Marian Anderson (February 27, 1897 – April 8, 1993. An African-American, Anderson became an important figure in the struggle for black artists to overcome racial prejudice in the United States during the mid twentieth century. In 1939, the Daughters of the American Revolution (DAR) refused permission for Anderson to sing to an integrated audience in Constitution Hall. Their race-driven refusal placed Anderson into the spotlight of the international community on a level usually only found by high profile celebrities and politicians. With the aid of President Franklin D. Roosevelt and First Lady Eleanor Roosevelt, Anderson performed a critically acclaimed open-air concert on Easter Sunday, in 1939 on the steps of the Lincoln Memorial in Washington, D.C. to a crowd of more than 75,000 people and a radio audience in the millions. She continued to break barriers for black artists in the United States, notably becoming the first black person, American or otherwise, to perform at the Metropolitan Opera in New York City on January 7, 1955. Her performance as Ulrica in Giuseppe Verdi’s Un ballo in maschera at the Met was the only time she sang an opera role on stage. Anderson later became an important symbol of grace and beauty during the civil rights movement in the 1960s, notably singing at the March on Washington for Jobs and Freedom in 1963. She also worked for several years as a delegate to the United Nations Human Rights Committee and as a “goodwill ambassadress” for the United States Department of State. The recipient of numerous awards and honors, Anderson was notably awarded the Presidential Medal of Freedom in 1963, the Kennedy Center Honors in 1978, the National Medal of Arts in 1986, and a Grammy Lifetime Achievement Award in 1991.

http://en.wikipedia.org/wiki/Marian_Anderson

“None of us is responsible for the complexion of his skin. This fact of nature offers no clue to the character or quality of the person underneath.”

Come sing to me in a voice that makes me vulnerable. What are you waiting for? Let me here your contralto voice which enters my ears like a silken thread; which leaves me hungry and thirsty ; I cannot move while you sing, cannot survive while I hear your soft piercing voice. My loyalty to you is black and white, unlike your loyalty to me which comes in different shades of grey. My history of you will always be one. You will remember through different filters and lenses, through the discourse of a hero, through the discourse of a criminal, through all discourses known to man.

You keep me prisoner with your enchanting voice which pokes at my past and makes me remember things lost, things regretted and things yearned for. I have seen the bad and the ugly and I have enjoyed it, until I substituted it all with you and your voice. I broke free from one prison to enter another. You are my prison made flesh, and I am held accountable.

I sit on the floor between your legs. My head pressed and held by your legs, and you sing. I can sense your vibrations coming from within you; I can sense your immense breath being released poetically and magically. You close my eyes with your round, black painted fingertips as you make me hear that song you sing. Close your eyes you tell me and my eyes are close. Meet me there, you tell me and I try to go to the other side, to the abstract prison. Remember, remember how I found you, remember how I saved you, remember how much you owe me, you tell me. Remember all the years which you have wasted, know how many years I saved for you. Close your eyes and see your past again, and you sing about my past.

I came in through the door at morning ten
I found you lying in an opium den.
So innocent, rosy and pink were you,
You opened your eyes and I saw right through
Black pupils and a cry for earnest help,
Your hand rested lightly like floating kelp.

I held your bloodless hand so serenely,
Lift’d your body, frail, pale, and heavenly
Held your head, loose, flimsy and deranged,
Brought my mouth to your ear, forever pained,
Whispered a soft song of fortune and fame,
Both of us, dancing round a murky  flame.

My nightingale tune, nev’r busy to sway
Young hearts towards mine; lost ships finding bay.
My nightingale tune, always best to say,
“Thou art my slave, your job is to obey.”

You sang in my ear and I was bound and harnessed forever by your voice. Away from the opium den you took me, towards an open hell, but your song did not encapsulate my past, for it missed details which you did not see nor foresee. Your lyric did not see through my fantasies, it just killed them brutally with an unwarranted wanton reflection. Your voice shakes the details away like filthy debris and stamps my past with your sung lyric. I become only what you sing, enslaved to it. I forget blood-filled needles and purple arms. I forget the smell of shit and the dampness of piss. I forget the uncared for rotting baby corpse. I forget my name, I forgot my face. I forget the taste of love and the joy of remembrance. I forget the feeling of freedom. Your song puts me in a basket, your legs carry me above Lethe like a new-born baby towards a history that does not belong to me, towards a destiny I do not crave. The details of my past life become details placed in parenthesis, skipped, not read; they become nonexistent. I know nothing except your imprisoning mantra of death, hearing it between your legs—thou art my slave, your job is to obey—as you blind me with your fingertips. Pluck out my eyes with your fingertips. Your nightingale tune plucks my kelp hand out of the water, dries it and leaves me impotent.

