Concierto Solidario a Favor De
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 In an unpublished study, Janet L. -
Una Aproximación Al Teatro De Enrique García Álvarez
UNA APROXIMACIÓN AL TEATRO DE ENRIQUE GARCÍA ÁLVAREZ Por Elena Palacios Gutiérrez A. INTRODUCCIÓN 1. APROXIMACIÓN AL AUTOR: INFANCIA Y JUVENTUD. nrique García Álvarez nace en Madrid un 10 de octubre de 1873 en la céntrica calle del Barquillo. Toda su vida transcurre en esta ciudad en su Edomicilio del número siete de la calle Villalar. Hombre entre dos siglos, sus obras formarán parte de ese gran momento que vive el teatro español en los últimos años del diecinueve y primeras décadas del veinte, convivirá con figuras dispares como Galdós, Benavente, los hermanos Álvarez Quintero, Eduardo Marquina, Pedro Muñoz Seca y otros muchos comediógrafos. Entre todos ellos, Enrique García Álvarez propone cierto desenfado e intenta trasladar la farsa a la vida misma, llevar el humor a lo cotidiano. Al igual que su producción dramática, “absurdo y divertido es el propio Enrique García Álvarez”1. Su vida estará mar- cada por esa búsqueda de lo irrisorio, de un humor desorbitado que pretende siempre suscitar una sonrisa y una carcajada. El año en que nace García Álvarez, 1873, estaban recientes importantes acon- tecimientos que afectaron a la historia y a la literatura española. Todavía presen- tes el asesinato del general Prim y la muerte de Gustavo Adolfo Bécquer, irreco- nocido aún en su labor artística por el gran público, las tertulias del momento trataban estos temas, al tiempo que hablaban de otros grandes escritores como Galdós o Valera, quienes componían sus Episodios Nacionales y su Pepita Jimé- nez respectivamente. Desde el punto de vista social, eran años difíciles, pues sólo 1 José Montero Alonso, “Vida, humor y drama de Enrique García Álvarez”, Serafín y Joaquín Álvarez Quintero. -
Zarzuela Española
BY FEDERICO MORENO TORROBA A Student’s Guide to the Opera Look-In Characters Luisa Fernanda [Loo´eeza Fehr´nahn´da] (soprano) Synopsis Sinopsis -Daughter of Don Florito Fernández. She is in love with Javier. Act I. 1 ACTO. Duchess Carolina (soprano) -Duchess to Queen Isabel II, a member of the reigning monarchy. OOutside a tavern in Madrid (1868). AAfuera de una taberna en Madrid (1868). Javier Moreno [Ha´vee´air More´ay´no] (tenor) The innkeeper, Mariana, is outside -An army colonel. La hotelera, Mariana, está afuera a in the sun carrying on a conversa- Vidal Hernando [Vee´dahl Hair´nahn´dough] todo sol conversando con sus tion with her guests Rosita, Luis (baritone huéspedes Rosita, Luís Nogales, y Nogales, and Aníbal. While they -A country landowner. Aníbal. Mientras conversan, un chat, a wandering performer enter- músico ambulante los entretiene Luis Nogales [Loo´ees No´gah´lace] (baritone) tains them with a sad song about a -A member of the opposing revolutionary movement. con una canción triste sobre una girl and an unfaithful soldier. niña y un soldado infiel. Aníbal [Ah´nee´ball] (tenor) Florito Fernández (an old man who -Vidal’s servant. Florito Fernández (un anciano que used to work at the Queen of Mariana [Mah´ree´ah´nah] (mezzo-soprano) antes trabajaba en el palacio de la Spain’s palace) and his daughter, -An innkeeper and friend of Luisa. reina de España) y su hija, Luisa, Luisa, join Mariana and her group. se unen al grupo de Mariana. A CARÁCTERES Shortly, Luisa leaves the group to corto tiempo, Luisa se aleja del Luisa Fernanda (soprano) pray for her fiancé, Javier Moreno, grupo para rezar por su novio, -Hija de Don Florio Fernández. -
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. -
LA SCALA ACADEMY of LYRIC OPERA Academic Years 2021-2023
