tenor pedro lavirgen. trayectoria de una voz - Helvia :: Repositorio ...

More documents

Recommendations

Info

Parte séptima. Semblanzas y Coda La etapa final (1982-1992) destacaba por el fuerte incremento de la actividad escénica con Antología de la Zarzuela ente 1982 y 1986, que justifica el volumen de representaciones totales, con un espectacular alza en 1983 y las giras por el extranjero. Los últimos seis años de la carrera escénica trascurren en España, si bien en 1991 y con Antología –una vez retirado de la ópera– debemos destacar un notable aumento de la actividad en el extranjero, con respecto a los años precedentes, para despedirse de los escenarios con las funciones hispalenses del 92. 180 160 140 120 100 80 60 40 20 0 1962 1963 1964 2º etapa 1962- 1965 Gráfico nº 12. Representaciones España/ Extranjero 1965 1966 1967 1968 1969 1970 1971 1972 3º etapa 1966-1977 1973 1974 1975 1976 1977 1978 1979 1980 4º etapa 1978-1981 Trayectoria profesional de Pedro Lavirgen 1981 1982 1983 1984 1985 1986 1987 1988 1989 5º etapa Extranjero Esp 1982-1992 1990 1991 1992 Concretando todavía un poco más podemos señalar que de las actuaciones de ópera efectuadas en España, en Madrid ofreció el 3´7 %; en Barcelona, el 11´7% y en el resto de capitales, el 17´86 % del total de representaciones. 1137
Tenor Pedro Lavirgen. Trayectoria de una voz 1138 Para desarrollar cada una de las partituras musicales, Pedro Lavirgen ha puesto su voz recreando los personajes. Cada uno ha requerido de él unas exigencias vocales y dramáticas, por lo que analizando éstas, podemos determinar, en parte, las cualidades vocales del intérprete. Por ello, y una vez establecidos cuáles son los once títulos más representados por el tenor, seguiremos el estudio de Ramón Regidor Arribas sobre la tipología de los diferentes role, teniendo en cuenta los factores siguientes: - La extensión, es decir la nota más grave y más aguda exigida para llevar a cabo la partitura. - La potencia (recordemos que es un factor asociado a la intensidad del acompañamiento orquestal) en la que distingue tres grados: medio, grande y muy grande. - La duración, es decir la parte del personaje en relación a la totalidad de la obra. Diferencia entre breve, medio y extenso. - La categoría vocal del papel dentro del mundo de la ópera. Distingue entre papeles de 1ª, 2ª y 3ª categoría y entre los primeros asigna unos cuantos especiales (1ª. A), bien porque se consideran así por la tradición operística, bien porque sus exigencias y dificultades son superiores a las normales. 59 Siguiendo esta tipología, en los diez roles que más ha interpretado Pedro Lavirgen (ordenado en progresión descendente y teniendo en cuenta que Don Carlo no es analizado por Regidor) observamos las siguientes características (Véase Tabla nº 2): 60 Siete roles son asignados a un tenor de carácter dramático, uno para lírico y dos para lírico-dramático. Siete son asignados para una categoría vocal de 1ª A y tres de 1ª. Siete exigen de una voz de potencia grande, dos muy grande y una media. Ocho personajes tiene una duración media, uno extenso y uno breve. 59 Cfr. REGIDOR ARRIBAS, R.: La clasificación de la voz, p. 146. 60 Ídem, pp. 164-173.
