La otra ópera

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

Niccolò Antonio Zingarelli [1752-1837] He was born in Naples, where he studied [from the age of 7] at the Santa Maria di Loreto Conservatory under Fenaroli and Speranza. In 1789–1790 Zingarelli went to Paris to compose Antigone. He left France hurriedly at the time of the revolution and eventually returned to Italy. He was appointed maestro di cappella at Milan Cathedral in 1793, and remained there until 1794, when he took up the prestigious post of maestro di cappella at the Santa Casa, Loreto. In 1804, Zingarelli was appointed choir master of the Sistine Chapel in Rome. Seven years later he publicly refused, as an Italian patriot, to conduct a Te Deum for Napoleon's new-born son, known as King of Rome, in St. Peter's Basilica. As a result of this refusal he was captured and taken to Paris. Nevertheless, the Emperor was a great admirer of Zingarelli's music and soon gave the composer his liberty. In addition, Zingarelli was awarded a state pension. In 1813, Zingarelli moved to Naples, where he became Director of the Conservatory. Then in 1816 he replaced Giovanni Paisiello as choir master of Naples Cathedral, a position he held until his death in 1837. He died at Torre del Greco in 1837. Bellini wrote a Sinfonia Funebre for his funeral.

Wikipedia

Pirro re di Epiro, ópera en tres actos [1791]. Chi mi da consiglio, aita.

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Giulietta e Romeo, dramma per musica [1796]. Che vago sembiante.

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

George Gruntz [1932-2013] He was born in Basel. He was a jazz pianist, organist, harpsichordist, keyboardist, and composer known for the George Gruntz Concert Big Band and his work with Phil Woods, Rahsaan Roland Kirk, Don Cherry, Chet Baker, Art Farmer, Dexter Gordon, Johnny Griffin, and Mel Lewis. Gruntz was also an accomplished arranger and composer, having been commissioned by many orchestras. From 1972 to 1994, he served as artistic director of JazzFest Berlin.

Wikipedia

The Magic of a Flute, jazz-ópera en tres actos [2003]. Aria of the Photo Book.

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

Antonia Padoani Bembo [c. 1640 – c. 1720] She was born in Venice. She was the only child of the doctor Giacomo Padoani and in 1659 married Lorenzo Bembo, a Venetian nobleman. Before 1676 she moved to Paris, where she sang for Louis XIV, who awarded her a pension, enabling her to live in the community of the Petite Union Chrétienne des Dames de Saint Chaumont. She composed in most of the contemporary vocal genres: opera, serenata, aria, air, secular and sacred cantata, grand and petit motet. Her first collection, Produzioni armoniche, consists of 41 arias and cantatas on Italian, French and Latin texts, mainly for soprano and continuo. Bembo’s Italian musical training is reflected here in vocal virtuosity, madrigalisms, long melismas and expressive dissonance. Book 2 is dedicated to Marie-Adélaïde of Savoy, Duchess of Burgundy, on the occasion of the birth of the first Duke of Brittany in 1704. It contains a three-voice Te Deum and a five-voice Italian serenata [‘un picciolo divertimento’], revealing a firm grasp of musical structure, melodic control and harmonic modulation. The characteristics of books 3–6 testify to the many years that Bembo lived in France. Book 3 contains two motets, a five-voice setting of the Te Deum [a grand motet in the style of Lully and Lalande] and a three-voice setting of Psalm XIX. The 1707 opera Ercole amante, the only manuscript bearing a date, sets Buti’s libretto, as used by Cavalli, Bembo’s teacher, in 1662. Though similar to contemporary Italian operas, Bembo’s work attests to its French provenance in its use of chorus, ouverture and instrumental dance forms. The French idiom is particularly evident in her last book, Les sept pseaumes de David, which marks a return to vocal chamber music and shows her command of gallic prosody with numerous metrical changes.

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L'Ercole Amante, ópera en cinco actos [1707]. Se ninfa a i pianti di veri amanti.

