Putzi: Premiere
Putzi's premiere took place on August 4, 2004 at the Casa de la Cultura, in Salta, Argentina.
The régie and choreography were by Claudio Aprile, and the music direction by Eduardo Alonso-Crespo conducting the
Salta Symphony Orchestra.
CAST
of the premiere performances
Singers:
Death: Myriam Molina
Life: Cynthia Del Carril
Putzi: Norberto Fernández (4-8-04) and
Alejandro Alonso (5-8-04)
Paganini: Alfredo Tiseira
Dancers:
Chevaliers Servants of Death:
Guillermo Rodriguez
Martina Nikolle Cordoba Ansardi
Aide de chambre de la Vida:
Paula González Castro
Régisseur and Choreographer:
Claudio Aprile
Music Director: Eduardo Alonso-Crespo
Salta Symphony Orchestra
Costume design and program drawings: Claudio Aprile
Costume production: Leonor Méndez
Production assistant: Virginia Arias
EDUARDO ALONSO-CRESPO
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Argentine composer and conductor, Eduardo Alonso-Crespo was born in San Miguel de Tucumán in 1956 and graduated from the School of Musical Arts of the National University of Tucumán, obtaining a degree in civil engineering from that same university. Through a Fulbright postgraduate scholarship, he studied orchestral conducting and composition with teachers Lukas Foss, Leonardo Balada, and Samuel Jones at Carnegie Mellon University in the United States, where he received a Master's degree in Orchestral and Choral Conducting.
Alonso-Crespo has received a total of eighteen national and international awards and distinctions as a composer, including the Alejandro Shaw Award from the National Academy of Fine Arts, the First Prize from the Promúsica Foundation and the Argentine Chancellery, the First and Second Awards simultaneously from the Luis Gianneo Contest, the Christopher Columbus International Prize for Symphonic Music, the Prize for the Symphonic Works Commission Scheme of the National Endowment for the Arts, the Second Prize of the San Telmo Foundation, the Second Prize of Composition of the National University of La Plata , the Third Prize of the International Viotti-Valsesia Competition, Italy, the Honorable Mention from the Secretariat of Culture of the Nation, the Musician of the Year Award (Salta, 1990), the Iris Marga Award for the best music for theater, the distinction of Outstanding Citizen (Tucumán, 1998) and the Symphonic Music Composition Award from the Bahía Blanca Symphony Orchestra.
His music has been performed by orchestras and ensembles in France, Italy, Spain, the Netherlands, Portugal, Poland, Germany, Finland, the United Kingdom, Ukraine, China, Taiwan, Indonesia, Japan, Israel, Canada, the United States, and Mexico. , Venezuela, Colombia, Peru, Chile, Brazil, Paraguay, Bolivia and Argentina, and in areas as important as the Colón Theater in Buenos Aires, the Carnegie Recital Hall in New York, the Church of La Madelaine in Paris, the Great Hall of Doelen in Rotterdam, the Teresa Carreño Theater in Caracas, the La Fenice Theater in Venice and the Royal Palace of Queluz in Lisbon. Among others, their music has been performed by the Philharmonic Orchestra of Buenos Aires, the National Symphony Orchestra of Argentina, the National Symphony Orchestra of Colombia, the National Symphony Orchestra of Peru, the Pittsburgh Symphony Nuance Series, the Simón Bolívar Orchestra, the Sudets Philharmonie de Poland, the Lisbon Metropolitan Orchestra, the Chilean Symphony Orchestra, the Santiago Classical Orchestra and the Universidad de Concepción Symphony Orchestra in Chile, the Falcón, Lara, Nueva Esparta and Mérida State Symphony Orchestras in Venezuela , the Valle del Cauca Philharmonic Orchestra of Colombia, the Paris Sinfonietta Orchestra, the City of Mikkeli Orchestra of Finland, the Neue Philharmonie Westfalen and the Kammerorchester Riegelsberg of Germany; chamber groups such as the Philharmonische Virtuosen Berlin, the Berlin Philharmonic String Octet, the Hong-Kong Pure Strings of China, the Camerata of Mexico, the Camerata Lysy, the Camerata Lazarte, the Carnegie Mellon Contemporary Ensemble, the Carnegie Mellon Wind Ensemble, the Latin American Quartet, the American Composers Orchestra Quartet, the Argentine Classical Quartet; choirs such as the Saint Olaf Choir, the Kammerchor Ettlingen, the World Youth Choir, the National Youth Choir of Argentina, the Ars Nova Choir, the Tucumán Chamber Choir; and groups such as the Mayo Chamber Orchestra, the Córdoba Municipal Orchestra, the Rosario Municipal Chamber Orchestra, the Banco Empresarial Foundation Orchestra, the Córdoba Symphonic Band, the National Youth Symphony Orchestra, the Stable Orchestra of the Argentine Theater of La Plata and the Symphonic Orchestras of Rosario, Córdoba, Mendoza, Entre Ríos, San Juan, Salta and Tucumán in Argentina.
