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 Asunto: Re: La otra ópera
NotaPublicado: 15 Ene 2021 20:24 
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Hermann Friedrich Raupach (1728-1778) He was born at Stralsund in Germany, the son and pupil of composer and organist Christoph Raupach (1686-1744) and the nephew of Lutheran church historian Bernhard Raupach (1682–1745). Raupach was a harpsichordist, who became the assistant of Vincenzo Manfredini, at the Russian Imperial Court Orchestra in Saint Petersburg in 1755. In 1758 he was appointed a Kapellmeister and court composer. Some of his operas were performed in Russian. His Alceste (Альцеста, 1758) is regarded as "the second Russian opera" (after Araja's Tsefal i Prokris, 1755). The role of Admet in this opera was sung by Dmitry Bortniansky, called the "Orpheus of the Neva River". In 1762 Raupach left St Petersburg for Hamburg and then to Paris, where he met Wolfgang Amadeus Mozart and improvised with him on harpsichord in 4 hands. Mozart arranged some movements from his sonatas for piano and string orchestra. The Sonata for Piano and Violin in A major, that was listed as K. 61, first appeared under Mozart's name in the Breitkopf & Härtel OEuvres in 1804. It had been in Baron Taddaus von Dürnitz collection, and was mistakenly thought to be by Mozart. In 1912 Téodor de Wyzewa and Georges de Saint-Foix discovered that the real composer was Hermann Raupach. They believed the young Mozart copied this sonata to use for an arrangement for a piano concerto, as he had used works of Raupach in K. 37, K. 39 and K. 41. Later Raupach returned to St Petersburg, where he became the instructor of composition and singing at the Academy of Fine Arts from 1768 to 1778. The composers Dmitry Bortniansky and Yevstigney Fomin were among his pupils. He died in St Petersburg.

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Alceste, ópera (1758). Aria: Razverzi pyos gortani, laya. Aria: Idu na smert.

Siroe, re di Persia, ópera (1760). Aria: O placido il mare.

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 Asunto: Re: La otra ópera
NotaPublicado: 22 Ene 2021 16:11 
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Paul Alan Barker was born in Cambridge, England and was a boy chorister at Jesus College, later graduating as pianist and composer from the Guildhall School of Music, obtaining a Masters degree from Durham University and a Doctorate from Hertfordshire University, UK. Awards include a Countess of Munster Trust Scholarship, Ralph Vaughan Williams Trust Scholarship, Arts and Humanities Research Award, the 2005 McElwee Family Fellowship along with many commissions from Arts Council, England and internationally. He has worked extensively in contemporary dance, theatre and opera. His compositions have been performed at major festivals internationally and include sixteen operas, much vocal and choral music as well as orchestral and concert music. El Gallo, an opera for 6 actors and 2 string quartets without text (2009), has been performed over 100 times by Teatro de Ciertos Habitantes, awarded several prizes an has been recorded, televised and filmed. In Memoriam: for those who fall in time of war, his music-theatre work for Brodsky String Quartet and clarinettist Joan Lluna has been performed in nine countries and received superlative reviews. He particularly works with musicians to refine performance through an experience of theatre in relation to music, which is represented in his scores. He has been Artistic Director of two touring companies (Modern Music Theatre Troupe in the UK and OpTeM's in Mexico). Three CDs of his music are available. His book, Composing for Voice was published by Routledge in 2004 and he also works as a conductor and stage director. He is currently Professor of Music Theatre at the Royal Central School of Speech and Drama.

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The Pillow Song, chamber opera after Sei Shonagan (1988). Comienzo.

