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 Asunto: Re: La otra ópera
NotaPublicado: 16 Nov 2018 21:16 
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György Ránki (1907-1992) Born in Budapest, he studied composition with Zoltán Kodály at the Budapest Academy of Music from 1926 to 1930. He became interested in folk music and ethnomusicology, working with László Lajtha at the Museum of Ethnography in Budapest and later further studies in Asian folk music in London and Paris (at the Musée de l'Homme). He directed the music section of Hungarian radio from 1947 to 1948, after which he gave his attention to composition. Ránki not only employed authentic folk melodies and musical idioms in his music but also pulled on jazz elements. He possessed a gift for the grotesque and unusual, the colourful and humorous, which may be traced in part perhaps to his studies of non-Western music. His greatest successes have been stage works, above all the opera Pomádé király uj ruhája (‘King Pomádé’s New Clothes’, based on the Andersen story), which draws most of its material from Hungarian folk music. He also wrote a two-act mystery opera, Az ember tragédiája (The Tragedy of Man), based on the eponymous play by Imre Madách. South Asian influences are particularly evident in Pentaerophonia for wind quintet, which imitates gamelan effects. In some works he makes use of the Fibonacci series, following (presumably) Bartók; an example is the Fantasy 1514 for piano and orchestra, which was based on wood carvings by Derkovits. He also composed incidental music for the theatre and music for films.

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Pomádé király uj ruhája, ópera en dos actos (1953). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 23 Nov 2018 22:13 
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Otto Eric Sebastian Fagerlund (*1972) He was born in Parainen, Finland. Fagerlund began his musical studies with violin lessons at the Turku Conservatory, where his teacher was Simo Vuoristo. After a year spent studying in the Netherlands, he applied for the Sibelius Academy to study composition and graduated from the class of Erkki Jokinen in 2004. He has also attended master classes with Michael Jarrell, Magnus Lindberg, Ivan Fedele and others. He is described as “a post-modern impressionist whose sound landscapes can be heard as ecstatic nature images which, however, are always inner images, landscapes of the mind”. Echoes of Western culture, Oriental music and heavy metal may, for example, all be detected under the same Sky in the music of Fagerlund. His output covers a wide variety of genres, ranging from chamber opera to chamber music and works for solo instruments. The most prominent are his concertos and his works for orchestra. Together with clarinettist Christoffer Sundqvist, Fagerlund is Artistic Director of the RUSK Chamber Music Festival they founded in Pietarsaari/Jakobstad, Finland in 2013. Fagerlund was the Composer in Residence of The Royal Concertgebouw in Amsterdam season 2016-2017.

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Döbeln, ópera en dos actos (2008–2009). Escena quinta.

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Höstsonaten, ópera en dos actos (2014-2016). Final.

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 Asunto: Re: La otra ópera
NotaPublicado: 30 Nov 2018 22:51 
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Barbara White was born in Boston and was educated at Harvard/Radcliffe Colleges (A.B.) and the University of Pittsburgh (M.A., Ph.D.). She also studied in Paris with Betsy Jolas under the auspices of Harvard’s Paine Traveling Fellowship. White spent the 2000-01 academic year on sabbatical as a Bunting Fellow at the Radcliffe Institute for Advanced Study. In addition to being a prolific composer of chamber music, composer Barbara White has a long-standing interest in collaborative and interdisciplinary work, specifically in working with dance. In addition, she is an idiosyncratic clarinetist and is increasingly active as a video artist. The evening-length theatrical performance, Desire Lines, places music for solo gong, clarinet, and bamboo flute alongside video, movement and onstage ceremony. Weakness, created in 2012, is an opera that retells the Celtic story known as “The Curse of Macha” through words, song, sound, and movement. Recent performances have been presented by the Aspen Music Festival, the Orchestra of St. Luke’s Chamber Ensemble, Earplay, Lontano, Eighth Blackbird, janus, and the Chameleon Arts Ensemble. Honors and awards include a Fellowship from the Radcliffe Institute for Advanced Study, three awards from the American Academy of Arts and Letters, and a 2003 Guggenheim Fellowship. White’s scholarly writings address such matters as the coordination between sound and image; the relationship between creative activity and everyday life; as well as the impact on music of gender, listening, and spirituality. In 1998, she joined the faculty of the Princeton University Music Department, where she is now Professor.

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Weakness, ópera de cámara (2012). Beyond.

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Dic 2018 19:37 
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Johann Abraham Peter Schulz (1747-1800) He was born in Lüneburg. Schulz attended St. Michaelis school in Lüneburg from 1757 to 1759 and then the Johanneum there from 1759 to 1764. In 1765, he was the student in Berlin of composer Johann Kirnberger, and then taught in Berlin himself. In 1768 Kirnberger recommended Schulz for the position of music teacher and accompanist to the Polish Princess Sapieha Woiwodin von Smolensk. Schulz traveled with her for 3 years throughout Europe, where he came into contact with many new musical ideas. He served as the conductor of the French Theatre in Berlin from 1776 to 1780 and from 1780 to 1787 he was the Kapellmeister of Prince Henry in Rheinsberg. Schulz then went on to serve as Court Kapellmeister in Copenhagen from 1787 to 1795 before returning to Berlin. Schulz wrote operas, stage music, oratorios, and cantatas, as well as piano pieces and folk songs; he also wrote articles on music theory for Johann Georg Sulzer's (1720–1779) Allgemeine Theorie der schönen Künste in four volumes.

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Peters Bryllup, Singspiel en dos actos (1793). Del acto primero, Lykønsker mig! Danneqvinder!.

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