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 Asunto: Re: La otra ópera
NotaPublicado: 02 Jun 2023 13:02 
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Gerardo Gandini (1936-2013)​ Nació en Buenos Aires. Estudió composición con Goffredo Petrassi y Alberto Ginastera y se formó como pianista con Roberto Caamaño, Pía Sebastiani e Yvonne Loriod. Fue profesor del Instituto Di Tella (Buenos Aires), de la Juilliard School of Music de Nueva York, de la Facultad de Música de la Universidad Católica Argentina, del Conservatorio Gilardo Gilardi de La Plata (Argentina) y de la Facultad de Bellas Artes de la Universidad Nacional de La Plata (Argentina). También estuvo a cargo de los cursos de Música Contemporánea de la Fundación San Telmo/ Instituto Goethe de Buenos Aires y estuvo a cargo de uno de los talleres de composición de la Fundación Antorchas (Argentina). Gandini fue director musical de la Orquesta Filarmónica de Buenos Aires, director musical del Teatro Colón y director-fundador del Centro de Experimentación en Ópera y Ballet del mismo teatro. Durante el año 2003, fue compositor residente del Teatro Colón. Fue integrante como pianista del último sexteto de Astor Piazzolla.

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La ciudad ausente, ópera en dos actos (1995). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 09 Jun 2023 5:57 
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Arnold Rosner (1945-2013) He was born in New York City. Rosner got his training at State University of New York at Buffalo, New York. According to his own account, he "learned practically nothing" there. Rosner developed an individual style that fused elements of Renaissance music with the heightened drama and rich sonorities of late romanticism. He composed three operas, eight symphonies, six string quartets, chamber music and songs. Many of his compositions were influenced by his Jewish background, but also by Catholicism.

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Chronicle of Nine: The Tragedy of Queen Jane, ópera (1984). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 16 Jun 2023 8:42 
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Anthony Louis Scarmolin (1890-1969) He was born in Schio, Vincenza. He studied at the New York German Conservatory of Music (diploma 1907). In 1909 when a debilitating hand condition frustrated his aspirations as a concert pianist, he began to focus on composition. Naturalized as an American citizen in 1911, he served in the US Army during World War I. Upon his return from Europe, he became a supervisor of instrumental music in the Union City, New Jersey, public schools (1919–1949). He remained active as a composer, conductor and pianist throughout his life. Among the most striking aspects of Scarmolin’s compositional style are the forward-looking hyperchromaticism and tonal ambiguity of many of his early works (1904–1909); a representative example from this period is his dramatic Piano QuintetUna lotta col destino’ (1907). After 1909 he adopted a more conservative approach, writing in genres that either appealed to the public, or could be used for pedagogical purposes. Many of his compositions for concert use attributes of his earlier, avant-garde style, albeit refined by greater conformity to traditional harmony and form. After 1937 he increasingly composed for instrumental ensembles. Primarily a melodist, he incorporated lengthy chromatic passages, tritones, whole-tone scales, tertian elements and occasional orientalism in his writing. A prolific and versatile composer, Scarmolin wrote seven operas, over 200 choral works, more than 100 songs, nearly 550 works for keyboard, over 70 pieces for chamber ensemble and almost 150 compositions for orchestra.

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The Caliph, an Arabien episode in one act (1948). Cut out my tongue … Give me my letter!.

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 Asunto: Re: La otra ópera
NotaPublicado: 23 Jun 2023 7:13 
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Kurt Magnus Atterberg (1887-1974) He was born in Gothenburg. His father was Anders Johan Atterberg, engineer; his uncle was the chemist Albert Atterberg. His mother, Elvira Uddman, was the daughter of a famous male opera singer. In 1902, Atterberg began learning the cello, having been inspired by a concert by the Brussels String Quartet, featuring a performance of Beethoven's String Quartet No. 8. Six years later he became a performer in the Stockholm Concert Society, now known as the Royal Stockholm Philharmonic Orchestra, as well as publishing his first completed work, the Rhapsody for Piano and Orchestra, Op. 1. His String Quartet No. 1 in D major, Op. 2, soon followed. While already studying civil engineering at the Royal Institute of Technology, Atterberg also enrolled at the Royal College of Music, Stockholm in 1910 with a score of his Rhapsody and an incomplete version of his Symphony No. 1. There he studied composition and orchestration under the composer Andreas Hallén. He earned his engineering diploma a year later, as well as being awarded a State Music Fellowship. He made his conducting debut at a concert in Gothenburg in 1912, premiering his first symphony and the Concert Overture in A minor, Op. 4. Although continuing to compose and conduct, Atterberg enjoyed a fulfilling career in several different organisations. He accepted a post at the Swedish Patent and Registration Office in 1912, going on to become a head of department in 1936, and working there until his retirement in 1968. He co-founded the Society of Swedish Composers in 1918, alongside other prominent composers such as Ture Rangström, Wilhelm Stenhammar and Hugo Alfvén. Six years later he was elected president of the society, maintaining the position until 1947. At a similar time, he became president of the Svenska Tonsättares Internationella Musikbyrå, which he also helped to found, and of which his presidency lasted until 1943. Other jobs taken on by Atterberg included his work as a music critic for the Stockholms Tidningen from 1919 to 1957, and as secretary of the Royal Swedish Academy of Music from 1940 to 1953. Atterberg died on 15 February 1974 in Stockholm, aged 86, and was buried there in the Northern Cemetery.

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Aladin, cuento de hadas en tres actos (1936–1941). Ich hörte Deiner Stimme Ruf!.

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 Asunto: Re: La otra ópera
NotaPublicado: 30 Jun 2023 6:16 
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Eugen Engel (1875-1943) Nació en Widminnen. En 1892, la familia de Engel se mudó de Widminnen a Berlín. Eugen Engel aprendió el oficio de comerciante y trabajó en los grandes almacenes de Berlín Hermann Tietz. Adquirió sus conocimientos musicales y compositivos principalmente a través del autoaprendizaje. En Berlín se dio a conocer como compositor y mantuvo correspondencia, entre otros, con los directores Bruno Walter y Leo Blech, los pianistas Wilhelm Backhaus y Edwin Fischer, el violinista Adolf Busch y el compositor Engelbert Humperdinck. En 1933 Engel completó su obra principal, la ópera Grete Minde basada en la novela del mismo nombre de Theodor Fontane. El libreto fue escrito por Hans Bodenstedt, quien entonces, como miembro del NSDAP, hizo carrera como director de editoriales nazis como 'Blut und Boden'. Engel intentó en vano obtener una representación en los años siguientes, entre otros, con Bruno Walter, quien dio fe de su 'cultura musical' y 'capacidad profesional'. En 1939 Eugen Engel emigró a Amsterdam, donde vivía su hija Eva. Su hija Eva Löwenberger (más tarde anglicanizada: Lowen) y su esposo Max pudieron emigrar a los EE. UU. en 1941. Engel fue internado en el campo de deportación de Westerbork en 1943 y de allí fue llevado al campo de exterminio de Sobibor el 23 de marzo de 1943, donde fue asesinado.

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Grete Minde, ópera en tres actos (1933). Das war Verzweiflung, Gerdt.

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Jul 2023 7:15 
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Francesc d'Assís Roselló Sintes (1828-1898 ) Nació en Ciutadella. Discípulo del maestro Benet Andreu formó, una vez completados los estudios musicales, una orquesta y dirigió la banda de música del Círculo Católico de Ciutadella, entonces el principal exponente cultural de la ciudad. De 1881 a 1889 fue maestro de capilla de la Catedral menorquina, tarea que combinó con su actividad de pianista y de violinista. Ésta fue una etapa muy provechosa en su producción musical en cuanto tanto a la preparación de las misas cantadas en las solemnidades litúrgicas, que merecieron la atención de la prensa contemporánea, como a la creación de producciones propias, dedicadas al culto de la catedral. Durante los últimos años trabajó en el obrador de zapatería de Pere Cortès y Compañía, llevando la correspondencia y la contabilidad de la fábrica. Conocido entre los ciudadetanos de su época como el maestro Russó, compuso gran cantidad de música religiosa, como Ofertorio para pequeña orquesta. Misa a tres voces, Misa seguida de un Ofertorio. Miserere y Padre nosrro, además de una Tanda de valses y la canción El príncipe imperial. Pero lo que le dio mayor popularidad fue la obra del maestro Joan Benejam Foc i Fum a la que puso música.

Diccionari del teatre a les Illes Balears. Volum II.

Foc i Fum, zarzuela en dos actos (1885). M'ha Dit que ho Aprecia.

