La otra ópera

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Nicholas Lens Noorenbergh (*1957) He was born in Ypres, Belgium. Lens is a composer of contemporary music, particularly known for his operas. His work is published by Schott Music and Mute Song and distributed by Universal Music Group and Sony BMG. In 2020 Nicholas Lens signed with Deutsche Grammophon. Lens lives alternately in Brussels and Venice. He has one daughter, the Berlin-based painter Clara-Lane Lens.

Wikipedia

Shell Shock, opera (2014). Canto of the Soldier.

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L.I.T.A.N.I.E.S, trance-minimal chamber opera (2020). Litany of The Forsaken.

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Louis-Luc Loiseau de Persuis (1769.1819) After commencing his studies of music in his hometown of Metz, Persuis moved to Paris in 1787, and entered the orchestra of the Opéra in 1793. His entire career was within this institution; he became choirmaster in 1803, then conductor in 1810, replacing Jean-Baptiste Rey. He simultaneously worked in administrative rôles, as manager, musical inspector-general (1816), stage manager (1817), then chief director from 3 September 1817 until 13 November 1819, on which date illness forced him to resign. Persuis composed ballets, operas, and opéras comiques. His greatest success was Le triomphe de Trajan (1807), written in collaboration with Le Sueur. From 1810 to 1815, Persuis was the most performed composer at the Opéra, with 157 performances, largely due to Trajan. His opéras comiques found favour at the Théâtre Favart. He also adapted others' works, for example the oratorio Les Croisés (Die Befreyung von Jerusalem, 1813) by Maximilian Stadler. Persuis taught singing at the Conservatoire de Paris until 1802. His name was proposed for a singing school at the Opéra, but the school was not established, although he continued to teach choristers informally. He died in Paris.

Wikipedia

Fanny Morna, ou L'écossaise, drama lírico en tres actos (1799). Aria: Ô divinité tutélaire.

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Giovanni Maria Capelli (1648-1726) The date of birth culled by Pelicelli from documents in the baptistry in Parma does not accord well with the known facts of Capelli's life. He is first heard of as a singer at Parma Cathedral in 1699, by which time, it seems, he had been ordained a priest. According to Pelicelli he was made maestro di cappella there the following year, but in the libretto of his second opera, L'amore politico (1713), he is described as the cathedral's vicemaestro. In July 1709 he was appointed organist at the church of the Madonna della Steccata in Parma. Since this post was effectively in the gift of the Farnese court, it may be presumed that by 1709 he had entered the service of Prince Antonio Farnese, brother of the reigning duke, Francesco. Capelli is mentioned as Prince Antonio's maestro di cappella in several of the opera librettos he set to music from 1720 on. A birth date in 1648 would mean that he was over 61 when he collaborated on his first opera, I rivali generosi (1710) and in his 78th year when he wrote his last, I fratelli riconosciuti. This is not impossible, of course, but it would be unusual for the time and it conflicts with Gerber's assertion that Capelli died in his prime (‘er starb in der Bluthe’).

La Borde described Capelli as ‘an excellent composer with a rare talent, that of originality’; Quantz, who attended one of the early performances of I fratelli, mentioned him in his autobiography as ‘a fiery and very inventive composer’. Capelli's surviving works support both these appraisals. The overall design of his operas is entirely conventional – an overture, a series of recitatives and arias (or duets) and a final coro – and the tonal structures of the arias are mostly predictable, with the cadence at the end of the B sections nearly always in the mediant minor or dominant minor. What is not predictable is Capelli's idiosyncratic mixing of progressive, archaic and wholly original elements. In the surviving operas, for example, the predominance of major keys and the absence of continuo arias are among the progressive features, as also are the rather galant triplet rhythms and ‘grace’ notes; among archaic features are certain mannerisms in the textual underlay and the occasional use of alla breve 4/2 metre, for example in three of the 12 surviving arias from Giulio Flavio Crispo. Capelli's inventiveness is well to the fore in I fratelli, not least in the first movement of the overture (an unusual amalgam of fugue and ritornello), in Laodice's Act 2 aria ‘Scopri, signor, la vittima’, made up entirely of three-bar phrases, and in the dazzling coloratura he provided for the young Farinelli in the role of Nicomedes.