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 Asunto: Re: La otra ópera
NotaPublicado: 22 Ene 2021 18:09 
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 Asunto: Re: La otra ópera
NotaPublicado: 29 Ene 2021 21:11 
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Mikhail Fabianovich Gnessin (1883-1957) He was born in Rostov-on-Don, Russia, the son of Rabbi Fabian Osipovich Gnessin and Bella Isaevna Fletzinger. He studied at the Rostov Technical Institute (1892–1899) and began music lessons with O.O. Fritch before he left school. From 1901 to 1909 he studied composition with Rimsky-Korsakov and Lyadov at the St Petersburg Conservatory; in 1905 he was expelled for taking part in a revolutionary student strike, but he was allowed back in 1906. After graduating, and until 1923, he lived in the Rostov-na-Donu region and in Yekaterinodar, teaching, lecturing and taking a part in the direction and development of musical life. In the summers of 1912 and 1913 he worked in Meyerhold’s St Petersburg studio. He visited Germany and France (1911) and Palestine (1914 and 1921). From 1925 to 1936 he was professor of composition at the Moscow Conservatory, and from 1923 held a similar post at the Gnesin Academy, founded on the site of the music school by his sisters Yelena, Yevgeniya and Mariya. He was professor at the Leningrad Conservatory (1935–1944), working in Yoshkar-Ola and Tashkent during World War II. Then between 1944 and 1951 he was principal of the re-established Gnesin State Institute for Musical Education, Moscow. His pupils included Khachaturian and Khrennikov. Gnesin’s early work, with its subtle, ecstatic lyricism, was linked with the Russian symbolist movement. His collaboration with Meyerhold resulted in music for Greek tragedies and also in piano accompaniments for readings from Zhukovsky and Poe. After 1914 he devoted the major part of his work to Jewish subjects, and after this became dangerous during the Stalinist era, he became increasingly interested in the music of the various peoples within the USSR. He was among the first to take the revolution as a programmatic theme, in the ‘simfonicheskiy monument’ 1905–1917. In 1927 he received the title Honoured Art worker of the RSFSR and in 1943 an arts doctorate.

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Abraham's Youth, ópera de cámara (1923). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 05 Feb 2021 21:49 
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Francesco Domenico Araja (1709 - between 1762 and 1770) He was born and received his musical education in Naples and began to compose operas at the age of 20. His early operas were produced in the theatres of Naples, Florence, Rome, Milan, and Venice. In 1735 he was invited to St. Petersburg together with a big Italian opera troupe, and became the maestro di cappella (Kapellmeister) to Empress Anne Ioanovna and later Empress Elizaveta Petrovna. In the winter operas were usually given in a wing of the Zimniy Dvorets (the Winter Palace), and in the summer time in the Theatre of Letniy Sad in the Summer Garden. His La forza dell'amore e dell'odio was the first Italian opera performed in Russia. It was staged in 1736 as Сила любви и ненависти (Sila lyubvi i nenavisti - The Power of Love and Hatred) with a supplement to the Russian translation by Vasily Trediakovsky printed as a booklet. This was the first opera libretto printed in Russian. This was followed by Semiramide (Il finto Nino, overo La Semiramide riconosciuta) in 1737, Artaserse in 1738, Seleuco with Russian translation by Sumarokov, premiered in Moscow 1744, Scipione with Russian translation by Adam Olsufiev, in St. Petersburg 1745, Mitridate in 1747, and others.

The majority of the operas he wrote in Russia were to Italian libretti. However, in 1755 Araja composed Цефал и Прокрис (Tsefal i Prokris – Cephalus and Prokris), an opera in three acts to the Russian libretto by Alexander Sumarokov after the Metamorphoses by Ovid. It was staged at St. Petersburg on March 7, OS February 27, 1755 with effective sets by Giuseppe Valeriani. This was the first opera with Russian singers. This opera was a great success, and Araja received 100 half-imperials and a luxurious sable coat valued at 500 rubles as a gift from Empress Elizaveta Petrovna. The opera was re-staged at the Mariinsky Theatre in St. Petersburg on June 14, 2001. His next two operas were premiered in different Russian towns: Amor prigioniero in Oranienbaum in 1755, and Iphigenia in Tauride in Moscow in 1758. In 1759 Araia returned to Italy, but was recalled for the coronation of Tsar Peter III in 1762. He left soon after in the wake of Peter's overthrow by Catherine the Great. His last compositions were the oratorio La Nativita di Gesu and the opera La Cimotea. He died in Bologna sometime between 1762 and 1770.

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La forza dell'amore e dell'odio, ópera seria (1734). Aria: Vado a morir.

Seleuco, ópera seria (1744). Aria: Pastor che a notte ombrosa.

