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Jacinto Guerrero (16 August 1895 Ajofrín, Toledo, Spain – 15 September 1951 Madrid, Spain), was a prolific composer of zarzuelas and revues, as well as some orchestral compositions.
Zarzuela [1] [2] Los hijos de la costa: zarzuela: 3: Luis Mariano de Larra — 1871-02-10 [3] Zarzuela [4] Justos por pecadores: zarzuela: 3: Luis Mariano de Larra: Cristóbal Oudrid: 1871-10-25 [3] Zarzuela [4] Perla: zarzuela: 1: Juan José Herranz — 1871-12-02 [5] Zarzuela [6] [7] La hoja de parra: pasatiempo cómico-lírico: 1: Miguel ...
The musical heir of Chueca was José Serrano, whose short, one act género chico zarzuelas - notably La canción del olvido, Alma de dios and the much later Los claveles and La dolorosa - form a stylistic bridge to the more musically sophisticated zarzuelas of the 20th century.
Zarzuela is a lyric-dramatic art form which alternates between spoken and sung scenes. The latter incorporate both operatic arias and choruses and popular songs, as well as dance. The genre originated in Spain as a court entertainment in the 17th century and is still performed today, primarily in Spain, Latin America and the Philippines .
Doña Francisquita is a zarzuela in three acts composed by Amadeo Vives to a Spanish libretto by Federico Romero and Guillermo Fernández-Shaw and based on Lope de Vega's play La discreta enamorada [] (The Ingenious Lover).
Some of the best known zarzuelas are La virgen morena (Grenet), Nina Rita (Grenet and Lecuona), María la O, El batey, Rosa la China (all Lecuona); Gonzalo Roig with La Habana de noche; Rodrigo Prats with Amalia Batista and La perla del caribe; and above all, Cecilia Valdés (the musical of the most famous Cuban novel of the 19th century, with ...
No. 1. Introduction and chorus. Una gitana vieja me dijo un día (Rosario, Socorro, Carmencilla, female chorus) No. 2. Duo. ¡Ay! Mare del alma mía, que güen porveni me espera (Rosario, Tarugo, with Socorro behind the scenes) No. 3. Duo. No te asustes tú, alma mía (Rosario, Pepe) No. 4 (a). Chorus: Va la tarde cayendo (male chorus, behind ...
After the war the love of zarzuela fell into a deep decline and although Alonso premiered Manuelita Rosas, and La Zapaterita focussing on operetta and musical comedy with which he had some success as Doña Mariquita de mi Corazón (1942), Luna de Miel en El Cairo (1943), Aquella Noche Azul and Tres Días Para Quererte, (both 1945).