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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2995

Antonio Francesco Coppola [1917-2020] He was born in Ocean Hill, Brooklyn but grew up mostly in East Harlem. He was the son of Maria [née Zasa] and Agostino Coppola, who came to the United States from Bernalda, Basilicata. Coppola started his career at the age of eight with the Metropolitan Opera Children's Chorus. At the age of 9 he was in the Met's debut of Turandot. He served as an army bandmaster during World War II, conductor at Radio City Music Hall and director of both the Symphony and Opera Departments at the Manhattan School of Music. He earned a bachelor's degree [1964] and a master's degree [1965] in composition from Manhattan School of Music and received honorary Doctorates from the University of Tampa and Quinnipiac University in Connecticut.

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Sacco and Vanzetti, ópera [2001]. Luigia’s Prayer.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2995

Rudolf Wagner-Régeny [1903-1969] He was born in Szászrégen, Transylvania, Kingdom of Hungary, Austro-Hungarian Empire, now Reghin, Romania, he became a German citizen in 1930, and then East German after 1945. From 1919 to 1920 he studied at the Leipzig Conservatory. In 1920 he enrolled at the Berlin Hochschule für Musik as a student of Rudolf Krasselt and Siegfried Ochs for conducting, and for orchestration of Emil von Řezníček, and with Friedrich Koch and Franz Schreker for musical composition, graduating in 1923. He served as choirsmaster at the Volksoper Berlin from 1923–1925. In 1927 joined Laban's dance company where he conducted productions for three years. Wagner-Régeny first gained notice as a composer with his theatre pieces for Essen. In 1929 he met the designer Caspar Neher, who wrote the texts for Wagner-Régeny's best-known operas. In 1930 Wagner-Régeny became a naturalized German citizen, and married, his wife being half-Jewish. Between 1930 and 1945 he worked as a freelance composer and teacher, and with the rise of the Nazis was promoted by a faction of the party as a composer of the future despite the stylistic closeness of his music to the proscribed Kurt Weill. He managed to gain the friendship and esteem of Baldur von Schirach and his works were performed by Karl Böhm and Herbert von Karajan. However, the success of his opera Der Günstling [after Georg Büchner, Dresden, February 20, 1935] was followed by doubts regarding his subsequent output, ending in a scandal with his opera Johanna Balk at the Vienna State Opera [April 4, 1941], which aroused the ire of Joseph Goebbels.

As punishment, Wagner-Regény was drafted into the military in 1942 [or 1943], though he managed to secure a desk job in the army, and survived the war. After the close of World War II, Rudolf Wagner-Régeny opted for East instead of West Germany. He was director of the Rostock Hochschule für Musik from 1947 to 1950. In 1950 he was appointed as a professor of composition at the [East] Berlin Hochschule für Musik and at the Academy of Arts. He continued to work there until illness prevented it in 1968. As a composer, Wagner-Regény wrote numerous symphonic works and chamber works. He composed 12 operas of which Die Bürger von Calais [1936, libretto by Neher], Johanna Balk [1938], Das Bergwerk zu Falun [1958, after ETA Hoffmann] [cf. "The Mines of Falun"] and Prometheus [1959] are considered his best work. His 1958 ballet Tristan is also greatly admired. He struggled to find a musical language distinct from the extremes of modernism but without any association with fascist aesthetics. His early compositions were inspired by Busoni, Kurt Weill and Schoenberg. His theatre collaborations with Neher and Bertolt Brecht were also of importance for the development of his style. After composing works along traditional lines, he adopted his own twelve-tone serial technique in 1950. In their transparency and austerity, his stage works follow the music theatre of Weill and Hanns Eisler and somewhat parallel those of Boris Blacher.

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Die Bürger von Calais, ópera en tres actos [1939]. Majestät, hier voll Staub ein Weib.