His works are recorded by the Cincinnati Chamber Orchestra (Overtures and Dances of Operas by Alonso-Crespo) for Ocean Records, the Camerata Lazarte (Macbeth) for JL Records and the Carnegie Mellon Wind Ensemble (Epic Dances) for the CMRL label, all of these under the direction of the author, the Ars Nova Choir (Pachamama), Andrea Merenzon and members of the Buenos Aires Philharmonic (Concerto for Bassoon and Orchestra) under the direction of Alberto Merenzon for the Radio Clásica label, the World Youth Choir (Waynápaq Taki) conducted by Anton Armstrong, Pablo González Jazey (Dowland Variations) for the Cleo label, the Trío Cordilleras (Piano Trio) for the Meridian and Eleanor Weingartner label and the Camerata de las Américas directed by José Luis Castillo (Clarinet Concerto) for the Urtext seal.
For twelve years he was Principal Conductor of the Tucumán Symphony Orchestra in Argentina and simultaneously Musical Director of the Carnegie Mellon Contemporary Ensemble in the USA, while maintaining an intense activity as guest conductor in Argentina and abroad. In previous seasons he served as Associate Conductor of the Carnegie Mellon Philharmonic, Assistant Conductor of the Pittsburgh Civic Orchestra, Music Director of the Carnegie Mellon Wind Ensemble, Visiting Professor at the Carnegie Mellon University School of Music in Pittsburgh, USA. , Resident Composer and Principal Guest Conductor of the Salta Symphony Orchestra in Argentina, and Principal Conductor of the Orchestra Stable of the Province of Tucumán. His guest conductor appearances include orchestras and instrumental ensembles from the United States, France, Portugal, Mexico, Chile, and Argentina. In his home country he has performed at the head of the Córdoba, Rosario, Tucumán, San Juan, Mendoza and Salta Symphonic Orchestras, as well as the Buenos Aires Philharmonic Orchestra, with which he made his debut at the Colón Theater conducting an acclaimed version of Gustav Mahler's Fourth Symphony in 1998. His most recent activities as conductor include the Royal Symphony Orchestra of Seville, Spain, which Alonso-Crespo directed for the British record label Naxos.
CLAUDIO APRILE
Régisseur, Argentine choreographer and dancer, Claudio Aprile currently works as Professor of the Chairs of Choreographic Composition II and Choreographic Composition III of the Faculty of Arts of the National University of Tucumán, in addition to being a member by opposition competition of the Stable Ballet of the Province of Tucumán since 1980. A notable specialist and researcher of the artistic integration between music and movement, his previous credits merit him as Founding Director of the Classical Ballet of the National University of Tucumán, teaching assistant in the Chairs of Basic Elements of Musical Composition of the Higher Institute of Music of the UNT and professor of the Parallel Chairs of Musical Integration I and II of the Contemporary Dance Career of the UNT. He also graduated from this University with the degrees of Music Teaching and Music Teaching from the Higher Institute of Musical Arts of the UNT, which make him one of the regisseurs and choreographers with the most solid musical training.