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Giulio Flavio Crispo, ópera (1722). Aria: Piaccia agl’astri ed al senato.

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Stephen John Seymour Storace (1762-1796) He was born in London. His father, Stefano Storace (b. Torre Annunziata, ca. 1725; d. London, ca. 1781), an Italian contrabassist and composer, taught him the violin so well that at ten years old he played successfully the most difficult music of the day. The composer's youth was spent entirely in the company of musicians, since his father (also a composer and arranger) was the Musical Director of Marylebone Gardens. Mistrusting the quality of musical education available in England, Stefano Storace sent his son to Italy to study, at the Conservatorio di Sant' Onofrio, Naples. Stephen neglected his musical studies in Italy, and went on painting expeditions with Thomas Jones. His interest in art may not have been entirely extinguished, however – unlike the works of any of his English contemporaries, the printed vocal scores of all his operas feature elaborate engravings of what are presumed to be the stage-designs, and it is suggested that these drawings were Stephen's own work. No other artist, at least, seems to have claimed credit for them. Towards the end of their studies, Stephen and Nancy first made the acquaintance of Michael Kelly, whom they encountered by chance in Livorno. Kelly was with English-speaking friends, and ventured an opinion (in English) as to whether the young person with Stephen was a boy or a girl. "The person is a she-animal" retorted an offended Nancy in English as the first remark in what would be a lifelong friendship with both the Storaces.

Stephen Storace returned to England sometime between the years of 1780 and 1782, most likely to settle his father's affairs after his death in Naples, which probably happened around 1780–1781. Nancy, accompanied by her mother, Elizabeth, went to Vienna in January 1783. Nancy entered into an arranged marriage (most likely arranged by her mother) to the English violinist and composer John Fisher in March 1784. The marriage only lasted a few months. It is unclear how Stephen obtained his first commission to compose an Italian opera for the Viennese stage, but the commission was most likely obtained by Nancy sometime in the fall of 1784, with Stephen arriving in Vienna sometime in late December of that same year. Stephen produced his first opera, Gli sposi malcontenti, at Vienna, on 1 June 1785. The premiere, however, was marred by the failure of his sister's voice. She was singing the prima buffa role and collapsed on-stage in mid-aria, causing the performance to be abandoned. Nancy was pregnant and gave birth to a baby girl a few weeks later. The child was given to a foundling home by Elizabeth Storace, who claimed that it belonged to Nancy's estranged husband, John Fisher, who had been banished by the Emperor some months earlier for beating Nancy. Elizabeth Storace claimed that they did not care if the child lived or died; the child died in the foundling home a month after she was born. Nancy's return to the stage four months later was marked by the performance of Per la ricuperata salute di Ofelia, composed specially for the occasion by a trio of composers – Mozart, Salieri, and the unknown "Cornetti" (which may have been a pen-name for Stephen, Salieri, or even perhaps Emperor Joseph II). This rare example of a Mozart-Salieri collaboration was discovered only in 2016.

