Habanera (aria)
   HOME
*





Habanera (aria)
Habanera (" usic or danceof Havana") is the popular name for "" (; "Love is a rebellious bird"), an aria from Georges Bizet's 1875 opéra comique '' Carmen''. It is the entrance aria of the title character, a mezzo-soprano role, in scene 5 of the first act. Background The score of the aria was adapted from the habanera "El Arreglito ou la Promesse de mariage", by the Spanish musician Sebastián Iradier, first published in 1863, which Bizet thought to be a folk song. When others told him he had used something written by a composer who had died ten years earlier,''Grove's Dictionary of Music and Musicians'', 5th ed. 1954 he added a note about its derivation in the first edition of the vocal score which he himself prepared. Although the French libretto of the complete opéra comique was written by Henri Meilhac and Ludovic Halévy, the words of the habanera originated from Bizet. The Habanera was first performed by Galli-Marié at the Opéra-Comique on 3 March 1875. Bizet, ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

Havana
Havana (; Spanish: ''La Habana'' ) is the capital and largest city of Cuba. The heart of the La Habana Province, Havana is the country's main port and commercial center.Cuba
''''. .
The city has a population of 2.3million inhabitants, and it spans a total of – making it the largest city by area, the most populous city, and the
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

Alan Blyth
Geoffrey Alan Blyth (27 July 1929 – 14 August 2007) was an English music critic, author, and musicologist who was particularly known for his writings within the field of opera. He was a specialist on singers and singing. Born in London, Blyth's earliest musical experiences were at Rugby School. He attended the music lectures of Professor Jack Westrup. After graduation from Pembroke College, Oxford, where he read history, he returned to London and worked in journalism and publishing. He wrote reviews, interviews and obituaries for ''The Times'' and for '' Gramophone''. He was a long-time contributor to the British magazine ''Opera''.Baker, Janet, and Max Loppert. "Alan Blyth, 1929–2007", ''Opera Magazine'' (2007): 1168–1171. Articles * * References *C. Mackenzie. "Tribute: Alan Blyth", ''The Gramophone ''Gramophone'' is a magazine published monthly in London, devoted to classical music, particularly to reviews of recordings. It was founded in 1923 by the Scot ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

Opera Excerpts
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Although musical theatre is closely related to opera, the two are considered to be distinct from one another. Opera is a key part of the Western classical music tradition. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as ''Singspiel'' and ''Opéra comique''. In traditional number opera, singers employ two styles of singing: ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

Arias By Georges Bizet
In music, an aria (Italian: ; plural: ''arie'' , or ''arias'' in common usage, diminutive form arietta , plural ariette, or in English simply air) is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, or they can be stand-alone concert arias. The term was originally used to refer to any expressive melody, usually, but not always, performed by a singer. Etymology The Italian term ''aria'', which derives from the Greek ἀήρ and Latin ''aer'' (air), first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, 'Aria del Gran Duca'). By the early 16th century it was in common use as meaning a simple setting of strophic poetry; melod ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

Cassia (genus)
''Cassia'' is a genus of flowering plants in the legume family, Fabaceae, and the subfamily Caesalpinioideae. Species are known commonly as cassias. Cassia is also the English common name of some species in the genus ''Cinnamomum'' of the family Lauraceae. Species of the genera '' Senna'' and ''Chamaecrista'' were previously included in ''Cassia''. ''Cassia'' now generally includes the largest species of the legume subtribe Cassiinae, usually mid-sized trees. Ecology ''Cassia'' species occur in a range of climates. Some can be utilized widely as ornamental plants. They have been used in reforestation projects, and species from desert climates can be used to prevent desertification. ''Cassia'' species are used as food plants by the caterpillars of many lepidopteran taxa. For example, the skipper ''Astraptes fulgerator'' and the pierids ''Catopsilia pomona'' and '' C. pyranthe'' are all seen on ''Cassia fistula''. The latter utilizes several other cassias, as well. The plant ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


The Musical Times
''The Musical Times'' is an academic journal of classical music edited and produced in the United Kingdom and currently the oldest such journal still being published in the country. It was originally created by Joseph Mainzer in 1842 as ''Mainzer's Musical Times and Singing Circular'', but in 1844 he sold it to Joseph Alfred Novello (who also founded ''The Musical World'' in 1836), and it was published monthly by the Novello and Co. (also owned by Alfred Novello at the time).. It first appeared as ''The Musical Times and Singing Class Circular'', a name which was retained until 1903. From the very beginning, every issue - initially just eight pages - contained a simple piece of choral music (alternating secular and sacred), which choral society members subscribed to collectively for the sake of the music. Its title was shortened to its present name from January 1904. Even during World War II it continued to be published regularly, making it the world's oldest continuously publ ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