I forget the meaning of sex between your legs.

Johann Sebastian Bach

Mass in F Major, BWV 233
I. Kyrie (Chorus)
II. Gloria: Gloria In Excelsis Deo (Chorus)
III. Gloria: Domine Deus (Bass)
IV. Gloria: Qui Tollis Peccata Mund (Soprano)
V. Gloria: Quoniam Tu Solus Sanctus Quoniam (Contalto)
VI. Gloria: Cum Sancto Spiritu (Chorus)

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Ludwig van Beethoven

Symphony No. 9 in D minor Choral, Op. 125
I. Allegro ma non troppo, un poco maestoso
II. Molto vivace
III. Adagio molto e cantábile
IV. Presto – “O Freude, nicht diese Tone!” – Allegro assai

Berliner Philharmoniker; Irmgard Seefried (Soprano); Maureen Forrester (Contralto); Ernst Haefliger (Tenor); Dietrich Fischer-Dieskau (Baritone); Chor der St. Hedwigs-Kathedrale; Ferenc Fricsay (Conductor)

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Este es el blog del Coro Polifónico Municipal de la ciudad de Nogoyá. Aquí podrán encontrar información, fotos, videos, audio y todo lo referido a este coro.

Sean todos bienvenidos!!!!

Nathalie Stutzmann, Hilary Summer and Alexandra Gibson in Vivaldi’s Beatus vir from In Memoriam Aeternam. Originally written for alto, tenor and bass. Stutzmann just magnificent at the bottom.

Quem não tem problema de ensaios no ministério de louvor?

Dois vídeos foram elaborados com momentos da palestra “Organização de Ensaio”, ministrada por Raquel Emerick na escola Adorando de 2009, no CTMDT, em MG.

Assista e indique para todos da sua equipe de louvor!

Até o próximo post,

Equipe Ministério Além

PRIMEIRA PARTE:

SEGUNDA  PARTE:

Copio a seguir o texto do meu esposo Alfredo e a notícia boa prá todos que querem aprimorar tecnicamente no vocal, ok???

Entre no site www.ministerioalem.com e clique em EXTRAS.

Lá você encontra os nossos SPLIT TRACKS, prá treinar seu ouvido.

Se você gosta de divisões de vozes das canções ou tem tentado aprender como fazer contralto, tenor, melodia, quer ouvir o instrumental separado do vocal em L e R, fique a vontade.

Se você também quer baixar os playbacks do cd Restauração, eles estão à sua disposição.

Nada é para compra. Isso mesmo! São DOWNLOADS gratuitos!

Passe lá e curta o que fizemos para abençoar sua vida e ministério!

Abraços

Alfredo Ribeiro

(extraído do blog do Ministério Além www.alem.wordpress.com)

Entre no site www.ministerioalem.com e clique em EXTRAS.

Lá você encontra os nossos SPLIT TRACKS, prá treinar seu ouvido.

Se você gosta de divisões de vozes das canções ou tem tentado aprender como fazer contralto, tenor, melodia, quer ouvir o instrumental separado do vocal em L e R, fique a vontade.

Se você também quer baixar os playbacks do cd Restauração, eles estão à sua disposição.

Nada é para compra. Isso mesmo! São DOWNLOADS gratuitos!

Alfredo Ribeiro

Em primeira mão, esta semana estaremos lançando o SPLIT TRACK das músicas do CD Restauração!

O que é um spli track? Bom, prá você que quer treinar o ouvido e aprender a divisão de voz de tenor, contralto e soprano é o que você estava procurando então! Quando você fizer o download do split track no seu som ou fone de ouvido ouvirá de um lado apenas o instrumental, e do outro apenas o backing vocal. Você poderá aprender as partes dos backing e treinar o ouvido!

Agora, o melhor da notícia: download gratuito! Isso mesmo! A visão da liderança do nosso ministério foi de abençoar mesmo! Muita gente tem nos escrito procurando este tipo de material, ou qualquer coisa que ajude prá quem deseja aprender a dividir vozes, e também quem já sabe e procura novos materiais!!!