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Giovanni Porta [c. 1677-1755] He was born in Venice. Porta was a pupil in Venice of Francesco Gasparini, and is thought to have been from 1706 to 1710 at Cardinal Ottoboni’s court in Rome, where he would have worked with Corelli. He held the post of maestro di cappella at Vicenza Cathedral in 1710–1711 and at Verona Cathedral in 1714–1716. In 1716 he returned to Venice and began a busy period of opera composition. Porta is known today mainly for his Numitore, commissioned to open the first season of the Royal Academy in London on 2 April 1720. He afterwards continued to compose operas for Italian theatres. From 1726 to 1737 he was maestro di coro at the Ospedale della Pietà in Venice, where, as a colleague of Vivaldi, he wrote a wealth of sacred music for the renowned female chorus and orchestra and where he was paid an annual salary of 200 ducats, with extra payments for occasional works. From 1726 he was also on the roster of the Accademia Filarmonica in Verona. In 1733 he applied for the post of maestro di composizione at the Ospedale dei Derelitti [the Ospedaletto], but his obligation to the Pietà preventing his accepting a second position. In 1736 he entered the competition for the post of maestro di cappella at San Marco, but he again withdrew; Antonio Lotti was elected. The following year Porta left Venice to accept a position as Hofkapellmeister at the Bavarian court of the Elector Karl Albrecht in Munich, where he remained until his death. Porta’s operas are representative of the general Venetian trends of the 1720s and 30s, when the close relationship between genres affected the drama and virtuosity of the music. The composer shared the penchant for fast running scales, arpeggios, wide melodic leaps, extended sequences and especially the popular Venetian sonority of the tutti unison texture. In the sacred music he composed for the Pietà the basic medium is the four-part string orchestra with continuo and a choir of sopranos and altos. Many works call for double choir and frequently employ ritornello form. They use a wide range of textures, from the tutti unison to four-part writing, in ways that reinforce the musical structure. The solo movements are clearly virtuoso, with trills, passage-work, wide leaps and long melismas. The influence of opera and the concerto helps to produce a repertory of distinctive sonority and lively character.

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La constanza combattuta in amore, dramma per musica [1716]. Aria: Mormorando quelle fronde.

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Ifigenia in Aulide, Teutsch-musicalisches Trauerspiel [1738]. Aria: Madre diletta, abbracciami.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2995

Oliver Leith [*1990] He studied at the Guildhall School of Music and Drama [2009-2015], where his teachers included Julian Philips and Paul Newland. His music has been performed at music venues including the Royal Festival Hall, the Barbican Centre, Wigmore Hall, Kings Place and Snape Maltings. His music has been broadcast by BBC Radio 3. In October 2022, Leith's debut opera, Last Days premiered at the Linbury Theatre. It was a co-production between the Royal Opera House and the Guildhall School of Music and Drama. The title and concept for the opera were taken from the 2005 film of the same name by Gus van Sant, which was a fictionalised account of the last days of Kurt Cobain.

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Last Days, ópera en tres actos [2022]. The Magician Story.

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Pietro Auletta [c1698-1771] He was born in Sant’Angelo, nr Avellino. He completed his musical training at the Neapolitan conservatory S Onofrio. Some time before 1724 [according to Prota-Giurleo] he was appointed maestro di cappella of S Maria la Nova, an important Neapolitan church. In 1725 he composed his first comic opera, Il trionfo dell’amore, ovvero Le nozze tra amici, for production at the Teatro Nuovo in Naples. His second comic opera, La Carlotta, appeared in Naples in 1726, and his first heroic opera, Ezio, in Rome in 1728. At Carnival 1737 he re-emerged as a dramatic composer with the first production in Naples of his comic opera Orazio. This work, which was extremely popular, had a long subsequent history; it was continually modified as it was performed in city after city and quickly turned into a pasticcio. In that form it was sometimes ascribed to Auletta and sometimes to other composers. One famous production, a much-shortened version of the original Orazio, took place in Paris in 1752 under the title Il maestro di musica. The score printed in Paris in 1753 attributed the music to Pergolesi, but in fact it was by several composers including Auletta, who was represented by four items from his original opera. As a pasticcio it was also known as Le maître de musique, La scolara alla moda, and perhaps El maestro de capilla. An anonymous Impresario abbandonato is identified in the library catalogue as a revised version of Orazio and was probably performed at Munich in 1749 and 1758. For a few years after the first production of Orazio Auletta was much in favour among the Neapolitans. Between 1738 and 1740 he wrote no fewer than four comic operas for Naples, as well as an intermezzo for the marriage of the Infante Felipe in Madrid. After 1740, for a reason as yet unknown, his operatic output fell sharply. In the librettos of some of his operas, including Il trionfo dell’amore [1725], La Carlotta [1726], Ezio [1728], Il Marchese Sgrana [1738] and L’impostore [1740], Auletta is called maestro di cappella to the Prince of Belvedere.