In Vienna, the Storaces knew Mozart very well. Nancy sang Susanna at the premiere of Mozart's Le nozze di Figaro, and Kelly sang Don Curzio. Stephen was regularly playing pool with Wolfgang. One interesting anecdote is that at one occasion in 1785 Haydn, Dittersdorf, Mozart and Wanhal played Storace's string quartet, Dittersdorf taking first violin, Haydn second violin, Mozart viola and Wanhal cello. The "English circle" in Vienna also included the composer Thomas Attwood. Stephen produced a second opera in Vienna, Gli equivoci, founded on Shakespeare's The Comedy of Errors. There is no clear explanation why the Storaces abandoned Vienna at the height of their success there. The reasons are suggested to be more personal than professional. Certainly the Emperor spoke of her with great admiration, even using her abilities as an arbitrary unit of currency – "I'd not give you a Storace for it!". Quite possibly Nancy was under pressure from Elizabeth, who was not at all happy in Vienna, and wished to return to England with both of her children in tow. Nancy left Vienna in February 1787, along with her "entourage" of Michael Kelly, her brother, and Thomas Attwood. Buoyed-up by their success on the Viennese stage, the coach-party which left for London could not have imagined they would find themselves rejected and unwanted in London, where their names were quite forgotten after such a long absence. Stephen was remembered – if at all – as an infant prodigy violinist at Vauxhall Gardens, and found it very hard to secure paying work without the cherubic charm of youth behind him, and moreover as an unknown composer.

Wikipedia

Gli equivoci, opera buffa (1786). Aria: Che delirio - Ah come.

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Frédéric-Michel Toulmouche (1850-1919) He was born in Nantes, and studied with Victor Massé at the Conservatoire de Paris. He became known as a composer of opéras comiques and opérettes, the best known of which were La veillée des noces (premiered at Menus-Plaisirs, Paris, 1888), Mademoiselle ma femme (Menus-Plaisirs, 1893), La perle du Cantal (Folies-Drarnatiques, Paris, 1895), La Saint-Valentin (Bouffes-Parisiens, 1895) and Tante Agnes (Olympia, Paris, 1896). Toulmouche's other light operas include: Ah! le bon billet (1882); L'âme de la patrie (1892); La belle au coeur dormant (1892); La chanson du roi (1894); La rêve de Madame X (1899); Les trois couleurs (1899); Auto-Joujou (1904); La môme Flora (1908); Chez la somnambule (1909); and La marquise de Chicago (1911). In the latter part of his career Toulmouche composed ballet scores for French music-halls, and was the chef de chant (vocal coach), for the Opéra-Comique, Paris. Little of Toulmouche's music was given abroad. His Le moutier de Saint-Guignolet (1885, revised 1888) was performed in an English adaptation as The Wedding Eve as the opening production of the Trafalgar Square Theatre, London, in 1892. The Musical Times commented that it was prudent of the management to commission Ernest Ford and "Yvolde" (Alfred Moul) to strengthen Toulmouche's score. Toulmouche died in Paris, aged 68.

Wikipedia

La Saint-Valentin, opereta en tres actos (1895). Le flirt, ô passe-temps charmant.

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Frank Bridge (1879-1941) He was born in Brighton, the ninth child of William Henry Bridge (1845-1928), a violin teacher and variety theatre conductor, formerly master lithographic printer from a family of cordwainers, and his second wife, Elizabeth (née Warbrick; 1849-1899). His father “ruled the household with a rod of iron” and was insistent that his son spend regular long hours practicing the violin; when Frank became sufficiently skilled, he would play with his father’s pit bands, conducting in his absence, also arranging music and standing in for other instrumentalists. He studied at the Royal College of Music in London from 1899 to 1903 under Charles Villiers Stanford and others. He played the viola in a number of string quartets, most notably the English String Quartet (along with Marjorie Hayward), and conducted, sometimes deputizing for Henry Wood, before devoting himself to composition, receiving the patronage of Elizabeth Sprague Coolidge.

According to Benjamin Britten, Bridge had strong pacifist convictions, and he was deeply disturbed by the First World War, although the extent of his pacifism has been questioned in recent scholarship. During the war and immediately afterwards, Bridge wrote a number of pastoral and elegiac pieces that appear to search for spiritual consolation; principal among these are the Lament for strings, Summer for orchestra, A Prayer for chorus and orchestra, and a series of pastoral piano works. The Lament (for Catherine, aged 9 “Lusitania” 1915), for string orchestra, was written as a memorial to the sinking of the RMS Lusitania. The piece was premiered by the New Queen’s Hall Orchestra, conducted by the composer, on 15 September, at the 1915 Proms, as part of a programme of “Popular Italian music”, the rest of which was conducted by Henry Wood.