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 Asunto: Re: La otra ópera
NotaPublicado: 14 Jul 2023 5:27 
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Michael Torke (*1961) He was born in Milwaukee, Wisconsin, where he attended Wilson Elementary School, graduated from Wauwatosa East High School, and studied at the Eastman School of Music with Joseph Schwantner and Christopher Rouse, and at Yale University. Torke's music has been commissioned by such orchestras as The Philadelphia Orchestra, the New York Philharmonic, and the San Francisco Symphony; by such ballet companies as New York City Ballet, Alvin Ailey, and the National Ballet of Canada; by such opera companies as the Metropolitan Opera, Théâtre du Châtelet, and the English National Opera; by such large ensembles as the London Sinfonietta, Lontano, and De Volharding; and such small ensembles as the Smith, Ying, and Amstel Quartets. He has worked with such conductors as Simon Rattle, Kurt Mazur, Edo de Waart, and David Zinman; such choreographers as Christopher Wheeldon, James Kudelka, and Juri Kilian; and collaborated with such librettists as A. R. Gurney, Michael Korie, and Mark Campbell; and such directors as Des McAnuff, Bart Sher, and Michael Greif. He has been commissioned by entities such as the Walt Disney Company, and Absolute Vodka; worked with such soloists as Tessa Lark, Christopher O'Reilly, and Joyce Castle; and written incidental music to such companies as The Public Theater, The Old Globe Theater, and Classic Stage Company; and been composer in residence with the Royal Scottish National Orchestra. Beginning his career with exclusive contracts with Boosey and Hawkes, and Decca Records, he now controls his own copyrights and masters through his publishing company, Adjustable Music, and record company, Ecstatic Records. His music has been called "some of the most optimistic, joyful and thoroughly uplifting music to appear in recent years" (Gramophone). Hailed as a "vitally inventive composer" (Financial Times) and "a master orchestrator whose shimmering timbral palette makes him the Ravel of his generation" (New York Times), Torke has created a substantial body of works in virtually every genre.

Strawberry Fields, opera (1999). And It Shall Come to Pass.

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 Asunto: Re: La otra ópera
NotaPublicado: 21 Jul 2023 6:40 
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Robert Groslot (*1951) He was born in Mechelen, Belgium. Groslot started his musical career as a pianist. After winning the Alessandro Casagrande Competition in 1974 (Terni) and becoming laureate at the Queen Elisabeth Competition (Brussels, 1978), he undertook concert trips accross 4 continents through more than 20 countries and made many studio, radio and television recordings, over 120 CDs. A strong supporter of professional music education, Robert Groslot has taught piano at several distinguished music institutions in Belgium and the Netherlands until 2009. The majority of his career he spent at The Royal Conservatory of Antwerp where he was appointed Artistic Director in 1995. In the mid 1990’s he founded two succesful national youth orchestras that served as a training ground for an entire generation of musicians, many of whom can be found working professionally throughout Europe.

As a composer, Robert Groslot was largely self-taught. His broad experience with the big repertoire works, both as a concert pianist and as a conductor, became the perfect breeding ground for his composing philosophy. To give profound joy to the performing musicians, while striving for the strongest possible impact on the listener is essential for him in the creation of new music. Resulting in a distinctively coloured and rhytmically challenging writing, his chamber music has been referred to as ‘oxygen during practice and adrenalin during performance’. His multimedia works demonstrate just as much this optimistic vision towards art and life – brightly-coloured art movies with dancers and actors in a partly staged, partly virtual setting within a mysterious narrative, contemplating on life and seeking liberation from traditional frameworks.

I Will Come Back, ópera de cámara (2020). The Cosmic Garden.

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 Asunto: Re: La otra ópera
NotaPublicado: 28 Jul 2023 6:16 
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Sebastiano Nasolini (?1768-1798 or 1799) He is said to be a native of Piacenza on the manuscript scores of several of his operas, but some printed librettos refer to him as ‘di Venezia’ or ‘maestro di cappella veneziano’. After musical training during the 1780s, probably in Venice, he was appointed maestro di cappella at the Cathedral of S Giusto in Trieste; he became maestro al cembalo at the Teatro S Pietro in Trieste before April 1789. According to Choron and Fayolle he died in Venice in 1798; Gervasoni placed his death in 1799. The production of several apparently new operas under his name between 1800 and 1816 has led some scholars (for example Jackman) to suggest that Nasolini may still have been alive in 1816; but a lack of evidence of his activities after 1799 supports the view that he died shortly before 1800. Some of the later operas attributed to him are probably the work of the prolific and long-lived Giuseppe Nicolini. Mount Edgcumbe, writing in the 1820s, remembered Nasolini as ‘a young composer of great promise, but who died at an early age’ (Musical Reminiscences, London, 1824).

