Giuseppe and Leopoldo Mililotti Video
compositore d'opera
- opera
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2024-05-18
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Vadstena Academy Larson Mililotti Domenico Cimarosa 2010
Provided to YouTube by NAXOS of America I sdegni per amore, Act I: Vi fattiga flickor har enkla fasoner (Sung in Swedish) · Malin Gjorup · Vadstena Academy · Staffan Larson 40 Summers of Opera ℗ 2010 dB Productions Released on: 2010-10-01 Artist: Malin Gjorup Ensemble: Vadstena Academy Conductor: Staffan Larson Lyricist: Giuseppe Mililotti Composer: Domenico Cimarosa Auto-generated by YouTube.
Soler Vicente Martín Soler Mililotti Prieto Roldán Soria Abelardo Paniagua Sanz Jiménez Zamora Calvo Ricardo Rodríguez Gimeno Lyric Theater Bellas Artes 1775 1778 2016
LA MADRILEÑA Website (http•••) Facebook (http•••) Twitter (http•••) Instagram (http•••) JOSÉ ANTONIO MONTAÑO Website (http•••) Facebook (http•••) Twitter (http•••) Instagram (http•••) -ENGLISH- La Madrileña, Period Instrument Orchestra, performing Vicente Martín y Soler's overture "La Madrileña" or "Il tutore Burlato" under conductor José Antonio Montaño. The concert was hold at the Royal Academy "San Fernando" of Fine Arts, Madrid, January 15, 2016. La Madrileña or Il tutore burlato: Il tutore burlato is Martín y Soler’s first success both inside the genre of the opera buffa in particular and in his composing career in general, since it boosted its internationalization. The premiere of this “drama giocoso” has as a date the year 1775 in the Real Sitio de San Ildefonso, and due to its favorable reception back in 1778 it was transformed into zarzuela; performed under the title of La Madrileña. It is worth mentioning that by that date Martín y Soler had already settled in Naples, suggesting that this adaptation must have been done without his participation. The libretto is based on La finta semplice ossia Il tutore burlato by Pasquale Mililotti, performed in the lyric theater during previous decades, operas by which the young Spaniard surely was influenced when giving his opera prima its form. The Overture that we hear is structured in three movements that share one same tonic. The first movement is formed based on the beginning of the ritornello and the construction is based on short repeated motifs, a clear reminiscent of the baroque concert. It is followed by a central movement in tempo di minueto, followed by a final presto. It is, as a result, the first stage experiment by Martín y Soler, in which in his state as a new composer, he was guided by patterns and schemes deeply rooted in the lyric Italian tradition buffa. -ESPAÑOL- La orquesta de instrumentos de época La Madrileña interpreta la obertura de Vicente Martín y Soler de "La Madrileña" o "Il tutore Burlato" bajo la dirección musical de José Antonio Montaño el 15 de enero de 2016 en el concierto celebrado en la Real Academia de Bellas Artes de San Fernando en Madrid. La Madrileña o Il tutore Burlato: Il tutore burlato es el primero de los éxitos de Martín y Soler tanto dentro del género de la ópera buffa en particular como de su trayectoria compositiva en general, ya que supuso el impulso para la internacionalización de su carrera. El estreno de este “drama giocoso” data del año 1775 en el Real Sitio de San Ildefonso, y debido a su buena acogida ya en 1778 fue transformado en zarzuela, representada bajo el título de La Madrileña. Cabe destacar que para esa fecha Martín y Soler se hallaba ya instalado en Nápoles, por lo que esta adaptación debió de concretarse sin su participación. El libreto se basa en La finta semplice ossia Il tutore burlato de Pasquale Mililotti, ya llevada al teatro lírico durante las décadas previas, óperas en la que seguramente se basó el joven español a la hora de dar forma a su opera prima. La Obertura que escuchamos se estructura en tres movimientos que comparten una misma tónica. El primer movimiento se forma en base al principio del ritornello y la construcción a partir de breves motivos reiterados, clara reminiscencia del concierto barroco. Le sigue un movimiento central en tempo di minueto, seguido de un presto final. Se trata, por tanto, del primer experimento escénico de Martín y Soler, en el que en su calidad de compositor novel se guía por patrones y esquemas enraizados en la tradición lírica buffa italiana. LA MADRILEÑA PERIOD INSTRUMENT ORCHESTRA / ORQUESTA CON INSTRUMENTOS DE ÉPOCA Conductor / Director musical José Antonio Montaño Violines / Violins Maxim Kosinov Isaac M. Pulet Pablo Prieto Roldán Bernabé Roi Cibrán Marta Mayoral Beatriz Amezúa Adrián Pineda Izana Soria Abelardo Martín Pablo Paniagua Irene Cortezón Violas José I. Sanz de Galdeano Elena Borderías Isabel Juárez Pablo Gastaminza Violonchelos / Cellos Guillermo Martínez Ester Domingo Carla Sanfélix Contrabajos / Double Basses Silvia Jiménez Ismael Campanero Flautas / Flutes Antonio Campillo Guillermo Peñalver Oboes Pere Saragossa Marián Zamora Clarinetes / Clarinets Eduardo Raimundo Carlos Cerrada Fagotes / Bassoons Eyal Streett Marta Calvo Trompas / Horns Ricardo Rodríguez Jairo Gimeno Clave / Harpsichord Jorge López-Escribano
Enrico Caruso Emmy Destinn Antônio Carlos Gomes Alencar Brazil Francesco Marconi Mililotti Scala Theatro Lyrico Fluminense 1836 1870 1896 1908 1914
Recorded 20th April 1914. From the opera Il Guarany (The Guarany), an opera-ballo composed by Brazilian composer Antônio Carlos Gomes +••.••(...)), based on the novel O Guarani, written by José de Alencar. The libretto was written by Antonio Scalvini and Carlo D'Ormeville. The world premiere was at La Scala, Milan on March 19, 1870. The opera received additional European productions. The first Brazilian performance was in Rio de Janeiro on 2 December 1870, at the Theatro Lyrico Fluminense. The opera is notable as the first Brazilian opera to gain international acclaim outside of Brazil. The duet 'Sento una forza indomita' for tenor and soprano had a vogue: it was in the recorded repertoire of Francesco Marconi with Bice Mililotti, 1908, and - as here - of Enrico Caruso with Czech soprano Emmy Destinn. More information about Emmy Destinn here: (http•••) More info on Caruso check out my website: (http•••)
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