Esencia De Zarzuela Dossier
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Columbia University Libraries Music Library Zarzuela Collection
COLUMBIA UNIVERSITY LIBRARIES MUSIC LIBRARY ZARZUELA COLLECTION [Shelvedoff-sST BlOTJ^ COU-tCTloh) -XS Shelvedoffeftf 1993 CONTENTS page DESCRIPTION OF THE COLLECTION 1 LISTING OF CONTENTS IN BOXORDER 4 BIBLIOGRAPHIC TITLE SHEETS (duplicates are included in boxes and have been filmed with the materials) COLUMBIA UNIVERSITY LIBRARIES MUSIC LIBRARY ZARZUELA COLLECTION DESCRIPTION The Zarzuela Collection at Columbia University consists of almost five hundred different zarzuelas. Both nineteenth and twentieth century works are represented by libretti, scores, and separate instrumental parts. Formats include printed, typewritten, and handwritten items. Many of the libretti contain role assignments and other handwritten notes which indicate they were used by a traveling zarzuela company. Among the authors of the libretti are Javer de Bergos y Sarragoiti, Jose Estremero y Cuenca, Jacinto Benavente, and the Quintero brothers. BACKGROUND The Zarzuela Collection was given to the Columbia Music Library by the Hispanic Institute in 1986. The Institute was founded in 1916 as the Instituto de las Espanas en los Estados Unidos by Frederico de Onis, the year he became head of the Spanish Department at Columbia University. In 1940 the Institute acquired its present name, and in 1961 it moved to the Columbia campus. Since there was no space in the new quarters for the collection, it was donated to the Music Library in two installments — the first included the music scores, the second the libretti and other texts. The source and original organization of the collection are difficult to determine, since the card catalog which accompanied it did not accurately reflect it. In an unpublished study, Janet L. -
DON FERNANDO, EL EMPLAZADO Administraciones Públicas Mecenas Principal Mecenas Principal Mecenas Principales Mecenas Tecnológico Energético VALENTIN DE ZUBIAURRE
TEATRO REAL TEMPORADA 2020-2021 MEJOR TEATRO DE ÓPERA GRACIAS A todos y cada uno de los trabajadores del Teatro Real Ministerio de Cultura y Deporte Comunidad de Madrid Ayuntamiento de Madrid Orquesta, Coro y Artistas Patronato Patrocinadores Junta de Protectores Círculo Diplomático Consejo Asesor Consejo Internacional Junta de Amigos Fundación Amigos del Real Abonados Y medios de comunicación DON FERNANDO, EL EMPLAZADO Administraciones Públicas Mecenas principal Mecenas principal Mecenas principales Mecenas tecnológico energético VALENTIN DE ZUBIAURRE Programa_DonFernando_OPERAAWARDS_T21-22_150x210+s3mm.indd 1 11/05/2021 13:48:37 TEMPORADA 2020-2021 DON FERNANDO, EL EMPLAZADO VALENTIN DE ZUBIAURRE (1837-1914) Ópera española en tres actos Libreto de Riccardo Castelvecchio y Ernesto Palermi Estrenada en el Teatro Alhambra de Madrid el 12 de mayo de 1871 Estrenada en el Teatro Real el 5 de abril de 1874 En versión de concierto 15, 17 de mayo de 2021 5 FICHA ARTÍSTICA Director musical José Miguel Pérez-Sierra Director del coro Andrés Máspero Asistente del director musical Alberto Cubero Asistente de la revisión de la partitura Ruhama Santorsa Asesor científico Francesco Izzo Reparto Estrella Miren Urbieta-Vega Violante Cristina Faus Fernando IV Damián del Castillo Don Pedro de Carvajal José Bros Don Juan de Carvajal Fernando Radó Don Rodrigo Gerardo López Paje Vicenç Esteve Pregonero Gerardo Bullón Coro y Orquesta Titulares del Teatro Real Edición musical Edición crítica de Francesco Izzo publicada por el ICCMU Duración aproximada 2 horas y 30 minutos Acto I: 50 minutos Pausa de 25 minutos Actos II y III: 1 hora y 15 minutos Fechas 15, 17 de mayo 19:30 horas La recuperación de Don Fernando el Emplazado ha sido posible gracias a una investigación liderada por Instituto Complutense de Ciencias Musicales (ICCMU) en el marco de los proyectos I +D: MadMusic-CM «Espacios, géneros y públicos de la música en Madrid, ss. -
Popular, Elite and Mass Culture? the Spanish Zarzuela in Buenos Aires, 1890-1900
