La única revista #6 (Spanish Edition)

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A recent Naxos recording omits the recitative. So far Decca London Marilyn Horne disc with Sutherland and the live video on youtube with Lucia Valentini-Terrani are my favorite versions of this accompanied recitativo.

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This recit introduces the character and important information about the drama, in my opinion its a big mistake to cut it from the performance. Uncut this duet could last 15 minutes at least. It seems like Rossini builds his scenas like Neoclassical architecture; I want to reach out to my friends at the Rossini Gesellschaft about this comparison!

On this current hearing after 20 years! She is very spare on the chest notes.

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The album is dated , so she had already clocked in several decades of singing professionally. Today I started my own 30 day challenge to learn all the notes every melisma and every word! I spiral bounded my old Kalmus score which I have owned for many years. I managed to record it on a tape cassette and started listening. Side A was all light bel canto arias sung with great freshness and youthful tone. On side B Ms.

The aria became a sort of vocalise for me before auditions and concert; I never sang it in public until last year actually, at a couple of auditions. One of my operatic idols flawed, human but divine nonetheless is Italian mezzo Lucia Valentini-Terrani. I love her live and emotionally connected rendition of the aria on YouTube. Pero la correspondencia delata un cambio de tono, desde la complicidad y familiaridad inicial, al enfado meses despues del viaje, por un incidente entre los dos amigos. Webber, Chr. Valencia: Pre-Textos, Miquel Ortega Barcelona, es pianista, director de orquesta y compositor.

The words are simple, forthright but sensual; here is my hasty English translation of this song:. Stephen Brown. If I had, I would have been there since the first year. Before each piece Reyes addressed the audience and gave a short introduction of how he encountered the piece and how he got his hands on the score, since working editions of this music is difficult to obtain.

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He dedicated the program to one of his mentors, the American Ethnomusicologist Henrietta Yurchenco. This was a great beginning to what ended up being a delightful evening.

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As a listener, it was fun to picture each bird. Reyes technique allows him to produce a lot of sound and a clear trill for the bird calls. With this piece Reyes failed to transport me to a late 19th early 20th century ballroom in Old San Juan. I was a little disappointed since he had previously taken me to the Amazonas with the bird calls in the previous piece. This piece was a great discovery, and a wonderful example of Peruvian Nationalist music. To an enthusiastic clapping audience, he performed the Mexican National Anthem transcription by Ricardo Castro displaying great skill playing a masterwork of Mexican Nationalism.

I greatly enjoyed this concert and discovered new music from composers had not known previously. In a way it is the Spanish national answer to musical comedy, a mix of traditional and popular music, even folk sometimes, with opera and operetta forms. Zarzuela comes from a very complicated musical tradition that is wide and very rich.

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