Ernst Eulenburg (musical Editions)
Ernst Eulenburg the music publisher was established by Ernst Eulenburg in Leipzig in 1874. The firm started by publishing a series of studies by a Dresden piano teacher, and then expanded into light music and works for men's chorus, at first all non-copyright works. Origins of the miniature scores In 1891, Eulenburg acquired the company of Payne who had recently started to publish miniature scores of chamber works, thus effectively establishing the basis for the famous miniature scores which are what Eulenburg is famous for today. The catalogue was further expanded in 1908 by the acquisition of the catalogue of Donajowski, who published miniature scores of orchestral works in England. Later history of the company In 1905, Ernst's son Kurt began to work in the firm, a connection maintained until his retirement at age 90 in 1968. After Ernst died in 1926, Kurt took over and began to introduce important revisions of scores by leading musicologists such as Alfred Einstein (who ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  




The New Grove Dictionary Of Opera
''The New Grove Dictionary of Opera'' is an encyclopedia of opera, considered to be one of the best general reference sources on the subject. It is the largest work on opera in English, and in its printed form, amounts to 5,448 pages in four volumes. First published in 1992 by Macmillan Reference, London, it was edited by Stanley Sadie with contributions from over 1,300 scholars. There are 11,000 articles in total, covering over 2,900 composers and 1800 operas. Appendices including an index of role names and an index of incipits of arias, ensembles, and opera pieces. The dictionary is available online, together with ''The New Grove Dictionary of Music and Musicians''. References *William Salaman, "Review: The New Grove Dictionary of Opera", ''British Journal of Music Education'' (1999), 16: 97-110 Cambridge University Pres*John Simon, "Review: The New Grove Dictionary of Opera, 4 vols.", ''National Review'', April 26, 199* * *Charles Rosen, "Review: The New Grove Dictionary of O ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


Hugh Macdonald
Hugh John Macdonald (born 31 January 1940 in Newbury, Berkshire) is an English musicologist chiefly known for his work within the music of the 19th century, especially in France. He has been general editor of the ''Hector Berlioz: New Edition of the Complete Works'' since its inception in 1967 and has been particularly active in the revival of interest in Berlioz's music. He is also the author of several entries within ''The Grove Dictionary of Music and Musicians''. Biography Macdonald studied under Raymond Leppard at the University of Cambridge from 1958–1966. He went on to pursue doctoral studies, earning a Ph.D. in 1969 from Cambridge after researching the music of Berlioz for a dissertation consisting of a critical edition of ''Les Troyens''. He served on the faculty of music at Cambridge from 1966 to 1971 and on the music faculty at University of Oxford from 1971 to 1980. He became the Gardiner Professor of Music at Glasgow University , image = Uo ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


Tessitura
In music, tessitura (, pl. ''tessiture'', "texture"; ) is the most acceptable and comfortable vocal range for a given singer or less frequently, musical instrument, the range in which a given type of voice presents its best-sounding (or characteristic) timbre. This broad definition is often interpreted to refer specifically to the pitch range that most frequently occurs within a given part of a musical piece. Hence, in musical notation, ''tessitura'' is the ambitus, or a narrower part of it, in which that particular vocal (or less often instrumental) part lies—whether high or low, etc. However, the tessitura of a part or voice is not decided by the extremes of its range, but rather by the share of this total range which is most used. Hence, it is referred to as the "heart" of a range. For example, throughout the entirety of Wagner's ''Ring'', the music written for the tenor role of Siegfried ranges from C to C, but the tessitura is described as high because the phrases are mos ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

Scientific Pitch Notation
Scientific pitch notation (SPN), also known as American standard pitch notation (ASPN) and international pitch notation (IPN), is a method of specifying musical Pitch (music), pitch by combining a musical Note (music), note name (with accidental (music), accidental if needed) and a number identifying the pitch's octave. Although scientific pitch notation was originally designed as a companion to scientific pitch (see below), the two are not synonymous. Scientific pitch is a pitch standard—a system that defines the specific frequencies of particular pitches (see below). Scientific pitch notation concerns only how pitch names are notated, that is, how they are designated in printed and written text, and does not inherently specify actual frequencies. Thus, the use of scientific pitch notation to distinguish octaves does not depend on the pitch standard used. Nomenclature The notation makes use of the traditional tone names (A to G) which are followed by numbers showing which octa ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]