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L'Orazio, commedia per musica en tres actos [1737]. Aria: Benché frema avverso il fato. Aria: Vò dirlo basso, basso.

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Jacques Bank [*1943] Nació en Ámsterdam. Bank estudió composición en el Conservatorio de Amsterdam con Ton de Leeuw y Jos Kunst, recibiendo el premio de composición cuando se graduó en 1974. Sus composiciones se han estrenado tanto en los Países Bajos como en el extranjero, en particular en las Semanas de la Música de la Fundación Gaudeamus en 1973, 1974 en 1975, el Festival de Holanda en 1976 y las New World Music Days de la Sociedad Internacional de Música Contemporánea en Israel. en 1980. Su ópera Een tanthologie se estrenó en 1988. Bank escribió Episodios de la vie d'un artiste en conmemoración del 75 aniversario de la Orquesta Filarmónica de Rotterdam en 1994. De 2000 data De Bijlmer Opera y de 2005 De ondergeschoven koningin.

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De Bijlmer Opera, ópera en 17 escenas [1999]. Fragmento.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2995

Parashkev Hadjiev [1912-1992] Nació en Sofía, Bulgaria. Estudió composición con Pancho Vladigerov y piano con Andrej Stojanow en la Academia Nacional de Música de Sofía, prosiguió sus estudios de composición en Viena en 1937 con Joseph Marx y de 1938 a 1940 en Berlín con Heinz Tiessen. En 1940 regresó a Sofía, donde desde 1947 fue profesor en su antigua academia. Fue uno de los compositores más productivos e interpretados de su país en el siglo XX; Su obra incluye 21 óperas, 6 operetas, 3 musicales y 1 ballet, así como obras para orquesta, música de cámara, para piano, música radiofónica y cinematográfica, obras corales y canciones.

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Maria Desislava, ópera [1978]. Aria: Velíki bózhe, chuy móyata molbá!

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2995

Jacques Dupont [1906-1985] conocido como Jaque-Dupont nació en París. Aprendió las primeras notas de su madre que era pianista. A los cinco años tocaba las sonatas de Muzio Clementi. En 1914 interpretó un "Concierto para piano y orquesta" de Händel en Dijon. En 1915 ingresa en el Conservatoire national de musique et de déclamation de París donde estudia piano con Alfred Cortot, armonía con Marcel Samuel-Rousseau, contrapunto y fuga con Noël Gallon, música de cámara con Max d'Ollone, dirección de orquesta con Henri Rabaud, historia de la música con Maurice Emmanuel, y composición con Henri Busser, obteniendo el Primer Premio en todas las clases. Con su cantata L'ensorceleuse en 1931 obtiene el Grand Prix de Rome de composición musical por unanimidad del jurado. Durante su estancia en la Villa Médicis compone diversas obras, entre ellas el Primer concierto para piano y orquesta en 1932 y el Concierto para violín y orquesta en 1933.

Historia de la Sinfonía

Le Roy fol, ópera en un preludio y seis capítulos [1956]. Capítulo II.