CALL FOR APPLICATIONS LA SCALA ACADEMY OF LYRIC OPERA academic years 2021-2023 Photo: Mario Wurzburger AT SCHOOL WITH LA SCALA LA SCALA ACADEMY he La Scala Academy provides thorough, in-depth OF LYRIC OPERA training to professional figures involved in the ounded by Riccardo Muti in 1997 under the artistic performing arts through its four departments: T direction of Leyla Gencer (and later of her successors Music, Dance, Stagecraft, Management. Its broad FMirella Freni and Renato Bruson), the La Scala Academy curriculum ranges from basic and core training courses of Lyric Opera carries forward the legacy of the “Cadetti to specialization courses and professional workshops. della Scala” school instituted in 1950 by Arturo Toscanini to The highest level of instruction is ensured by Teatro conserve and transmit the Italian operatic tradition to the alla Scala professionals, acclaimed performers, and new generations. renowned experts in the performing arts. The Academy provides young opera singers with a solid The teaching method derives from the philosophy of background in voice and music, honing their technical and learning by doing and prepares students for their future interpretive skills in a two-year program to prepare them for career through intense daily exposure to the performing a successful professional career. arts in a real world context. The teaching staff is composed of artists of the highest caliber who are able to transmit their stage experience to the students. They are led by Luciana D’Intino, head instructor, in charge of vocal and interpretive technique. Among her colleagues are the opera coaches Vincenzo Scalera, Umberto FOUNDING PARTNERS Finazzi, James Vaughan, Nelson Guido Calzi, and Michele D’Elia for role studies, and the director Marina Bianchi, who teaches stage arts. -
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. -
The Duality of the Composer-Performer
The Duality of the Composer-Performer by Marek Pasieczny Submitted for the Degree of Doctor of Philosophy School of Arts Faculty of Arts and Social Sciences Supervisors: Prof. Stephen Goss ©Marek Pasieczny 2015 The duality of the composer-performer A portfolio of original compositions, with a supplementary dissertation ‘Interviews Project: Thirteen Composers on Writing for the Guitar’. Abstract The main focus of this submission is the composition portfolio which consists of four pieces, each composed several times over for different combinations of instruments. The purpose of this PhD composition portfolio is threefold. Firstly, it is to contribute to the expansion of the classical guitar repertoire. Secondly, it is to defy the limits imposed by the technical facilities of the physical instrument and bring novelty to its playability. Third and most importantly, it is to overcome the challenges of being a guitarist-composer. Due to a high degree of familiarity with the traditional guitar repertoire, and possessing intimate knowledge of the instrument, it is often difficult for me as a guitarist-composer to depart from habitual tendencies to compose truly innovative works for the instrument. I have thus created a compositional approach whereby I separated my role as a composer from my role as a guitarist in an attempt to overcome this challenge. I called it the ‘dual-role’ approach, comprising four key strategies that I devised which involves (1) borrowing ‘New Music’ practices to defy traditionalist guitar tendencies which are often conservative and insular; (2) adapting compositional materials to different instrumentations; and expanding on (3) the guitar technique as well as; (4) the guitar’s inventory of extended techniques. -
Program Notes Adam Mitchell (B
Program Notes Adam Mitchell (b. 1990) is a 5th year vocal music education major studying voice with Louise Toppin at the Uni- versity of North Carolina at Chapel Hill. He currently sings with the UNC Men’s Glee Club under director Dr. Dan Huff and is enrolled in the UNC-BEST program for music education. A native of Wilmington, NC, Adam entered UNC in fall of 2008 with intent to study pharmacy before switching to music the next year. He has studied guitar since age fourteen, and has been playing and singing professionally since age eighteen. Since then, Adam has performed in restaurants and venues in Wilmington, Chapel Hill, and Durham, most notably Jack Sprat Café and The Franklin Hotel, where he regularly performs one to two times a month. As a classical vocalist, Adam has performed recitals in both Wilmington and Chapel Hill for public schools, nursing homes, and university