Popular, Elite and Mass Culture? The Spanish Zarzuela in Buenos Aires, 1890-1900 Kristen McCleary University of California, Los Angeles ecent works by historians of Latin American popular culture have focused on attempts by the elite classes to control, educate, or sophisticate the popular classes by defining their leisure time activities. Many of these studies take an "event-driven" approach to studying culture and tend to focus on public celebrations and rituals, such as festivals and parades, sporting events, and even funerals. A second trend has been for scholars to mine the rich cache of urban regulations during both the colonial and national eras in an attempt to mea- sure elite attitudes towards popular class activities. For example, Juan Pedro Viqueira Alban in Propriety and Permissiveness in Bourbon Mexico eloquently shows how the rules enacted from above tell more about the attitudes and beliefs of the elites than they do about those they would attempt to regulate. A third approach has been to examine the construction of national identity. Here scholarship explores the evolution of cultural practices, like the tango and samba, that developed in the popular sectors of society and eventually became co-opted and "sanitized" by the elites, who then claimed these activities as symbols of national identity.' The defining characteristic of recent popular culture studies is that they focus on popular culture as arising in opposition to elite culture and do not consider areas where elite and popular culture overlap. This approach is clearly relevant to his- torical studies that focus on those Latin American countries where a small group of elites rule over large predominantly rural and indigenous populations. -
Catálogo De Publicaciones Del ICCMU
Colección Música hispana PARTITURAS Serie A Libreto de Juan I. Luca de Tena Música lírica (zarzuela y ópera) y Enrique Reoyo Edición crítica de Jesús Villa-Rojo 1. FRANCISCO ASENJO BARBIERI Jugar con fuego. Zarzuela en tres actos 10. JACINTO GUERRERO Libreto de Ventura de la Vega La Montería. Zarzuela en dos actos Edición crítica de Mª Encina Cortizo Libreto de José Ramos Martín Estudio literario de Ramón Barce Edición crítica de Benito Lauret 2. JOAQUÍN RODRIGO 11. EMILIO ARRIETA El hijo fingido. Comedia lírica en un prólogo y dos actos El dominó azul. Zarzuela en tres actos Libreto de Lope de Vega Libreto de Francisco Camprodón Edición crítica de Ramón Sobrino Edición crítica de Mª Encina Cortizo y Ramón Sobrino 3. JOSÉ SERRANO La canción del olvido. Zarzuela en un acto Libreto de Federico Romero y 12. RUPERTO CHAPÍ Guillermo Fernández-Shaw El rey que rabió. Zarzuela en tres actos Edición crítica de Miguel Roa y Ramón Sobrino Libreto de Miguel Ramos Carrión y Vital Aza 4. FEDERICO CHUECA Edición crítica de Tomás Marco El bateo. Sainete en un acto Libreto de Antonio Paso y Antonio Domínguez 13. FRANCISCO ALONSO Edición crítica de Mª Encina Cortizo La parranda. Zarzuela en tres actos y Ramón Sobrino Libreto de Luis Fernández Ardavín Edición crítica de Manuel Moreno-Buendía 5. FRANCISCO ASENJO BARBIERI El barberillo de Lavapiés. Zarzuela en tres actos 14. FEDERICO CHUECA Libreto de Luis Mariano de Larra Agua, azucarillos y aguardiente. Edición crítica de Mª Encina Cortizo Pasillo veraniego en un acto y Ramón Sobrino Libreto de Miguel Ramos Carrión Edición crítica de Benito Lauret 6. -
Montserrat Caballé En El Teatro De La Zarzuela
MONTSERRAT CABALLÉ EN EL Comedia musical en dos actos TEATRO DE LA ZARZUELA Victor Pagán Estrenada en el Teatro Bretón de los Herreros de Logroño, el 12 de junio de 1947, y en el Teatro Albéniz de Madrid, el 30 de septiembre de 1947 Teatro de la Zarzuela Con la colaboración de ontserrat Caballé M en el Teatro de la Zarzuela1 1964-1992 1964 1967 ANTOLOGÍA DE LA TONADILLA Y LA VIDA BREVE LA TRAVIATA primera temporada oficial de ballet y teatro lírico iv festival de la ópera de madrid 19, 20, 21, 22, 24 de noviembre de 1964 4 de mayo de 1967 Guión de Alfredo Mañas y versión musical de Cristóbal Halffter Música de Giuseppe Verdi Libreto de Francesco Maria Piave, basado en Alexandre Dumas, hijo compañía de género lírico Montserrat Caballé (Violetta Valery) La