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

More documents

Recommendations

Info

Tenor Pedro Lavirgen. Trayectoria de una voz presentó en Méjico con Aida (recordemos, en el año 1964) y del que guarda un gran recuerdo en el plano artístico y humano. Admira igualmente a Cappuccilli y a Corelli y entre los españoles, como ha repetido en otras ocasiones, a Kraus y Aragall que actúan con clamoroso éxito. 278 400 3.5. TOSCA EN CINCINNATI Pedro Lavirgen reanuda su actividad una vez reestablecidos su hijos y se traslada a Cincinnati (Ohio). En el marco de la temporada especial de la Cincinnati Summer Opera Association, que celebra su 50 Aniversario (1920- 1970), el tenor inaugura la temporada con Tosca, ofreciendo dos representaciones en el Music Hall del Zoo Pavilion los días 8 y 11 de julio. 279 En este escenario se presenta en el papel de Cavaradossi, junto a Arlene Saunders en el papel de Tosca y Kostas Paskalis, dirigidos todos por la batuta de Antón Guadagno. Llega avalado por su éxitos en los Estados Unidos (en el programa se recuerda que cantó este mismo papel con Lucine Amara en el Metropolitan, y también que ha ofrecido Madame Butterfly en Philadelphia y Carmen en Pittsburgh). 280 Henry S. Humphreys (The Cincinnati Enquirer) califica esta representación como tórrida y apasionada, en la que Lavirgen mostró estar en posesión de una voz especial de tenor y de una habilidad dramática inusual, con la que en algunos momentos estremeció al público: “From the very moment he finished his first expressive aria («Unearthly Harmony»), Lavirgen, a young Spanish tenor making his Cincinnati debut in this opera, had not only the female but also the male contingent in the palm of his 278 Ídem. 279 Libreto de la programación. 50 Aniversario Cincinnati Summer Opera. Temporada 1970, que abarca desde el día 8 de julio al 2 de agosto. Se programan Trovatore, Cavalleria, Pagliacci, Carmen, Samson y Dalila, Traviata y Tosca. 280 Vid. “Music. Summer opera season offers new faces”, en: The Post and Times–Star, Cincinnati, 6 julio 1970, p. 14. En esta temporada de gran celebración se presentan otros cantantes, véase “Zoo Opera Opens Its 50 th Season Wednesday”, en: The Cincinnati Enquirer, 5 julio 1970, p.4D. Shirley Verret of the Metropolitan Opera; Guilda Cruz–Romo of the Metropolitan Opera; William Cochran of the Frankfurt Opera; Leonard del Ferro of Covent Garden and the Vienna State Opera; Mirna Lacambra and Pedro Lavirgen of the Gran Teatro del Liceo of Barcelona; Lois Crane of the New York City Opera; and Steven Kimbrough of the Bonn opera theater.
Parte tercera. Escenarios internacionales (1966-1970) hand: His is the kind of tenor voice created specially by the gods of music for Puccini’s sensuous melodies. Few opera tenors are noted for their acting ability, but Señor Lavirgen gets around on the stage with better than average tenorial ability. His duets with Miss Saunders were fine, and when he was being tortured by Scarpia’s Gestapo, his cries made the audience wince –not to mention his sweetheart, Tosca, who has trying to make up her mind whether virtue was worth this terrible price–.” 