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

Jesús Rodríguez Picó [*1953] Nació en Barcelona. Inició su catálogo en el año 1976. En las primeras obras se utilizaban procedimientos flexibles y nuevas grafías, es la época de las Polisonia 1 y 2, Zeux, Apsû; también incorpora características que provienen del teatro musical como en Autour de la Lune. A partir del 1979 prescinde de las nuevas grafías, de ese año es la primera de las numerosas obras para orquesta, La ciutat i les estrelles. A partir de ese momento las obras para orquesta se suceden, a veces como consecuencia de encargos como el Concierto núm. 1 para clarinete y orquesta o la Sinfonía Americana [encargo de la Orquesta Nacional de España]. De entre las obras para orquesta destacan, los dos conciertos para clarinete y orquesta, Cadmos et Harmonie para guitarra y cuerdas, El lleó Afamat, Pluja Interior para narrador y orquesta, Sinfonía Anàbasi o Danses d’Ibèria [obra encargo de la OBC]. Las numerosas obras de cámara son habitualmente resultado de la amistad y colaboración con diferentes instrumentistas por ejemplo la Sonata Colombina para clarinete y piano, la Sonata Marina para saxofón y piano, Volt, Preludi i dansa, Horo para clarinete, Catul canta para barítono, clarinete y 7 instrumentos etc. En el catálogo se encuentran diversas obras que llevan el títol de “Danzas” [Danzas de Isaura, de Fedora, de Moriana, de Zaira, de Zora, de Armilla] estas composiciones de cámara sugeridas por el libro de Italo Calvino Le Città Invisibili, tienen el virtuosismo y el ritmo como elementos comunes. La primera obra escénica fue la ópera de cámara El paradís de les muntanyes texto de Miquel Desclot a partir de Alfred Jarry, estrenada en el Teatre Lliure de Barcelona en el 1998. Posteriorment compuso otras obres escénicas como Hotel Occident y Urbs [Fábula urbana]. Paralelamente a la su actividad de compositor, ha ejercido la pedagogía musical como profesor de clarinete y música de cámara en diferentes escuelas de música y en el Conservatorio Profesional de Música de Badalona. En el 1987 elaboró el proyecto de la emisora de música Cataluña Música, de la cual fue responsable hasta diciembre de 1990. Una vez finalizado este período volvió a la actividad pedagógica, añadiendo al catálogo numerosas obras concebidas para ser interpretadas por estudiantes de música, destacan los diversos Fragments d’estiu, y las cantatas Dissabte matí y El partit del segle.

Wikipedia

El Paradís de les Muntanyes, ópera de cámara [1994]. Primer Miratge.

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

Bernard Foccroulle [*1953] He was born in Liège, Belgium. He began his international career as an organist in the mid-s70s, playing a wide range of repertoire from Renaissance to Contemporary Music. He has performed many world premieres of composers such as Philippe Boesmans, Brian Ferneyhough, Betsy Jolas, Xavier Darasse, Jonathan Harvey, Pascal Dusapin; at the same time he recorded masterworks of the organ repertoire, from Francisco Correa de Arauxo to Charles Tournemire, from Heinrich Scheidemann to Dietrich Buxtehude. In the 1980s, he was a founder member of the Ricercar Consort, devoted mainly to German baroque music. As composer, Bernard Foccroulle has written works for soprano and orchestra [Am Rande der Nacht after Rilke], for baritone and chamber music ensemble [Due after De Luca…], for soprano, baritone and chamber music ensemble [E vidi quattro stelle after Dante’s Purgatorio], soprano and piano [Quatre mélodies d’après Verlaine]. Zauberland, a cycle of melodies for soprano and piano on poems by Martin Crimp has been premiered at the Théâtre des Bouffes du Nord in Paris in April 2019, staged by Katie Mitchell. This production has been touring to Weimar, London [Royal Opera Hoouse], New York [Lincoln Center], Opéra de Lille and La Monnaie [Brussels].

Cassandra, ópera en un prólogo y trece escenas (2023). You Spat in My Mouth.

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

Lamberto Pavanelli [1890-1927] Nació en Ferrara, pero desde muy joven se estableció en Imola, donde estudió piano y composición en el conservatorio local. No se sabe nada sobre su debut como músico, pero debió haber llamado la atención muy pronto, ya que, con poco más de veinte años, atrajo el interés de la editorial Casa Ricordi, que llevó a escena su ópera Vanna en el Teatro Dal Verme, uno de los teatros más prestigiosos de Milán en aquella época. Esta ópera se estrenó el 23 de noviembre de 1910; entre los cantantes se encontraban algunas de las mayores estrellas del verismo, entre ellas Lia Remondini [Vanna], Ricceri Angelo [Francesco di Pace], Giulio Rotondi [Sampiero] y Romano Constantini [Roberto]. Hoy en día, estos nombres nos provocan una sonrisa y despiertan curiosidad, pero en aquel entonces [la época dorada de la ópera italiana] eran habituales en los principales teatros de ópera. Vanna logró al menos un éxito moderado, pero no más que eso.