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He began his stage work in 1986 and to date has more than 25 premiered works to his credit. In that year he began to work as a member of the Commission for Replacement and Choreographic Research of the San Martín de Tucumán Theater, working on the replacement of the Giselle ballet for the Stable Ballet of the Province and the following year, in 1987, he was invited by the Municipality of Buenos Aires as Assistant to Régie and Choreography for the performances of Medea in the framework of the First Summer Festival of the City of Buenos Aires (Centennial Park), working with artists of the stature of Maximiliano Guerra and Alicia Quadri from the Colón Theater, and Alejandro Godoy from the Ballet del Sodre de Montevideo. In 1990 he presented his first choreography in Tucumán with Mozart's ballet Les Petits Riens at the Alberdi Theater. During 1991 he mounted his choreography of Stravinsky's El Pájaro de Fuego with the Stable Ballet of the Province of Tucumán for the Ibero-American Dance Encounter in the city of Corrientes and during that same year he performed the régie and choreography for the world premiere of the opera Juana , Eduardo Alonso-Crespo's crazy for the General Directorate of Culture of the Province of Tucumán, in what turned out to be one of the most notable events in Argentine poetry in recent times. That same year he performed the choreography of the play El Extraño Jinete for the Teatro Stable of the Province and in 1992 he presented his plays Danza Nativa at the Vera de Corrientes Theater at the Encuentro de Danza Libre, and Pulcinella with music by Stravinsky at the Teatro San Martín de Tucumán with the Stable Ballet. In that same year he was invited by the Directorate of that Theater to teach classes to said Stable Ballet and in 1993 he worked as a régisseur and choreographer in the series Los Chicos van a la Sinfónica with the UNT Symphony Orchestra under the direction of maestro Eduardo Alonso. -Curly. For this same orchestra he composed the régie and choreography for the Polonaise of the opera Eugenio Oñeguin by Tchaikovsky within a multimedia show. In 1994 he performed the régie and choreography for the series Los Chicos go a la Sinfónica II: El Carnaval de los Animales with the UNT Symphony Orchestra and members of the Stable Ballet, an organization for which he also choreographed Hungarian Dances on music. by Johannes Brahms and the régie de la zarzuela Luisa Fernanda. Other important stage works include El Amor Brujo, with music by Manuel de Falla and the UNT Symphony Orchestra, and the régie, replacement and choreography for the 1999 UNT Symphony Orchestra Mega-Concert (El Nutcracker and Carmina Burana, the latter with her own choreography).
As of Season 2000, Aprile served as Founding Director and Choreographer of the UNT Classical Ballet, a company for which he created a total of eleven choreographies that include Summer Pastoral with music by Rossini, Mediterranean Symphony with music by Mendelssohn, La Vie Parisienne with music by Offenbach, Ainsi que la brise with music by Gounod, Ombra mai fu with music by Handel, Concert in Facon music by Bach, Gymnopédie with music by Satie, Fantastic Waltz with music by Berlioz, Hoe-down with music by Copland, Danza de las Horas with music by Ponchielli, and Sueño de una Noche de Verano, choreography for incidental music by Félix Mendelssohn, all with a live performance by the Tucumán Symphony Orchestra. He created the choreography Chacona en Tiempo de Tango for the Under the Stars Festival in California. In the USA he also created the choreography for Stravinsky's The Story of a Soldier, invited by Carnegie Mellon University.
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She began her academic training in dance in the city of Bs. As. With the Mtros. Mercedes Serrano and Wassil Tupine, principal dancer and teacher of the Teatro Colón, later specializing with the Mtros Vakhtang Chabukiani of the Bolshoi Theater in Moscow, Enrique Lommi, Olga Ferri and Hugo Delavalle, the latter first dancers of the Teatro Colón, the Royal Ballet of London and of the Sttutgart Ballet respectively. In 1990 she actively attended the Classical Dance Methodology Seminar at the Teatro Colón in Buenos Aires completing her training specializing in Pre-Classical Dances, Dance History, Rhythm and Body Awareness, Eurythmy and Semiotics in the Arts.
