This blog has talked a lot of Rossini, his operas and singers who were responsible for coming out. In the previous post talked about the celebrated Barbiere di Siviglia and out the name of Manuel Garcia the first Almaviva history. Then there is the fact that Garcia, in addition to having developed a successful career as a singer, he also developed an outstanding career as a composer. And to show the button to bring the blog today, his work Poet calculator.
The English edition of Wikipedia is possessed of a good biography of our hero today, so I will serve to illustrate the same composer biographically. Manuel Garcia came to earth in Seville on January 22, 1765. He was baptized in the parish of St. Mary Magdalene and his certificate of baptism can read that is the legitimate son of Geronimo Rodriguez and his wife Maria Aguilar. We discuss the origin of the name Garcia, it seems that comes from his paternal grandfather Diego Rodríguez-García, one must bear in mind that in the eighteenth century was not yet standardized the rule to adopt the surname of the father and mother's second . The middle name comes from the Augustinian convent Pópulo Santa Maria del Populo near his birthplace.
At six he entered the choir of the Cathedral of Seville, where he had his first training. We know that at least 14 years lived in the family home with his parents, grandmother and sisters Rita and Mary. The Sevilla of his childhood lacked operatic life due to municipal and ecclesiastical ban which sought to rid the city of sins that theater and opera could bring to citizens. So, at sixteen, he moved to Cadiz. In 1792 debuted at the Teatro de Cádiz with the play tune. In this city in 1797 married to fellow singer Manuela Morales.
In 1798 he moved to Madrid with his wife being integrated in the company of Antonio Ramos, singing at the Teatro de los Canos del Peral (now Teatro Real de Madrid) some of the first self-composed tunes: El Majo and Maja and the Bill. Shortly after the incident after a military guard of the Prince Theater that cost him a brief stay in prison leave Madrid to go to Malaga.
During his stay in Malaga (1800-1801) succeeds, but misses Madrid and in 1802 returned to the capital of Spain. Among his most famous compositions from this period are "Who stubbornness long enough," "The servant faked" and especially our hero today, "The ooeta calculator."
In 1807 he began a series of trips to different countries that lasted until his death, first Paris where he had success as a tenor and composer.
Between 1811 and 1816 installed in Italy where he completed his studies in music and premiered his opera "Il califfo di Bagdad" for which he won great success. Gioachino Rossini chose him as principal tenor for the premiere of his Barbiere, as I commented, apart from "Otello" in the title role. The scores of the two operas show that Garcia had a compass of two octaves, good coloratura and a good control of breathing in long sentences.
international tour continued his composing and playing their own operas, to finally move to New York where he represented several self-composed opera lover as L'artist also premiered operas by Mozart and Rossini unseen in America.
traveled to Mexico in 1827 where he contributed to the spread of the operatic genre English translated into French and Italian works to improve its acceptance by the Mexican public. In this country the success of her came an ugly incident, on his way to Veracruz, arriving at a place called Tepeyagualco, the convoy in which he was, was assaulted by robbers, plundered their carriages, a victim of the theft of a thousand ounces gold, the fruit of all his work.
returned to France in 1830 dedicated to teaching until his death in Paris on June 9, 1832.
His daughters Maria Malibran (1808-1836) and Pauline Viardot-Garcia (1821-1910, aim at the latter's name, which will soon appear on the blog) had great success as singers of bel canto operas. The son Manuel Patricio Rodríguez García (1805-1906) was unable to repeat the success of his father, but he became the most influential voice teacher nineteenth and twentieth century, continuing his father's school.
As I said before, I bring the work is titled "The Poet calculator," which opened with great success in 1804. This is a "monologue" of one hour in which the main character and only character, the poet, exposes the public which will be the structure of his new opera as she fantasizes about the success that it will have. And during these sixty minutes we can go listen to music of various kinds, from the inevitable small symphony through songs, arias of scale, Polish and even a duet with himself on the poet who is responsible for interpreting both male and female voice. And among all these pieces together that would become very famous, very popular lately for Cecilia Bartoli's latest album, "I who am a smuggler." So famous was the part that you forget what was its origin, sung on countless occasions. It was not uncommon in performances of "Il Barbiere di Siviglia" Rosina in turn replaced the lesson "Contro one cut" with "I who am a smuggler" (especially if the Rosina was sung by some of the stems the patriarch García).
Well then, let's go with the recording of this little work. The version that I offer is starring Mark Tucker, tenor specializing in Baroque work here makes a Buela, although he is languishing on several occasions (one in "I who am a smuggler, no comparison with intense reading that Cecilia Bartoli in her album "Maria"). Among his greatest achievements, the great scene "And among the trees", the duo has come on so much happiness "and the Polish" If such a happy moment. " The spoken part is a great task Pepe Cantero, reciting the poet's thoughts in an extraordinary way. Andrea Marcon reading done a commendable commanding the City of Granada Orchestra . Well, here you
link: single CD
animais
If you listen to it I assure you that you are going to enjoy very much. Word.