281 En cambio, de esta misma representación, Bell Eleanor (The Post & and Times-Star) dice que el joven y atractivo tenor mostró una voz bastante poco interesante porque no estaba lo suficientemente vigoroso en su búsqueda del personaje de Mario Cavadarossi: “In the role of her lover, Pedro Lavirgen, a young and attractive Spanish tenor, was singing here for the first time. He has a rather uninteresting voice. I felt last night it came to life only for the high notes. The rest of the time it was lackluster and monotonous in the sounds it made. Mr. Lavirgen seemed to tackle his high hopes with little effort. He moved well on the stage, but was not sufficiently vigorous in his pursuit of the character of Mario Cavadarossi to be a match for the sweep and swoop of Tosca, his beloved, or for the evil menace of Scarpia, his hated foe.” 282 Dos puntos de vista muy diferentes, las dos caras de una misma moneda, para hablarnos de la recreación del personaje de Mario Cavaradosi, que nos sitúa 281 “Desde el mismo momento en el que terminó su primer aria expresiva («Recóndita armonía»), Lavirgen, un joven tenor español que realizó su debut en Cincinnati en esta ópera, no tuvo solo el contingente femenino sino también el masculino en la palma de su mano: la suya es el tipo de voz de tenor creada especialmente por los dioses de la música para las melodías sensuales de Puccini. Pocos tenores de ópera sobresalen por su habilidad dramática, pero el señor Lavirgen sale al escenario con la calidad de tenor, mejor que la media. Sus duetos con la señorita Saunders estuvieron bien, y cuando él estaba siendo torturado por Gestapo de Scarpia, sus gritos hicieron que la audiencia se estremeciera –sin mencionar a su amante, Tosca, que ha intentado establecer si la virtud era merecedora de este terrible precio–.” Confróntese HUMPHREYS, H. S.: “Rain– Cooled «Tosca» gets torrid performance at Zoo”, en: The Cincinnati Enquirer, 9 julio 1970, p. 21. 282 “En el papel de su amante, Pedro Lavirgen, un joven y atractivo tenor español, estuvo cantando aquí por primera vez. Tiene una voz bastante aburrida. La pasada noche sentí que vino a la vida solo para las notas altas. El resto del tiempo fue mediocre y monótono en los sonidos que hizo. El señor Lavirgen parecía abordar sus altas esperanzas con poco esfuerzo. Se movió bien en el escenario, pero no fue lo suficientemente vigoroso en su búsqueda del personaje de Mario Cavadarossi para unirse a las curvas y redadas de Tosca, su amada, o para la mala amenaza de Scarpia, su odiado enemigo.” Cfr. ELEANOR, B.: “Tosca”, en: The Post & and Times–Star, Cincinnati, 9 julio 1970, p. 29. 401
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: Parte tercera. Escenarios internaci
Page 403 and 404: 3.4. NORMA EN PHILADELPHIA Parte te
Page 405: Parte tercera. Escenarios internaci
Page 429 and 430: PARTE CUARTA AÑOS PARA EL ÉXITO (
Page 431 and 432: Parte cuarta. Años para el éxito
Page 457 and 458:
Parte cuarta. Años para el éxito
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:
Page 1095 and 1096:
Page 1097 and 1098:
Page 1099 and 1100:
Page 1101 and 1102:
Page 1103 and 1104:
Page 1105 and 1106:
Page 1107 and 1108:
Page 1109 and 1110:
Page 1111 and 1112:
Page 1113 and 1114:
Page 1115 and 1116:
Page 1117 and 1118:
Page 1119 and 1120:
Page 1121 and 1122:
Page 1123 and 1124:
Page 1125 and 1126:
Page 1127 and 1128:
Page 1129 and 1130:
Page 1131 and 1132:
Page 1133 and 1134:
Page 1135 and 1136:
Page 1137 and 1138:
Page 1139 and 1140:
Page 1141 and 1142:
Page 1143 and 1144:
Page 1145 and 1146:
Page 1147 and 1148:
Page 1149 and 1150:
Page 1151 and 1152:
Page 1153 and 1154:
Page 1155 and 1156:
Page 1157 and 1158:
Page 1159 and 1160:
Page 1161 and 1162:
Page 1163 and 1164:
Page 1165 and 1166:
Page 1167 and 1168:
Page 1169 and 1170:
Page 1171 and 1172:
Page 1173 and 1174:
Page 1175 and 1176:
Page 1177 and 1178:
Page 1179 and 1180:
Page 1181 and 1182:
Page 1183 and 1184:
Page 1185 and 1186:
Page 1187 and 1188:
Page 1189 and 1190:
Page 1191 and 1192:
Page 1193 and 1194:
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?