MYRIAM MOLINA (SOPRANO) (from the premiere playtime)
Myriam Molina is one of the most outstanding Argentine sopranos of today. With numerous lyrical performances in our country, she acquired special notoriety when she won the role of the Queen of the Night of Mozart's Magic Flute for the Teatro Colón in Buenos Aires by competition. In 1998 he performed in the main role of L'Elisir d'Amore de Donizzeti and was the guest of honor at the mega-concert with which the Tucumán Symphony Orchestra celebrated its Golden Wedding in that year. In 1999 she sang the role of Serpina in Pergolesi's La Serva Padrona and starred in the premiere in Tucumán of the comic opera El Telephone de Menotti in the leading role of Lucy, both with the UNT Symphony Orchestra under the direction of Maestro Eduardo Alonso. -Curly. She sang the leading role in Donizetti's comic opera Rita, that of Gilda in Verdi's Rigloletto and that of Musetta in Puccini's La Bohème. She created a brilliant role as Duchess Carolina for zarzuela Luisa Fernanda and performed in numerous Lyric Galas performing ensemble numbers by Rigoletto, La Bohème, La Traviata, Cavalleria Rusticana, L'Elisir d'Amore and El Mesías.
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Other of her most outstanding performances in the operatic field include creating the leading role in the opera Juana, la loca by Eduardo Alonso-Crespo, producing on the occasion a portrait of the young Spanish queen that captivated audiences on the occasion of the world premiere of the work in 1991, generating one of the most resonant successes of the Argentine lyric. With this same director, he sang the role of solo soprano at the premiere in Tucumán of Gustav Mahler's Fourth Symphony.
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He performed in numerous symphonic-choral and chamber shows, highlighting the roles of soloist soprano in Orff's Carmina Burana, Mozart's Requiem and Coronation Mass, Gounod's Mass of Saint Cecilia, Pergolesi's Stabat Mater, the Mass in C by Beethoven, the Requiem Mass by Fauré, the Brevis Mass by Zoltan Kodaly, the Brevis Mass by Haydn, the Gloria by Vivaldi, and the Bachiana Brasileira No. 5 by Villa-Lobos. Myriam Molina's performances also include important contributions to the ballet world singing for the ballets El Amor Brujo and Xerxes, both with choreographies by Claudio Aprile, on the occasion of their respective premieres in 1999 and 2000. Since 1998 she has performed important performances in the chamber field with the Camerata Lazarte and the Chamber Orchestra of the Fundación Banco Empresarial de Tucumán with works by Mozart, Haendel, and Schubert under the direction of Maestro Julio Lazarte. In 2001 Myriam Molina participated as a soloist in the role of Violeta in La Traviata with the Salta Symphony Orchestra under the direction of Maestro Felipe Izcaray.
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She is a graduate of the Singing Career of the Conservatory of Music of the Province of Tucumán, having perfected at the Higher Institute of Art of the Colón Theater. He is currently taking repertoire classes with Master Alicia Rodríguez. In addition to being recognized for her performances in Córdoba, Buenos Aires, Santiago del Estero, Salta and Tucumán, Myriam Molina was awarded the 1998 Iris Marga Prize for her contribution to lyrical theater.
CYNTHIA DEL CARRIL (SOPRANO) ( from the premiere playtime)
Born in San Miguel de Tucumán, she began her studies of classical dance and body expression when she was only 5 years old at the Reginato Ballet Studio, performing as prima ballerina in numerous shows offered in Tucumán. Parallel to this activity, he joined the UNT Children's Choir under the direction of Mtra. Lucia Vallesi. His singing and music studies began in early 1994 with the Uruguayan soprano Diana López Esponda debuting as a singer that same year at a chamber music concert.
