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OPERA |
By BRUCE
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In 1711 was released in Mexico City's opera La Partenope with music by Manuel de Sumaya, master of the cathedral chapel, and along with Francisco Lopez and Chapels and Juan Gutierrez de Padilla, the largest Mexican Baroque composer. The special importance of this opera is that it is the first made in North America and the first opera composed in the mainland by a composer in the Americas. The opera begins the fruitful and little-studied history of Mexican opera creation uninterrupted since then for three hundred years.
The opera Guatemotzín Aniceto Ortega is the first conscious attempt to incorporate native elements to the formal characteristics of the opera. Within operatic production nineteenth century Mexican stand Agorante opera, king of Nubia Miguel Meneses, released during the holiday commemorating the birthday of Emperor Maximilian I of Mexico, operas Leonardo Pirro of Aragon Canales, Felipe Villanueva Keofar and, above all Melesio operatic production of Morales, the Mexican composer most important operas of the nineteenth century, whose works had great success with the public in Mexico City and, yet, it came brand new in Europe. In the first half-century stand in the creation Mexican opera composers Julián Carrillo and Antonio near him as Gomezanda, Juan Leon Mariscal, Julia Alonso, Sofía Cuevas Cancino, José F. Vasquez, Arnulfo Miramontes, Rafael J. Tello, Francisco Camacho Vega, Efrain Perez House. All have been ignored by the official music historiography that only recognized the work of nationalist composers.
Since the late twentieth century in Mexico (Latin America) there is a growing interest among composers to write opera. Among Mexican composers of the early twenty-first century stand with his operas should be mentioned Federico Ibarra, Daniel Catan, Leandro Espinosa, Marcela Rodríguez, Víctor Torn, Javier Alvarez, Roberto Banuelos, Luis Jaime Cortez, Julio Estrada, Gabriela Ortiz, Enrique González Medina, Manuel Henríquez Romero, Leopoldo Novoa, Hilda Paredes, Mario Stern, René Torres, Juan Wheat, Samuel Zyman, Mathias Hinke, Ricardo Zohn-Muldoon, Isaac Bañuelos, God Gabriel Figueroa, Enrique Gonzalez-Medina, José Carlos Ibáñez Olvera Victor Emmanuel Mendoza and Vasquez.
The spread of Mexican opera is almost zero for several reasons. Of these two stand out. During the period immediately following the Civil War Mexican Revolution so-called governments of the power of the so-called perfect dictatorship, the majority of low educational level, and even illiterate, sent to destroy the existing opera houses in the city of Mexico. The second factor to the low diffusion of Mexican culture opera is that the authorities concerned do not schedule the work. Even after the end of the perfect dictatorship and the restoration of Democracy in Mexico in 2000, the cultural authorities have not bothered to amend this policy of ignorance of Mexican culture opera. Finally, the lack of a unique opera house for the dissemination of culture Mexican opera (and American) is a major fault and failure in Mexico. Finally it should be added that 98% of music composed in Mexico (and Latin America) has never been published. It follows that one of the greatest needs within the culture of Mexico (Latin America) is a special rescue, editing and publishing of music by Mexican composers (and American).
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Join Date: January, 5th 2011 |
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