Aguarde esta semana no nosso site www.ministerioalem.com

Chinese Western Opera Stars Coming of Age

Most of the average men & women in the street have never been to a night at the opera, or stepped into the grandeur of the Opera Houses in the world like The Vienna Opera House, Royal Opera House Covent Garden London, Paris National Opera House, Metropolitan Opera House New York, or the Sydney Opera House. A night there in any of those Opera Houses with real life tenors, sopranos, altos & contraltos will be a lifetime experience.

Vienna Opera House

However, in modern times, with the availability of the multi-media, we have been privileged to hear “The Three Tenors” in the persons of Luciano Pavarotti (deceased), Jose Carreras & Domingo. The appearance of the three great tenors singing together has contributed much to the popularity of the opera. Most people are also familiar with The Phantom of the Opera, the stage musical & movie made famous by Andrew Lloyd Webber. The original novel by Gaston Leroux tells of a disfigured musical genius (Gerald Butler) who haunts the catacombs beneath the Paris Opera House.

My romance with the opera stretched back to my early school years in Taiping, Malaysia where we were taught simple appreciation of the classical music. Names of Enrico Caruso, Beniamino Gigli & Björling, the legendary three tenors, come to mind vividly. Caruso with his famous rendering of Verdi’s Rigoletto “La Donna e Mobile” (better known in English as “Woman is Fickle”) was featured in a film by Mario Lanza. As a school cinema operator, with the carbon arc screening 35 mm projector, which by now must be long obsolete, I used to enjoy such great musical shows, and would you believe it, I used to have the voice of Caruso in the my ancient “wire recorder”- a souvenir from the war years.

This afternoon, Hunan Satellite TV presented a tremendous opera program featuring three tenors & three sopranos who have made their talent felt on the world stage. They were demonstrating the unique style of opera singing and what a difference with the conventional pop singing.

Australia’s answer to the famous Three Tenors are the Chinese Trio – Hao Zhou, Stephen Wu & Shidi Chen who came together in early 1990s and were first invited to sing as part of Sydney’s bid for the 2000 Olympics. Since that time the group has performed across Australia as well as in China, Malaysia, Thailand, Singapore and Hong Kong. They have migrated to Australia charming & amazing audiences with their songs in Italian, French, German, English and Chinese, all in the one program.

Born of a composer father & a soprano mother . . . the teacher was telling him he lacked the talent to be a good opera singer. Doctor told him he should stabilize his voice with controlling his Adam’s apple.

“Concert of Chinese and Foreign Classic Songs” was performed at the Shenzhen Grand Theatre. Of the dozen singers, the most admired was Ding Yi, a tenor who the MC said is the No 1 singer at the Central Opera House in Beijing. He was certainly good. He and another soprano, Ma Mei (who was great too) wound up the concert with a duet from the famous Madame Butterfly.

Opera Arts described him as “a tenor that has made Italian directors sit up.” He has numerically represented China on the world stage & winning awards & praiseworthy criticism. At home, he is equally in demand whether it’s public or charity performance.

China with a pool of 1.3 billion people & millions taking up music, it goes without saying how much more impact the Chinese tenors & sopranos will have on the world stage. It will only be a question of time.

Paul Chong

A Chinese by Descent

An Australian by Consent

Friday, 17 July 2009

Aretha Franklin singing “Nessun Dorma”

Luciano Pavarotti singing “Nessun Dorma”

Yes, there is some very unoperatic ornamentation at the end, but that’s what a cadenza is meant for. This music isn’t meant to be mummified. It’s music. It’s meant to be alive, to quiver and thrill, to push the boundaries and bleed when you cut it.

Note that it’s on pitch as well, and thus the classification of “alto,” “contralto,” and “tenor” are as mixed between opera and popular music as that of “tenor” and “countertenor” are in male voices. Note also that the skepticism and melodramatic astonishment over the “chest voices” of “rare” operatic contraltos speaks of an ignorance of popular voice on the part of far too many opera intellectuals, exactly equal to that of the (false) conviction that natural male altos do not exist. Too many voice lovers appear to plug up their ears when they hear Neil Sedaka or Gladys Knight. I keep thinking of Maria Callas’s conviction that a singer had no business saying that they “can’t” sing a certain type of music, and Andreas Scholl’s eagerness to show respect for Jimmy Somerville’s falsetto. I’m also reminded of the times I’ve listened to the gigue from “Giulio Cesare” and wondered how it would sound if covered by a good four-piece rock band.

