La otra ópera

Jane · **Registrado:** 23 Jul 2007 12:38 **Mensajes:** 909

¡Gracias! Más bien 15 años y pico

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

La viñeta, la actualización de la misma hace diez.

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

Mikas Petrauskas [1873-1937] Born in Palūšė village [near Ignalina town], Lithuania. Mikas Petrauskas began his musical career as an organist and later entered the St. Petersburg Conservatory where he studied singing with Prof. Stanislav Gabel [1901-1906]. After returning to Lithuania as an accomplished singer, he wrote and produced first Lithuanian national opera, Birutė, which was premiered on November 6, 1906, in Vilnius. Soon after its premiere performance, he moved to St. Petersburg and then to Switzerland. Based in the USA since 1907, he was frequently visiting Europe to improve composing skills in France, to organize concert series and produce his new operas and operettas in Lithuania, and to pursue singing studies in Italy. In 1930 he moved back to Lithuania where he died on March 23, 1937, in Kaunas.

Though not greatly varied in genre, Mikas Petrauskas' list of works numbers quite a sizable oeuvre which falls into two major categories - works for stage and voice. Among these are 2 operas, roughly 17 operettas [some of them with no surviving scores], over 50 original songs and folk song arrangements for choir and over 169 original songs and folk song arrangements for solo voice and duets with and without piano accompaniment. Instrumental music includes altogether 9 pieces, originally written as pieces for home music making or instruction.

Written to trivial librettos, his operas and operettas employ most primitive forms of dramatic development in which dialogues and spoken scenes alternate with sung numbers and orchestral interludes. With harmonic vocabulary often limited to a few basic harmonic functions, Petrauskas made little use of melodic patterns and modes characteristic of Lithuanian folk music. His works likewise reveal meagre rhythmic invention. Occasionally interspersed with polyphonic techniques of melodic development and enriched with choral accompaniment, simple harmonies and chordal textures also prevail in songs for choir, voice and duets written mostly in strophic form and that of strophic variations. Most of Mikas Petrauskas' works are unpublished; their manuscripts are held at the M. and K. Petrauskas Museum of Lithuanian Music and the Library of the Lithuanian Academy of Sciences.

Music Information Centre Lithuania

Birutė, ópera [1906]. Fragmento.

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

Iša František Krejčí [1904-1968] Hewas born in Prague. He studied history and musicology at Charles University and concurrently piano playing with Albín Šíma and composition at the Prague Conservatory with Karel Boleslav Jirák and Vítězslav Novák and conducting with Václav Talich. He worked for the Slovak National Theatre in Bratislava in 1928–1932, Czech Radio in 1934–1945, Olomouc Opera in 1945–1958, and Prague National Theatre since 1958. As a conductor, he concentrated especially on the contemporary French repertoire and Igor Stravinsky's compositions. His reputation as a composer was established in 1925 with a Divertimento [or Cassation] for four wind instruments. With this work, based on Classical forms, he became known as a Czech representative of neoclassicism. He wrote the operas Antigone ["Antigona", after Sophocles, 1934] and An Uproar in Efes ["Pozdvižení v Efesu", after Shakespeare, 1943] as well as four symphonies. He died in Prague.

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Pozdvižení v Efesu, opera bouffe [1939–1943]. Co laska je? Co o ni vis?.

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

Giovanni Battista Mele [1693/4 or 1701-after 1752] He was born in Naples. On 25 November 1710 he entered the Neapolitan Conservatorio dei Poveri di Gesù Cristo, where he studied with Gaetano Greco and remained for about 10 to 12 years, a fellow student being Leonardo Vinci. By 1735 Mele was in Madrid, where he joined Francesco Corradini and Francesco Corselli as a composer of operas in the Italian style for local theatres. His first work for Madrid was Por amor y por lealtad, a Spanish translation and adaptation of Metastasio’s Demetrio, performed at the Teatro de la Cruz. He also became associated with the court of Philip V and in 1744 composed two Italian serenatas for court events. After the ascent of Ferdinand VI to the Spanish throne in 1746, Mele was engaged by Farinelli to serve with Corselli and Corradini as a composer of Italian operas and conductor of the orchestra at the Nuovo Real Teatro in the palace of Buen Retiro. For Carnival 1747 the three composers collaborated on a setting of Metastasio’s La clemenza di Tito, to a Spanish adaptation by Luzàn y Suelves.

