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e-Book Manuel García (1775-1832): Chronicle of the Life of a bel canto Tenor at the Dawn of Romanticism download

e-Book Manuel García (1775-1832): Chronicle of the Life of a bel canto Tenor at the Dawn of Romanticism download

by James Radomski

ISBN: 0198163738
ISBN13: 978-0198163732
Language: English
Publisher: Oxford University Press (May 11, 2000)
Pages: 392
Category: Music
Subategory: Photography

ePub size: 1442 kb
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Manuel Garcia (1775-1832): Chronicle of the Life of a bel canto Tenor at the Dawn of Romanticism.

Manuel Garcia (1775-1832): Chronicle of the Life of a bel canto Tenor at the Dawn of Romanticism. 0198163738 (ISBN13: 9780198163732).

The musicians life is chronicled from his earliest years in Seville until his death in Paris in 1832

The musicians life is chronicled from his earliest years in Seville until his death in Paris in 1832. This is the first comprehensive biography of one of opera history's most glorious Spanish tenors. Apart from being renowned as the opening-night tenor in Rossini's Barber of Seville, Garcia was an important popularizer of other Rossini roles as well as those of Mozart (in particular, DonGiovanni) in Paris and London during the 1820s.

Cansler, Joe Ella (2002) The Bookshelf: "Manuel García (1775-1832): Chronicle of the Life of a Bel Canto Tenor at the Dawn of Romanticism". In: Opera Journal, Vol. 35, No. 1, pp. 50-52

Cansler, Joe Ella (2002) The Bookshelf: "Manuel García (1775-1832): Chronicle of the Life of a Bel Canto Tenor at the Dawn of Romanticism". 50-52. View it in the Music Periodicals Database.

We find benefits of a mathematical approach to "real life".

Título original: Manuel García (1775-1832) : chronique of the life of a bel canto Tenor and the Dawn of romanticism. Bibliografía: p. 355-361. Música hispana (Instituto Complutense de Ciencias Musicales).

James Radomski gathers, for the first time, all pertinent information surrounding Garcia and sets vividly the operatic scene of. .The musician's life is chronicled from his earliest years in Seville until his death in Paris in 1832.

James Radomski gathers, for the first time, all pertinent information surrounding Garcia and sets vividly the operatic scene of the period.

Bibliography Radomski, James. Manuel García (1775-1832): Chronicle of the Life of a bel canto Tenor at the Dawn of Romanticism, (New York: Oxford University Press, 2000). Published in Spanish translation as Manuel García (1775-1832): Maestro del bel canto y compositor, (Madrid: Instituto Complutense de Ciencias Musicales, 2002). García works published: García, Manuel.

According to Radomski, "it is possible that was a baritone with a highly developed falsetto" . Radomski, James (2000): Manuel García (1775–1832); chronicle of the life of a bel canto tenor at the dawn of romanticism. Oxford; New York: Oxford Univ.

According to Radomski, "it is possible that was a baritone with a highly developed falsetto"; which seems however rather inconsistent with Caruselli and Celletti’s stating that Rossini's vocal writing for García is usually higher-pitched than for other baritenors (cf. below). a b Caruselli, p. 506; Celletti, pp. 165–166. Paolo Scudo was a major critic of the Revue des Deux Mondes – cf. Caruselli, II, p 398 (article: "Duprez"). Celletti, p 166, note 1 (translation by Frederick Fuller).

Radomski, James (2000): Manuel García (1775–1832); chronicle of the life of a bel canto tenor at the dawn of romanticism. Radomski, James (1997): "García, Manuel (del Pópulo Vicente Rodríguez)", in Stanley Sadie (e., The New Grove Dictionary of Opera, Grove (Oxford University Press), New York. Vol. Two, pp. 345–347.

According to James Radomski, "García's dynamic perfectionism left its impact on three continents and his legacy, in the .

According to James Radomski, "García's dynamic perfectionism left its impact on three continents and his legacy, in the hands of his children, was carried into the 20th century". Despite his Spanish origins, Manuel García became a paragon of the Italian-style tenor of the early 19th century.

This is the first comprehensive biography of one of opera history's most important personalities. Renowned Spanish tenor, successful singing teacher, prolific composer, and significant popularizer of Rossini and Mozart roles, García was an influential figure in the international operatic scene of his time. García's life is chronicled from his earliest operatic role years in Seville until his death in Paris in 1832, with substantial reference to previously undiscovered reviews and letters.
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