Victoria Vergara Video
mezzosoprano cileno
- mezzosoprano
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- cantante lirico
Ultimo aggiornamento
2024-05-10
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Guillén Lafuente Pilar Jurado Vergara Soto Navarro Sánchez Chao Arrieta
¡AYÚDANOS A AYUDAR! Susanna Griso, Cayetana Guillén Cuervo, Ana Terradillos, Luján Argüelles, Ana García Lozano, Raquel Martínez, Nieves Herrero, Patricia Reyes Spíndola, Miriam Díaz-Aroca, Belinda Washington, Lara Dibildos, Cristina Higueras, Maria Lafuente, Judith Mateo y muchas más, han colaborado en esta iniciativa de QUIERO SER QUIEN SOY. Este segundo tema del álbum INVENCIBLE creado por Julio Posadas y Pilar Jurado, nace con la intención de dar visibilidad a las mujeres que han sabido construirse a sí mismas y encontrar su espacio en la sociedad, orgullosas de lo que han conseguido ser. Cuando estaba a punto de presentarse estallaron los ataques contra Ucrania y sus creadores decidieron donar todos los derechos de este tema a CRUZ ROJA para que todo lo que generase se emplease en la AYUDA HUMANITARIA A LOS UCRANIANOS que estaban sufriendo esta guerra tan lamentable y desproporcionada. MUJERES QUE HAN COLABORADO EN ESTE VÍDEO: Susanna Griso Cayetana Guillén Cuervo Luján Argüelles Miriam Díaz Aroca Ana Terradillos Lara Dibildos Raquel Martínez Silvia Marsó Cristina Higueras Mar Regueras Gema Castaño Nieves Herrero Helena Bianco Patricia Reyes Spíndola Rossana Fuentes Victoria Cabezas Mónica Vergara Andromachi Papadoupoulus Blanca Soto Patricia Tapia Elena Clemente Elvia Lláuder Viruca Yebra Gabriela Ostos Lourdes Molinero Luli Bono Mariola Cantarero Micaela Navarro Mónica Deza Sara Mercado Elena Esteban Yufang Huo Isabel Rivadulla Sara Sánchez Mónica Chao Janeiro Patrizia Laprana Gema Gómez Carme Pinós Mayte Ariza Bárbara Rey Belinda Washington Emilia Zeballos Judith Mateo María José San Román Ana Arrieta Marian Ariss DJ Ana Tamariz Ana García Lozano Viruca Yebra María Lafuente Marisa Nufrio Julia Moreno y Pilar Jurado hashtag: #pilarjuradotv ???? Sígueme en Facebook: (http•••) Instagram: @pilarjurado_ Twitter: @pilarjurado_
Ferrer Soler Vergara Gutiérrez Maldonado
La Mujer En El Espejo Cap 20 (Maritza modela para las empresas Mutti) Gracias al espejo mágico, Juliana se transforma en una hermosa joven adquiriendo el alterno de Maritza Ferrer, una ingeniera química capaz de conseguir todo lo que se propone con una sonrisa. Sin embargo, ese sueño sólo durará de día, pues al caer la noche Juliana volverá a ser la misma de siempre. Siendo Maritza, Juliana conoce a Marcos Mutti, hijo adoptivo de Gabriel Mutti, dueño de la mayor marca de cosméticos del país. El joven se convierte en el gran amor de Maritza y confidente de Juliana sin saber que se trata de la misma mujer. Paola Rey - Juliana Soler / Maritza Ferrer / Bárbara Montesinos Juan Alfonso Baptista - Marcos Mutti Gabriela Vergara - Bárbara Montesinos de Mutti Xilena Aycardi - Bárbara Montesinos (Desfigurada) / (Bajo apariencia de Vanessa) Natasha Klauss - Luzmila Arrebato Kristina Lilley - Regina Soler Javier Gómez - Gabriel Mutti Paulo Quevedo - Alberto Gutiérrez Rossana Fernández Maldonado - Xiomara Fuentes
Ferrer Soler Vergara Gutiérrez Maldonado
La Mujer En El Espejo Cap 17 (Maritza acepta ser la imagen de la campaña) Gracias al espejo mágico, Juliana se transforma en una hermosa joven adquiriendo el alterno de Maritza Ferrer, una ingeniera química capaz de conseguir todo lo que se propone con una sonrisa. Sin embargo, ese sueño sólo durará de día, pues al caer la noche Juliana volverá a ser la misma de siempre. Siendo Maritza, Juliana conoce a Marcos Mutti, hijo adoptivo de Gabriel Mutti, dueño de la mayor marca de cosméticos del país. El joven se convierte en el gran amor de Maritza y confidente de Juliana sin saber que se trata de la misma mujer. Paola Rey - Juliana Soler / Maritza Ferrer / Bárbara Montesinos Juan Alfonso Baptista - Marcos Mutti Gabriela Vergara - Bárbara Montesinos de Mutti Xilena Aycardi - Bárbara Montesinos (Desfigurada) / (Bajo apariencia de Vanessa) Natasha Klauss - Luzmila Arrebato Kristina Lilley - Regina Soler Javier Gómez - Gabriel Mutti Paulo Quevedo - Alberto Gutiérrez Rossana Fernández Maldonado - Xiomara Fuentes
Bach Jaime Martín Jeffrey Kahane Vergara Grossman 1050 1721 1734
Bach ‘s Brandenburg Concerto No. 5 led by Music Director Jaime Martín on flute. PROGRAM Bach, Brandenburg Concerto No. 5 ARTISTS Jaime Martín flute Tereza Stanislav, solo violin Jeffrey Kahane, fortepiano Ardeshir Tabrizi, mixed media artist Margaret Batjer, violin Josefina Vergara, violin Susan Rishik, violin Erik Rynearson, viola Robert Brophy, viola Andrew Shulman, cello Armen Ksajikian, cello David Grossman, bass James Darrah, creative director Bach’s Brandenburg 5 is sponsored by Ned + Dana Newman. Support for Jaime Martín + Jeffrey Kahane comes from Dr. Hervey + Doris Segall. ABOUT BACH’S BRANDENBURG CONCERTO NO. 5 In the spring of 1721, JS Bach was working as Kapellmeister in the city of Cöthen. In running the musical activity of the court, Bach’s duties included composing music for different occasions, leading performances and possibly teaching, as well. His employer, Prince Leopold, was a music lover, and Bach always had work to do and find musicians at his disposal. Bach and his family were getting along very well in the city until two things changed Bach’s fortune: the death of his first wife, Maria Barbara, and Prince Leopold’s marriage to a woman who didn’t care for music. In light of these changes, Bach began searching for employment elsewhere. His thoughts turned to Brandenburg. In the years prior, Bach had had a chance encounter with the Margrave of Brandenburg, who had asked Bach for some music. The composer may have thought he could capitalize on their serendipitous meeting. Bach sent a set of six concertos as a response to the Margrave’s request, and probably as a bid for a new job. He had not written these pieces specifically for this purpose; he almost certainly began these concertos while working in Cöthen (and Weimar before that), since his orchestrations match the musicians he had at his disposal during that time. Bach copied the six works into a set and sent them off to Brandenburg. The dedication was a bit more obsequious than was probably necessary, but Bach was nothing if not humble. Part of the first sentence reads: “[I beg] Your Highness most humbly not to judge [the concertos’] imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him.” The Margrave appears never to have had the works performed, and the set collected dust in the Margrave’s library until his death in 1734. The pieces were subsequently sold—the concertos apparently went for about $20 in today’s currency—and were found in the Brandenburg archives in the mid-19th century. Setting aside taste as a factor in the Margrave’s decision not to produce them, he simply may not have had enough musicians up to the challenge. There are at least two solo instruments in nearly every concerto, and a presentation of all of them in a single evening requires a performing group of incredible depth. Individual musicians must be comfortable as both featured soloists and ensemble players. That the set was ultimately found is incredibly fortuitous. THE SOLO INSTRUMENTS IN BRANDENBURG CONCERTO NO. 5 The solo instruments of Brandenburg Concerto No. 5 are flute, violin and harpsichord. The flute of Bach’s time would have been made of wood with a mixture of finger holes and keys similar to the ones you would find on the modern, metal flute. Also, in the Baroque period, the shape of the inside of the instrument, called a “bore,” changed from cylindrical to conical. This difference in bore shape increased the range of the instrument and made it more expressive. This concerto is particularly notable for the interesting role played by the harpsichord. Usually relegated to a background part, as the keyboard continuo, the harpsichord here actually becomes one of the solo instruments, playing the spectacular cadenza of the first movement. It is thought that Bach designed the concerto specifically to show off his own considerable skills at the keyboard. The harpsichord player steps out of the shadows to shine as a virtuoso, displaying not just his or her own talent, but the clarity and timbre of the instrument. There is also speculation that Bach was interested in demonstrating the new Mietke harpsichord he acquired in Berlin—the same instrument he bought when he met up with the Margrave. Christine Lee Gengaro, PhD ABOUT CLOSE QUARTERS LACO’s new premium streaming series – which premieres November 6 – presents a new avenue for classical music and a unique look at what the future can hold in balancing music, art and movement. HOW TO SUPPORT LACO: Close Quarters supports the stellar musicians of the Los Angeles Chamber Orchestra. Viewers who wish to support LACO and the artists on screen are encouraged to visit (http•••) or call +••.••(...), EXT. 4. See Less
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- cronologia: Cantanti lirici (Sud America).
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