Bridge privately taught Benjamin Britten, who later championed his teacher’s music and paid homage to him in the Variations on a Theme of Frank Bridge (1937), based on a theme from the second of Bridge’s Three Idylls for String Quartet (1906). However, Bridge was not widely active as a teacher of composition, and his teaching style was unconventional – he appears to have focused on aesthetic issues, idiomatic writing, and clarity, rather than exhaustive technical training. Britten spoke very highly of his teaching, saying famously in 1963 that he still felt he hadn’t “yet come up to the technical standards” that Bridge had set him. When Britten left for the United States with Peter Pears in 1939, Bridge handed Britten his Giussani viola and wished him ‘bon voyage and bon retour’; Bridge died in 1941 without ever seeing Britten again.

Wikipedia

The Christmas Rose, ópera para niños en tres escenas (1909–1929). Escena segunda: The way to Bethlehem.

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Andrea Stefano Fiorè (1686-1732) He was born in Mailand, son of Angelo Maria Fiorè. He was a child prodigy: in the dedication of his Sinfonie da chiesa dated 20 April 1699 he explained that the pieces ‘are the last squalls of my infancy, and the first expressions of my boyhood, I having just turned 13’. The title-page of this collection of 12 trio sonatas indicates that he was musico di camera of the dedicatee, Vittorio Amedeo II, Duke of Savoy, a member of the Bolognese Accademia Filarmonica (which he joined with his father in 1697), and Milanese by birth. The royal account books in the Turin State Archive (I-Ta) show that the duke sent Andrea Stefano (mistakenly named Giovanni Battista in a document), with G.B. Somis, to study in Rome. Several payments for the trip were made between 24 June 1703 and 20 January 1707 although Somis had returned to Turin in 1706. If Engelberta, an opera previously attributed to B.G. Marcello and performed in Milan in 1704, is Fiorè’s work, as is now accepted, then he may have returned from Rome as early as 1704. An opera composed for Carnival 1707, La casta Penelope (if not also L’Anfitrione, attributed to Fiorè by Manferrari), was well received, and the Duke of Savoy soon thereafter appointed Fiorè his maestro di cappella (13 June 1707). Until his death in 1732 he was in charge of the 30 to 36 musicians at the Turin court and the singers at the cathedral. 16 scores of sacred music in the cathedral chapter archive (I-Td) testify to his direction of the choir there. While Turin’s Teatro Regio remained closed (1704–1714), Fiorè was at liberty to produce operas elsewhere; three in Vienna (1708–1710) and one in Reggio nell’Emilia (1713) imply trips to those cities. For the reopening of the Turin opera house in 1715 Fiorè composed Il trionfo d’Amore. Two of his later operas for Turin, Sesostri (1717) and I veri amici (1728), were written with G.A. Giai, his successor as maestro at the Savoy court. In a letter to B.G. Marcello from Turin, on 2 February 1726, Fiorè expressed admiration for Marcello’s counterpoint; Marcello printed the letter in his collection of psalm settings (Venice, 1726). Quantz, who visited Turin in June 1726 and praised Fiorè’s orchestra and its leader Somis, wrote that he regarded Fiorè one of the best Italian composers of church sonatas. Until more scores of his operas come to light, modern judgment of Fiorè’s music must be based chiefly on his published trios, a handful of solo cantatas and his surviving choral music.

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Engelberta, ópera seria en cinco actos (1704). Aria: Usignolo che col volo.

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Sesostri, rè d’Egitto, ópera seria en tres actos (1717). Aria: Mira l’onda furibonda.

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Pirro, ópera en dos actos (1719). Aria: Un cor più misero.

