into the 1960s, Helm worked as a music critic in Germany, writing for the New York Times, the San Francisco Chronicle and Musical America. In parallel, he was composing. The Berlin Philharmonic Orchestra commissioned and premiered his First Piano Concerto in 1951, the same year as his first opera, Adam and Eve, was performed at the Hessisches Staatstheater Wiesbaden.

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Die Belagerung von Tottenburg, ópera en tres actos (1956). Comienzo.

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 Asunto: Re: La otra ópera
NotaPublicado: 20 Abr 2018 21:43 
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Paul Abraham (1892-1960) nació en Apatin, Austria-Hungría hoy Serbia. Abraham estudió en la Real Academia Húngara Nacional de Música en Budapest desde 1910 hasta 1916. Estudió violonchelo con Adolf Schiffer y composición con Viktor Herzfeld. Como muchos otros compositores de operetas, Paul Abraham empezó con obras de una naturaleza seria. Durante la época que siguió a sus estudios escribió, entre otras cosas, música sagrada, cuartetos de cuerda y un concierto para violonchelo. Cuando fue nombrado director del Teatro de Opereta de Budapest en 1927 encontró el camino a esta forma de arte más popular para la que su talento era más adecuado. Desde 1928 y en el trascurso de los años treinta sus composiciones y música incidental para películas y obras teatrales tuvieron bastante éxito. Su primera opereta, Der Gatte des Fräuleins, la escribió en 1928. Con la tercera, Viktoria und ihr Husar (1930), logró un clamoroso éxito. Gracias a sus dos siguientes operetas, Die Blume von Hawaii y Ball im Savoy fue reconocido mundialmente. Trabajó con Franz Lehár en las piezas Friederike y Das Land des Lächelns, además de trabajar con libretistas como Fritz Löhner-Beda y Alfred Grünwald. Los acontecimientos de 1933 obligaron al artista a dejar su domicilio en Berlín y a abandonar Alemania. A través de Viena y París se trasladó a Cuba, donde obtuvo modestos ingresos trabajando como pianista, y más adelante emigró a Nueva York. Después de sufrir una crisis nerviosa fue internado en un hospital en febrero de 1946. En mayo de 1956 volvió a vivir en Hamburgo, Alemania, donde murió cuatro años después.

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Viktoria und ihr Husar, opereta en tres actos y un prólogo (1930). Wunderschöne Tage.

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Die Blume von Hawaii, opereta en tres actos (1931). My golden Baby.

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