If only I could have heard Steve Perry or Art Garfunkel sing “Con rauco mormorio.” I would pay dearly to hear Aretha Franklin sing any other tenor arias. How magnificent.

And how lovely to hear opera treated as living music. It’s so often fossilized as music of the indolent wealthy that hasn’t changed in 200 years, and coming from a family of immigrant stonemasons all of whom considered the quartet from “Rigoletto” to be the most perfect piece of music ever written, that’s never sat well with me.

Opera is popular music, music of the people — specifically, music of my people. It’s the music of people with machine oil in their thumbprints, of people who work at blue- and pink-collar jobs, people who carry lunchpails to work and have toolchests in their dining rooms. Opera is alive, and it’s not owned by people who use it to elevate themselves above the common “rabble” and who would fight to keep it covered in dust. Opera must live, or it’s going to die, and in that case it will deserve to.

If you love something, why on Earth would you wish to see it embalmed?

I’ll deserve it. I only just now heard Ewa Podles.

*shocked amazement*

Looks like I’ve got another one to start chasing down on Amazon.com. My debit card may never forgive me.

Oh, well. One more order will get me all of the early Lyrichord recordings of Russell Oberlin that have just been rereleased on CD, so I supposed I’m due to start chasing down someone else.

For all foreigners, who never heard of the name Umm Kulthum, she is the biggest icon the middle ease has ever seen. She’s egyptian, known for her jaw-dropping contralto range. In a nutshell; Big big vocals for long long hours. Visit her Wiki page to read more about her, there are some really interesting facts. Now back to the present, Asalah (featured more than once in here) is the middle east best vocalist (nowadays), she once said in an interview “People could criticize me about my looks, height, weight, but they can’t say a word about my voice. Whoever dislikes my voice should get his/her ear checked!” and I gotta say, I loved her more since. Anyways, back to the video, in here Asalah sings Umm Kulthum’s song a capella and adds her own style to it, I think she did a wonderful job. Sometimes I wonder, what would happen if she lived in Umm Kulthum’s generation..

Joaquín Rábago Londres, 28 abr (EFE).- “Lohengrin”, una de las óperas de Wagner que ha cautivado desde su estreno en Viena a todo tipo de audiencias, ha vuelto al Covent Garden, donde estará hasta el 16 de mayo.

Se trata de una vieja producción de Elijah Mochinsky- data de 1977- que se resiente de una estética kitsch, sobrecargada como está de un híbrido de simbología cristiana y pagana con extrañas cruces, extravagantes tótems, monjes tonsurados y vírgenes con velas en las manos que se pasean continuamente de un lado para otro.

A juzgar por la vestimenta de los personajes, uno no sabe muy bien en algunos momentos si está en Bizancio o en la corte de Iván el Terrible.

La ópera wagneriana romántica por excelencia ha sido objeto de las versiones más diversas: desde la del cineasta Werher Herzog para Bayreuth, que se desarrollaba en un paisaje nevado espectral, como los de los lienzos de Caspar David Friedrich, hasta la de John Dew, en la que Lohengrin era el propio Wagner y el rey Enrique, el emperador Guillermo de Alemania, o la que hizo, combinado actores y marionetas, el noruego Stefan Herheim.

El argumento de Lohengrin es bien conocido: Elsa, una joven princesa de Brabante injustamente acusada del asesinato de su hermano no puede demostrar su inocencia hasta que aparece un joven guerrero, llegado en una barca tirada por un cisne.

El desconocido personaje es nada menos que Lohengrin, hijo de Parsifal y guardián del santo Grial, que proclamará la inocencia de la princesa, a la que declarará de paso su amor con la única condición de que jamás pregunte por su identidad y su linaje.

Sin embargo, la bruja Ortrud y su amante, el duque Friedrich von Telramund, que por instigación de ésa, acusó a Elsa del fratricidio para quedarse con el ducado de Brabante, intrigan para azuzar la curiosidad de la princesa, que termina por violar su promesa y pide a su esposo que revele cuál es su origen.

La moraleja, señalada por el poeta francés Charles Baudelaire, uno de los fervientes admiradores de la ópera, es que “la duda ha matado a la fe, y al desvanecerse, la fe se lleva consigo la felicidad”.