consulta y La maja limonera (selección) Aldo Bottion (Alfredo Germont), Manuel Ausensi (Giorgio Germont), Textos y música de Fernando Ferrandiere y Pedro Aranaz Ana María Eguizabal (Flora Bervoix), María Santi (Annina), Enrique Suárez (Gastone), Juan Rico (Douphol), Antonio Lagar (Marquese D’Obigny), Silvano Pagliuga (Dottore Grenvil) Mari Carmen Ramírez (soprano), María Trivó (soprano) Ballet de Aurora Pons Coro de la Radiotelevisión Española La vida breve Orquesta Sinfónica Municipal de Valencia Música de Manuel de Falla Dirección musical Carlo Felice Cillario, Alberto Leone Libreto de Carlos Fernández Shaw Dirección de escena José Osuna Alberto Lorca Escenografía Umberto Zimelli, Ercole Sormani Vestuario Cornejo Montserrat Caballé (Salud) Coreografía Aurora Pons Inés Rivadeneira (Abuela), -
Don Carlo Cambió Mi Vida” Por Ingrid Haas
www.proopera.org.mx • año XXV • número 2 • marzo – abril 2017 • sesenta pesos CONCIERTOS Elīna Garanča en México ENTREVISTAS Dhyana Arom Jorge Cózatl Ricardo López Constantine Orbelian Arturo Rodríguez Torres Carlos Serrano Diego Silva Ramón Vargas ENTREVISTAS EN LÍNEA Markus Hinterhäuser Grigory Soloviev FerruccioFerruccio FurlanettoFurlanetto “Don Carlo “Don Carlo cambiócambió mimi vida”vida”pro opera¾ EN BREVE por Charles H. Oppenheim La Orquesta Filarmónica del Desierto en Bellas Artes Por vez primera desde su formación en 2014, la Orquesta Filarmónica del Desierto, con sede en Saltillo, Coahuila, ofreció un concierto el pasado 28 de enero en la sala principal del Palacio de Bellas Artes, dirigida por su titular, el maestro Natanael Espinoza. La orquesta interpretó la obertura de la ópera Rienzi de Richard Wagner, Tangata de agosto de Máximo Diego Pujol y la Sinfonía número 5 en Mi menor, op. 64 de Piotr Ilich Chaikovski. La tercera generación del Estudio de Ópera de Bellas Artes Foto: Ana Lourdes Herrera Concierto del EOBA en memoria de Rafael Tovar y de Teresa El último recital de la tercera generación del Estudio de Ópera de Bellas Artes (EOBA) se dedicó a la memoria del recién fallecido titular de la Secretaría de Cultura, Rafael Tovar y de Teresa, quien le dio un fuerte impulso a la agrupación creada apenas en 2014. En el recital participaron las sopranos Rosario Aguilar, María Caballero y Lorena Flores, las mezzosopranos Vanessa Jara e Isabel Stüber, los tenores Enrique Guzmán y Ángel Macías, el barítono Carlos López, el bajo-barítono Rodrigo Urrutia y el bajo Carlos Santos, acompañados por los pianistas Edgar Ibarra y Alain del Real. -
Federico Moreno Torroba's Relations with the Franco Regime
Federico Moreno Torroba’s Relations with the Franco Regime Walter Aaron Clark University of California, Riverside A few years ago, I mentioned to a fellow musicologist, an eminent and learned Hispanist, that Bill Krause and I were writing a book about Federico Moreno Torroba.1 Much to my surprise, his immediate and almost breathless reaction was, “Torroba? Wasn’t he that . ?” I knew the words he intended but hesitated to say: “fascist composer?” In that moment it dawned on me that Torroba was and continues to be viewed by some—imprecisely but persistently—as having been a fellow traveler with Franco. I knew then that this was an issue we would have to confront fearlessly, and without any preconceptions or attempts to massage our data to suit a preconceived outcome. This paper is an initial summary of our findings and presents our answer to a simple question: what was the nature of Torroba’s relationship with Franco and Francoism? Let’s make one thing perfectly clear: we reject out of hand the argument from guilt by association. Many eminent composers and artists made their peace with the Franco regime and flourished in Spain during the dictatorship, including not only Joaquín Rodrigo and Joaquín Turina but also such stalwarts of the artistic avant-garde as Salvador Dalí and Joan Miró. Yet, they are not thought of as fascists. So, why tar and feather Torroba? Perhaps it is because he was Catholic and a monarchist. But millions of his fellow Spaniards were the same, and that did not automatically make them suspect. -