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Daniel Gottlieb Steibelt (1765-1823) He was born in Berlin, and studied music with Johann Kirnberger before being forced by his father to join the Prussian Army. Deserting, he began a nomadic career as a pianist before settling in 1790 in Paris, where he attained great popularity as a virtuoso as the result of a piano sonata called La Coquette, which he composed for Marie Antoinette. Also in Paris, his dramatic opera entitled Romeo et Juliette, which was later highly regarded by Hector Berlioz, was produced at the Théâtre Feydeau in 1793. This is held by many to be his most original and artistically successful composition. Steibelt began to share his time between Paris and London, where his piano-playing attracted great attention. In 1797 he played in a concert of J. P. Salamon. In 1798 he produced his Concerto No. 3 in E containing a Storm Rondo characterized by extensive tremolos, which became very popular. In the following year Steibelt started on a professional tour in Germany; and, after playing with some success in Hamburg, Berlin, Dresden, and Prague, he arrived at the end of March 1800 at Vienna, where he is reported to have challenged Beethoven to a trial of skill at the house of Count Moritz von Fries. The oft-quoted account by Ferdinand Ries was written 37 years later; Ries did not attend it and became only later a student and friend of Beethoven. Ries describes how Beethoven carried the day by improvising at length on a theme taken from the cello part of a new Steibelt piece, placed upside down on the music rack. Reportedly, Steibelt stormed out of the room, never to set foot in Vienna again. Ries' account, however, contains two factual errors.

Following this supposed public humiliation Steibelt ended his tour. (The date of his departure from Vienna is not known, while Beethoven did leave Vienna at the end of April or beginning of May: he played in Buda, Hungary, on 7 May.) Steibelt went again to Paris, where he organised the first performance of Joseph Haydn's oratorio The Creation, which took place on 24 December 1800 at the Opera House. On his way to it, the First Consul Bonaparte narrowly escaped a bomb attack. Steibelt had just published one of his most accomplished sonatas, which he had dedicated to Bonaparte's wife, Josephine. After a second stay in England from March 1802 to March 1805, Steibelt returned to the continent, gave concerts in Brussels (April 1805), and was back in Paris in Summer. He celebrated Napoleon's triumph at Austerlitz with a Musical Interlude named La Fête de Mars, whose première was attended by Napoleon in person (4 February 1806). In 1808 he was invited by Tsar Alexander I to Saint Petersburg, succeeding François-Adrien Boieldieu as director of the French Opera in 1811. He remained there for the rest of his life. In 1812, he composed The Conflagration of Moscow, a grand fantasy for piano dedicated to the Russian nation. Steibelt generally ceased performing in 1814, but returned to the platform for his Concerto No. 8, which was premiered on March 16, 1820, in Saint Petersburg, and is notable for its choral finale. This was four years before Beethoven's unconventional Symphony No. 9, and was the only piano concerto ever written (excluding Beethoven's Choral Fantasy) with a part for a chorus until Henri Herz's 6th concerto, Op. 192 (1858) and Ferruccio Busoni's Piano Concerto (1904). Steibelt died in Saint Petersburg on September 20, 1823, following a prolonged illness.

Wikipedia

Romeo et Juliette, ópera en tres actos (1793). Aria: Je vais donc usurper les droits de la nature.

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Noël Coward (1899-1973) Nació en Teddington. Empezó a actuar desde muy pequeño en varios teatros de Inglaterra, cosechando un gran éxito como actor infantil. En 1920 escribió su primera obra, titulada Leave it to You (Déjalo para ti). Posteriormente concibió otras piezas teatrales, pero no fue hasta 1924, con The Vortex (El torbellino), cuando Coward alcanzó su mayor reconocimiento. The Vortex es un drama familiar sobre lo que entonces se consideraba un tema escabroso: la promiscuidad y la adicción a las drogas. La escena culminante era el enfrentamiento entre la madre, destrozada por la pérdida de su joven amante, su hijo -dependiente de las drogas- y la novia de éste. Llena de recriminaciones y de reconciliaciones, estuvo interpretada de modo sobresaliente por el propio Coward y Lillian Braithwaite. La forma de construir los diálogos de Coward, si bien no era profunda ni estaba llena de un vocabulario rico, tenía un gran sentido de lo teatral. Fue un maestro en manejar situaciones para conseguir efectos de sorpresa y su destreza en la dirección de escena lograba dar una apariencia de profundidad a conflictos superficiales y sentimentales.