El joven compositor nunca volvió a intentar algo similar y orientó su impulso creativo hacia proyectos más definidos, entre ellos el género de la opereta: Kiss Kiss [estrenada en 1920 con libreto de Carlo Zangarini en el Teatro Fossati de Milán], Bon-bon [estrenada en 1923 con libreto de Arturo Franci en el Teatro Eliseo de Roma] y Ich und du oder: Zwei auf der Insel [estrenada en 1926 en el Nuevo Teatro Alemán de Praga, con libreto de Fritz Grünbaum y Willy Sterk]. Sin embargo, Pavanelli alcanzó su verdadero éxito con la música de cámara [Chasse aux papillons, Impromptu dances, Petit bal d’enfants y Capriccio, todas para piano] y, aún más, con sus romanzas de música de salón, que desprendían un aire melancólico y sutil. Algunos títulos son significativos en este sentido: Pianto Antico [sobre un famoso poema de Giosuè Carducci], [b]Roseto Bianco[/b] [texto de Ettore Neri], La Viorna e Solicchio [ambas con texto de Antonio Beltramelli], Foglia di Rosa, Nostalgia, D’autunno, Piccola voce y Voci lontane, con textos de Luigi Orsini.

Opera Lounge

Vanna, scene liriche in un atto e due parti [1910]. Sampiero!.

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

Matthias Bonitz [*1951] Nació en Ellwangen. Bonitz estudió de 1972 a 1978 en la Universidad de Música de Detmold con Walter Meuter. Durante sus estudios trabajó con varios conjuntos de música de cámara como Deutsche Bachsolisten [Helmut Winschermann], Deutsches Bachorchester [Wilhelm Isselmann], Detmolder Kammerorchester [Tibor Varga], Detmolder Bläserkreis [Jost Michaels]. Durante varios años tocó con el violonchelista Marcio Carneiro como compañero de dúo en la formación de violonchelo / contrabajo. De 1978 a 2016 fue contrabajista de la Westfälischen Sinfonieorchester en Recklinghausen [hoy Neue Philharmonie Westfalen]. En sus actividades docentes enseñó en el Grabbe Gymnasium de Detmold y en la escuela de música de Lüdinghausen. Fue profesor de contrabajo en el HfM Detmold/Abteilung Dortmund [1984-1996] y desde 1993 en la TU Dortmund. De 1975 a 1986 fue profesor la Junge Sinfoniker OWL, Bielefeld. En la década de los noventa fue profesor responsable de la sección de contrabajos de la Bundesjugendorchester.

Wikipedia

Casa dei Bambini, ópera de cámara [2015]. Fragmento.

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

Esta es la viñeta de esta semana. Las próximas dos semanas no habrá viñetas.

Abdallo · **Publicado:** 20 Jun 2025 11:01

Buenas vacaciones en su tierra, mi cuate!

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

Gracias. No voy a mi tierra, pero si de vacaciones. :wink:

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

Jennifer Elaine Higdon [*1962] She was born in Brooklyn. She taught herself to play flute at the age of 15 and began formal musical studies at 18, with an even later start in composition at the age of 21. Despite these obstacles, Jennifer has become a major figure in contemporary Classical music. Her works represent a wide range of genres, from orchestral to chamber, to wind ensemble, as well as vocal, choral and opera. Her music has been hailed by Fanfare Magazine as having "the distinction of being at once complex, sophisticated but readily accessible emotionally", with the Times of London citing it as "…traditionally rooted, yet imbued with integrity and freshness." The League of American Orchestras reports that she is one of America's most frequently performed composers. From 1994 to 2021, Higdon was a professor of composition at the Curtis Institute of Music, where she held the Milton L. Rock Chair in Compositional Studies. She has served as Composer-in-Residence with the Pittsburgh Symphony Orchestra, the Green Bay Symphony Orchestra, the Philadelphia Orchestra, the Fort Worth Symphony and the Music Academy of the West.