Nyco Renaissance
NYCO RENAISSANCE JANUARY 10, 2014 Table of Contents: 1. Executive Summary ...................................................................................................................... 2 2. History .......................................................................................................................................... 4 3. Core Values .................................................................................................................................. 5 4. The Operatic Landscape (NY and National) .............................................................................. 8 5. Opportunities .............................................................................................................................. 11 6. Threats ......................................................................................................................................... 13 7. Action Plan – Year 0 (February to August 2014) ......................................................................... 14 8. Action Plan – Year 1 (September 2014 to August 2015) ............................................................... 15 9. Artistic Philosophy ...................................................................................................................... 18 10. Professional Staff, Partners, Facilities and Operations ............................................................. 20 11. Governance and Board of Directors ......................................................................................... -
Ibla Foundation Home Page 3/8/10 10:09 PM
Ibla Foundation Home Page 3/8/10 10:09 PM The stormy, fresh, accelerated-tempo character which is supported by many sforzati and dynamical contrasts has to be emphasised. The return of the third movement’s primary theme and tempo (bar 256) make the quasi una fantasia clear. Here, Beethoven writes Tempo I - at this point, he means the Tempo I of the third, not the 4th movement. Once again, this indication shows Beethoven’s concept of an entire fantasia- sonata without separation in the movements. back to top Nancy Lee Harper, pianist, PORTUGAL "The Interpretation of Manuel de Falla's Fantasia baetica" INTERPRETING MANUEL DE FALLA'S FANTASÍA BÆTICA: An Introduction and Masterclass By Nancy Lee Harper ©2004 INTRODUCTION In this day and age of pianistic pyrotechnics, Falla's chef d'œuvre still remains as illusive and daunting today as it was 75 years ago when it was commissioned by and dedicated to the great Polish pianist, Artur Rubinstein. Shrouded in bad luck, Rubinstein was unable to learn the piece in time for his Barcelona concerts in 1919, giving the premiere later in New York on 20 February 1920. The work was destined neither to have the impact nor become the mainstay of his repertoire as other works in his repertoire. Rubinstein played the Fantasy a handful of times, abandoning it, complaining that it was too long, too difficult, had too many glissandi, too many guitar and flamenco figures, etc.. If the truth were known, Rubinstein probably did not have the same audience success as with his version of Falla's earlier work, the "Ritual Fire Dance". -
|||GET||| La Vida Breve / a Brief Life 1St Edition
LA VIDA BREVE / A BRIEF LIFE 1ST EDITION DOWNLOAD FREE Juan Carlos Onetti | 9788466334327 | | | | | La Vida Breve/A Brief Life Concurso de Cante Jondo Impressionism in music Spanish opera. Download as PDF Printable version. Following the Spanish Civil Warand devastated by the tragic murder of his friend Lorca, Falla left Spain in for Argentina. Literary Fiction. Refresh and try again. Work we must! Divadni rated it did not like it Jun 22, Inhe and some of his colleagues were imprisoned by the military dictatorship. Out with the establishment! La vida breve Opera by Manuel de Falla The composer in Hendrik rated it did not like it May 15, Only an hour long, the complete opera is seldom performed today, but its orchestral sections are, especially the act 2 music published as Interlude and Dancewhich is popular at concerts of Spanish La Vida Breve / a Brief Life 1st edition. He is interred in the Cementerio de la Almudena in Madrid. List of compositions by Manuel de Falla. Open Preview See a Problem? Lillian Grenville. He had suffered from severe ill health for many years, and this certainly limited his output. This flamboyant musician plays the grand piano like a virtuoso, at moments like a possessed demon, releasing the rip-tide tempo changes and atonality that hardly seem possible from a single keyboard. Already, Paco, the deceiver, is committed to marry another woman in his own class. Manuel de Falla - Spanish. Wikimedia Commons. More filters. Personen und Handlung sind schwach. Goodreads helps you keep track of La Vida Breve / a Brief Life 1st edition you want to read. -
OPERAS in SPANISH Available from G
OPERAS IN SPANISH Available from G. Schirmer/AMP and members of the Music Sales Group June 2012 Balada, Leonardo (b. 1936) Salsipuedes, A Tale of Love, War, Hangman, Hangman! and Anchovies (2004)……. full eve Text: (Spanish, German) Libretto by Eliseo Alberto and (¡Verdugo, Verdugo!) (1982)…45' Francisco Hinojosa. Trans. By Shane Gasbarra and Text: (English, Spanish, Catalan) Daniel Catán Libretto by the composer Cast: 3S, Mz, 4T, Bar, B-bar, B, Spkr Cast: Narrator, Tenor, Alto, 2 Basses, Soprano, 3(pic).2.5(bcl).2/3.4Ctpt.2+btbn.1/timp.perc/pf.hp/4vc.4 Baritone, 2 actors; Mixed Chorus (optional) db; onstage 4perc cl(bcl), bn, tpt, btbn, perc, pf, vn, db Chávez, Carlos (1899-1978) Catán, Daniel (b. 1949) The Visitors (1957) .......... 135’ Florencia en al Amazonas Text: (Spanish, English, French, German) Libretto by (1996) ................................ 100’ Chester Kallman Text: (Spanish) Libretto by Eliseo Alberto and Cast: Baritone, Bass, Countertenor, Soprano, Tenor; Francisco Hinojosa SATB Chorus Cast: 2 Sopranos, Mezzo Soprano, Tenor, 2 Baritones, 3333/4331/timp.3perc/hp/str Bass 2(2pic).22+bcl.2(cbn)/3221.timp.4perc/hp.pf/str (4.4.4.4.3) Falla, Manuel de (b. 1938) El Retablo de Maese Pedro La Hija de Rappacini (1922) ................................... 30' (1983) ................................ 170’ Text: (Spanish, English, French, German) Text: (Spanish) Libretto by Eliseo Alberto and Cast: Soprano (boy), Tenor, Bass-baritone Francisco Hinojosa 12+ca.11/2100/perc/hp.hpd/str Cast: Mezzo-soprano, Soprano, 2 Tenors, 3 offstage female voices La Vida Breve (1905) .......... 65' 3(pic).2(rec).3(ca).3(bcl).3/4331/timp.3perc/pf.cel.hp/str Text: (Spanish, French) Alt: 2perc.hp.2pf Cast: Alto, 3 Baritones, 2 Mezzo Sopranos, 3 Sopranos, 2 Tenors; SATB Chorus Il Postino (2008) .............. -
Senior Recital: Lara Carr, Soprano
Upcoming Events at KSU in Music Friday, May 7 Georgia Young Singers 8:00 pm Stillwell Theater Kennesaw State University Saturday, May 8 Department of Music Junior Recital Musical Arts Series Danielle Hearn, flute presents 5:00 pm Music Building Recital Hall Senior Recital Shannon Hampton, clarinet 7:30 pm Music Building Recital Hall Lara Carr, soprano Friday, May 14 Senior Recital Huu Mai, piano Senior Recital 8:00 pm Stillwell Theater Sunday, May 23 Faculty Recital Christy Lambert, piano Oral Moses, bass-baritone 3:00 pm Music Building Recital Hall Thursday, May 6, 2004 8:00 p.m. Music Building Recital Hall 63rd concert of the 2003/2004 Musical Arts Series season This recital is presented in partial fulfillment of the requirements for the degree Bachelor of Music in Performance. I. The pain of betrayal by a lover is expressed in the text, but the music sounds quite bright and cheerful for its spiteful words. This song, Les nuits d’été (Gautier) Hector Berlioz like the others, has a dance quality to it, which originates from its (1803-1869) folk form. Nana, a completely contrasting song and is calm, hushed, Villanelle and soothing. It is a lullaby sung by a mother to her baby, in which she beautifully expresses the intense and unique love a mother has How wonderful it will be when spring comes, my dear one, when nature will for her child. The rhythm of the piano is perfectly even, creating a hold new wonder and beauty for us to explore and enjoy together! lulling, rocking feeling.