Page 1 and 2:
UNIVERSIDAD DE CÓRDOBA DEPARTAMENT
Page 3 and 4:
TENOR PEDRO LAVIRGEN. TRAYECTORIA D
Page 5 and 6:
Tenor Pedro Lavirgen. Trayectoria d
Page 7 and 8:
Page 9 and 10:
Page 11 and 12:
LISTA DE ABREVIATURAS A H.P.C. Arch
Page 13 and 14:
Page 15 and 16:
Page 17 and 18:
Page 19 and 20:
Page 21 and 22:
Page 23 and 24:
Page 25 and 26:
Page 27 and 28:
Page 29 and 30:
Page 31 and 32:
Page 33 and 34:
Page 35 and 36:
Page 37 and 38:
Page 39 and 40:
Page 41 and 42:
Page 43 and 44:
Page 45 and 46:
Page 47 and 48:
Page 49 and 50:
Page 51 and 52:
Page 53 and 54:
Page 55 and 56:
Page 57 and 58:
Page 59 and 60:
Page 61 and 62:
Page 63 and 64:
Page 65 and 66:
Page 67 and 68:
Page 69 and 70:
Page 71 and 72:
Page 73 and 74:
Page 75 and 76:
Page 77 and 78:
Page 79 and 80:
Page 81 and 82:
Page 83 and 84:
Page 85 and 86:
Page 87 and 88:
Page 89 and 90:
Page 91 and 92:
Page 93 and 94:
Page 95 and 96:
Page 97 and 98:
Page 99 and 100:
Page 101 and 102:
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
Page 109 and 110:
Page 111 and 112:
Page 113 and 114:
Page 115 and 116:
Page 117 and 118:
Page 119 and 120:
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
Page 127 and 128:
Page 129 and 130:
Page 131 and 132:
Page 133 and 134:
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
Page 147 and 148:
Page 149 and 150:
Page 151 and 152:
Page 153 and 154:
Page 155 and 156:
Page 157 and 158:
Page 159 and 160:
Page 161 and 162:
Page 163 and 164:
Page 165 and 166:
Page 167 and 168:
Page 169 and 170:
Page 171 and 172:
Page 173 and 174:
Page 175 and 176:
Page 177 and 178:
Page 179 and 180:
Page 181 and 182:
Page 183 and 184:
Page 185 and 186:
Page 187 and 188:
Page 189 and 190:
Page 191 and 192:
Page 193 and 194:
Page 195 and 196:
Page 197 and 198:
Page 199 and 200:
Page 201 and 202:
Page 203 and 204:
Page 205 and 206:
Page 207 and 208:
Page 209 and 210:
Page 211 and 212:
Page 213 and 214:
Page 215 and 216:
Page 217 and 218:
Page 219 and 220:
Page 221 and 222:
Page 223 and 224:
Page 225 and 226:
Page 227 and 228:
Page 229 and 230:
Page 231 and 232:
Page 233 and 234:
Page 235 and 236:
Page 237 and 238:
Page 239 and 240:
Page 241 and 242:
Page 243 and 244:
Page 245 and 246:
Page 247 and 248:
Page 249 and 250:
Page 251 and 252:
Page 253 and 254:
Page 255 and 256:
Page 257 and 258:
Page 259 and 260:
Page 261 and 262:
Page 263 and 264:
Page 265 and 266:
Page 267 and 268:
Page 269 and 270:
Page 271 and 272:
Page 273 and 274:
Page 275 and 276:
Page 277 and 278:
Page 279 and 280:
Page 281 and 282:
Page 283 and 284:
Page 285 and 286:
Page 287 and 288:
Page 289 and 290:
Page 291 and 292:
Page 293 and 294:
Page 295 and 296:
Page 297 and 298:
Page 299 and 300:
PARTE TERCERA Parte tercera. Escena
Page 301 and 302:
Parte tercera. Escenarios internaci
Page 303 and 304:
Page 305 and 306:
Page 307 and 308:
Page 309 and 310:
Page 311 and 312:
Page 313 and 314:
Page 315 and 316:
Page 317 and 318:
Page 319 and 320:
Page 321 and 322:
Page 323 and 324:
Page 325 and 326:
Page 327 and 328:
Page 329 and 330:
Page 331 and 332:
Page 333 and 334:
Page 335 and 336:
Page 337 and 338:
Page 339 and 340:
Page 341 and 342:
Page 343 and 344:
Page 345 and 346:
Page 347 and 348:
Page 349 and 350:
Page 351 and 352:
Page 353 and 354:
Page 355 and 356:
Page 357 and 358:
Page 359 and 360:
Page 361 and 362:
Page 363 and 364:
Page 365 and 366:
Page 367 and 368:
Page 369 and 370:
Page 371 and 372:
Page 373 and 374:
Page 375 and 376:
Page 377 and 378:
Page 379 and 380:
Page 381 and 382:
Page 383 and 384:
Page 385 and 386:
Page 387 and 388:
Page 389 and 390:
Page 391 and 392:
Page 393 and 394:
Page 395 and 396:
Page 397 and 398:
Page 399 and 400:
Page 401 and 402:
Page 403 and 404:
3.4. NORMA EN PHILADELPHIA Parte te
Page 405 and 406:
Page 407 and 408:
Page 409 and 410:
Page 411 and 412:
Page 413 and 414:
Page 415 and 416:
Page 417 and 418:
Page 419 and 420:
Page 421 and 422:
Page 423 and 424:
Page 425 and 426:
Page 427 and 428:
Page 429 and 430:
PARTE CUARTA AÑOS PARA EL ÉXITO (
Page 431 and 432:
Parte cuarta. Años para el éxito
Page 433 and 434:
Page 435 and 436:
Page 437 and 438:
Page 439 and 440:
Page 441 and 442:
Page 443 and 444:
Page 445 and 446:
Page 447 and 448:
Page 449 and 450:
Page 451 and 452:
Page 453 and 454:
Page 455 and 456:
Page 457 and 458:
Page 459 and 460:
Page 461 and 462:
Page 463 and 464:
Page 465 and 466:
Page 467 and 468:
Page 469 and 470:
Page 471 and 472:
Page 473 and 474:
Page 475 and 476:
Page 477 and 478:
Page 479 and 480:
Page 481 and 482:
Page 483 and 484:
Page 485 and 486:
Page 487 and 488:
Page 489 and 490:
Page 491 and 492:
Page 493 and 494:
Page 495 and 496:
Page 497 and 498:
Page 499 and 500:
Page 501 and 502:
Page 503 and 504:
Page 505 and 506:
Page 507 and 508:
Page 509 and 510:
Page 511 and 512:
Page 513 and 514:
Page 515 and 516:
Page 517 and 518:
Page 519 and 520:
Page 521 and 522:
Page 523 and 524:
Page 525 and 526:
Page 527 and 528:
Page 529 and 530:
Page 531 and 532:
Page 533 and 534:
Page 535 and 536:
Page 537 and 538:
Page 539 and 540:
Page 541 and 542:
Page 543 and 544:
Page 545 and 546:
Page 547 and 548:
Page 549 and 550:
Page 551 and 552:
Page 553 and 554:
Page 555 and 556:
Page 557 and 558:
Page 559 and 560:
Page 561 and 562:
Page 563 and 564:
Page 565 and 566:
Page 567 and 568:
Page 569 and 570:
Page 571 and 572:
Page 573 and 574:
Page 575 and 576:
Page 577 and 578:
Page 579 and 580:
Page 581 and 582:
Page 583 and 584:
Page 585 and 586:
Page 587 and 588:
Page 589 and 590:
Page 591 and 592:
Page 593 and 594:
Page 595 and 596:
3. EN LA CÚSPIDE (1975-1976) Parte
Page 597 and 598:
Page 599 and 600:
Page 601 and 602:
Page 603 and 604:
Page 605 and 606:
Page 607 and 608:
Page 609 and 610:
Page 611 and 612:
Page 613 and 614:
Page 615 and 616:
Page 617 and 618:
Page 619 and 620:
Page 621 and 622:
Page 623 and 624:
Page 625 and 626:
Page 627 and 628:
Page 629 and 630:
Page 631 and 632:
Page 633 and 634:
Page 635 and 636:
Page 637 and 638:
Page 639 and 640:
Page 641 and 642:
Page 643 and 644:
Page 645 and 646:
Page 647 and 648:
Page 649 and 650:
Page 651 and 652:
Page 653 and 654:
Page 655 and 656:
Page 657 and 658:
Page 659 and 660:
Page 661 and 662:
Page 663 and 664:
Page 665 and 666:
Page 667 and 668:
Page 669 and 670:
Page 671 and 672:
Page 673 and 674:
Page 675 and 676:
Page 677 and 678:
Page 679 and 680:
***** ***** Parte cuarta. Años par
Page 681 and 682:
Page 683 and 684:
Page 685 and 686:
Page 687 and 688:
Page 689 and 690:
PARTE QUINTA CAMBIOS EN LA ESCENA (
Page 691 and 692:
Quinta parte. Cambios en la escena
Page 693 and 694:
1.1. LA NUEVA REALIDAD ESPAÑOLA Qu
Page 695 and 696:
Page 697 and 698:
Page 699 and 700:
Page 701 and 702:
Page 703 and 704:
Page 705 and 706:
Page 707 and 708:
Page 709 and 710:
Page 711 and 712:
Page 713 and 714:
Page 715 and 716:
Page 717 and 718:
Page 719 and 720:
Page 721 and 722:
Page 723 and 724:
Page 725 and 726:
Page 727 and 728:
Page 729 and 730:
Page 731 and 732:
Page 733 and 734:
Page 735 and 736:
Page 737 and 738:
Page 739 and 740:
Page 741 and 742:
Page 743 and 744:
Page 745 and 746:
Page 747 and 748:
Page 749 and 750:
Page 751 and 752:
Page 753 and 754:
Page 755 and 756:
Page 757 and 758:
Page 759 and 760:
Page 761 and 762:
Page 763 and 764:
Page 765 and 766:
Page 767 and 768:
Page 769 and 770:
Page 771 and 772:
Page 773 and 774:
Page 775 and 776:
Page 777 and 778:
Page 779 and 780:
Page 781 and 782:
Page 783 and 784:
Page 785 and 786:
Page 787 and 788:
Page 789 and 790:
Page 791 and 792:
Page 793 and 794:
Page 795 and 796:
Page 797 and 798:
Page 799 and 800:
Page 801 and 802:
Page 803 and 804:
Page 805 and 806:
Page 807 and 808:
Page 809 and 810:
Page 811 and 812:
Page 813 and 814:
Page 815 and 816:
Page 817 and 818:
Page 819 and 820:
Page 821 and 822:
Page 823 and 824:
2.5. TRES TÍTULOS PARA OVIEDO Quin
Page 825 and 826:
Page 827 and 828:
Page 829 and 830:
Page 831 and 832:
Page 833 and 834:
Page 835 and 836:
Page 837 and 838:
Page 839 and 840:
Page 841 and 842:
Page 843 and 844:
Page 845 and 846:
Page 847 and 848:
Page 849 and 850:
Page 851 and 852:
Page 853 and 854:
Page 855 and 856:
Page 857 and 858:
Page 859 and 860:
Page 861 and 862:
Page 863 and 864:
Page 865 and 866:
Page 867 and 868:
Page 869 and 870:
Page 871 and 872:
TOMO II
Page 873 and 874:
Page 875 and 876:
Page 877 and 878:
Page 879 and 880:
Page 881 and 882:
Page 883 and 884:
Page 885 and 886:
Page 887 and 888:
Page 889 and 890:
Page 891 and 892:
Page 893 and 894:
Page 895 and 896:
Page 897 and 898:
Page 899 and 900:
Page 901 and 902:
Page 903 and 904:
Page 905 and 906:
Page 907 and 908:
Page 909 and 910:
Page 911 and 912:
Page 913 and 914:
Page 915 and 916:
Page 917 and 918:
Page 919 and 920:
Page 921 and 922:
Page 923 and 924:
Page 925 and 926:
Page 927 and 928:
Page 929 and 930:
Page 931 and 932:
Page 933 and 934:
Page 935 and 936:
Page 937 and 938:
Page 939 and 940:
Page 941 and 942:
Page 943 and 944:
Page 945 and 946:
Page 947 and 948:
Page 949 and 950:
Page 951 and 952:
Page 953 and 954:
Page 955 and 956:
Page 957 and 958:
Page 959 and 960:
Page 961 and 962:
Page 963 and 964:
Page 965 and 966:
Page 967 and 968:
Page 969 and 970:
Page 971 and 972:
Page 973 and 974:
Page 975 and 976:
Page 977 and 978:
Page 979 and 980:
Page 981 and 982:
Page 983 and 984:
Page 985 and 986:
Page 987 and 988:
Page 989 and 990:
Page 991 and 992:
Page 993 and 994:
Page 995 and 996:
Page 997 and 998:
Page 999 and 1000:
Page 1001 and 1002:
Page 1003 and 1004:
Page 1005 and 1006:
Page 1007 and 1008:
Page 1009 and 1010:
Page 1011 and 1012:
Page 1013 and 1014:
Page 1015 and 1016:
Page 1017 and 1018:
Page 1019 and 1020:
Page 1021 and 1022:
Page 1023 and 1024:
Page 1025 and 1026:
Page 1027 and 1028:
Page 1029 and 1030:
Page 1031 and 1032:
Page 1033 and 1034:
Page 1035 and 1036:
Page 1037 and 1038:
Page 1039 and 1040:
Page 1041 and 1042:
Page 1043 and 1044:
Page 1045 and 1046:
Page 1047 and 1048:
Page 1049 and 1050:
Page 1051 and 1052:
Page 1053 and 1054:
Page 1055 and 1056:
Page 1057 and 1058:
Page 1059 and 1060:
Page 1061 and 1062:
Page 1063 and 1064:
Page 1065 and 1066:
Page 1067 and 1068:
Page 1069 and 1070:
Page 1071 and 1072:
Page 1073 and 1074:
Page 1075 and 1076:
Page 1077 and 1078:
Page 1079 and 1080:
Page 1081 and 1082:
Page 1083 and 1084:
Page 1085 and 1086:
Page 1087 and 1088:
Page 1089 and 1090:
Page 1091 and 1092:
Page 1093 and 1094: Tenor Pedro Lavirgen. Trayectoria d
Page 1143: Tenor Pedro Lavirgen. Trayectoria d
Page 1195 and 1196:
Page 1197 and 1198:
Page 1199 and 1200:
Page 1201 and 1202:
Page 1203 and 1204:
Page 1205 and 1206:
Page 1207 and 1208:
Page 1209 and 1210:
Page 1211 and 1212:
Page 1213 and 1214:
Page 1215 and 1216:
Page 1217 and 1218:
Page 1219 and 1220:
Page 1221 and 1222:
Page 1223 and 1224:
Page 1225 and 1226:
Page 1227 and 1228:
Page 1229 and 1230:
Page 1231 and 1232:
Page 1233 and 1234:
Page 1235 and 1236:
Page 1237 and 1238:
Page 1239 and 1240:
Page 1241 and 1242:
Page 1243 and 1244:
Page 1245 and 1246:
Page 1247 and 1248:
Page 1249 and 1250:
Page 1251 and 1252:
Page 1253 and 1254:
Page 1255 and 1256:
Page 1257 and 1258:
1250 Apéndices
Page 1259 and 1260:
Page 1261 and 1262:
Page 1263 and 1264:
Page 1265 and 1266:
Page 1267 and 1268:
Page 1269 and 1270:
Page 1271 and 1272:
Page 1273 and 1274:
Page 1275 and 1276:
Page 1277 and 1278:
Page 1279 and 1280:
Page 1281 and 1282:
Page 1283 and 1284:
Page 1285 and 1286:
Page 1287 and 1288:
Page 1289 and 1290:
Page 1291 and 1292:
Page 1293 and 1294:
Page 1295 and 1296:
Page 1297 and 1298:
Page 1299 and 1300:
Page 1301 and 1302:
Page 1303 and 1304:
Page 1305 and 1306:
Page 1307 and 1308:
Page 1309 and 1310:
Page 1311 and 1312:
Page 1313 and 1314:
Page 1315 and 1316:
Page 1317 and 1318:
Page 1319 and 1320:
Page 1321 and 1322:
Page 1323 and 1324:
Page 1325 and 1326:
Page 1327 and 1328:
Page 1329 and 1330:
Page 1331 and 1332:
Page 1333 and 1334:
Page 1335 and 1336:
Page 1337 and 1338:
Page 1339 and 1340:
Page 1341 and 1342:
Page 1343 and 1344:
Page 1345 and 1346:
Page 1347 and 1348:
Page 1349 and 1350:
Page 1351 and 1352:
Page 1353 and 1354:
Page 1355 and 1356:
Page 1357 and 1358:
Page 1359 and 1360:
Page 1361 and 1362:
Page 1363 and 1364:
Page 1365 and 1366:
Page 1367 and 1368:
Page 1369 and 1370:
Page 1371 and 1372:
Page 1373 and 1374:
Page 1375 and 1376:
Page 1377 and 1378:
Page 1379 and 1380:
Page 1381 and 1382:
Page 1383 and 1384:
Page 1385 and 1386:
Page 1387 and 1388:
Page 1389 and 1390:
Page 1391 and 1392:
Page 1393 and 1394:
Page 1395 and 1396:
Page 1397 and 1398:
Page 1399 and 1400:
Page 1401 and 1402:
Page 1403 and 1404:
Page 1405 and 1406:
Page 1407 and 1408:
Page 1409 and 1410:
Page 1411 and 1412:
Page 1413 and 1414:
Page 1415 and 1416:
Page 1417 and 1418:
Page 1419 and 1420:
Page 1421 and 1422:
Page 1423 and 1424:
Page 1425 and 1426:
Page 1427 and 1428:
Page 1429 and 1430:
Page 1431 and 1432:
Page 1433 and 1434:
Page 1435 and 1436:
Page 1437 and 1438:
Page 1439 and 1440:
Page 1441 and 1442:
Page 1443 and 1444:
Page 1445 and 1446:
Page 1447 and 1448:
Page 1449 and 1450:
Page 1451 and 1452:
Page 1453 and 1454:
Page 1455 and 1456:
Page 1457 and 1458:
Page 1459 and 1460:
Page 1461 and 1462:
Page 1463 and 1464:
Page 1465 and 1466:
Page 1467 and 1468:
Page 1469 and 1470:
Page 1471 and 1472:
Page 1473 and 1474:
Page 1475 and 1476:
Page 1477 and 1478:
Page 1479 and 1480:
Page 1481 and 1482:
Page 1483 and 1484:
Page 1485 and 1486:
Page 1487 and 1488:
Page 1489 and 1490:
Page 1491 and 1492:
Page 1493 and 1494:
Page 1495 and 1496:
Page 1497 and 1498:
Page 1499 and 1500:
Page 1501 and 1502:
Page 1503 and 1504:
Page 1505 and 1506:
Page 1507 and 1508:
Page 1509 and 1510:
Page 1511 and 1512:
Page 1513 and 1514:
Page 1515 and 1516:
Page 1517 and 1518:
Page 1519 and 1520:
Page 1521 and 1522:
Page 1523 and 1524:
Page 1525 and 1526:
Page 1527 and 1528:
Page 1529 and 1530:
Page 1531 and 1532:
Page 1533 and 1534:
Page 1535 and 1536:
Page 1537 and 1538:
Page 1539 and 1540:
Page 1541 and 1542:
Page 1543 and 1544:
Page 1545 and 1546:
Page 1547 and 1548:
Page 1549 and 1550:
Page 1551 and 1552:
show all

tenor pedro lavirgen. trayectoria de una voz - Helvia :: Repositorio ...

Create successful ePaper yourself

Delete template?

Save as template?