Granados’ opera, based on early paintings by Francisco Goya, was the first to be performed in Spanish and featured the talents of Giovanni Martinelli and Giuseppe De Luca. On January 28, 1916, Goyescas was premiered at the Metropolitan Opera to positive reviews by the American audience and critics. In spite of a fear of travel by sea, Granados agreed to come to New York for the premiere of his opera Goyescas. La maja y el ruiseñor from Goyescas, Gracia mia In “Minuit” the clock strikes 12, leading to the final “Ritual Fire Dance”. “The Magic Circle” summons timeless wonderment. The piquant “Dance of Terror” is relentless in its intensity. The “Song of the Will o’ the Wisp” evokes elusive desire. While the piano suite has no explicit narrative, its movements hearken to the ballet and orchestral versions.Ī “Pantomime” conjures a meltingly lovely reverie in 7/8 meter. Finally the two lovers, at last freed from the stifling burdens of their past, emerge from a night of sorcery to face the wondrous splendor of a new dawn. The plot is disarmingly simple – a gypsy is possessed by the ghost of her faithless former lover until her new suitor enlists a beautiful friend to entice the ghost away. The work is distinctively Andalusian in character with music of remarkable beauty and originality. The ballet was later revised, and arranged for orchestra and as a piano suite. Pianist Douglas Riva, whose efforts led to the recovery of the long-lost score, worked with VoA Artistic Director and Conductor Dennis Keene to research the musically and culturally significant body of Catalan choral music.Įl Amor Brujo (Love, the Magician) is a ballet composed in 1914-1915 by Manuel de Falla to a libretto by Gregorio Martínez Sierra. VoA presented the North American premiere of Song of the Star s in 2007 and recorded a GRAMMY nominated CD for Naxos. His great opera Goyescas, premiered at the Metropolitan Opera in 1916, and the manuscript of which he gave to The Hispanic Society, is represented by a performance of the aria for soprano, ”La maja y el ruisenor,” coupled with the delightful “Gracia mia.”Ĭhoral settings of sacred and folk texts as well as poetry of García Lorca by Casals, Morera, and Oltra represent the Catalan choral tradition, which is subtly nuanced and expresses vast emotional range. The musical style of Granados is further revealed in a “Romanza” for violin and piano and “Escena religiosa” for violin, piano, and organ. Granados' long-lost choral fantasy for three choruses, piano, and organ, Song of the Stars, is the focal point of this concert, balanced by the piano version of de Falla’s El Amor Brujo – both epic tales of love and death, yearning and freedom. Voices of Ascension celebrates the centenary of Enric Granados in collaboration with the CUNY Foundation for Iberian Music, The Hispanic Society, the Government of Catalonia, the Farragut Fund, the Sorel Organization, and the Consulate General of Spain in New York, with this performance for chorus, soprano, violin, piano, and organ.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |