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Vicente Martin y Soler - Contenido educativo
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Talking about the life and works of this Clasicissm compositor
I'm Vicente Martínez Soler. I was born in Valencia the 2nd of May in 1754.
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I am rich in performance of zarzuelas and operas, especially in the second half of the 18th century.
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My friend and protector during my stay in Madrid is Domenico Guglietti.
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My father, general from the Cathedral of Valencia, was possibly the one who interested me in musical studies
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and who, in view of his abilities, managed to get me to enter the cathedral as a choir boy.
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I studied in Bologna under Giovanni Battista Martini, an Italian conventual Franciscan fire,
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who was a leading musician, composer and music historian of the period.
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I moved to Madrid in 1975.
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My first opera was Il Tutore Burlato, which was performed at the La Granja de San Ildefonso theater.
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This was premiered in San Lorenzo del Escorial, Madrid.
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This first youth work was so successful that in 1778 it was translated into Spanish
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and turned into Azazuela with the title of La Madrileña or El Tutor Burlado.
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In Valenciano, that's why they called me during the time I lived in Madrid.
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I hoped to make my way out of Spain because for a composer with a vocation, create works for the stage.
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Italy was the ideal place to go, and Naples, with its well-established opera tradition and rich theatrical world, met the best conditions.
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However, by their resemblance, between the king of Naples and his royal protector of Cura,
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nothing seems more natural than to appear before Ferdinand IV, endorsed by the recommendation of my brother.
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I can speak of three states in my life.
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the first in italy naples venice turin and other cities from 1777 to 7085 the second indiana where
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i composed some very outstanding operas in my career and alaska state inside petersburg where
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i live it until my death in 1794 to 1796 i made a trip to london a city where i premiered two
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to operas before finally returning to Russia.
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In it, I earned the appreciation and patronage
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of Karls IV during the first month of my stay in Naples.
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I had to face a new situation,
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that of being an unknown and foreign composer.
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Almost simultaneously, I did two works,
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the Ballet Linoveli Sposi,
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Persian for the well-known dancer Lepic,
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and the music for a costume Farad,
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Il Viaggio del Gran Signore a la Mecca,
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with which the city of Naples celebrated the carnival of 1778.
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The king liked this musical so, so much that he commissioned me to compose an opera,
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Iphigenia in Aulide, staged in early 1779 at the prestigious San Carlos Theatre.
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To sum up, I was a Spanish composer of great value who knew how to make his way among the great European opera composers
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of the late 18th century due to my originality,
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the naturalness and expressiveness of melodies
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and the very personal use of dance rhythms.
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Although I lived practically my entire life outside of Spain,
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I never forgot my homeland,
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since popular Spanish melodies and rhythms appear in many of my operas.
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My work and my fame spread through Europe,
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and I am one of the few Spanish composers of the time
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with an international career.
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My most relevant music works. The Tree of Diana, this drama I also interact with by me, is a precious ode to love, sensuality and sexuality against reactionary and obscurantist morality.
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One of the three operas that I composed during my sojourn at the court in Vienna, with the libretto by Italian Lorenzo da Ponte. The highlight melody scores in entertaining and fun.
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The plot half-way between pastoral literature and erotic comedy. This work also praises the political openness of the Archduke Joseph II of Austria. The work was received with clamorous success. It reaches 70 performances in the three ensigning years.
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The voice types using this play are a few sopranos, one contralto, one mezzo-soprano, one bass and a pair of tenor.
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Arraising Our Beauty and Honesty, another of the three operas written by me and Italian
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libertist Lorenza da Ponte during my stay at the court in Vienna.
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This drama echoes into acts whose full name is Arraising Our Beauty and Honesty is based
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on La Luna de la Sierra, a historical drama by the Baroque writer Luis de Vergara.
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The story takes place in a town in the Sierra Morena during the reign of Isabella I, La
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La Cattolica, late 15th century, and takes the story of the intention of her son, Prince
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John, to conquer the love of the mountain sephirth Lila, who remained steadfast in her
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love for the sephirth Lubino.
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It was first performed in the Burg City in Vienna on 17 November 1786.
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After its premiere, the work enjoyed such enormous popularity, with 78 performances
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in the ensigning years, that by any society ladies even began to dress in the same style as the characters.
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The voice type used in this play are a few sopranos, a pair of tenor, one bass, and one baritone.
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- Idioma/s:
- Autor/es:
- Ariadna Martin,Ruben Oliva, Carlota Rivas
- Subido por:
- Ariadna M.
- Moderado por el profesor:
- Jose Alberto Castillo Pico (jcastillo)
- Licencia:
- Reconocimiento - Compartir igual
- Visualizaciones:
- 78
- Fecha:
- 22 de febrero de 2022 - 17:42
- Visibilidad:
- Público
- Centro:
- IES VILLABLANCA
- Duración:
- 06′ 02″
- Relación de aspecto:
- 1.78:1
- Resolución:
- 1920x1080 píxeles
- Tamaño:
- 178.02 MBytes
