EL VITO OBRADORS PDF

Composer: Fernando J. Obradors () Teresa Berganza, soprano; Felix Lavilla, piano. Aix-en-provence festival 18 July El Vito. El vito is a traditional folk song and dance music of Andalusia whose origins can be traced back to the 16th century. Its name refers to the “disease” known as St. Fernando (Ferran) Jaumandreu Obradors (–) was a Spanish composer . Obradors His orchestral work “El Poema de la Jungla” is inspired by The Jungle Book stories by Rudyard Kipling. Many of his contemporaries left Spain to .

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The piece is very atmospheric and has the feeling of being in the tavern, as is the origin of the piece.

It was playful without feeling affectated. Again, the dance begins when Berganza comes in. Emily April 7, at 8: How to navigate this site: I enjoyed the rhythmic energy and drive of this music. She communicates so much with just her eyes.

Fernando Obradors

Ben April 2, at 4: Very subtle and a fantastic final note from her. I love the, as Abby put it, crispness of this piece and I love the way it exists intimately with the passion.

It feels less like a dance until Berganza comes in. It was so nice to hear it performed by such an expert vocalist.

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Fernando Obradors – Wikipedia

It reminds me of Flamenco music, and I can see her move her shoulders slightly as if she’s controlling orbadors from breaking gito Flamenco dancing. I love the piano’s role with the repeated notes. This really highlights the fact that the guitar is so important to the entire Spanish Art Song genre.

Dylan Bunten April 9, at 9: For the time being, the topics are organized according to geographic locations. On with the dancing, on with the dancing, ole!

Another interpretation where the rhythmic vigor relies much more on crispness and precision than in weight of accents.

Shannon McAleb April 5, at Berganza has a lovely sense of line, and the soft stacatti sections almost feel like teasing. The relatively lenghty prelude is really carried by the repeated notes in the piano. As is the case with all of Teresa Berganza’s performances that have been shared, she has an amazing expressive power and genuine performance persona that is impeccable.

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The introduction of the piano was absolutely amazing it really built up the excitement for the piece. A driving, perpetual introduction, a vocal line that is very fito as well as seductive.

Canciones Clásicas Españolas, Vol.3 (Obradors, Fernando)

Con el vito, vito, vito, con el vito, vito, va. She brings so much nuance to the character, and what a piano part!

Viho April 9, at 2: I really liked the different articulations that were used in the work as well with sections being more legato and others that were more snappy! The pianist did a great job in making each note speak such that there was a lot of energy from the piano part. This seems like a really fun song to perform.

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Need to obtadors it again: The rhythmic intensity paired with the ease and improvisatory nature of this song create an atmosphere of unpredictability. Underlying the melody is a sense of danger, and I love how Berganza draws the listener in. The piano prelude made me think of Lara’s Granada. Ednaldo Borba April 12, at 1: It is such an effective performance. Berganza’s ability to maintain the crisp, piano sections of the vocal line and then sing in full legato later create an exciting performance.

Yoshi April 10, at 9: I wonder if the quickly repeated notes that are so difficult on the piano are an example of “punteado” as vjto described by Kimball in the reading. I can obrsdors hear the inspiration from the guitar.

From the “no, no” to the fiesty “Ay!