functions and has performed as a soloist for UNC Men’s Glee Club. Adam also spent a two week intensive study in Spanish art song repertoire at La Escuela Superior de Canto de Madrid where he performed on recitals and master classes focused on bettering the understanding and performance of Spanish song. In addition to performing, Adam cur- rently teaches private voice, guitar, and drum lessons. As a composer and songwriter, he has completed seven pop songs, one piece for classical guitar entitled La Corrida, and a musical setting of four poems by Shel Silverstein for classical voice and piano. In addition to composing, Adam has also arranged Every Time We Touch by Cas- cada for pep band and The Beatles’ Let it Be for men’s choir. -
Tesis Los Orígenes De La Canción Popular En El Cine Mudo
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad I TESIS DOCTORAL Los orígenes de la canción popular en el cine mudo español, (1896-1932) MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Benito Martínez Vicente Director Emilio Carlos García Fernández Madrid, 2012 © Benito Martínez Vicente, 2012 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad I LOS ORÍGENES DE LA CANCIÓN POPULAR EN EL CINE MUDO ESPAÑOL (1896-1932) Tesis Doctoral Benito Martínez Vicente Director Dr. Emilio Carlos García Fernández Madrid, 2011 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) 2 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD I LOS ORÍGENES DE LA CANCIÓN POPULAR EN EL CINE MUDO ESPAÑOL (1896-1932) Tesis Doctoral Benito Martínez Vicente Director Dr. Emilio Carlos García Fernández Madrid, 2011 3 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) 4 Los Orígenes de la Canción Popular en el Cine Mudo Español (1896-1932) ¡RESPETABLE PÚBLICO! Señores: no alborotéis Aunque á oscuras os quedéis, Que á oscuras no se está mal Y si esperáis hasta el final, ¡ya veréis!... 1 1 Berriatúa, Luciano. “ Los primeros años del cine en las zarzuelas ”. Lahoz Rodrigo, Juan Ignacio (coord.). A propósito de Cuesta. Escritos sobre los comienzos del cine español 1896-1920. Ediciones de la Filmoteca. Institut Valencià de l’Audiovisual i la Cinematografia Ricardo Muñoz Suay. -
El Niño Judío
El Niño Judío 10 TEMPORADA 11 El Niño Judío 10 TEMPORADA Director: 11 LUIS OLMOS Miembro de: 16 CATÁloGO GENERAL DE PUBLICACIONES OFICIALES Diciembre http://publicaciones.administracion.es 010 al 16 Enero 011 FECHAS Y HORARIOS A las 0:00 horas (excepto lunes, martes y días 4, 5 y 31 de Diciembre) Miércoles (Día del espectador) y Domingos, a las 18:00 horas Funciones de abono: 13, 14, 15 y 16 de Enero de 011 La función del jueves 3 de diciembre será retransmitida en directo por Radio Clásica (RNE) EL TEXTO COMPLETO DE LA OBRA SE PUEDE CONSULTAR EN NUESTRA PÁGINA WEB: HTTP://TEATRODELAZARZUELA.MCU.ES © TEATRO DE LA ZARZUELA JOVELLANOS, 4 - 28014 MADRID, ESPAÑA TEL. CENTRALITA: 34 91 524 54 00 FAX: 34 91 523 30 59 HTTP://TEATRODELAZARZUELA.MCU.ES DEPARTAMENTO DE ABONOS Y TAQUILLAS: 34 91 524 54 10 FAX: 34 91 524 54 12 Edición del programa: Teatro de La Zarzuela Coordinación editorial y gráfica: Víctor Pagán Coordinación de textos: Gerardo Fernández San Emeterio Fotografías de la producción: Jesús Alcántara Diseño gráfico y maquetación: Argonauta Diseño Impresión: Imprenta Nacional del Boletín Oficial del Estado D.L: M-51151-010 Nipo: 556-10-01-6 El Niño Judío Zarzuela en dos actos y cuatro cuadros MÚSICA DE PABLO LUNA LIBRO DE ENRIQUE GARCÍA ÁLVAREZ Y ANTONIO PASO ESTRENADA EN EL TEATRO DE APOLO DE MADRID, EL 5 DE FEBRERO DE 1918 EDICIÓN A CARGO DE MIGUEL ROA (EDICIONES IBERAUTOR, PROMOCIONES CULTURALES SRL/ INSTITUTO COMPLUTENSE DE CIENCIAS MUSICALES, 2006) PRODUCCIÓN DEL TEATRO DE LA ZARZUELA (2001) Queremos dedicar esta serie de representaciones de El Niño Judío, que constituyen la segunda reposición de este montaje, a la memoria de tres compañeros que, habiendo participado en anteriores ocasiones, se fueron dejando entre nosotros un vacío difícil de llenar: FRANKY HUESCA, MARTÍN GRIJALBA y FRANCISCO NAVARRO, estos dos últimos pertenecientes al coro del Teatro. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity.