Enriqueta Casas Vidéos
chanteuse espagnole
- soprano
- opéra, zarzuela
- Espagne
- chanteur ou chanteuse
Dernière mise à jour
2024-05-15
Actualiser
Mesa redonda: Agencia y recepción artística. Intercambio de obras y promoción de artistas En castellano: (http•••) Sheila ffolliott, George Mason University; The Medici Archive Project Almudena Pérez de Tudela, Patrimonio Nacional Modera: Vanessa de Cruz Medina, Universidad de Castilla la Mancha Esta mesa forma parte del Simposio "Protagonistas femeninas en la formación de las colecciones del Prado. De Isabel I de Castilla a Isabel Clara Eugenia", celebrado los días 7 y 8 de marzo de 2022 en el Museo del Prado. Más información sobre el simposio: (http•••) La formación de las colecciones del Museo del Prado está estrechamente ligada a la labor de promoción artística que desarrollaron algunas de las mujeres más representativas de las casas reales, desde Isabel I de Castilla a Isabel II. Sin embargo, a menudo, paseamos por las salas del Museo sin reparar en ello, sin advertir que algunas de sus obras maestras son fruto de un patronazgo en femenino. Con motivo de la celebración del Día Internacional de la Mujer, el Museo del Prado reúne a destacados especialistas internacionales en un simposio que pretende dirigir nuestra mirada hacia aquellas mujeres que promocionaron, coleccionaron e inspiraron algunas de las obras de arte más emblemáticas de esta institución. Mujeres cuyas actuaciones, enmarcadas entre 1451 y 1633, coinciden con los años comprendidos entre el nacimiento de Isabel la Católica y la muerte de Isabel Clara Eugenia. Reinas, princesas, regentes y gobernadoras que desempeñaron un papel fundamental no sólo en el ámbito de la promoción de obras de arte, sino en los principales escenarios del poder, siendo responsables, en gran medida, de la internacionalización de la Monarquía Hispánica. / More information: (http•••) The creation of the collections of the Museo del Prado is closely linked to the artistic patronage undertaken by some of the most prominent female figures of the Spanish monarchy, from Isabella I of Castile to Isabel II. Nonetheless, it is easy to pass through the Museum’s galleries without observing this fact and without appreciating that some of its masterpieces are the result of women’s support for the arts. To mark International Women’s Day, the Museo del Prado is bringing together leading international specialists for a symposium which will aim to draw attention to the women who promoted, collected and inspired some of the Museum’s most iconic works: women whose activities, dating between 1451 and 1633, coincide with the period between the birth of Isabella the Catholic and the death of Isabel Clara Eugenia. These queens, princesses, regents and governors played a key role not just with regard to the promotion of works of art but also in the principal settings of power and were largely responsible for the internationalisation of the Spanish monarchy.
¡Comienza "Sinfónica de Tenerife, emociones desde el salón II"! Y lo hacemos con nuestra sección de trompetas interpretando “Fanfare for St. Edmundsbury” de Benjamin Britten. ¡Gracias compañeros por llevarnos musicalmente tan lejos y haber montado estas piezas desde sus casas! #YoSoySinfónica #JuntosLoConseguiremos Edición y montaje de video: Joachim Spieth
Frederick II Prussia Álvarez Aranda Federico Chueca Ruperto Chapí Tomás Bretón Riego 1560 1761 1770 1861 1864 1868 1870 1884 1903 1908 1997
The "Marcha Real" (Spanish pronunciation: [ˈmaɾtʃa reˈal]; "Royal March") is the national anthem of Spain. It is one of only four national anthems in the world (along with those of Bosnia and Herzegovina, Kosovo, and San Marino) that have no official lyrics[2] (although it had lyrics in the past, they are no longer used). One of the oldest in the world, the Spanish national anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pífanos y Tambores que se tocan nuevamente en la Ynfantª Española (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry), by Manuel de Espinosa. There, it is entitled "La Marcha Granadera" (English: "March of the Grenadiers"). According to the document, Manuel de Espinosa de los Monteros is the composer. There is a misconception that its author was Frederick II of Prussia, a great lover of music. That mistaken belief arose in 1861 when it was published as fact in the periodical La España militar (Military Spain). In 1864, Col. Antonio Vallecillo published the story in the diary El Espíritu Público (The Public Spirit), claiming a supposed Prussian origin for Marcha Real. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martín Álvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II's army, under orders of King Charles III. In 1868, this spurious history was published in Los Sucesos, changing the beneficiary of the gift to Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up in different publications of 1884 and 1903 until it was included in 1908 in the Enciclopedia Espasa. In 1770, Charles III declared the "Marcha de Granaderos" the official Honor March, an act that formalized the tradition of playing it in public, especially on solemn occasions. It became the official Spanish anthem during Isabel II's reign. In 1870, after the 1868 Revolution, General Juan Prim organized a national contest to create a new official state anthem, and a jury consisting of three well-known composers was chosen to designate a winning entry. Although over 400 compositions were submitted, including those written by the young composers Federico Chueca, Ruperto Chapí and Tomás Bretón, a new anthem was never selected. After extensive deliberations, the jury had advised that "Marcha de Granaderos" was already considered the country's official anthem, and the contest was suspended.[3] By Alfonso XIII's time, the Royal Circular Order of 27 August 1908 established the musical score orchestrated by Bartolomé Pérez Casas, Superior musician of the Royal Corps of Halberdier Guards, as the official version; it is known traditionally as the "Grenadier March" or the "Royal Spanish March". During the Spanish Second Republic the Himno de Riego was adopted as the anthem of the republic.[4] The actual symphonic version of the "Marcha Real" that replaced the Pérez Casas one was written by maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Pérez Casas's heirs. According to the Royal Decree 1560/1997, it should be in the key of B-flat major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds. info from Wikipedia
Umberto Giordano Rubin Montgomery Ely 1881
Cast & Creative Team FEDORA: Michelle Johnson, soprano LORIS: Jeremy Brauner, tenor DE SIRIEX: Marcello Guzzo, baritone OLGA: Maria Brea, soprano DESIRÈ: Samuel White, tenor DIMITRI: Eugenia Forteza, mezzo-soprano GRECH: Rubin Casas, bass LOREK: Michael Gracco. baritone CIRILLO: Brian Montgomery, baritone ROUVEL: Jordan Weatherston Pitts, tenor BOROV: Rick Agster, bass A PEASANT BOY: Kinneret Ely, soprano SERGIO: Pavel Suliandziga, tenor NICOLA: William Desbiens, baritone FISARMONICA: Ezio Pelliteri DIRECTOR: Malena Dayen LIGHTING DESIGNER: Jon DeGaetano ASSISTANT LIGHTING DESIGNER: Matthew Deinhart PROJECTIONS: Sangmin Chae EDITING: Enrico Ventrice ASSISTANT CONDUCTOR: Nicole Russell CONDUCTOR: Israel Gursky FILMING LOCATION: Tagret Margin Theater, Brooklyn NY SYNOPSIS: Act One Setting: A winter night, 1881. The salon of Vladimiro Andrejevich in St. Petersburg.Princess Fedora is waiting for her fiancé Vladimiro, whom she is to marry that day when a police officer and De Siriex suddenly appear carrying him in gravely in. The police officer, Inspector Gretch, questions the servants while Fedora learns that Vladimiro was found wounded in a pavillion. The pavillion had been rented by an old woman who delivered a letter to Vladimiro earlier in the day. But that letter is nowhere to be found. Fedora swears to avenge Vladimiro’s death. Suspicions turn to Loris Ipanov, a friend of the nihilists (anarchists) and whose apartment is near the place of the shooting. Act Two Setting: Paris Fedora follows Loris Ipanov to Paris to avenge Vladimiro. She holds a reception in her home, which Loris attends. Loris declares his love to Fedora;but, she appears to reject him and reveals her intentions to return to Russia.Having been exiled, Loris cannot return with her. Desperate, Loris admits thathe killed Vladimiro. Enraged Fedora convince him to return after the receptionto tell her the entire story. In the meantime, she writes a letter toVladimiro’s father, the Russian Imperial Chief of Police, accusing Loris of themurder. Loris returns later and explains that he had caught Vladimiro having anaffair with his wife. He claims shooing him in self-defense since it wasVladimiro who fired the first shot. Fedora realizes that he was defending hishonor and that Vladimiro was a cad. She convinces Loris to remain with her thatnight. Act Three Setting: A villa in the Bernese Oberland, Switzerland. Loris and Fedora are happily in love. De Siriex arrives and informs Fedora that the brother of Loris had been arrested as a result of her letter. He dies in prison and, after hearing of his death, his mother died of heartbreak. Stunned, Fedora realizes that she is the cause of their deaths. Loris receives letters from Russia with news of his brother and mother. The letter stats that a woman in Paris had apparently reported him. Fedora, in tears, confesses her guilt and begs his forgiveness. He curses her while Fedora ingests poison hidden in her Byzantine cross. She dies in his arms.
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