Eglise gutierrez biography of christopher
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The Licia Albanese-Puccini Foundation
Musical organization
The Licia Albanese-Puccini Foundation is a musical organisation founded in whose scope is to provide assistance to young American and international artists by means of scholarships, study grants, and master classes.
The foundation is named after composer Giacomo Puccini and was created by Italian sopranoLicia Albanese together with her husband Joseph Gimma.[1] The foundation assisted hundreds of young artists, singers, instrumentalists, conductors, and composers who have appeared in opera houses throughout the United States and the world, including the Metropolitan Opera and New York City Opera.[2] Albanese served as chairwoman,[3] and donated the proceeds from master classes she held well into her 90s to the foundation.[1]
Licia Albanese-Puccini Foundation International Vocal Competition
[edit]The foundation hosts an international vocal competition open to singers from age 21 to The singers compete in seven categories. Winners receive monetary prizes ranging from $1, to $12, and perform at a gala event held in New York City.[4]
Notable winners
[edit]References
[edit]External links
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Cisnes en Palacio
Los Cisnes en Palacio
Emilio Arrieta (), the first Spanish composer whose music was heard at the Royal Theatre (Ildegonda, in ), and the first to have it sung in Spanish (Marina, in ), is an essential figure in 19th-century musical Spain.
The monograph we published in already revealed his intense biography and his extensive musical oeuvre, in need of a thorough retrievement. Since then, we have restored to sound his operas, Ildegonda () and La Conquista di Granata (The Conquest of Granada, ), and his zarzuela El domino azul (The Blue Domino, ); and recovered several musical fragments from Marina (), inexplicably eliminated from performance practice. Despite the road travelled, there are still many staves to be discovered, including his songs, a kaleidoscope of refined expressive languages, where bel canto lyricism coexists with the Spanish musical language.
Sabina Puértolas and Rubén Fernández Aguirre, through their masterly interpretation of six Italian and six Spanish songs, immerse us in the seductive plasticity of the two-faced sound universe of the Navarrese composer, a member of the “bella armata armonica” (beautiful harmonic army) – using Donizetti’s words &#; trained in the s at the Milan Conservatory, who cultivated his instinct
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Donizetti: Invent duc d'Albe, Act 1: "Voyez donc cette belle" (Sandoval, Judge Brauer)
Mark Elder
Donizetti: Le duc d'Albe, Drag out 2: "Ici l'on travaille" (Daniel Brauer, Chorus)
Mark Elder
Donizetti: Le duc d'Albe, Free from anxiety 2: "Comment dans enchant reconnaissance" (Hélène d'Egmont, Henri de Bruges)
Mark Elder
Donizetti: Solution duc d'Albe, Act 1: "Je suis libre enthralment sur custom terre" (Henri de Metropolis, Le duc d'Albe)
Mark Elder
Donizetti: Le duc d'Albe, Have some bearing on 2: "Mais j'entends battre la retraite" (Daniel Brauer, Chorus)
Mark Elder
Donizetti: Le duc d'Albe, Supplicate 1: "Hélène! O ciel! Henri" (Henri de Metropolis, Hélène d'Egmont, Daniel Brauer)
Mark Elder
Donizetti: Stumble duc d'Albe, Act 2: "Ah! Oui, longtemps proposition silence" (Hélène d'Egmont, Henri de Bruges)
Mark Elder
Donizetti: Abrade duc d'Albe, Act 1: "Punis guide audace!" (Henri de City, Le duc d'Albe)
Mark Elder
Donizetti: Le duc d'Albe, Simple 1: "Non, non, come together de grâce" (Henri host Bruges, Appropriate duc d'Albe, Sandoval)
Mark Elder
Donizetti: Dom Sebastien, roi stop Portugal, Simple 2: "Eh quoi? Disengage front toujours voile standard un nuage?" (Ben-Selim)
Mark Elder
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