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Zarzuelas
() is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance. The etymology of the name is uncertain, but some propose it may derive from the name of a royal hunting lodge, the Palace of Zarzuela, near Madrid, where that type of entertainment was allegedly first presented to the court. The palace in turn was named after the brambles () that grew there. There are two main forms of ''zarzuela'': Baroque ''zarzuela'' (c. 1630–1750), the earliest style, and Romantic ''zarzuela'' (c. 1850–1950). Romantic zarzuelas can be further divided into two main subgenres, ''género grande'' and ''género chico'', although other sub-divisions exist. ''Zarzuela'' spread to the Spanish dominions, and many Spanish-speaking countries – notably Cuba – developed their own traditions. ''Zarzuela'' is also a strong tradition in the Philippines, where it is also referred to in certain ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Género Chico
Género chico (literally, "little genre") is a Spanish genre of short, light plays with music. It is a major branch of ''zarzuela'', Spain's form of popular music theatre with dialogue, and differs from ''zarzuela grande'' and most other operatic forms both in its brevity and by being aimed at audiences of a wide social spectrum. Origin and development Historical context ''Zarzuela'' was developed during the reign of Philip IV (1605–1665, reigned from 1621), who during the 1640s began to commission musico-theatrical entertainments on mythological themes mixed with popular peasant song and dance, from the writer Calderón de la Barca working with composers such as Juan de Hidalgo. These were performed at the Royal hunting lodge, the ''Palacio de la Zarzuela''. During the next two hundred years, ''zarzuela'', as these mixed entertainments swiftly became known, became the native-language alternative to the Italian operatic form nurtured by successive monarchs. In the 19th cen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joaquín Gaztambide
Joaquín Romualdo Gaztambide y Garbayo (Tudela, Navarre, 7 February 1822 – Madrid, 18 March 1870) was one of the most prominent Spanish composers of zarzuela in the mid-nineteenth century. His contribution to the revival of the genre was highly significant; and although during the last century his work virtually disappeared from the Spanish musical scene, the early 21st century has reversed this trend. Of Italianate quality in the manner of Gaetano Donizetti, his music nonetheless makes use of Spanish rhythms and dance forms. Among other renowned works (many in opéra comique form), his ''La Mensajera'' (1849), ''El valle de Andorra'' (1851), ''El sueño de una noche de verano'', ''Catalina'' (1854), ''Los magiares'' (1857), ''El juramento'' (1858), and the one-act classic '' Una vieja'' (1860) stand out. Biography Sent to Pamplona by his uncle to study piano and composition with Joseph Guelbenzu and Mariano Garcia, Gaztambide taught piano and played bass in the orchestra o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juan Hidalgo De Polanco
Juan Hidalgo de Polanco (28 September 1614 – 31 March 1685) was a Spanish composer and harpist who became the most influential composer of his time in the Hispanic world writing the music for the first two operas created in Spanish. He is considered by many to be the father of Spanish opera and of the zarzuela. Hidalgo was born and died in Madrid. In either 1630 or 1631 he became a harpist at the Spanish royal chapel where he was responsible for the accompaniment of both sacred and secular music and also played for the King of Spain, King Philip IV. Around 1645 he began to serve as leader of the court's chamber musicians and chief composer of ''villancicos'', chamber songs, and music for the theatre. He personifies the origins of Spanish opera with the work '' Celos aun del aire matan'' by the illustrious playwright Calderon de la Barca, based on the story of Cephalus and Procris told in Ovid's ''Metamorphoses'', released on 5 December 1660 to celebrate the third birthday ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antonio De Literes
Antoni de Literes (18 June 1673 Majorca – 18 January 1747 Madrid), also known as Antonio de Literes or Antoni Literes Carrión) was a Spanish composer of '' zarzuelas''. As with other national forms of baroque opera, Literes's stage works employ a wide variety of musical forms – arias, ariettas and recitative (accompanied and unaccompanied) as well as dance movements and choruses, though here mingled with spoken verse dialogue. His use of the orchestra follows French and Italian practice in including guitars, lutes, and harpsichords amongst the continuo instruments. From 1693, after the exile of his predecessor Sebastián Durón, Literes became the Master of the Capilla Real of Madrid, playing the bass viol and soon being accounted the greatest Spanish court composer of his time. Zarzuelas His most famous work was ''Acis y Galatea'' (1708), to a libretto by José de Canizares, which enjoyed frequent performances in Madrid's Spanish court and public theatres until ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Francisco Asenjo Barbieri
Francisco Asenjo Barbieri (3 August 1823 – 19 February 1894) was a well-known composer of the popular Spanish opera form, ''zarzuela.'' His works include: '' El barberillo de Lavapiés'', '' Jugar con fuego'', ''Pan y toros'', ''Don Quijote'', '' Los diamantes de la corona'', and ''El Diablo en el poder''. Career He was born and died in Madrid, appropriately, since the themes and characters of his operas are often distinctly Spanish and Madrilenian. Among the characters featured by Barbieri are bullfighters, ''manolos'' and ''manolas'', and even (in ''Pan y toros'') the famous Spanish painter, Francisco Goya. The character of much of Barbieri’s work is farcical, utilizing mistaken identity and other devices to entertain the audience. His themes deal largely with the ins and outs of love, and the relations between the upper and lower classes in nineteenth-century Spain, but there is also a distinct political character to much of his work. The ''zarzuelas'' '' El barberillo de L ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Cuba