Mele’s first independent work for Buen Retiro was Angélica y Medoro, written for the birthday celebrations of the music-loving Queen Maria Bárbara on 4 December 1747. His last known opera, Armida placata, was performed at Buen Retiro in 1750 and revived there the next year. Performed during the festivities surrounding the wedding of the Infanta Maria Antonia, it was one of the most elaborate, spectacular and successful productions ever to be staged by Farinelli at Buen Retiro. In an unusually detailed description of the performance, the Gazeta de Madrid on 21 April even honoured the composer by mentioning his name. In 1752 Mele asked the king for permission to return to Naples, possibly because despite the success of his Armida he had not been charged with writing operas for the 1751 and 1752 seasons [the commissions went instead to the younger Conforto and Jommelli]. The petition was granted together with a gratuity of 400 doblones. His fate thereafter is unknown.

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Angélica y Medoro, fiesta teatral [1747]. Aria: Non cerchi innamorarsi.

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Armida placata, ópera seria [1750]. Aria: Io sperai del porto in seno.

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

Composer Daniel Thomas Davis' wide range of musical activities has taken him from the stages of Carnegie Hall and the Royal Opera House to monasteries in the Horn of Africa to directing new-music festivals in the rural South. Praised as “fun and unpretentious” by The New Yorker, he creates music singled out for its “soul-wrenching” connection to the human voice and its “deft and beautiful, rich harmonic and textural language.” (Classical Voice North America). Davis’ music has been performed, commissioned and/or recorded by cellist Lynn Harrell, the Detroit Symphony Orchestra, the London Sinfonietta, Lontano and Odaline de la Martinez, American Opera Projects, ModernMedieval at the Metropolitan Museum, the Momenta Quartet, the Lexington Philharmonic, Ensemble X, Yarn|Wire, the 21st-Century Consort, the Charlotte Symphony, the Ossian Ensemble, the BBC Singers, the Locrian Ensemble, Boston’s Back Bay Chorale and eighth blackbird. Other performers of his music have included members of the Chamber Music Society of Lincoln Center, Anonymous 4 and Roomful of Teeth, as well as performers from the Chicago Symphony, Berlin Philharmonic, Philadelphia Orchestra, London Philharmonic, London Symphony, Los Angeles Philharmonic, English Chamber Orchestra, and BBC Symphony Orchestra.

Family Secrets: Kith and Kin, ópera de cámara [2015]. Scene 5: Chinaberry Tree.

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

Giuseppe [Gioseffo] Carcani [Carcano] [1703-1779] He was born in Crema, Cremona. Carcani succeeded Hasse in 1739 as maestro di cappella of the Ospedale degli Incurabili in Venice, and on 4 September 1744 succeeded G.B. Benzoni as maestro di cappella of Piacenza Cathedral, where he remained until his death. From 1744 to 1760 he also directed the Cappella di S Giovanni in Piacenza, again as Benzoni’s successor, and became a leading light at the Bourbon court of the dukes of Piacenza and Parma, presiding over their musical functions, both official and private. He was disliked, however, by the first minister, G. du Tillot, who in 1760 ordered Carcani to relinquish to his son Giacomo the post he had held since 1745 as musical director of the Congregazione di S Alessandro in Piacenza. In a letter dated 15 June 1768 Hasse expressed the wish that Carcani return to the Incurabili.

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Ambleto, ópera seria [1742]. Aria: Son sdegnato. Aria: Segui ad amar costante.