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In 1995 he performed the comic opera La Serva Padrona by Giovanni Battista Pergolesi, subsequently appearing in numerous concerts performing works by various composers including Brahms, Mendelssohn, Mozart, Puccini, Verdi and Debbusy. In 1997 he appeared in the "New Talents of Classical Music" contest organized by Canal (à) in which he served as a finalist before a jury made up of Marta Blanco, Guillermo Opitz, Luis Gaeta, Eduardo Cogorno and Armando Rapallo in Buenos Aires . In 1998 she interprets arias by Tosca, La Bohème, Carmen and Madame Butterfly, among others, in a concert of opera arias and plays the role of Mimi in the opera La Bohème de Puccini under the direction of Mtra. Diana López Esponda. In 2000 she took vocal technique classes with the prestigious Mexican teacher Franco Iglesias and in 2002 she was hired by the Secretary of State for Culture of the Province of Tucumán to join the Stable Choir of this province, participating that same year in the performance of Rigoletto in the role of the Countess of Ceprano. In 2003 he performed as soloist at the Brevis Mass with organ in B flat by FJ Haydn under the direction of Mtro Ricardo Sbrocco together with the UNT Symphony Orchestra and participated in the opera La Bohème in the role of Mimi conducted this time by the Maestro Ricardo Sbrocco with the Orquesta Stable de la Provincia in the framework of the 43rd Musical September. In July of this year she played the role of Duchess Carolina in the zarzuela Luisa Fernanda de Moreno Torroba under the baton of the same director. He is currently in his last year of the career of Psychology at the UNT
NORBERTO FERNÁNDEZ (TENOR) (from the premiere program)
He began his studies with Professor Marta Blanco. He is currently studying with Mrs. María Kalay. In the beginning he participated in the choirs of the Medea operas for the Margarita Xirgu Theater, Aida for the Paper Manufacture, La Traviata and Carmen, in the latter as a cover, for the Luna Park, and Il Trovatore for the Argentine Theater of La Plata.
He debuted with the role of Jacopo in Verdi's Il Due Foscari for the Paper Manufacture, continuing with Jean in Massenet's Herodiade for the Beethoven Conservatory, Rodolfo in Puccini's La Bohème for the Avenida Theater, Romeo in Gounod's Romeo and Juliet for the Manufacture Papelera and Eustazio in Armida by Rossini for the Margarita Xirgu Theater.
He participated in concerts offered at the Salón Dorado of the Teatro Colón, the Scala de San Telmo, the Konex Cultural Center, the Faculty of Law and Social Sciences and the Caece University, among others. Other roles in his repertoire include Alfredo de La Traviata, Don José de Carmen, Il Duca de Rigoletto, Ottavio de Don Giovanni and Pinkerton de M. Butterfly, among others. His next performances include the role of El Pianista in Día de Fiesta, the premiere of the opera by Argentine composer Francisco Vázquez in August 2004 and the role of Alfredo in La Traviata de Verdi for Juventus Lyrica at the Avenida Theater in October of the same year.
ALEJANDRO ALONSO (TENOR) ( from the premiere program)
Argentine tenor born in San Miguel de Tucumán in 1973. His early vocal activity led him to participate from the age of eight in different choirs in his province. At the age of seventeen, he began his formal singing studies with the Uruguayan soprano Laura Varela, and soon participated in the staging of the opera La Fluuta Mágica by Wolfgang Amadeus Mozart and in a significant number of concerts and lyrical recitals, both in Tucumán and Santiago. from the Estero.
He had an outstanding participation as a soloist in numerous symphonic-choral concerts. The list of performances includes the Requiem Mass, the Coronation Mass and the Brevis Mass by Wolfgang Amadeus Mozart, Carmina Burana by Carl Orff, and the Creole Mass by Ariel Ramírez.