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 Asunto: Re: La otra ópera
NotaPublicado: 12 Feb 2021 20:12 
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Lisa Carol Bielawa (*1968) She was born in San Francisco. Her father is composer and retired San Francisco State University music professor Herbert Bielawa. Having been raised in a musical environment, she has been musically active since early childhood, learning piano, voice, and violin in addition to writing music. Bielawa's beginnings as a composer were unintentional, "I'd write cabaret songs and pieces for the San Francisco Girls Chorus, but it never felt entirely serious." She continued to perform and write music, but studied English at Yale for her undergraduate degree, after receiving which, resumed her career in music. She moved to New York two weeks after receiving her B.A. in Literature in 1990 from Yale University, and became an active participant in New York musical life. She began touring with the Philip Glass Ensemble in 1992. She counts Glass among her compositional influences. In 1997 she co-founded the MATA Festival, which celebrates the work of young composers. Bielawa is currently the Artistic Director of the San Francisco Girls Chorus.

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Electronic Ordo Virtutum, electronic music-theater (1988). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 19 Feb 2021 19:08 
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Joaquín Martínez de la Roca y Bolea (hacia 1676-1747) Nació en Zaragoza. Discípulo de Pablo Nasarre a partir de 1690 pasa a ser suplente de Jerónimo Latorre, organista del Pilar, en Zaragoza, y en 1695 se convierte en titular de la plaza. En 1699 pasa a ser además maestro de capilla. De esta época son algunos villancicos, como la Cantada a la moda italiana, para los maitines de Reyes de 1709. En 1714 se traslada a Palencia, donde el cabildo le ofrece el puesto de organista de la Catedral. El prestigio logrado por Martínez queda patente por las numerosas invitaciones para probar instrumentos nuevos, como el del convento de San Francisco de Salamanca (1717), el de Ampudia (1718), el de San Benito el Real de Valladolid (1718) o el de Nava del Rey (1719). A partir de 1723 se encuentra en Toledo, donde es nombrado segundo organista de la catedral. Siendo el primer organista el maestro Miguel de Ambiela, tuvo que sustituirlo a menudo por la delicada salud de este. Murió en 1747, poco después de su jubilación en abril de ese año.

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Los Desagravios de Troya, zarzuela (1712). Aria: Que siendo a mis iras. Aria: Nacer a un tiempo y brillar.

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 Asunto: Re: La otra ópera
NotaPublicado: 26 Feb 2021 20:28 
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Alastair White (*1988) Alastair White is a Scottish composer and writer. Described as “spellbinding” (Boulezian), “beautiful” (730 Review), “virtuosic” (Winnipeg Free Press), "deftly manic (American Record Guide) and "passionately atonal" (Gramophone), his work is characterised by a lyrical complexity which draws influence from technology, science, politics and materialism. Recent projects include the fashion-operas WEAR, ROBE (Métier Records February '21) and WOAD; a string quartet for the Altius Quartet’s album Quadrants Vol. 3 (Navona Records); the documentary opera A Boat in an Endless Blue Sea; WORK: movement through a series of arbitrary partitions for .abeceda; and The Drowning Shore, a Scots-Yiddish cantata. Shortlisted for a Scottish Award for New Music twice (in 2019 and 2020) and a Creative Edinburgh Award (2019), Alastair has created work for the opera festivals Tête-a-Tête and Opera in the City, the international poetry festival STanza, UKNA City Takeover, Compass Presents, The Scottish School of Contemporary Dance and The Scottish Poetry Library. His music is supported by Help Musicians UK, the Hinrichsen Foundation, Marchus Trust, Goldsmiths Graduate Fund and Music Research Committee. Alastair was a founding member of the Edinburgh-based bands White Heath (Electric Honey) and Blank Comrade (Red Wharf), and has worked as a session pianist and producer. He is currently undertaking a PhD at Goldsmiths, University of London with Roger Redgate and Lauren Redhead, where he organised the interdisciplinary conference on New Materialism Futures of the Real. He publishes and speaks internationally on his research interests, which include the development of an original materialist philosophy, ‘Contingency Dialectics,’ and its methodological implications in Fashion-Opera.

Robe, a fashion opera (2019). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 05 Mar 2021 19:24 
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Pasquale Cafaro (also known as Caffaro or Cafariello, 1715 or 1716-1787) He was born in San Pietro, Galatina. According to some sources he was born in 1706; however, when he entered the Naples Conservatorio di S Maria della Pietà dei Turchini on 23 December 1735, he declared himself to be 20 (or in his 20th year), which places his birthdate in 1715 or 1716. He was admitted to the conservatory under a five-year contract, studying under primo maestro Nicola Fago, secondo maestro Leonardo Leo and, after 1737, with Leo’s successor Lorenzo Fago. He remained in Naples all his life, and between 1745 and 1771 established himself as a respected composer of oratorios, operas, cantatas and church music. On 11 July 1759 he succeeded Girolamo Abos as secondo maestro of his former conservatory and, contrary to some accounts, did not resign from this post in 1785, but retained it until his death. His most notable student was Giacomo Tritto.