Nasolini’s early operatic output suggests a devotion to serious opera. His first work, a setting of Metastasio’s Nitteti, was performed in Trieste during spring 1788. Following its success, he produced a number of other opere serie, only occasionally interrupted by comic operas, for the principal theatres of northern Italy (he seems not to have accepted commissions from southern cities, except for some Neapolitan operas of questionable attribution). By the time his Andromaca was performed in London in May 1790, the Public Advertiser could call him ‘the most fashionable composer now extant in Italy’. Only in the late 1790s did he give sustained attention to comic opera, working with Giovanni Bertati among other librettists. Gli umori contrari (1798), a one-act opera to a libretto by Bertati, was one of the most often performed of Nasolini’s comic operas; the relatively large number of surviving manuscripts attests its popularity. Among his most successful serious operas was Merope (1796), a dramma per musica written for the soprano Elizabeth Billington, who created the title role in Venice and went on to sing it in Bologna, Bergamo, Livorno and Trieste; she triumphed with it in London in 1802.

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La morte di Semiramide, tragedia in musica en dos actos (1792). Recitativo y Aria: Fermati! Il ciel minaccia... Deh sospedi ai pianti miei... Serbo ancora un'alma altera.

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 Asunto: Re: La otra ópera
NotaPublicado: 04 Ago 2023 7:56 
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René Koering (*1940) Nació en Andlau, Bas-Rhin. Estudió piano y oboe en Estrasburgo, y luego, por consejo de Pierre Boulez, en 1960, fue a Darmstadt a estudiar con Bruno Maderna. Participó en la creación del Festival de Radio France y Montpellier Languedoc Roussillon en 1985. Fue director de France Musique en 1981, director de música de Radio France en 2000, director de la orquesta nacional y ópera de Montpellier, director del Festival de Tresques (2016-2019). Después de un primer matrimonio con Thalie Frugès, se casó con Marie-Françoise Lollini. Es padre de Ophélie Koering, actriz y directora francesa (1970), Jérémie Koering, historiador del arte (1974), Virgile Koering, camarógrafo y decorador de teatro y ópera (1977), Ephrem Koering, cineasta (1993), y Jonas Koering, actor y autor de cómics (1996).

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Scènes de chasse, ópera en un acto (2007). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 11 Ago 2023 6:46 
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Efraín Amaya (*1959) He was born in Venezuela, where he began his musical training. Continuing his studies in the United States, he earned two Bachelor’s of music degrees in composition and piano from Indiana University, and a Master’s degree in orchestral conducting from Rice University. After returning to Venezuela, Maestro Amaya became the Music Director & Conductor for one of the “El Sistema” Youth Symphony Orchestras based in the “Núcleo La Rinconada”. He then returned to the USA where he held the position of Resident Conductor and Artist Lecturer in Music Theory at Carnegie Mellon University from 1993 to 2009. He also served as Associate Conductor with the Westmoreland Symphony Orchestra from 1994 to 2007. In addition he has been the Music Director & Conductor of the Greensburg American Opera, the Three Rivers Young People’s Orchestra, the Westmoreland Symphony Youth Orchestra, the Carnegie Mellon Summer Orchestra and Wind Ensemble, and the Carnegie Mellon Contemporary Ensemble. Mr. Amaya’s compositions have been selected for performance at major international festivals, including the Seattle Symphony’s Viva la Música Festival; the V Congreso Iberoamericano de Llíria, Spain, the Festival de Música de Santa Catarina in Brazil, the American Composers Orchestra Festival of Venezuelan Music at Weill Recital Hall in New York; the II Congreso Puertorriqueño de Creación Musical in San Juan among many others.

Clepsydra, an operatic installation with 13 performers (1999). Two rivers, one is red.

Phantasmagorilla? No! Phantasmagoria, ópera para niños (2007). Hey boy! This is the time.

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Constellations, ópera de cámara (2015). Who is here?

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 Asunto: Re: La otra ópera
NotaPublicado: 18 Ago 2023 5:28 
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Agata Zubel (*1978) She was born in Wrocław. Zubel is a graduate of Wrocław's Karol Szymanowski High School of Music (percussion and music theory) and the Karol Lipiński University of Music, where she studied composition with Jan Wichrowski. She is a member of the Youth Circle of the Polish Composers' Union and a recipient of the Ministry of Culture and National Heritage scholarship. Currently she teaches at the Academy of Music in Wrocław (full professor). In 2013 she was honoured by the International Music Council’s International Rostrum of Composers with the best composition title for Not I, which she wrote for soprano, instrumental ensemble and electronics. In October 2017 she was awarded the Bronze Medal "Gloria Artis". She is an ordinary member of the Polish Composers' Union.