The English edition of Wikipedia is possessed of a good biography of our hero today, so I will serve to illustrate the same composer biographically. Manuel Garcia came to earth in Seville on January 22, 1765. He was baptized in the parish of St. Mary Magdalene and his certificate of baptism can read that is the legitimate son of Geronimo Rodriguez and his wife Maria Aguilar. We discuss the origin of the name Garcia, it seems that comes from his paternal grandfather Diego Rodríguez-García, one must bear in mind that in the eighteenth century was not yet standardized the rule to adopt the surname of the father and mother's second . The middle name comes from the Augustinian convent Pópulo Santa Maria del Populo near his birthplace.
At six he entered the choir of the Cathedral of Seville, where he had his first training. We know that at least 14 years lived in the family home with his parents, grandmother and sisters Rita and Mary. The Sevilla of his childhood lacked operatic life due to municipal and ecclesiastical ban which sought to rid the city of sins that theater and opera could bring to citizens. So, at sixteen, he moved to Cadiz. In 1792 debuted at the Teatro de Cádiz with the play tune. In this city in 1797 married to fellow singer Manuela Morales.
In 1798 he moved to Madrid with his wife being integrated in the company of Antonio Ramos, singing at the Teatro de los Canos del Peral (now Teatro Real de Madrid) some of the first self-composed tunes: El Majo and Maja and the Bill. Shortly after the incident after a military guard of the Prince Theater that cost him a brief stay in prison leave Madrid to go to Malaga.
During his stay in Malaga (1800-1801) succeeds, but misses Madrid and in 1802 returned to the capital of Spain. Among his most famous compositions from this period are "Who stubbornness long enough," "The servant faked" and especially our hero today, "The ooeta calculator."
In 1807 he began a series of trips to different countries that lasted until his death, first Paris where he had success as a tenor and composer.
Between 1811 and 1816 installed in Italy where he completed his studies in music and premiered his opera "Il califfo di Bagdad" for which he won great success. Gioachino Rossini chose him as principal tenor for the premiere of his Barbiere, as I commented, apart from "Otello" in the title role. The scores of the two operas show that Garcia had a compass of two octaves, good coloratura and a good control of breathing in long sentences. international tour continued his composing and playing their own operas, to finally move to New York where he represented several self-composed opera lover as L'artist also premiered operas by Mozart and Rossini unseen in America.
traveled to Mexico in 1827 where he contributed to the spread of the operatic genre English translated into French and Italian works to improve its acceptance by the Mexican public. In this country the success of her came an ugly incident, on his way to Veracruz, arriving at a place called Tepeyagualco, the convoy in which he was, was assaulted by robbers, plundered their carriages, a victim of the theft of a thousand ounces gold, the fruit of all his work.
returned to France in 1830 dedicated to teaching until his death in Paris on June 9, 1832.
His daughters Maria Malibran (1808-1836) and Pauline Viardot-Garcia (1821-1910, aim at the latter's name, which will soon appear on the blog) had great success as singers of bel canto operas. The son Manuel Patricio Rodríguez García (1805-1906) was unable to repeat the success of his father, but he became the most influential voice teacher nineteenth and twentieth century, continuing his father's school.
As I said before, I bring the work is titled "The Poet calculator," which opened with great success in 1804. This is a "monologue" of one hour in which the main character and only character, the poet, exposes the public which will be the structure of his new opera as she fantasizes about the success that it will have. And during these sixty minutes we can go listen to music of various kinds, from the inevitable small symphony through songs, arias of scale, Polish and even a duet with himself on the poet who is responsible for interpreting both male and female voice. And among all these pieces together that would become very famous, very popular lately for Cecilia Bartoli's latest album, "I who am a smuggler." So famous was the part that you forget what was its origin, sung on countless occasions. It was not uncommon in performances of "Il Barbiere di Siviglia" Rosina in turn replaced the lesson "Contro one cut" with "I who am a smuggler" (especially if the Rosina was sung by some of the stems the patriarch García).
Well then, let's go with the recording of this little work. The version that I offer is starring Mark Tucker, tenor specializing in Baroque work here makes a Buela, although he is languishing on several occasions (one in "I who am a smuggler, no comparison with intense reading that Cecilia Bartoli in her album "Maria"). Among his greatest achievements, the great scene "And among the trees", the duo has come on so much happiness "and the Polish" If such a happy moment. " The spoken part is a great task Pepe Cantero, reciting the poet's thoughts in an extraordinary way. Andrea Marcon reading done a commendable commanding the City of Granada Orchestra . Well, here you
link: single CD
animais
If you listen to it I assure you that you are going to enjoy very much. Word.
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