Between 1763 and 1766 Cafaro conducted operas by Hasse and Traetta, among others, at the Teatro S Carlo. Public recognition, and especially his compositions for court events (including cantatas for the king’s birthday), led to his appointment on 25 August 1768 as a maestro di cappella soprannumerario of the royal chapel; he was also music master to Queen Maria Carolina. After the death of Giuseppe de Majo, primo maestro of the royal chapel, the incumbent vice-maestro Giuseppe Marchitti was denied succession and, without the customary public competition, the position given to Cafaro on 21 December 1771; he also continued as maestro di musica della regina, later becoming maestro di musica della real camera. After assuming the leadership of the royal chapel he stopped writing operas and produced primarily sacred music. A Stabat mater, dedicated to the king and queen and printed in Naples in 1785, became his best-known work outside Italy.

Although Cafaro never composed an opera buffa, certain stylistic tendencies associated with this genre (simplicity of harmonic structure, texture and orchestration) are reflected in his serious works. In them the dramatic pathos of earlier composers gave way to Classicist abstraction, expert use of Neapolitan formulae and accepted modes of expression. As a result his music was praised by his contemporaries for ‘grace and purity of style’ and later criticized for ‘poverty of invention’. In the Neapolitan tradition Cafaro was one of the essential links between the generation of Leo and Durante and that of Cimarosa and Paisiello.

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Ipermestra, ópera en tres actos (1761). Aria: Rendimi più sereno.

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Antigono, ópera en tres actos (1770). Aria: E fra tante tempeste.

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 Asunto: Re: La otra ópera
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Jaume Pahissa i Jo (1880-1969) Nació en Barcelona, hijo del pintor paisajista Jaume Pahissa Laporta, abandonó los estudios de Arquitectura —hacia donde le había encaminado Antoni Gaudí— para dedicarse a la música. Fue discípulo de Enrique Morera. Relacionado con otros artistas que conocían las últimas tendencias europeas, después de escribir las óperas Gala Placidia, y La morisca, sorprendió con la página orquestal Nit de Somnis. Las obras Monodia y Suite intertonal, le colocaron en la vanguardia española de los años 20. Escribió otras óperas (Marianela, La princesa Margarita), una sinfonietta, dos sinfonías y numerosas páginas de otros géneros. Fue crítico musical, profesor del Conservatorio del Liceo de Barcelona y director de la Escuela Municipal de Música de Barcelona. Después se estableció en Argentina de manera definitiva en 1937. Entre sus trabajos musicológicos destaca Vida y obra de Manuel de Falla. Publicó además Sendas y cumbres de la música española, Los grandes problemas de la música, Espíritu y cuerpo de la música, y otras. Influido al principio por Richard Wagner y el folclore catalán, siguió luego las corrientes atonales, pero volvió a un estilo más tradicional. En el Teatro Colón presentó su ópera Marianela en 1946 en una temporada al aire libre siendo el director y a la vez presentando otras obras. Una parte del fondo de Jaime Pahissa se conserva en la Biblioteca de Cataluña. En el año 2011 el Instituto de Investigación en Etnomusicología del Gobierno de la Ciudad de Buenos Aires comenzó a digitalizar su legado de partituras y documentos.

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Gala Placídia, ópera en tres actos (1913). Aria: Des de la Infància.