Otro escritor fascinado por “Lohengrin” es Thomas Mann, que califica esa ópera como tal vez la creación poética “más noble y más hermosa” de su compatriota, una obra que es capaz de “deleitar las mentes de personas como el autor de “Las flores del mal” (Baudelaire) y resultar a la vez edificante a nivel popular”.

Si la producción de Mochinsky resulta hoy decepcionante visualmente por culpa sobre todo de los decorados de John Napier, no cabe decir lo mismo de la ejecución musical, orquestal y coralmente muy brillante.

El maestro ruso Semyon Bychkov, director principal de la Sinfónica de la Westdeutscher Rundfunk, de Colonia, logra transmitir la cristalina pureza, la electricidad, la dramática intensidad, la sensualidad y el misterio, según los momentos, de la música wagneriana.

Una música servida por voces entre las que destacan la del tenor surafricano Johan Botha, más poderosa que matizada en el papel de Lohengrin, y la mezzosoprano alemana Petra Lang, extraordinaria como la malvada Ortrud.

Mientras que la soprano italiana Edith Haller no resulta convincente como Elsa, sí están a la altura de sus papeles el barítono alemán Gerd Grochowski (Telramund) y el bajo coreano Kwqangchul Youn (el rey Enrique). EFE jr/ibr (foto)

La tercera temporada del Palau de les Arts de Valencia finaliza este mes de abril con la reposición del montaje de Turandot del cineasta Chen Kaige, estrenado en el Festival del Mediterrani del año pasado. La producción, de la que se ofrecerán seis funciones entre los días 11 y 29, no podrá contar con las inicialmente previstas Maria Guleghina y Cristina Gallardo-Domás en los roles de Turandot y Liú, respectivamente, que serán interpretados porElisabete Matos y Alexia Voulgaridou.

Guleghina ha cancelado su participación en el final de curso del Palau de les Arts “por motivos de agenda derivados de su cargo de Embajadora de Buena Voluntad de Unicef”, mientras que la ausencia de Gallardo-Domás se justifica por “problemas de salud derivados de una artrosis crónica y estrés agudo”, según un comunicado del coliseo levantino.

A Matos y Voulgaridou las acompañarán sobre el escenario Marco Berti y Francesco Hong en el rol de Calaf y Alexander Tsymbalyuk y Orlin Anastassov en el de Timur.

En el podio se situará Lorin Maazel, en la que será una de sus últimas apariciones como director titular del Palau de les Arts. Como su sustituto en el cargo de cara a la próxima temporada, y aún sin superar la categoría de rumor, suena insistentemente el nombre de Riccardo Chailly.

Em breve estaremos com os kits neste blog. Não perca.

Oftentimes an eminent masterpiece is hardly appreciated by its contemporaries and only subsequently, for some strange reason, praises and lauds become as copious as fashionable… Such is certainly the case of George Frideric Handel’s “Serse”. In spite of Handel’s first public presentation of his Italian opera “Rinaldo” in London, which was an extraordinary triumph, Xerxes did not receive the same critic and was definitely a theatrical fiasco. Maybe because of its lame plot: the unfruitful attempts of the Persian King Xerxes to win the heart of the beautiful Romilda: or maybe due to its tragicomic melange considered inappropriate by the connoisseurs and unintelligible to the audience; or maybe because of a bad Xerses interpretation by the soprano castrato – albeit I find it hardly to believe, being him the highly celebrated Gaetano Majorano (known as the great Caffarelli), student of the famous Neapolitan maestro Nicola Porpora. However Serse’s prima took place in April 1738 at the King’s Theatre in Haymarket, London, but was discontinued soon afterwards (just four replica) and has been almost neglected ever since. Only in occasion of the 300th anniversary of Handel’s birth (1985) it was retrieved by the English National Opera and finally gained its deserved success becoming one of the most fortunate Baroque operas of our days.

Georg Friedrich Händel improved his composition skillfulness in Italy thus adopting all the Italian opera canons, and in fact Serse was based on an Italian anonymous libretto. Nicolò Minato had previously worked on it for Francesco Cavalli in 1654 and then it was adapted from Sivlio Stampiglia’s libretto for Bononcini’s opera of 1694; later translated into English by Nicholas Hytner. The story is quite simple and the setting followed the typical baroque passion for the oriental dreamland which was a infallible court entertainment, as the introduction to the libretto admonishes:

“Some imbecilities, and the temerity of Xerxes (such as his being deeply enamour’d with a plane tree, and the building a bridge over the Hellespont to unite Asia to Europe) are the basis of the story.  The rest is fiction.”