ALFREDO TISEIRA (BASS - BARÍTONO) ( from the premiere program)
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He began his musical studies at the Provincial Conservatory of Music of Tucumán, where he was a violin student of teachers O. Karbiner and Alfredo Brú. He is an Architect and Urban Planner graduated from the National University of Tucumán and has studied German at the Goethe Institute of Córdoba. For more than a decade he studied vocal technique and lyrical and chamber repertoire with the prestigious Uruguayan soprano Diana López Esponda, with whom he has performed numerous singing recitals and prepared an extensive repertoire. He perfected himself in German lieder with the teacher Guillermo Optiz and was a student of vocal technique of Tzvetanka Stoilova of Bulgaria at the Higher Institute of Art of the Teatro Colón in Buenos Aires. In addition, he perfected his singing with the Mexican maestro Franco Iglesias.
He participated in numerous choirs in Tucumán, currently continuing as a member of the Stable Choir of the Province of Tucumán, with which he participated in concerts and operas in Salta, Santiago del Estero, Tucumán, the Colón Theater in Buenos Aires and Uruguay. He was awarded a scholarship by the National Endowment for the Arts to improve his singing with the Soprano Diana López Esponda and was selected as a Young Soloist Interpreter by Juventudes Musicales de Tucumán.
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He sang solo roles in the musical comedy Mi Bella Dama by A. Lerner and F. Loewe in Tucumán and at the Alvear Theater in Buenos Aires. He was a soloist in the operas La Traviata (Dottore Grenvil), Otello and Rigoletto (Sparafucile) by Giuseppe Verdi; The Magic Flute (Sarastro), Don Giovanni (Commander and Leporello) and The Marriage of Figaro (Figaro) by Wolfgang Amadeus Mozart; La Bohème (Colline) and Tosca (Angelotti) by Giacomo Puccini. He sang the role of Doctor Dulcamara in Donizzetti's opera L 'Elissir D'Amore, for which he received the Iris Marga Prize '98. In 1999 he performed with the UNT Symphony Orchestra at the premiere in Tucumán of the comic opera El Telephone by Giancarlo Menotti, in the role of Ben, under the direction of Maestro Eduardo Alonso-Crespo. He sang the role of D'Annunzio at the premiere of Andrés P. Risso's opera Lola Mora, directed by Andrea Mijailovsky. He sang arias and duets of famous zarzuelas in the city of Salta with the Stable Orchestra of Salta.
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His solo performances in symphonic-choral concerts include works such as the Magnificat by GB Pergolesi, the Great Mass in C minor, the Brevis Mass and the Requiem by Mozart, Dixit Dominus by GF Haendel, the Glory Mass by G. Puccini, the Te Deum by A. Bruckner, the Magnificat by JS Bach, the Passion According to Saint John and the Passion According to Saint Matthew by JS Bach, the Mass of Saint Cecilia by Ch. Gounod, the Mass in E Flat by F. Schubert; Fantasia for Piano, Choir and Orchestra op 80 by L. van Beethoven, Porgy and Bess by G. Gershwin, and the Ninth Symphony by L. van Beethoven under the baton of Maestro Reynaldo Zemba with the accompaniment of the Argentine Youth Symphony Orchestra, the Chamber Orchestra Antonio Vivaldi from Venezuela and five choirs from Salta and Tucumán performed at Club Caja Popular de Tucumán) and Club El Milagro de Salta. In the latter city he also sang the German Requiem by J. Brahms, Carmina Burana by C. Orf and the Requiem by G. Fauré, all at the invitation of the Salta Symphony Orchestra.
It was directed by the Masters Mario De Rose, Daniel Mazza, Gustavo Guersman, Miguel Ángel Gilardi, Eduardo Alonso Crespo, Antonio Montero, Guillermo Brizzio, Emir Omar Saúl, Guillermo Becerra, Héctor Nardi, Ricardo Sbrocco, Jorge Lhez and Felipe Izcaray. Since 2001 he has directed the Santa Rosa Institutional Choir of the Congregation of the Dominican Sisters of Tucumán, with whom he made the recording of a CD and various benefit concerts.