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

John Weldon [1676-1736] Born at Chichester in the south of England, he was educated at Eton College, where he was a chorister, and later received musical instruction from Henry Purcell. By 1694 Weldon had been appointed organist of New College in Oxford and became well known in the musical life of that city, writing music for masques as well as performing his organist duties. Some believe he set Shakespeare's play The Tempest to music in 1695, although others attribute that to Henry Purcell. Weldon moved to London and in 1701 took part in a competition to set Congreve's libretto The Judgement of Paris to music. Perhaps surprisingly, Weldon's setting was chosen over contributions by his older, more experienced and better-known competitors, Daniel Purcell [younger brother of Henry], John Eccles and Godfrey Finger. Even more curiously, Purcell's and Eccles's scores were later published by John Walsh.

Weldon's however was not and remains in manuscript, though the lack of recognition of his relatively new name may also have played a part. There is some evidence to suggest that the judges of the competition were not entirely impartial, though it has also been suggested that Weldon's setting was considered less old-fashioned than his somewhat older contemporaries. In the same year as the competition, Weldon was made a Gentleman of the Chapel Royal. John Weldon devoted the latter part of his life almost exclusively to the duties of the Chapel Royal and to writing church music. He succeeded John Blow [1649–1708] as Chapel Royal organist, and in 1715 was made second composer under William Croft [1678–1727]. Six solo anthems were published by John Walsh in 1716 under the title Divine Harmony. They were claimed to have been sung by the famous tenor, Richard Elford, though it seems that at least some of the anthems were written for one Mr Bowyer during Weldon's time at New College. Weldon also held the post of organist at two London Churches, St Bride's, Fleet Street [from 1702] and St Martin-in-the-Fields [from 1714]. He died aged 60 on 7 May 1736 and is buried in St. Paul's Church, Covent Garden, London.

Wikipedia

The Judgement of Paris [1701]. Aria: This Radiant Fruit Behold. Coro: Hither all ye Graces.

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

Inger Wikström [*1939] She was born in Gothenburg. Wikström began studying piano in Stockholm at the age of six, and at sixteen played as soloist with the Stockholm Philharmonic Orchestra. She made successful debuts as a concert pianist in Stockholm, Berlin, London and New York City. Later concert tours included the United States, Latin America, Russia, Israel, Africa, China, Japan and Australia. She married David Bartov and the couple moved with their three children to Österskär, where they opened the Nordic Music Conservatory in 1977, which became the Nordic Chamber Opera in 1980. Inger Wikström is a member of The Society of Swedish Composers and the Royal Swedish Academy of Music. Inger Wikstrom is the sister of Gunnel Biberfeld and mother of opera director Mira Bartov. She was married to politician Jan-Erik Wikström 1980-1990.

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Den Brottsliga Modern, ópera en dos actos [1991-1992]. Se sa! Nu kan grevinnan varna.

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Naktergalen, ópera en un acto [1993]. Hoi, Hoi, Hoi.

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En dåres försvarstal, ópera de cámara [2002]. Det är aska i luften!.

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

Johann Friedrich Agricola [1720-1774] He was born in Dobitschen, Thuringia. While a student of law at Leipzig [1738–1741] he studied music under Johann Sebastian Bach. In 1741 Agricola went to Berlin, where he studied musical composition under Johann Joachim Quantz. He was soon generally recognized as one of the most skillful organists of his time. The success of his comic opera, Il filosofo convinto in amore, performed at Potsdam in 1750, led to an appointment as court composer to Frederick the Great. In 1759, on the death of Carl Heinrich Graun, he was appointed conductor of the royal orchestra. He married the noted court operatic soprano Benedetta Emilia Molteni, despite the king's prohibition of court employees marrying each other. Because of this trespass, the king reduced Molteni's and Agricola's combined salaries to a single annual salary of 1,000 Thalers [Agricola's annual salary alone had been 1,500 Thalers]. Agricola died in Berlin at age 54.

Wikipedia

Achille in Sciro, dramma per musica en tres actos [1765]. Aria: Del sen gli ardori. Aria: Cosi leon feroce.