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 Asunto: Re: La otra ópera
NotaPublicado: 19 Mar 2021 22:06 
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Stephen Cuthbert Vivian Dodgson (1924-2013) He was born in Chelsea, London in 1924, the third child of John Arthur Dodgson, who was a symbolist painter and nephew of Campbell Dodgson, and his wife, who was born Margaret Valentine Pease and also an artist. He was distant cousin of Lewis Carroll. He was educated at Berkhamsted School in Hertfordshire and at Stowe School in Buckinghamshire. In 1942, he was conscripted into the Royal Navy and took part in anti-submarine warfare escorting convoys in the Battle of the Atlantic. On returning to London, he studied composition privately for a year with Bernard Stevens before enrolling at the Royal College of Music in 1946, officially to study the horn (under Frank Probyn), but in practice he was able to focus on composition under the guidance of R. O. Morris, Patrick Hadley and Antony Hopkins. While Morris instilled an interest in counterpoint and music from past centuries, such as that of the madrigalist Thomas Morley, Hadley and Hopkins provided more practical tuition. Dodgson's early compositions won several prizes, including the Cobbett Memorial Prize for a Fantasy String Quartet (1948) and two Royal Philharmonic Society prizes: for his Variations for Orchestra (1949) and the Symphony in E Flat (1953). In 1949, he also won an Octavia travelling scholarship, which sent him to Rome. After returning to London in the spring of 1950, his music increasingly attracted performances and broadcasts by prominent players (including flautist Geoffrey Gilbert, oboist Evelyn Barbirolli, harpist Maria Korchinska, violinist Neville Marriner, violist Watson Forbes, the Philip Jones Brass Ensemble), and conductors such as Leslie Woodgate, Paul Steinitz and the composer Gerald Finzi. After initially making a living with teaching work in schools and colleges, in 1956 Dodgson was able to return to the Royal College of Music in a teaching capacity (where he also conducted the junior orchestra). In 1965 he was appointed professor of composition and music theory, a post he held until his retirement in 1982.

Two of the instruments which held special places in Dodgson's were the guitar and the harpsichord. His introduction to harpsichord writing came through one of the instrument's first twentieth-century exponents, the Czech player and musicologist, Stanislav Heller. In 1959, four years after writing his first pieces for the instrument he married Jane Clark, herself a harpsichordist and an authority on François Couperin. His wife fostered an increasing fascination with early and Baroque music. He first came to write for the guitar—an instrument with which Dodgson is perhaps especially associated—in the early 1950s when Alexis Chesnakov, a Russian actor exiled in Britain, requested some folksong settings. Although Dodgson lacked any practical knowledge of the instrument, by the time of his Guitar Concerto No 1, completed in 1956, he had come to write for it idiomatically. This concerto was written for Julian Bream, but in his absence it was premiered by a 17-year-old John Williams (with the Royal Philharmonic Orchestra conducted by Walter Goehr), for whom he later wrote the Guitar Concerto No 2 (1972). From 1957 onwards, he broadcast regularly on BBC Radio and wrote the music for many radio plays, often (from 1961 onwards) in friendly collaboration with the producer Raymond Raikes. In 1986 he became chairman of the National Youth Wind Orchestra of Great Britain, for which he wrote several pieces. Recorder player John Turner remembers him as "Enthusiastic, ebullient and quick-witted... extremely voluble, with a strong, distinctive voice, an ever-present smile, much old-world courtesy, and an idiosyncratic gait." Stephen Dodgson died on 13 April 2013, aged 89. He is said to have remained remarkably active until the last few months of his life.

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Margaret Catchpole, ópera de cámara en cuatro actos (1979). Fragmento.

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 Asunto: Re: La otra ópera
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Philipp Christoph Kayser (1755-1823) He was born in Frankfurt, the son of the organist of the St. Catherine's Church, Frankfurt. His father gave him his first music lessons. He studied music theory with Georg Andreas Sorge. Already at grammar school, Kayser became friends with Friedrich Maximilian Klinger, who was three years older and later became the most successful playwright of the Sturm und Drang movement. Johann Wolfgang von Goethe also joined him later, as did the Strasbourg poet Heinrich Leopold Wagner and the Livonian Jakob Michael Reinhold Lenz, who lived in Strasbourg and visited Frankfurt from time to time. In 1774, Kayser became a freemason in the Zurich lodge Modestia cum libertate. In 1775, Kayser moved to Zurich. Goethe paid him a visit there in 1775 and 1779. Goethe was so enthusiastic about his songs, that he sent him his Singspiel Jery und Bäteli for setting to music. First Kayser refused. However, this did not harm Goethe - he still stood by him as his chosen composer. "What I appreciate most about things is precisely this chastity, the certainty of being able to achieve a lot with a little," he wrote to him. In 1780, Kayser's Christmas cantata was published by his publisher Füssli in Zurich. Two sonatas for violin, piano and horns appeared shortly afterwards, but without dating.

At Goethe's invitation, Kayser visited him in Weimar from January to May 1781. During this visit, Goethe entrusted him with the setting of his Singspiele to music. But Kayser was clumsy and worked slowly. Only years later his setting to Goethe's Singspiel Scherz, List und Rache was completed in 1785. After receiving the score, Goethe wrote to Fritz Jacobi in Düsseldorf: "With this opera a composer will emerge, the likes of whom not many people form in silence". Goethe, who often supported Kayser financially out of friendship, even sent him to Rome at his own expense in 1787, as he wanted him to compose the score for his Egmont. After 1792, Kayser published nothing more. Goethe had already recognised the hopelessness of further collaboration and had found a replacement for Kayser in Johann Friedrich Reichardt in 1789. It can also be assumed that Kayser basically gave up composing in 1792. He earned his living by teaching. "It was difficult to become friends with Kayser, for his earlier seriousness increased to the point of darkness," wrote Franz Xaver Schnyder von Wartensee, who had come to Zurich to continue his musical studies. Kayser died on Christmas Eve in Zurich in 1823 at the age of 68.

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Scherz, List und Rache, Singspiel en cuatro actos (1787). Del acto primero: Es schleicht durch Wald und Wiesen.

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 Asunto: Re: La otra ópera
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Attilio Malachia Ariosti (or Frate Ottavio) (1666-1729) He was born in Bologna into the middle class. He became a monk in 1688 at age 22, but he soon obtained permission to leave the order and become a composer in the court of the Duke of Mantua and Monferrato. He became a deacon in 1692, the same year he achieved the post of organist at Santa Maria dei Servi in Bologna. In 1697, he went to Berlin at the request of Sophia Charlotte of Hanover, Queen of Prussia, a great-granddaughter of James I of England and daughter of the Electress Sophia of Hanover, an enlightened patroness of the arts with a keen interest in music. After enjoying the favor of the Queen, Ariosti wrote and collaborated in the writing of a number of stage works performed for the court in Berlin. He resided in Berlin as the court composer until 1703. A portrait painting of Ariosti, by Anthoni Schoonjans (1655-1726), is still present in Charlottenburg Palace. His first opera was performed in Venice in 1697. From 1703 to 1709 he was the General Austrian Agent for Italy, during the reign of Joseph I. After 1716 he achieved enormous success in Paris and London. In London, he shared with Georg Frideric Handel and Giovanni Bononcini the directorship of the Royal Academy of Music, and he played the viola d’amore in an entr’acte in Handel’s Amadigi di Gaula. In 1724 he published a Collection of Cantatas, and Lessons for the Viola d'Amour, which he sold by subscription. This publication may have been the most successful sale of music by subscription in the 18th century. Although he could sing, write drama, play the violoncello and harpsichord; his favorite instrument was the viola d'amore, for which he wrote 21 solo sonatas. These are usually called the Stockholm Sonatas, as the sole surviving source for most of them is in the Statens Musikbibliotek in Stockholm, Sweden. The Stockholm Sonatas display Ariosti's liking for surprising harmonies, his inventive use of silence, and his wit.

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Tito Manilo, dramma per musica en tres actos (1717). Aria: Col nemico di mia pace.

Coriolano, dramma per musica en tres actos (1723). Aria: Perdonate, o cari amori.

Vespasiano, dramma per musica en tres actos (1724). Aria: Premera soglio di morte.

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 Asunto: Re: La otra ópera
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Juliusz Łuciuk (1927-2020) He was born in Nowa Brzeźnica, Poland. He studied musicology at the Jagiellonian University under Zdzisław Jachimecki from 1947 to 1952. At around the same time, from 1947 to 1956, he studied music theory with Aleksander Frączkiewicz (diploma in 1955) at the State Academy of Music in Kraków, composition under Stanisław Wiechowicz (diploma in 1956), and piano under Sergiusz Nadgryzowski and Jan Hoffman, as well as organ under Józef Chwedczuk. He continued his musical education in Paris, where from 1958 to 1959 he studied composition with Nadia Boulanger and Max Deutsch and participated in seminars lead by Olivier Messiaen. In addition, in 1959, he took part in the International Courses for Composers in Darmstadt.

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Demiurgos, opera (1976). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 10 Abr 2021 0:39 
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Registrado: 17 Feb 2010 23:50
Mensajes: 3451
Ubicación: Calle Mossén Femades
Aria del gatillazo. :P
Por otro lado, recién fallecido, descanse en paz.

_________________
Cuidado con tragarse las óperas de Wagner: son de difícil digestión.


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