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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.

I Am Making This Up

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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 Asunto: Re: La otra ópera
NotaPublicado: 14 Dic 2018 22:34 
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Francesco d'Avalos (1930-2014) He was born in Naples. d'Avalos acknowledged that the Italian composer Antonio Favasta convinced his parents to allow him to study music. He began music studies at age 12, including piano studies with Marta De Conciliis, and later with Vincenzo Vitale. He subsequently studied composition with Renato Parodi. He considered Psiche, written at seventeen, as his first composition. He graduated with honours from the Conservatory of San Pietro a Majella in Naples, with a degree in composition. He also studied philosophy at the University of Naples. He studied conducting at the Accademia Chigiana in Siena, and his conducting mentors included Paul van Kempen, Franco Ferrara and Sergiu Celibidache. From 1951 to 1954, he was a music critic for Il Quotidiano. In 1972, Nino Rota recruited d'Avalos as a composition teacher to the Conservatory in Bari, where he remained until 1979. d'Avalos then accepted a faculty post at the Naples Conservatory, where he remained until 1998. He was a guest conductor with various orchestras both in his native Italy and elsewhere in Europe. He made commercial recordings for such labels as ASV, IMP, Chandos, Brilliant, Amadeus, and Nireus.

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Maria di Venosa, music drama for orchestra, soloists and chorus in two parts and fourteen scenes (1992). Escena 13.

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 Asunto: Re: La otra ópera
NotaPublicado: 21 Dic 2018 22:01 
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Henry Louis Reginald De Koven (1859-1920) De Koven was born in Middletown, Connecticut, and moved to Europe in 1870, where he received the majority of his education. He graduated from St John's College of Oxford University in England in 1879. He undertook piano studies at Stuttgart Conservatory with Wilhelm Speidel, Sigmund Lebert, and Dionys Pruckner. He studied composition at Frankfurt with Johann Christian Hauff, and after staying there for six months moved on to Florence, Italy, where he studied singing with Luigi Vanuccini. Study in operatic composition followed, first with Richard Genée in Vienna and then with Léo Delibes in Paris. De Koven returned to the U.S. in 1882 to live in Chicago, Illinois, and later lived in New York City. He was able to find scope for his wide musical knowledge as a critic with Chicago's Evening Post, Harper's Weekly and New York World. Many of his songs became popular, especially "Oh Promise Me", with words by Clement Scott, which was one of the biggest song successes of its time and remains a wedding standard.

Between 1887 and 1913, De Koven composed 20 light operas, in addition to hundreds of songs, orchestral works, sonatas and ballets. While Victor Herbert's operettas were heavily influencedy by those of continental operetta composers, De Koven's works were patterned after Gilbert and Sullivan. His greatest success was Robin Hood, which premiered in Chicago in 1890 but was performed all across the country. It played in New York at the Knickerbocker Theatre and in London, in 1891, and at New York's Garden Theatre in 1892, and it continued to be revived for many years. His other operettas included The Fencing Master (1892, Casino Theatre, New York); Rob Roy, first produced in Detroit, Michigan, 1894; The Highwayman (1897, Herald Square Theatre, New York); The Little Duchess (1901, Casino Theatre, New York); and The Beauty Spot (1909, Herald Square Theatre).

From 1902 to 1904, De Koven conducted the Washington, D.C., symphony. His wife, Anna de Koven, was a well-known socialite, novelist and amateur historian who published her works under the name "Mrs. Reginald de Koven." The music press doubted that De Koven could compose serious operas. His opera The Canterbury Pilgrims (with a libretto by poet and dramatist Percy MacKaye) premiered at the Metropolitan Opera in 1917. He composed a second opera, Rip Van Winkle (also with a libretto by MacKaye), but died before it was performed in 1920 in Chicago. One obituary asserted that he proved that "the American stage was not dependent upon foreign composers."

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Robin Hood, opereta (1890). Oh Promise Me.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Dic 2018 1:53 
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Hebert Vázquez (*1963) Nació en Montevideo. Radicado desde temprana edad en la ciudad de México, estudió en el Conservatorio Nacional de Música donde fue alumno de Marco Antonio Anguiano (guitarra) y Mario Lavista (armonía moderna, análisis y composición) (1981-1989). Asistió a cursos de composición con Robert Durr e Istvan Lang y después realizó una maestría en composición en la Universidad Carnegie Mellon de Pittsburgh, bajo la guía de Leonardo Balada, Lukas Foss y Reza Vali. Recibió el doctorado en composición en la Universidad de la Columbia Británica, en Vancouver, Canadá, donde fue discípulo de Stephen Chatman (composición), William Benjamin (análisis schenkeriano) y John Roeder y Richard Kurth (teoría atonal). Sus obras han sido interpretadas en Canadá, Chile, Cuba, España, Estados Unidos, Italia y México, en foros como el «Festival Internacional de Guitarra de La Habana», el «Festival de Viña del Mar», el «Festivale Internazionale di Chitarra», el «Festival Internacional Cervantino de Guanajuato» y el Foro Internacional de Música Nueva Manuel Enríquez. Ganó la beca Istvan Lang de composición (1987), el «Premio Nacional de la Juventud» y la mención de excelencia Maestro Jesús Reyes Heroles (1987) y el segundo y primer lugar en el Concurso de Jóvenes Compositores Felipe Villanueva (1988 y 1989, respectivamente). Fue becario del «Fondo Nacional para la Cultura y las Artes» en dos períodos (1990 y 1994).