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

Michael John Hurd [1928-2006] He was born in Gloucester and educated at The Crypt School, Gloucester, and Pembroke College, Oxford, where he studied music with Thomas Armstrong and Bernard Rose. He was also a composition pupil of Lennox Berkeley. After National Service he taught at the Royal Marines Band School at Deal, [1953-1959] before settling as a freelance composer in East Hampshire, where he took a leading role in the area's music-making. He bought the terraced, two-bedroom cottage at 4, Church Street, West Liss in 1961 and lived there for the rest of his life. Like his fellow Petersfield resident, the tenor Wilfred Brown, Hurd championed the memory of Gerald Finzi [co-editing the composer's correspondence with Howard Ferguson], as well as Rutland Boughton [he was music advisor to the Rutland Boughton Music Trust from 1978 to 2006], Ivor Gurney and Cyril Scott. Stephen Banfield, unimpressed by the critical stance of his 1962 biography of Boughton ["Hurd seemed unable to accept the poverty of Boughton's musical imagination - it would perhaps have been difficult to justify the biography had he done so"], was much more positive about The Ordeal of Ivor Gurney, published in 1978 ["not only authoritative and rounded but intensely moving"]. His lifelong friends included the writer David Hughes and his wife Mai Zetterling. Hughes wrote the libretto for Hurd's first chamber opera, The Widow of Ephesus [1971], and Hurd wrote the music scores for two Zetterling films, Flickorna [1968], and Scrubbers [1982].

Wikipedia

The Widow of Ephesus, ópera de cámara en dos actos [1971]. Five days weeping, sleeping never.

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The Aspern Papers, ópera de cámara en tres actos [1995]. Let Me.

The Night of the Wedding, ópera de cámara en un acto [1998].

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

Gérard Condé [*1947] Born in Nancy, Condé was first self-taught until 1965 then studied harmony at the Conservatoire de Nancy before following the teaching of Max Deutsch (composition) in Paris between 1969 and 1972. He joined the daily Le Monde in 1975. He also contributes to various publications, such as L'Avant-scène Opéra and Opéra international and produces programmes on France Musique.

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Salima sac à ruses, comic opera for all audiences after One Thousand and One Nights [1999]. Escena primera.

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

Marco Frisina [*1954] He was born in Rome. After the Liceo classico, Frisina graduated in Letters at the Sapienza University of Rome and subsequently in composition at the Conservatorio Santa Cecilia. After having joined the Pontifical Major Seminary of Rome in 1978, Frisina studied theology at the Pontifical Gregorian University and got the license in Holy Scripture at the Pontifical Biblical Institute of Rome. In 1982 he was ordained a priest and was assigned to the Diocese of Rome. A member of the Pontifical Council for Promoting the New Evangelization, he was promoted as the chairman of the Diocesan Commission of Holy Arts for the Diocese of Rome and since 2009 rector of the church of Santa Cecilia in Trastevere. He is professor at the Pontifical University of the Holy Cross and at the Pontifical Institute of Sacred Music. In 1984 he founded the choir of the Diocese of Rome that he directed continuously for over four decades. Formed by 250 elements, the choir got involded in various international events and Holy Masses celebrated by the Pope. In 1991 Frisina started a collaboration with TV series titled Le storie della Bibbia produced by Lux Vide, in quality of Biblical consultant and musical composer. For what concerns the musical acitivbity, he involved the Italian composer Ennio Morricone.

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Passio Christi, ópera-oratorio [2018]. I- La Crocifissione. II- Pianto di Maria.

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

Pierre Louis Deffès [1819-1900] He was born in Toulouse and admitted to the Paris Conservatory in 1839, where he studied with Fromental Halévy and Henri Montan Berton [composition], François Bazin [harmony], Auguste Barbereau [counterpoint and fugue], and Théodore Mozin [piano]. In 1844, he composed La Toulousaine. The piece gained great popularity and became a signature tune of his home town. In 1847, he won second prize at the "Concours de Chants Historiques" with his composition Les Charmes de la Paix, and in the same year the Grand Prix de Rome with the cantata L'Ange et Tobie, based on a poem by Léon Halévy. During his stay in Rome, which was connected with the prize, he composed his Messe solennelle, which was first performed in 1850. In 1855, L'Anneau d'argent, the first of his twenty successful operas, was premiered at the Opéra-Comique.