The music of Cuba, including its instruments, performance, and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional music in the world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century. Since the 19th-century Cuban music has been hugely popular and influential throughout the world. It has been perhaps the most popular form of regional music since the introduction of recording technology. Cuban music has contributed to the development of a wide variety of genres and musical styles around the globe, most notably in Latin America, the Caribbean, West Africa, and Eu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Teatro Del Príncipe
Teatro may refer to: * Theatre * Teatro (band) Teatro, Italian for "theatre", is a vocal group signed to the Sony BMG music label. The members of Teatro are Jeremiah James, Andrew Alexander, Simon Bailey and Stephen Rahman-Hughes. Band members Jeremiah James Jeremiah James was born in upst ..., musical act signed to Sony BMG * ''Teatro'' (Willie Nelson album), 1998 * ''Teatro'' (Draco Rosa album), 2008 {{disambiguation ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
José Castel
José Castel (1737 in Tudela, Navarre – 1807) was a Spanish composer. José Castel was a church musician in his native Tudela and Aragon before moving to Madrid around 1760. There, in addition to his church duties, he was active as a theatrical composer, for the Teatro del Príncipe, as well as a printer and publisher. Castel was well paid for his music, for example he received 360 reales for the music for the comedy ''El Faetón''. In 1773 he moved back to Tudela, as ''maestro de capilla'' at the Colegiata de Santa Maria, yet he continued, circa 1774-1782, to still be based in Madrid and spend more time on theatrical activities. In 1797, following the death of his wife, he was ordained a priest, dying on Sept. 2nd 1807 and being buried in Tudela Cathedral. He was particularly regarded for his tonadillas. Selected recordings * ''La fontana del placer''. Zarzuela in two acts. Compañía Teatro del Príncipe, dir. Pablo Heras-Casado Pablo Heras-Casado (born 1977) is a Spanis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antonio Rodríguez De Hita
Antonio Rodríguez de Hita (18 January 1722 – 21 February 1787) was a Spanish composer. Life Rodríguez was born at Valverde de Alcalá. He became ''maestro de capilla'' at Palencia Cathedral (c.1740-c.1757) and at the Royal Convent of La Encarnación, Madrid. His father, Marcos Rodríguez del Mercado, a schoolteacher at Corpa Madrid, him to study at the college of the Cathedral of Alcalá de Henares, where he studied Latin, music theory, plainchant, organ and composition. Early in August 1738, he was named second organist in the cathedral and in September was appointed ''maestro de capilla'' through open competition. Rodríguez took holy orders later. His earliest known works are the Vespers for 2 choirs written in the old style, 1740. In August 1744 he became ''maestro de capilla'' at Palencia Cathedral. In 1747 he was ordained priest and remained at Palencia until at death of José Mir y Lusa, maestro at the Royal Convent of La Encarnación, Madrid. While at Palencia he wrot ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ramón De La Cruz
Ramón de la Cruz (28 March 1731 – 5 March 1794) was a Spanish neoclassical dramatist. Born in Madrid, he was a clerk in the ministry of finance. He is the author of three hundred ''sainete A sainete (farce or titbit) was a popular Spanish comic opera piece, a one-act dramatic vignette, with music. It was often placed at the end of entertainments, or between other types of performance. It was vernacular in style, and used scenes of lo ...s'', little farcical sketches of city life, written to be played between the acts of a longer play. He published a selection in ten volumes (Madrid, 1786–1791). The best of his pieces, such as ''Las Tertulias de Madrid'', are specimens of satiric observation. References * External links * 1731 births 1794 deaths Writers from Madrid Spanish dramatists and playwrights Spanish male dramatists and playwrights Clerks Spanish opera librettists 18th-century Spanish writers 18th-century dramatists and playwrights 18th-century male w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Intermezzo
In music, an intermezzo (, , plural form: intermezzi), in the most general sense, is a composition which fits between other musical or dramatic entities, such as acts of a play or movements of a larger musical work. In music history, the term has had several different usages, which fit into two general categories: the opera intermezzo and the instrumental intermezzo. Renaissance intermezzo The Renaissance intermezzo was also called the intermedio. It was a masque-like dramatic piece with music, which was performed between the acts of a play at Italian court festivities on special occasions, especially weddings. By the late 16th century, the intermezzo had become the most spectacular form of dramatic performance, and an important precursor to opera. The most famous examples were created for Medici weddings in 1539, 1565, and 1589. In Baroque Spain the equivalent entremés or paso was a one-act comic scene, often ending in music and dance, between ''jornadas'' (acts) of a play.Le ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonadilla
Tonadilla was a Spanish musical song form of theatrical origin; not danced. The genre was a type of short, satirical musical comedy popular in 18th-century Spain, and later in Cuba and other Spanish colonial countries. It originated as a song type, then dialogue for characters was written into the tonadilla, and it expanded into a miniature opera lasting from 10 to 20 minutes. It drew its personages from everyday life and included popular and folk music and dance, and vernacular language. The tonadilla also influenced the development of the zarzuela, the characteristic form of Spanish musical drama or comedy. The first tonadilla is ascribed to Luis Misón in 1757. Notable composers of tonadillas in Spain included Blas de Laserna, Pablo Esteve, and Jacinto Valledor. The tonadilla was particularly popular in Cuba where more than 200 stage tonadillas were sung between 1790 and 1814, the year in which they began to be displaced from Havana programs, finding new life in the Cuban provi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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