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Giovanni Battista Costanzi [1704-1778] He was born in Rom and was probably a pupil of G.L. Lulier. He entered the employ of Cardinal Pietro Ottoboni in Rome in 1721, serving first as aiuto da camera and then in 1737 as capo d’istromenti in succession to Corelli. After the brilliant success of his opera Carlo Magno in 1729, he was appointed, through Cardinal Ottoboni’s patronage, to a number of the most important posts of maestro di cappella in Rome: at S Luigi dei Francesi in 1729, at S Lorenzo in Damaso [the cardinal’s titular church] in 1731, at S Marco and S Maria in Vallicella [in succession to G.O. Pitoni] in 1743, and at S Pietro [Cappella Giulia] in 1755. His growing reputation as an instrumentalist and composer brought him a succession of honours, among them the presidency of the Congregazione di S Cecilia in Rome in 1740, 1754 and 1769. Boccherini reportedly studied under him in 1757. Costanzi was among the most prolific composers of the 18th century but only a part of his output has survived. To judge from what remains, secular dramatic works predominated until about 1740, but later he concentrated on religious music. His historical significance, however, lies in his instrumental compositions. In form, his works for cello closely follow the succession of movements found in the sonata da chiesa, but they also occasionally borrow certain types of movement from the sonata da camera. Passages in his compositions requiring brilliant execution suggest that he was a virtuoso cellist. According to Grétry he was one of the best-loved church composers in Rome.

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L’Eupatra, dramma per musica [1730].Aria: Per due pupille belle.

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František Jan Škroup [1801-1862] He was born in Osice near Hradec Králové. At the age of eleven he moved to Prague where he supported himself as a choir boy and flautist. He continued his schooling at one of the most important Czech national revival movement centres, Hradec Králové, where he was a choirboy at the cathedral. While there he studied with the local choirmaster and composer Franz Volkert. He later moved back to Prague to study at the university. He became a fairly successful opera and singspiel composer producing more than a dozen stage works. Among Škroup's part-time jobs was organist at the "Temple of the Israelite Society for Regulated Worship," known since the late nineteen-forties as the "Spanish synagogue." His last position was as the musical director of the German opera in Dutch Rotterdam. He died there and, as a person without means, was buried in a mass grave. He also produced an oratorio, a mass, and a few other sacred works. He is best remembered today as the author of the melody for the Czech national anthem "Kde domov můj?".

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Columbus, ópera en tres actos [1855]. Když Umřel On, Ať Zemru Také.

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Camille Erlanger [1863-1919] He was born in Paris. His family, originally from Alsace, had settled in Paris where his father kept a milliner's shop. Although he showed talent for music quite early, he complied with his father's wishes and entered an industrial firm as a trainee accountant. However, several people who had noticed his musical gifts eventually persuaded his father to let him study at the Paris Conservatoire, which he entered in 1879, attending the classes of Georges Mathias [piano], Emile Durand and Antoine Taudou [harmony] and most notably Léo Delibes [composition]. After winning second prize in the Prix de Rome competition in 1887, he won first prize the following year with his cantata Velleda, and stayed at the Villa Medici until 1891. The most important work he composed there was his Saint Julien l'hospitalier. Erlanger was attracted to the stage rather than the concert hall, and his first dramatic work, Kermaria, was produced in 1897. It was coolly received by both the public and the critics, but he was more fortunate with Le juif polonais [1900], a great success which remained in the repertory of French opera houses until the 1930s. His only other opera to make its mark was Aphrodite [1906], from the novel by Pierre Louÿs. This work, tinged with an eroticism that was rather daring for its time, had a huge success at its première [with Mary Garden], and was performed 182 times in Paris up to 1926. Erlanger died suddenly from an attack of angina, leaving three works finished or almost completed: Hannele Mattern, Forfaiture and Faublas.

Erlanger was one of a generation of French operatic composers including such musicians as Bruneau, Hüe and Leroux on whom the influence of Wagner and Massenet weighed heavily. He had a solid technique, and his works bear witness to an assured sense of musical scene-setting and remarkable qualities of orchestration, most obvious in the large crowd scenes in Le fils de l'étoile and Aphrodite. However, despite these virtues and a harmonic language that did not shrink from surprisingly bold effects, he was handicapped by a lack of melodic inspiration which made it impossible for him to provide a wholly satisfying musical depiction of emotion or of his characters' psychology and state of mind. To compensate for this failing he devoted himself to working on complex thematic structures based on leitmotifs, which he called ‘sujets musicaux’. They often produce no conspicuous musical outline but are indefinitely repeated, transposed and varied, thereby pointing up the often laboured quality of his music and emphasizing its lack of spontaneity. Erlanger always chose librettos of a dramatic or tragic character, and tried his hand at subjects deriving from naturalism [Le juif polonais, L'aube rouge], symbolism [Hannele Mattern], themes of classical antiquity [Le fils de l'étoile, Aphrodite] and extreme verismo [Forfaiture, adapted from a film script], although he never truly succeeded in any of these genres. His best work is undoubtedly his ‘légende lyrique’, Saint Julien l'hospitalier, which deserves revival.