El autor londinense destacó por la puesta en escena de textos en los que se trata de forma desenfada y en clave de humor el descrédito de las generaciones surgidas al finalizar la Primera Guerra Mundial. Easy virtue (Virtud fácil), The Queen was in the Parlour (La reina estuvo en el salón) y Bitter Sweet (Agridulce), de 1928, atestiguan el interés del dramaturgo por reflejar las pequeñas miserias de la clase media de su país. Estas obras son una mezcla de drama social y comedia de costumbres con una intención satírica, en las que se denuncia a la sociedad burguesa por su inmoralidad e hipocresía, con un toque melodramático que Coward toma de las primeras obras de Oscar Wilde y de W. Somerset Maugham.

Dos de sus obras más importantes son Private Lives (Vidas privadas), de 1930, y Cavalcade (Cabalgata), de 1931. También alcanzó gran éxito la obra teatral Un espíritu burlón (Blith spirit, 1941), que fue llevada a la gran pantalla. Con la primera, Coward adquirió un estilo inconfundible y moderno, y de aquí en adelante se convirtió en un maestro de la comedia de costumbres suave y austera. Private Lives es una comedia de relaciones sociales y sexuales, con personajes con psicología, un diálogo ingenioso y una sátira de las pretensiones de la alta sociedad de los años veinte y treinta. Su estructurada línea argumental indica el grado de artificiosidad de esta clase social. La comedia de costumbres que Coward desarrolla en esta pieza es, sobre todo, un drama doméstico: la mayoría de los personajes están casados o comprometidos, y la comicidad reside en el énfasis que se da a la libertad individual y los modos en que el desarrollo personal y la autoestima son contrarios a las convenciones impuestas por la sociedad.

Muchas de las obras de Coward entran de lleno en este género de comedias sofisticadas y tienen un fino sentido de lo teatral y un diálogo ingenioso. Pero su talento abarcó también otros géneros. Conversation Piece, escrita en francés y en inglés, es más una comedia sentimental que de costumbres, pero también un drama histórico sobre Brighton en 1811. Otras obras se acercaron al drama naturalista, como Cavalcade, que presentaba una visión sobre la vida cotidiana inglesa entre la guerra de los boers y la noche del armisticio de la Primera Guerra Mundial. Como cineasta, Coward destacó también por la redacción del guión del famoso filme Sangre, sudor y lágrimas (In which we serve), de 1942, en el que se aborda la tragedia humana de la Segunda Guerra Mundial. Los sucesivos fracasos que obtuvieron sus producciones en la década de los años cincuenta lo apartaron progresivamente del mundo de la escena. El autor decidió entonces dedicarse preferentemente al mundo de la revista musical, y publicó diversas novelas y libros de cuentos, entre los que cabe citar Pam and Cirscunstance (1960) y The collected short stories of Noel Coward (Antología de cuentos de Noel Coward), de 1962. Cabe citar también las obras La encantadora familia Blis y Naturaleza muerta.

Biografías y Vidas

Bitter-Sweet, opereta (1928-1929). We'll have a sweet little café.