En 1994 recibió también la beca para Creadores con Trayectoria, otorgada por el «Fondo Estatal para la Cultura y las Artes del Estado de México». De 1995 a 1997 se hizo acreedor a una «U.B.C. Graduate Fellowship», otorgada por la Universidad de la Columbia Británica. En 1998 obtuvo el segundo lugar en el Concurso Internacional de Composición para Guitarra Jaures Lamarque-Pons, celebrado en Montevideo, Uruguay. En 1999 ingresó en el «Sistema Nacional de Creadores de Arte» (México). Fue profesor y coordinador de las áreas de teoría musical y composición y miembro del consejo académico del Conservatorio de Música del Estado de México en Toluca, así como profesor invitado del Conservatorio Nacional de Música y el CENIDIM, donde ha impartido cursos de teoría atonal. Desde septiembre de 2000 es catedrático en la Escuela de Música de la Universidad de San Nicolás de Hidalgo en Morelia, donde ha organizado conciertos y cursos sobre teoría, historia y filosofía de la música.

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Azuzena, ópera de cámara (2013). Azuzena.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Dic 2018 13:02 
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Así matamos cuatro pájaros de un tiro... :wink:


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 Asunto: Re: La otra ópera
NotaPublicado: 29 Dic 2018 19:37 
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Exactamente. :wink:

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 Asunto: Re: La otra ópera
NotaPublicado: 05 Ene 2019 13:55 
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Max Christian Friedrich Bruch (1838–1920) Bruch was born in Cologne, the son of Wilhelmine (née Almenräder), a singer, and August Carl Friedrich Bruch, a lawyer who became vice president of the Cologne police. He received his early musical training under the composer and pianist Ferdinand Hiller, to whom Robert Schumann dedicated his piano concerto in A minor. The Bohemian composer and piano virtuoso Ignaz Moscheles recognized his aptitude. At the age of nine he wrote his first composition, a song for his mother's birthday. From then on music was his passion, and his studies were enthusiastically supported by his parents. He wrote many minor early works including motets, psalm settings, piano pieces, violin sonatas, a string quartet and even orchestral works such as the prelude to a planned opera Joan of Arc. Few of these early works have survived, however the locations of the pieces are unknown at this time. The first music theory lesson he had was in 1849 in Bonn, and it was given to him by Professor Heinrich Carl Breidenstein, a friend of his father. At this time he was staying at an estate in Bergisch Gladbach, where he wrote much of his music. The farm belonged to a lawyer and notary called Neissen, who lived in it with his unmarried sister. Later the estate was bought by the Zanders family who owned a large paper mill. The young Bruch was taught French and English conversation by his father. In later years, Maria Zanders became a friend and patron.

Bruch had a long career as a teacher, conductor and composer, moving among musical posts in Germany: Mannheim (1862–1864), Koblenz (1865–1867), Sondershausen (1867–1870), Berlin (1870–1872), and Bonn, where he spent 1873–1878 working privately. At the height of his career he spent three seasons as conductor of the Liverpool Philharmonic Society (1880–1883). Bruch married Clara Tuczek, a singer he had met whilst touring in Germany, in Berlin on 3 January 1881. The couple returned to Liverpool and took lodgings in Sefton Park. Their daughter, Margaretha, was born in Liverpool in 1882. He taught composition at the Berlin Hochschule für Musik from 1890 until his retirement in 1910. Bruch died, quietly and painlessly, in his house in Berlin-Friedenau in 1920. He was buried next to his wife, who had died on 26 August the previous year, at the Old St. Matthäus churchyard at Berlin-Schöneberg. His daughter Margaretha later had carved on the gravestone "Music is the language of God".

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Die Loreley, ópera en cuatro actos (1861). Fragmento del acto tercero.