The young king of Persia, Serse is already engaged to Amastris, but unfortunately he has fallen in love with Romilda, one of his generals’ daughter Ariodate. In spite of this sentiment Romilda, in turn loves Arsamene Serses’ brother. Atalanta, Romilda’s sister is also in love with Arsamene. Amastris is not abated, masked as a man she will try the impossible to prevent Serse to desert her. When Serse realises that his own brother is an obstacle to his happiness, he arranges for him to be exiled and proposes to Romilda. Romilda tells Xerxes that she cannot marry him until she gets her father’s consent. Thus when Ariodate comes back from the war Xerxes is ready to announce his wedding to Romilda. However Amastris, disguised as captain of Ariodate’s army, informs Arsamene of Serses betrayal and of his plan of marrying Romilda. Therefore when Serse meets Amastris outside of Ariodate’s residence – he does not recognize her as she is wearing her warfare uniform – he commands her to take the guard in front of Ariodate’s house. Thus at sunset, when he in disguise tries to approach Romilda, she will not allow him to enter. Serse fakes being a courier of the king to announce to Ariodate the impending arrival of the royal bridegroom. Romilda rapidly and wittily organises that Arsamene will present himself before her father as the bridegroom. So when Serse will reach and try to ask Ariodate for Romilda’s hand, the wedding ceremony has already taken place. Finally, though, Serse defeated by the shrewd machination will affably accept this sudden twist and go back to Amastris who will become his queen.

The opera has gained more and more followers thanks to the opening aria “Ombra mai fu”, sung by Serse under a tree “Never was a shade”. This indescribably suave short aria also known as Handel’s “Largo“, is preceded by an opening recitativo and contains in his rather brief rimes and yet powerful celestial notes an endless stream of peaceful emotions. In 1700 the aria was intended to be sung by a soprano castrato, nowadays this Largo is usually performed by mezzo soprano or controtenore. Among all the interpretations (Yoshikazu Mera, Ann Murray, Renée Fleming, Jennifer Larmore…), the one which is unquestionably the dearest to me is performed by Andreas Scholl, the witty greatest German countertenor.

Enjoy his heavenly voice:

Recitativo.
Frondi tenere e belle
Del mio Platano amato,
Per voi risplenda il Fato
Tuoni, Lampi, e Procelle
Non vi oltraggino mai la cara pace,
Nè giunga a profanarvi Austro rapace.

Aria.
Ombra mai fu
Di vegetabile,
Care ed amabile
Soave più.

[Recitative.
Tender and beautiful fronds
of my beloved plane tree,
Let Fate smile upon you.
May thunder, lightning, and storms
never bother your dear peace,
Nor may you be profaned by blowing winds.

Aria.
Never was
shade of a plant,
dear and loving,
or more gentle.]

]]> http://canto-lirico.com/2009/03/11/el-club-de-la-operahoy-miercoles-04-03-09-comienza-su-2%c2%baano/ Wed, 11 Mar 2009 09:10:15 +0000 ** http://canto-lirico.com/2009/03/11/el-club-de-la-operahoy-miercoles-04-03-09-comienza-su-2%c2%baano/

HOY MIERCOLES 4 DE MARZO A LAS 19.30 HORAS, EN EL ILUSTRÍSIMO COLEGIO DE GRADUADOS SOCIALES DE MÁLAGA Y MELILLA, EN CALLE COMPAÑÍA,FRENTE A LA IGLESIA DEL SAGRADO CORAZÓN(JESUÍTAS),DÁ COMIENZO EL 2º AÑO EN LA ANDADURA DE ‘EL CLUB DE LA ÓPERA’.

ORGANIZADO POR LA ‘COMPAÑÍA DE TEATRO LÍRICO ANDALÚZ),CON LA COLABORACIÓN Y PATROCINIO,DEL CITADO COLEGIO DE GRADUADOS SOCIALES,EL CORTE INGLÉS(Ambito Cultural) Y EL COLEGIO OFICIAL DE MÉDICOS DE MÁLAGA.

HOY COMENZARÉMOS CON UNA SESIÓN DEDICADA A UNA ‘ANTOLOGÍA DE LA ZARZUELA’,SIENDO SUS INTÉRPRETES, LOURDES MARTÍN(SOPRANO), LUIS PACETTI(TENOR) Y PABLO PRADOS (BARÍTONO), QUE TAMBIEN HACE LAS CORRESPONDIENTES PRESENTACIÓNES.