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Oresteia, dramopera for soloists, actors, choir, percussion and electronics (2011). Ofiarnice.

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 Asunto: Re: La otra ópera
NotaPublicado: 25 Ago 2023 8:41 
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Anne Danican Philidor (1681-1728) He was born in Paris, son of André Danican Philidor l’aîné. He was named after his godfather, the Duke of Noailles. He was granted the survivance of his father's post in the Grands Hautbois in 1698 and joined the royal chapel in 1704 and the Petits Violons by 1712. He composed sacred and instrumental music, and by the age of 20 had at least five stage works produced. He also collaborated with his father in his duties as a royal music librarian. He was apparently well regarded at court: the king and two other members of the royal family signed his wedding contract in 1706. In 1725 he founded the Concert Spirituel to provide musical entertainment on days when, for religious considerations, the Académie Royale de Musique (the Opéra) was closed. The first concert was on 18 March in the Salle des Suisses of the Tuileries palace, and the series, which lasted until 1790, promoted instrumental and sacred vocal music. In December 1727 Philidor expanded his enterprise by initiating the Concerts Français, a series primarily of secular concerts featuring French cantatas. He resigned from the directorship of both series a few months before his death in 1728 and was replaced by J.-J. Mouret. The Concerts Français lasted only until 1730 on a regular basis, though annual concerts were given during the next three years. Philidor also directed concerts for the Duchess of Maine and was superintendent of music for the Prince of Conti.

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Les amazones, mascarade (1700). Puisque tout est tranquille - Combattons, courrons à la gloire.

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 Asunto: Re: La otra ópera
NotaPublicado: 01 Sep 2023 12:10 
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Luigi Nono (1924 - 1990) Nació en Venecia. Fue discípulo de Gian Francesco Malipiero, de Bruno Maderna y de Hermann Scherchen. Entre los años 1950 y 1959 participó en los cursos impartidos en Darmstadt, donde entró en contacto con la música de Anton Webern y Arnold Schönberg, del que llegó a ser yerno. Después de enseñar en Darlington, su obra, iniciada con Variaciones canónicas (1950), está inscrita bajo la influencia del dodecafonismo de Anton Webern, pero evolucionaría posteriormente hacia formas propias del vanguardismo más radical, en las que la voz humana permite expresar su compromiso político al tiempo que su peculiar lirismo, heredero de la tradición musical italiana. Aunque fue miembro del Partido Comunista italiano desde 1952, el compositor rechazó los planteamientos estéticos del realismo socialista y buscó el camino que acercara su música a un nuevo público capaz de recibir su mensaje. Así, en Epitafio para Federico García Lorca (1952-1953), Luigi Nono expresa su enérgico mensaje con un elegante y sutil lenguaje musical, que encuentra su continuación estilística en Il canto sospeso (1956), evocación y denuncia de los horrores del fascismo. La ópera Intolleranza 1960, de 1961, constituye un paso adelante en su búsqueda de nuevas formas para el teatro musical.

Al iniciarse la década de los años sesenta, el compositor empezó a interesarse por la música electrónica, y produjo una serie de obras en las que se realiza una mezcla sutil de elementos expresivos propios de la escritura tradicional para voz y de los de su nuevo lenguaje. Entre las obras de este período destacan La fabbrica illuminata (1965), para voces y cinta magnetofónica; Ricorda cosa ti hanno fatto in Auschwitz (1966) y Como una ola de fuerza y luz (1972). A partir de la década de los ochenta, el compositor se interesó por los valores expresivos de los sonidos electrónicos directos; su obra se hizo entonces más intimista, y superó por completo los cánones vanguardistas imperantes. Fragmente – Stille, an Diotima (1980), para cuarteto de cuerdas; Prometeo, de 1984, su tercera ópera; y Découvrir la subversion. Hommage à Edmond Jabès (1987) se cuentan entre las composiciones más importantes de su última etapa creativa.

Biografías y Vidas

Intolleranza 1960, azione scenica in due tempi (1961). Bleibe! Bleibe! Bleibe!.

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Al gran sole carico d'amore, azione scenica in due tempi (1975). Tempo I. Nous reviendrons foule sans nombre - Scena 1. Risoluzione dei Comunardi - Anticipazion.

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Prometeo. Tragedia dell'ascolto (1984). Isola seconda. Hölderlin.

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 Asunto: Re: La otra ópera
NotaPublicado: 01 Sep 2023 13:12 
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Ubicación: MI6, London.
Creo que Al gran sole carico d'amore inauguró una temporada en La Scala... con gran escándalo del público. ¿Fue así?

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