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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Fernando Obradors

The piano is very reminiscent of the guitar with the repetitions, and the singer uses her face very well to interpret the text. Another thrilling piece that keeps you on the edge of your seat! I really can imagine a woman in a sea of bullfighters.

Sarah Benzinger April 5, at Emily April 7, at 8: It embodies so much of what one expects of the “Spanish” sound. Vincent April 10, at 8: Dl Curtis April 10, at 8: Need to say it again: Posted by Milagro Vargas at Con el vito, vito, vito, con el vito, vito, va.

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Sunday, March 22, “El vito” by Obradors. I can really hear the inspiration from the guitar.

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. April Phillips April 5, at John April 3, at 9: Yoshi April 10, at 9: I enjoyed the rhythmic energy and drive of this music. Stop fl teasing, sir, else I’ll blush!

Song Lied Mélodie: “El vito” by Obradors

The rhythmic impulse in this piece is absolutely driving and unrelenting. The way the voice and piano interact is playful, discrete and yet so profound. Brooklyn April 7, at I wonder if the quickly repeated notes that are so difficult on the piano are an example of “punteado” as was described by Kimball in the reading. That was immediate impression I got after hearing this recording.

She is precise, but so comfortable and relaxed, creating natural rubato within each phrase. The line about her being too poor is especially effective with the use of staccato.

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It was playful without feeling affectated.

Berganza’s ability to maintain the crisp, piano sections of the vocal line and then sing in full legato later create an exciting performance. Berganza has a lovely sense of line, and the soft stacatti sections almost feel like teasing. It feels less like a dance until Berganza comes in. Teresa Berganza obradore this perfectly, beautifully, and with dramatic intent.

Connie April 6, at From the “no, no” to the fiesty “Ay! Very subtle and a fantastic final note from her. It vitl so fun to perform.

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