AL PIANO, NUESTRO INTERNACIONAL MAESTRO Y DIRECTOR DE ORQUESTA, EL LAUREADO ‘ARTURO DÍEZ BOSCOVICH’.

EL FORMATO DE ‘EL CLUB DE LA ÓPERA’, PARA ÉSTE EJERCICIO 2009, CONSTARÁ DE 7 CONCIERTOS,INCIDIÉNDO EN MONOGRÁFICOS,SOBRE LA LÍRICA EN GENERAL,INCLUYENDO A LOS MUSICÁLES.

AL IGUAL QUE EL PASADO EJERCICIO, LES MANTENDRÉ PUNTUALMENTE INFORMADOS, MEDIANTE LAS NOTICIAS CULTURALES Y EL BLOG MUSICAL,DE DIARIO SUR DIGITAL DE MÁLAGA.

CON EL SALUDO DE LA ORGANIZACIÓN, LES ADJUNTO UN RESÚMÉN DE LA TEMPORADA ANTERIOR:

Es un placer dirigirnos de nuevo a vds,con motivo del “Club de la Ópera” que nuestra compañía ha puesto en funcionamiento désde el pasado año 2008 con el Patrocinio del Ámbito Cultural del Corte Inglés de Málaga y el Colegio de Graduados Sociales de Málaga.

El “Club de la Ópera” ha sido un punto de encuentro para cantantes y amantes de la música con los siguientes objetivos:

·El fomento de la lírica en nuestra ciudad.

·La creación de un “foro” como caldo de cultivo para la formación de voces en Málaga.

·La oportunidad para estudiantes de canto de poder coger tablas y oficio, en un mundo donde no existe realmente oportunidades de hacerlo.

Actualmente no existe ningún foro o punto de encuentro de estas características en Málaga por lo que se ha tratado de una iniciativa inédita en nuestra ciudad. 

Para ello hemos contado con artistas de talla nacional e internacional: Guillermo Orozco (ha cantado en el Teatro Real, entre otros sitios), Vicente Lacárcel, Alberto Arrabal, Helena Gallardo, Antonio Torres, Carmen Iglesias, Manuel de Diego, Luis Pacetti, Lourdes Martín, Cristina Romero, Maria Berna del Pino, Beatriz Lara…

También hemos contado con estudiantes de canto y jóvenes valores de nuestra tierra, donde hemos podido constatar su extraordinaria evolución: Rodrigo Domínguez (actuando ya como profesional con TLA), Azucena Domínguez, Auxiliadora Matías, Yaiza Leiva, Félix Moriche, Mª José Domínguez, Morana Sverana…

Hemos podido contar también con un pianista que ha dirigido entre otros teatros, en el Teatro Real de Madrid, y que este año se estrena con la Filarmónica de Málaga en el Cervantes: Arturo Díez Boscovich. También con el director de coros Jerome Thiebaut.

En definitiva que mucho y bueno se ha realizado este año a través del Club de la Ópera, en un foco cultural en lo que a lírica se refiere y que el público ha sabido reconocer accediendo en masa en las últimas actuaciones. Un camino que con constancia ha terminado dando frutos.

Un fuerte abrazo.Pablo Prados.Gerénte Teatro Lírico Andalúz.

PROGRAMACIÓN EJERCICIO 2009 ‘EL CLUB DE LA ÓPERA’.-
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PROGRAMACIÓN DEL CLUB DE LA ÓPERA 2009

1.- Miércoles 3 Marzo, Coleg. Grad. Sociales: “Antología de la Zarzuela”. 

2.- Jueves 2 de Abril, Coleg. de Médicos: “La canción napolitana”. 

3.- Miércoles 5 de Mayo, Sala Corte Inglés: “La mujer en la zarzuela”. 

4.- Miércoles 3 de Junio, Coleg. Grad. Sociales: “ La zarzuela cantada y contada”, 1ª Parte. 

5.- Miércoles 6 de Octubre, Sala Corte Inglés: “ La Magia de Broadway”. 

6.- Día por det. Noviembre, Coleg. Graduados Sociales: “ La Zarzuela cantada y contada, 2ª Parte”. 

7.- Miércoles 2 Diciembre, Sala Corte Inglés: “El canto en la ópera, opereta, zarzuela y musical: síntesis del 2º año del Club de la Ópera”.
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