Cold Mountain, ópera en dos actos y un epílogo [2015]. Act II Scene 12: Tell her.

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

Francesco Nicola Fago, 'II Tarantino' [1677-1745] He was the son of Cataldo Antonio Fago and Giustina Tursi of Taranto. After studying music in his home town, and from July 1693 to August 1695 at the Conservatorio di S Maria della Pietà dei Turchini in Naples, where his teacher was Francesco Provenzale, he settled in Naples, serving various churches as maestro di cappella. On 27 November 1701 he married Caterina Speranza Grimaldi, a younger sister of the famous soprano virtuoso Nicolo Grimaldi [‘Nicolini’]; of their many children only the eldest son, Lorenzo Fago, became a musician. In 1704 Fago was chosen to succeed Don Angelo Durante, the uncle of Francesco, as primo maestro of the Conservatorio di S Onofrio, and in May 1705 he accepted in addition the same position at the Pietà dei Turchini, replacing Gennaro Ursino, Provenzale’s successor. In October 1708 Nicola relinquished his post at S Onofrio, and in the following year became maestro di cappella at the Tesoro di S Gennaro of Naples Cathedral, succeeding Cristoforo Caresana [‘Il Veneziano’]. Fago composed all of his known sacred dramas, oratorios and operas between 1705 and 1714. His first dramma per musica, Il Radamisto, was commissioned in 1707 for the wedding festivities of Antonio di Sangro, Prince of S Severo. Two years later his second dramma, Astarto, was staged at the Teatro S Bartolomeo, Naples. Between 1710 and 1711 he composed two comedies on librettos by F. A. Tullio for the Teatro dei Fiorentini.

During the following year, he collaborated with his former student Michele Falco, a composer of musical comedies, to produce Lo Masillo, a three-act work called ‘dramma per musica’ on the title page of the libretto but traditionally considered to be an early opera buffa. After another collaboration with Falco in 1714 [La Dafne], Fago suddenly abandoned writing for the operatic stage and dedicated himself primarily to sacred music and teaching. In addition to his regular duties at the Pietà dei Turchini and the Tesoro di S Gennaro, he for several years also directed and/or composed the music for High Holy and Saints’ Days at several Neapolitan churches. In 1731 he retired from the Tesoro di S Gennaro in favour of his 27-year-old son, Lorenzo, for reasons of age and health. Five years later, however, he accepted another post as maestro di cappella at S Giacomo degli Spagnoli, which he held until his death. At the Pietà dei Turchini he developed an outstanding teaching career which lasted 35 years. His secondi maestri assisting him there were in turn Andrea Basso [to 1734] and Giovanni Sarconi [1718–1732], then Leonardo Leo [1734–1737], and finally his son Lorenzo [from 1737]. Among his students were Falco, Francesco Feo, Giuseppe de Majo, Leo, Giuseppe Marchitti, Niccolò Jommelli, Michelangelo Vella, Pasquale Cafaro, Nicola Sala and Antonio Corbisero. In 1740 Fago retired from teaching, and Leo succeeded him as primo maestro. But in December 1744, after Leo’s death, the still active Fago petitioned the king to be appointed Leo’s successor as primo maestro of the royal chapel. Fago died, however, the day before a competition for the post was announced.

Grove

La Cassandra indovina, dramma per musica en tres actos. Aria: Soffrirò con la speranza.

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Abdallo · **Publicado:** 18 Jul 2025 11:20

Y a mí que lo de Tarantino me suena... :lol:

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

Isaac Nathan [1790-1864] who has been called the "father of Australian music", was born in Canterbury, England, the eldest son of the Cantor Menehem Mona, a Polish refugee language master, who believed himself to be the son of Stanislaus II, last king of Poland. Isaac was so musically precocious that in 1809 his father apprenticed him to the famous London maestro Domenico Corri to learn singing and composition. In 1812 he eloped with a pupil, Rosetta Worthington, a minor novelist and the only child of an Irish army officer. In 1814 he persuaded Lord Byron to write a series of poems on Hebrew subjects, which he set to adaptations, made by himself, of ancient Jewish chants. Hebrew Melodies was highly successful, but Byron's flight from England in 1816 and the death of Nathan's pupil, Princess Charlotte, to whom he had dedicated Hebrew Melodies, deprived him of aristocratic patronage. In his ensuing financial difficulties he composed operettas such as Sweethearts and Wives; in 1823 he published in London An Essay on the History and Theory of Music and on the Qualities, Capabilities and Management of the Human Voice, subsequently called Musurgia Vocalis, which achieved a European reputation.