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 Asunto: Re: La otra ópera
NotaPublicado: 11 Ene 2019 23:43 
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Paul Schoenfield (*1947) He was born in Detroit, Michigan. He began to take piano lessons at the age of six, and wrote his first composition a year later. Among his teachers were Julius Chajes, Ozan Marsh and Rudolf Serkin. He holds a B.A. degree from Carnegie-Mellon University and a Doctor of Music Arts degree from the University of Arizona. Schoenfield was formerly an active concert pianist, as a soloist and with groups including Music from Marlboro. With violinist Sergiu Luca he recorded the complete violin and piano works of Béla Bartók. He gave the premiere of his piano concerto Four Parables with the Toledo Symphony in 1983. Jeffrey Kahane recorded the work in 1994 with John Nelson and the New World Symphony. Also on the Argo CD are Vaudeville, Schoenfeld's concerto for piccolo trumpet, played by Wolfgang Basch, and Klezmer Rondos, concerto for flute, baritone and orchestra, performed by flutist Carol Wincenc. Critic Raymond Tuttle called the CD: "Some of the most life-affirming new music I've heard in a long time", while he characterized Four Parables as "wild silliness in the face of existential dread". Schoenfield's two-act opera, The Merchant and the Pauper, was commissioned by the Opera Theatre of Saint Louis and given its premiere there in 1999. Its libretto is adapted from a tale fashioned and first told in 1809 by one of the most significant personalities in Hassidic history, philosophy, and lore- Rabbi Nachman of Bratslav (1772-1811), the founder of the Bratslaver Hassidic sect.

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The Merchant and the Pauper, ópera en dos actos (1999). Escena primera del acto segundo.

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 Asunto: Re: La otra ópera
NotaPublicado: 19 Ene 2019 3:15 
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Gabriela Ortiz (*1964) Nació en la Ciudad de México. Estudió en el Conservatorio Nacional de Música con Mario Lavista. Posteriormente estudió con Federico Ibarra en la Escuela Nacional de Música de la Universidad Nacional Autónoma de México, donde obtuvo la licenciatura en Composición. Gracias a una beca del Consejo Británico otorgada en 1990, hizo estudios de posgrado en The Guildhall School for Music and Drama bajo la supervisión de Robert Saxton. Una beca de la UNAM le permitió obtener el doctorado en Composición y Música Electro-Acústica en The City University de Londres. Es considerada una de las más importantes figuras de su generación y ha sido acreedora a diversos premios tales como el John Simon Guggenheim Memorial Foundation Fellowship (2004), la Distinción Universidad Nacional (2004), el primer lugar en el Concurso Nacional Silvestre Revueltas Música Nueva Fin de Milenio (2000) y la Medalla Mozart que otorga la Embajada de Austria junto con la Fundación Cultural Domecq (1997). Es profesora de tiempo completo en la Escuela Nacional de Música de la UNAM.

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Únicamente la verdad, videópera (2004). Escena tercera: El Tigre.

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 Asunto: Re: La otra ópera
NotaPublicado: 26 Ene 2019 6:02 
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Fred Raymond aka Raimund Friedrich Vesely (1900-1954) Raymond, born in Vienna, was the third child (after two daughters) of Vinzenz Vesely, an employee of the Austrian state railway system, and his wife Henriette, née Dluhos. Both parents were of Czech descent. They intended their son to study mining after high school, and pursure a career in the civil service. After the premature death of both his parents, Raymond studied at a commercial academy and trained as a banker. Raymond composed operetta music as well as copious pieces for films and Schlager, which were very successful in the 1920s and 1930s and were commonly heard being sung and whistled in the streets. He became world-famous with his 1925 composition Ich hab mein Herz in Heidelberg verloren, and his pieces were considered to be very much in the typical style of the 1920s, especially Ich hab' das Fräulein Helen baden seh'n or Ich reiß' mir eine Wimper aus.

Due to a weak heart, he spent his military service with a propaganda company which served the Belgrade military transmitter. After the war, he took a short break from the Salzburg Radio Orchestra to go to Hamburg, where he finished his last two operettas, Geliebte Manuela and Flieder aus Wien. In 1951, he moved to a new home in Überlingen, where he spent three years with his young wife Eva-Maria before dying of a heart failure shortly before the birth of their son, Thomas. His marble grave is located in Überlingen, on the shore of Lake Constance, and is decorated with a lyre. To commemorate the eightieth year of his birth, a street was named after him in the Donaustadt district.

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Flieder aus Wien, opereta en siete cuadros (1949). Das Paradies auf dieser Erde.

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 Asunto: Re: La otra ópera
NotaPublicado: 01 Feb 2019 19:08 
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Hasta que el BBCode no se normalice no puedo seguir con las viñetas.


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 Asunto: Re: La otra ópera
NotaPublicado: 17 May 2019 19:54 
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Jack Perla (*1959) He grew up in Brooklyn and lived in New York City while attending NYU and the Manhattan School of Music. After MSM he formed Music Without Walls, featuring violinist Mark Feldman, woodwind virtuosos Rob DeBellis and Marty Ehrlich, cellist Erik Friedlander, percussionist Kory Grossman and bassist John Goldsby. Perla led the group through several seasons of New York area concerts before heading west to the Bay Area in 1996, where he established the West Coast edition of the group. He earned his DMA in composition from the Yale School of Music, where he studied with Jacob Druckman, Martin Bresnick and Lukas Foss. He earned his BM and MM from the Manhattan School of Music, where he studied with John Corigliano, and his BA from New York University. He currently lives and works in San Francisco.

Shalimar the Clown, ópera en dos actos (2016). Fragmento.

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