The Franco-Prussian War interrupted the succession of performances of his operas. With Le Trompette de Chamboran Deffès returned to the opera stage in 1877. He succeeded Paul Mériel as director of the Conservatoire de Toulouse in 1883. He held the position until his death. Deffès had been a member of the Association des Artistes Musiciens since its foundation in 1843 and belonged to its central committee; he was also a founding member of the Société des Compositeurs de musique [1863]. In 1884, he became a corresponding member of the composition section of the Académie des Beaux-Arts. He was awarded the title of Knight of the Legion of Honour.

Wikipedia

Les noces de Fernande, ópera comique en tres actos [1878]. Nuit d'amour et de plaisir.

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

Lyubomir Panayotov Pipkov [1904-1974] He was born in Lovech. Pipkov studied at the Sofia State Music Academy, graduating in 1926, and then in Paris at the Ecole Normale [1926–1932] under Dukas [composition], Léfébure [piano] and Boulanger [music history]. After graduating he returned to Sofia and worked at the National Opera, first as répétiteur, then as chorus master and finally as director [1944–1947]. In 1948 he was appointed professor of vocal ensemble and opera at the Sofia State Academy. He co-founded the society Contemporary Music in 1933, was founder of its successor, the Union of Bulgarian Composers, and from 1945 to 1952 he served as secretary of the Bulgarian Choral Union. He was director of the festival March Musical Days in Russe, and of Lilac Musical Days in Lovech. From the mid-1960s he was a member of the ISME.

The author of celebrated works of the 1920s and 30s, Pipkov was one of the most important representatives of the second generation of Bulgarian composers; as such he was a founder of a national style. His musical language evolved naturally through successive stages. In the early 1920s he made his début with chamber pieces in the style of Chopin, Schumann, Debussy and Ravel, while in the First String Quartet [1928, the first also in Bulgaria], having mastered the principles and forms of the European tradition, he moved to embrace Bulgarian folk music. During the remaining Paris years he took on board new genres while endorsing a typically Bulgarian epic sense of drama, an example being Yaninite devet bratya [‘Jana's Nine Brothers’, 1929–1932], a work that was in effect the first Bulgarian classical opera. Upon his return to Sofia, Pipkov quickly established himself as a writer, critic [his article ‘Za Balgarskiyat muzikalen stil’ was something of a manifesto for the society Contemporary Music] and conductor, as well as composer. His vocal-orchestral Svadba [‘Wedding’], completed in 1935, marks the beginning of the cantata in Bulgarian music, while the equally innovative First Symphony served to summarize the achievements of his first period.

The second phase in his output spans the 1940s and the first half of the 50s. His epic dramatic style is developed and perfected, particularly in the opera Momchil [1939–1943], and in Symphony No. 2 this gives rise to his most accomplished orchestral writing yet. At this juncture in his career Pipkov extended his teaching activities and assumed a higher public profile, and as an adjudicator and representative of the Union of Bulgarian Composers he travelled extensively throughout Europe. In addition to their expressiveness and strong sense of drama, the works from the mid-1950s onwards convey the spirit of optimism. This is particularly true of Oratoriya za nasheto vreme [‘Oratorio for our Time’] and Priglusheni pesni [‘Muted Songs’]. The Fourth Symphony [1968–1970] is highly individual, while the piano piece Proletni priumitsi [‘Spring Caprices’, 1971–1972] revisits compositional ideas from earlier works. As a whole, the operas and orchestral works have qualities which are akin to the realism of Shostakovich, Bartók and Britten.

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Yaninite devet bratya, ópera [1929–1932]. Final.

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Momchil, ópera [1939–1943]. Escena II: Duet of Elena and Sabo.

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Escena V: Vee buiniat, vechniat viata.

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