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Pierre Jélyotte (1713-1797) Born Pierre Grichon in Lasseube, he studied in Toulouse (voice, harpsichord, guitar, violin, composition) and made his stage debut in Paris as a singer at the Concert Spirituel in 1733. That same year, he made his debut at the Opéra de Paris, in Les fêtes grecques et romaines, by François Colin de Blamont. He thereafter created several roles in opera by Jean-Philippe Rameau, such as; Hippolyte et Aricie, Les Indes galantes, Dardanus, and Zoroastre, as well as in opera by Jean-Baptiste Lully, André Campra, and André Cardinal Destouches. In all he sang some 150 roles, sometimes dressed as a woman. He often appeared at Court in Fontainebleau, where he sang Daphnis in Daphnis et Alcimadure by Jean-Joseph de Mondonville, and Colin in Le devin du village by Jean-Jacques Rousseau. In 1755, he retired from the Opéra, singing in Castor et Pollux, but continued singing at court until 1765. He then joined the "Orchestre du Roi" (the King's Orchestra) as a violinist and guitarist, and later joined the private orchestra of Madame de Pompadour as a cellist, and wrote a few "comédies-ballets", notably Zeliska. He died, aged 84, in Oloron. Widely regarded as the "greatest singer of Europe" in his time, his voice type was then known as haute-contre, his voice was by all account powerful, and in some ways prefigured a new vocal type closer to the tenor as we know it today, opening the doors to a new style of singing, as Adolphe Nourrit and Gilbert Duprez would soon demonstrate.

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Zeliska, comédie-ballet (1746). Aire: Ici les ris et les jeux.

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Josef Gabriel Rheinberger (1839-1901) He was born in Vaduz. Rheinberger was the son of the Prince of Liechtenstein's treasurer Johann Peter Rheinberger and Elisabeth Carigiet, who came from the Rhaeto-Romanic canton of Grisons. The first to discover his talent was the organist and teacher Sebastian Pöhli, from whom he had his first lessons at the age of five. He made such startling progress that at seven he was organist in Vaduz; he also began to write music, including a three-part mass with organ accompaniment. In 1848 he was taught harmony, the piano and the organ by the choir director of Feldkirch, Philipp Schmutzer, who also introduced him to the works of Bach and the Viennese Classical composers. Although by this time he was making frequent public appearances as a pianist, it was only through pressure and persuasion from the composer Nagiller that the boy's father decided to send him for further study to Munich, where he moved in 1851, making it his permanent home.

At the Munich Conservatory, where Franz Hauser was director, Rheinberger studied theory with J.H. Maier, the organ with J.G. Herzog and the piano with J.E. Leonhard; later he also had occasional private instruction from Franz Lachner. Even in his student days (up to 1854) his rapidly developing talent, as an organist and in such techniques as counterpoint, fugue and score-reading, won much admiration. K.F.E. von Schafhäutl in particular had an important and beneficial influence on the intellectual and spiritual growth of the young artist. As early as 1853 Rheinberger was employed as an organist at a number of churches and also earned his living as a private music teacher. Above all, he devoted himself with great zeal to composition, and in the next few years he wrote well over 100 works of the widest variety; but he was critical of all these early works and did not release them: his op.1, four piano pieces, appeared only in 1859. That year he was taken on to the staff of the conservatory, first as a piano teacher and then in theory subjects as well; in addition he became organist at St Michael and soon achieved some notable early successes as a composer with a Stabat mater and incidental music to Calderón's El mágico prodigioso. In 1864 he succeeded Perfall as conductor of the Munich Oratorienverein, a post he held until 1877; during this period he proved himself an able choral conductor, especially of works by Handel. He also worked for a time as a coach at the court opera and thus witnessed at close quarters the events and feuds surrounding Richard Wagner's stay in Munich, which culminated in the première of Tristan und Isolde. In 1867 he became a professor at the conservatory, where he remained until his death a highly revered, much sought-after and increasingly renowned teacher. Bülow, who was a friend of his and also did much to promote his compositions, said ‘Rheinberger is a truly ideal teacher of composition, unrivalled in the whole of Germany and beyond in skill, refinement and devotion to his subject; in short, one of the worthiest musicians and human beings in the world’.

In 1867 Rheinberger married his former pupil Franziska von Hoffnaass (1832–1892), a socially influential and widely cultured woman who was also a gifted poet (Rheinberger set much of her poetry). Her (unpublished) diary is of biographical as well as contemporary historical interest. Rheinberger was now frequently plagued by ill-health; he nevertheless continued to compose indefatigably, enjoying the company of a few valued friends, as befitted his retiring, somewhat melancholy nature. His career was accompanied by many, if not all spectacular, successes which brought him numerous honours and marks of recognition. In 1877 he was appointed Hofkapellmeister and thereby acquired considerable influence on the cultivation of sacred music. In 1894 he was ennobled and awarded the title of privy councillor; in 1899 the University of Munich awarded him an honorary doctorate. He was also a member of the Berlin Royal Academy (1887) and a corresponding member of the Paris and Florence academies. He died a few weeks after his retirement. His grave in Munich was destroyed during World War II and since 1950 he has lain buried in his birthplace. His entire artistic legacy went to the Bayerische Staatsbibliothek.

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Der arme Heinrich, Komisches Singspiel für Kinder (1863). Denkt, Herr Lehrer was passiert.

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Das Zauberwort, Singspiel für die jugendliche Welt (1888). Still, der Kalif will träumen.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2903

Johann Sigismund Kusser (1660-1727) He was born in the Kingdom of Hungary. The son of Johann Kusser, a Protestant cantor in Pressburg (then in the Kingdom of Hungary), Johann Sigismund and his parents moved to Stuttgart in 1674 because of religious persecution. Two years later he went to spend six years in Paris and the Palace of Versailles. There he met the French court composer Jean-Baptiste Lully and learned from him how to compose in the French style. Kusser was then employed at the princely courts in Baden-Baden and Ansbach, before taking a trip to Germany in October 1683. In 1690 he became the first Kapellmeister of the Opernhaus am Hagenmarkt in Braunschweig. In the following years, he married Hedwig Melusine von Damm, daughter of a local Ratsherr. Their daughter Auguste Elisabeth married the Braunschweig historian Philipp Julius Rehtmeyer. During his time there, Kusser wrote eight operas, enriching the Italian-influenced repertoire. Disagreements in 1694 with the librettist and court poet Friedrich Christian Bressand led Kusser to move to the Oper am Gänsemarkt in Hamburg. He then left Hamburg at the end of 1695 and, after spells working in Nuremberg and Augsburg, took a post at the court of Eberhard Louis, Duke of Württemberg in 1699, being made Hofkapellmeister there the following year. At the end of 1704, he moved to London as a composer and private music teacher. In 1707 he went to Dublin and in 1711 was made Chapel-Master of Trinity College Dublin. He was then appointed "Chief Composer" and "Master of the Musick, attending His Majesty's State in Ireland" in 1716, dying in Dublin in 1727. His tasks included the composition of annual birthday odes for the English king and other festive occasions; his Dublin serenatas were staged like semi-operas. Kusser's works are now rarely played, but he influenced the following generation of composers, such as Reinhard Keiser, Johann Mattheson, Georg Philipp Telemann, Christoph Graupner, Georg Caspar Schürmann and George Frideric Handel.

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Adonis, ópera en tres actos (1699-1700). Dritter Auftritt: Adonis. Achter Auftritt: Daphne, Apollo .

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2903

Roger Doyle (*1949) Born in Malahide, County Dublin, Doyle studied piano from the age of nine. After leaving school he attended the Royal Irish Academy of Music for three years, studying composing, during which time he was awarded two composition scholarships. He also studied at the Institute of Sonology at the University of Utrecht in the Netherlands and the Finnish Radio Experimental Music Studio on scholarships. As a teenager Doyle was influenced by Stravinsky, Debussy, Pierre Henry and The Beatles.

Wikipedia

Heresy, an electronic opera (2013). The Throne Room of Henry III.

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Abdallo · **Publicado:** 09 Feb 2024 12:55

Estimado maestro, creo que sus opiniones/valoraciones sobre el Lear de Reinmann pueden ayudarnos a comprender mejor esta obra. Porque, desde luego, neo no es :wink:

Gracias de antemano

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2903

Dónde se está discutiendo eso? :shock:

La otra ópera

¿Quién está conectado?