LEPE CARNIVAL 2011
PROGRAMMING Organised by: City Council and Cultural Association Lepe Lepe carnival of 'La Jaba' CAROUSEL
GROUPS
Friday, February 25
After 20 hours
downtown streets will end with a costume party in the tent in front of the Teatro Municipal de Lepe, after 23 hours.
great parade Saturday, February 26
From 18.00 hours
Departing from the street Rabida
ITINERARY: Depart from Rabida street and through the streets César Barrios, Real, Alonso Barba and Rubalcaba, to finish in front of the Teatro Municipal 'Mayor Juan Manuel Santana '. Lepe.
CHOCO BEANS WITH
Sunday, February 27
From 13 hours
C / Real. Lepe
McClatchy and Thomas Meehan , based on the novel by George Orwell , and that the illness has added to be the last Franco-lead teacher in the pit of Les Arts, thus ending a cycle five years he has held the musical direction of the Colosseum from Valencia and over which made us enjoy unforgettable nights. 
and mineralized " ). Since then we have to agree with teacher. The only problem is that this certainly variety, originality is absent and, worse still, the feeling of pastiche is too blatant. 
practiced to overcome the lethargy, to try to discover what composers can be identified throughout the work. We have moments when we "hear" Bernstein, Weill , Gershwin, Britten , Berg, Puccini, Strauss , references to classic jazz, to Broadway ... but the problem is that this jumble of black pudding with cod, I could not see no coherence or a pinch of creative personality. 
monotonous, devoid of tension, and a clear mismatch between the dramatic force of the stage and music stand, which at least for me, I managed to convey emotion and drama found only attached to two or three specific occasions. Sometimes it felt like he was developing a play on stage and in the pit had infiltrated musicians rehearsing, making noise without rhyme or reason, annoying the players. 
me can become captivated, I am expressing my dissatisfaction with the lack of inspiration, superficiality and boredom that he has conveyed Maazel. 
address is designed to stage its world premiere in 2005 at the Royal Opera House London, for the Canadian film director Robert Lepage , who had already made forays into opera with assemblies for other operas such as "Bluebeard's Castle" of Bartók "or " La Damnation de Faust "Berlioz of . The Canadian director has the support of Carl scenery Fillion, costume design Yasmina Giguère , the wonderful lighting Michel Beaulieu and choreography Sylvain Émard that has also been responsible for the direction of this revival. 
which the action: the place where people listen to Big Brother , the Ministry of Truth, Winston house, Pub, antique shop or the terrible room 101. The screens and projections are another key element of this staging, in my view, achieved with great efficiency, strength and sense of visual drama, portraying the oppressive atmosphere of suffocating fear that society lives bleak future portrayed by Orwell in his novel. 
Broadway musical influences, and have been introduced some references to the present time, as a clear reference to the Guantanamo prison, but the essence of the message wanted to convey in the original, and remains in the proposed Lepage an interesting vehicle that just missed being accompanied by appropriate music. 
put in serious trouble solo vocal about not noted for their power. 
Veus Juntes Quart de Poblet and Little Singers of Valencia . The initial intervention in the first frame of the choir was splendid and it is fair to single out the soprano Irina Ionescu that there is a short but extremely demanding solo performance with continuous treble, and solved with a power, cleaning and exemplary clarity. A pure violin. I welcomed that in the final applause the detail that had come out to greet alone to collect his well deserved award. 
had many gaps, the audience was practically full. This seemed an excellent start to a work of this nature. But after the first break, about a quarter of the capacity and took to his heels without any modesty. And at the end of the show, we stayed in the seats, with a pulse and breathing, less than a third of the brave men who started this intrepid adventure. 
became the public standing ovation stood up and many brave, I guess as response to the work of these five years, with the enjoyment heard last night. 
official seat or endorsing Maazel whole "1984" , because that endured until the end. Although to him what that script would attract more science fiction that spoke of mass manipulation, absence of freedom of speech, silence those who think differently, to repeat the lie until it becomes truth, to find enemies external to avoid internal critique, to cling to power at the expense of what is ... well, fantasy writer of the last century. 
holding this "1984", left Les Arts as tortured as Winston Smith Room 101. And also very sad and angry, because much regret that the last feeling I let the teacher Maazel, with whom I lived some of the most successful operatic evenings of my life is so awful. 
which, in turn, takes many elements of indigenous Amazonian legends and mythologies of pre-Columbian times. The protagonist of the story is Rima, a girl-bird who lives in a sacred place of the forest for the Indians and to have supernatural powers is considered a goddess by animals and men who adore and fear alike. 
, Villa-Lobos first made a musical version of the novel, composing some songs for the soundtrack of the film " Green Mansions ", also based in the Hudson book, which was directed by Mel Ferrer and starring his wife Audrey Hepburn and Anthony Perkins . The film was a commercial failure and very little of the compound by the Brazilian could be heard after the screen, as the MGM decided to use only a small part of what was written by Villa-Lobos , with the Polish Bronislaw Kaper who adapted and finally signed the definitive soundtrack to the film. 
well that contempt for his job and kept a lawsuit against the producer, finally reaching an agreement that, in addition to paying its cache, you financed a recording of his composition. Villa-Lobos adapted some of the themes he wrote for this soundtrack and completed "Floresta do Amazonas" as known today, the work recorded in 1959, addressing himself to the Orchestra Symphony of the Air and participation as soprano soloist with the Brazilian Sayão Bidú . 
Villa-Lobos, who died shortly after in November 1959 and she completed a series of compositions on the world Indian as were the ballets "Uirapuru" and "Mandu-Carara" or symphonic poem "Ruda" . 
four songs, with lyrics by Dora Vasconcelos , which are usually performed independently in performances and have been frequently adapted for different instruments. This is "Veleiro" , "Cair da Tarde" , "Canção do Amor" and "Melodia Sentimental" , and they wanted to bring the blog today. 
. Not that I like, much less, but sometimes I find his work so exacerbated romanticism which I find cloying and even advise against their listening directly to diabetics. But it certainly has beautiful work, and once I overcome the laziness that often accompanies me home, it is hard not to enjoy his compositions. 
fact, the composer dedicated his "Dichterliebe" the singer Wilhelmine Schröder-Devrient , a German soprano of the time, however, it is more known for his countrymen through the allegedly autobiographical book attributed to him (published in Spain as "Memoirs of a German singer" ) which explains in detail the various and bizarre sexual hobbies of his youth, making the book with the passage of time in one of the most popular works of erotic literature Germanic. 
the extreme sensitivity of the texts of Heine and enhances the poetry in them, knowing extract their musical potential, adjusting, when considering accurate, the verses to the needs of your score to obtain the desired melody. Few composers had hitherto been an intimate connection between music and poetry. Here poetry Music Heine and Schumann poetic music , merge into an indivisible whole, enriching each other. 
but not without a small glimmer of hope. Despite the differences we find between 16 lieder, the cycle is equipped with a dramatic unity and a cyclical structure that goes más allá de ser una simple sucesión de canciones temáticas. 
