Pascual de Rogatis News
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2024-03-21
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2017-09-09 23:00:00
Jommelli: Armida abbandonata (Rousset)
[…] own Mitridate, produced in Milan later the same year, is a thoroughly conventional opera seria that falls short of Jommelli's outstanding work.The familiar plot of Armida is of course drawn from Tasso's Gerusalemme liberata, being the story of Rinaldo's enchantment and eventual release from the clutches of the sorceress Armida. Many of the countless operatic settings derived either from Quinault's libretto for Lully, or a 1607 libretto by Francesco Silvano, but Jommelli's librettist Francesco De Rogatis went back to the original Tasso, producing a book full of spectacular magic scenes. But he cleverly underplayed the part of magic in Armida's hold over the Christian knight, thus intensifying the conflict between love and duty that lies at the heart of the story. Until unleashing her wrath on the departing Rinaldo in a remarkable scena that conveys vividly her near-madness, Armida emerges as a sympathetic figure that reaches genuinely tragic status in […]
2013-12-07 17:37:00
[…] the new appellation. Although I heard it in recent years at the Facultad de Derecho, it was hard to discount the immense distortions of the acoustics; at the Gran Rex the sounds may be slim but they are truer. First we heard the often played surviving Dance from the opera "Huemac" (1916) by Pascual de Rogatis, a pretty good piece from one of our pioneer composers; it was nicely done under the precise conducting of Ezequiel Silberstein, Adjunct Conductor of the Orchestra and a Benzecry disciple. And then, the big challenge of Rimsky-Korsakov´s "Scheherazade", this time under Benzecry. The magnificent suite was very carefully conducted and played, with only tiny […]
2012-12-26 20:03:00
[…] Printemps" were eliminated, presumably (bad thinking) because the concert would have been a bit long (Bartók lasts 25' , Rachmaninov 40'). Well, no: the programme as such ended at 10:15 p.m. The night started with a welcome novelty: the third part, "Transformation" (11' ) of a huge tone poem written by Pascual de Rogatis: "Zupay". (Weak joke: García Caffi sang in the Cuarteto Zupay for a long period; Zupay was the quechua devil). It wasn´t technically a premiere, for the whole score had been played on September 29, 1910, but it amounted to one. The music was never published, and the instrumental parts were found in the FENDOMA Archive of the National Institute of Musicology Carlos Vega, photographed by Julián […]
2012-01-09 20:07:00
[…] Fundación Música de Cámara has been led artistically for decades by the distinguished Guillermo Opitz. He always programmes and prepares concerts with two qualities: valuable but unjustly neglected material and the promotion of promising young artists. Another characteristic is the special venues selected. Thus, the magnificent Palace Sans Souci was the cadre for "Cancionero argentino", an ample digest of songs from earlier generations, starting with the nineteenth-century Esnaola. Aguirre, De Rogatis, Boero, Gianneo, J.J. Castro, Caamaño, Lasala, Ginastera and Guastavino were witnesses of the richness and quality of our song repertoire. Two works had special scorings: Lasala´s "Serranas", for tenor, flute, piano and "caja"; and Guastavino´s "Indianas", for vocal quartet and piano. Many songs werem new to me and quite welcome. Among the singers I would single out bass Walter Schwarz, soprano Jaquelina Livieri, tenor Santiago Bürgi, mezzosoprano Javiera Paredes and soprano María Goso. […]
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