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La Sorcière , drame musical en cuatro actos [1912]. Zoraya! On t’accuse…

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Giuseppe Antonio Bernabei [?1649-1732]. He was born in Rome, the Elder son of Ercole Bernabei. He presumably studied with his father, and probably replaced him at the organ of S Luigi dei Francesi from July 1665 to April 1667. He then went to work with him as vice-Kapellmeister in Munich, a post he assumed on 24 June 1677. After his father’s death he became Hofkapellmeister there. During the first 15 years of his career at Munich he regularly wrote operas, but the political situation then cut short this activity. When the production of opera was resumed Pietro Torri became the principal composer, Bernabei – who was a priest – restricting his output to sacred music. A large number of his sacred works are listed in the 1753 catalogue of the Munich Hofkapelle together with 30 sinfonias and three ‘Sinfonie, e Pastorel’.

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Il segreto d'amore in petto del Savio, melodrama [1690]. Aria: A battaglia su mio core.

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Luna Pearl Woolf [*1973] She was born in Western Massachusetts. She received a Bachelor of Arts from Harvard University, graduating Summa Cum Laude in music composition in 1996, and a Master of Arts from Smith College in music composition. Woolf's principal composition teachers have been Mario Davidovsky, Augusta Read Thomas, Lewis Spratlan and Don Wheelock. Woolf was awarded the Ellen Taafe Zwilich Prize from the IAWM, the John Greene Scholarship and John Knowles Paine Fellowship from Harvard University, and the Settie Lehman Fatman Prize from Smith College. She currently resides in Montréal, Canada.

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Jacqueline, an opera in four movements (2019). Fragmento.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2995

Oliver Ostermann was born in Lower Austria. Ostermann studied singing, piano, composition, and conducting at the Vienna Conservatory. He served as musical director at Bühne Baden and has appeared as a guest conductor with European opera houses and orchestras including the Volksoper Wien, Hofer Symphoniker, Oper Graz, and with Canadian symphonies in Calgary and Edmonton. As a composer, he has written music for theatre, film, television, and live concerts. He recently composed a musical for the Tiroler Landestheater and a children’s opera for Theater Chemnitz. Maestro Ostermann has composed for the Wiener Symphoniker, the Radio Symphonie Orchester Wien, the Vienna Boys Choir, and the Wiener Festwochen.

Salute to Vienna

Bei der Feuerwehr wird der Kaffee Kalt, ópera para niños [2019]. Comienzo.

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Riccardo Perugini [*1996] is a Tuscan composer known for his provocative blend of experimental, pop, and early music. Perugini's compositional journey began under the guidance of Andrea Portera and has been furthered by world-renowned composers including Unsuk Chin, Mauro Lanza, Detlev Glanert, Peter Eötvös, Marcos Balter, Luca Francesconi, and Francesco Filidei. Perugini's music has been commissioned and performed in numerous institutions and festivals, such as the Biennale d'arte di Venezia, the Maggio Musicale Fiorentino, the 81st Composers Conference (Boscawen), the Cantiere Internazionale d'arte di Montepulciano, the John F. Kennedy Center for the Performing Arts (Washington), the 2 Agosto Competition (Bologna), the Fondazione Teatro Grande di Brescia, the Zhejiang Yichuang International Music Center, the Royal Concertgebouw (Amsterdam), the TorinoDanza Festival in collaboration with the Teatro Stabile di Torino, the Teatro Elfo Puccini and the MilanOltre Festival, the Reggia di Venaria Reale (Turin), the Summer Sounds Festival (Porvoo) and the Hangzhou Contemporary Music Festival.

Pellegrino del nulla, ópera de camara [2023]. Scena VIII: Involuzione.

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