In 1824 his wife died, leaving two sons and four daughters, and in 1826 he married Henrietta Buckley. Under the stress of supporting his large family Nathan had apparently acted as secret agent for George IV, whose musical librarian he was; in 1837 William IV sent him on a mysterious mission, the nature of which remains unknown. But Queen Victoria's first prime minister, Lord Melbourne, whose wife had been Lady Caroline Lamb, one of Nathan's early patrons, refused to pay him the £2000 he claimed. He was financially ruined and the whole family left for Australia. Nathan reached Sydney in April 1841 and immediately opened an academy of singing; he became choirmaster of St Mary's Cathedral and organized the largest concert of sacred music yet heard in the colony. He composed a 'solemn ode' Australia the Wide and Free for the inaugural dinner of Sydney's first Municipal Council [1842] and two 'choral odes', Long Live Victoria and Hail, Star of the South, for subsequent festivities.

Henceforth he constituted himself musical laureate to the colony, celebrating the fifty-eighth anniversary of the founding of Sydney with Currency Lasses [1846], mourning the supposed death of the explorer Ludwig Leichhardt with Leichhardt's Grave, and rejoicing in his return with The Greeting Home Again. He composed a setting of the Lord's Prayer for Bishop William Grant Broughton and sent his last composition A Song to Freedom [1863] as a gift to the Queen. In May 1847 Nathan's romantic Don John of Austria, the first opera to be wholly composed and produced in Australia, was performed at the Victoria Theatre; it is one of his few manuscripts to survive. Isaac Nathan's influence on Australian musical history is hard to assess. His own music was of little worth but he probably contributed to the prevailing pseudo-Byronic and Romantic tone of Sydney's artistic life. He was certainly the first musician with a European reputation to settle in Australia, and the first to attempt a serious study of Aboriginal music.

Australian Dictionary

Don John of Austria, ballad opera en tres actos [1847]. Acto I Escena IV, Duet: Yes, Sir, Yes, in These Three All Excitement is Found.... Acto II Escena II, Song: By Passion Wild My Heart is Toss'd.

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

Johann David Holland [1746-1827] He was born in St Andreasberg, nr Hanover. About 1774 he was musical director at St Katharinen, Hamburg, and in 1776 held a similar position as ‘Musikdirektor am Domkapital’. In Hamburg he was in contact with C.P.E. Bach, who conducted performances of two of his oratorios. In 1781 he was attached to the Duke of Mecklenburg-Schwerin, to whom he dedicated his serenata. He left for Poland in 1782. After concert activities in Warsaw, he became a Kapellmeister in Prince Karol Radziwiłł’s residence in Nie śwież, probably in 1783. In 1784, during King Stanisław August Poniatowski’s visit to Nieśwież, Holland’s opera Agatka czyli Przyjazd pana (‘Agatka, or The Master’s Arrival’) and his ballet Orfeusz w piekle (‘Orpheus in Hell’) were performed. After Karol Radziwiłł’s death in 1790 Holland moved to Grodno. In 1792–1793 he was in Warsaw, where his wife, Rosa, was a member of H.F. Bulla’s German theatre group. From about 1795 Holland lived in Vilnius, lecturing in music theory at Vilnius University (1802–1826), directing the choir and orchestra there, teaching privately and in J. German’s girls’ school, organizing the Union of Professional Musicians and re-initiating the Freemasons’ ‘Gorliwy Litwin’ in Vilnius. Holland played an important role in the development of Polish opera and his treatise on music, published in 1806, was the first to appear in the Polish language. His early compositions, written in Germany, belong to the galant style, and his songs were highly esteemed by C.F.D. Schubart. His Polish works, however, make extensive use of Polish folk music, such as rhythms of the krakowiak, oberek and polonaise, as can be seen particularly in his operas. His final works, written in Vilnius, are more in the Classical style.

Grove

Agatka czyli Przyjazd pana, ópera en tres actos [1784]. Będziemi się weselicz.

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La otra ópera

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