Magdalena Llamas is recording with Orchestra RTVE under the direction of Maestro Arturo Tamayo.
Gonzalo de Olavide, recovered by Classic World Sound and Verso Label.
The Madrid stablished label recorded the complete works symphonic orchestral and choral from the spanish composer
The recording of the album, performed at the Teatro Monumental in Madrid between July 2011 and June 2012, has had an exceptional artistic team: Carole Sidney Louis soloists (soprano), Magdalena Llamas (mezzo-soprano), José Manuel Montero ( tenor) and Richard Rittelmann (baritone), Orchestra and Chorus of RTVE and director Arturo Tamayo.
To those already numerous of Spanish musical heritage recoveries the Verso label has undertaken throughout its career, now joins triple monograph that collects the entire production and symphonic orchestral and choral composer of Gonzalo de Olavide in Madrid (1934-2005), most of it written during his years francs.
Spread over three CDs, the careful edition paints a broad path from 1964 (Indices) to 2001 (Concertante-Divides), providing the listener Olavide creative evolution and its particular combination of elements mark of Spanish avant-garde, particularly remarkable in Sing in Memoriam García Lorca and Falla Homenaje Symphony for large orchestra.
Gonzalo de Olavide born in Madrid on March 28, 1934. Upon graduation from Music, made in private classes at the Conservatory of Madrid, where he was a pupil of Victorino Echevarria- the continued since 1956 in Belgium at the Antwerp Conservatory with Eugène Traey-and Brussels, with André Souris- . In 1958 he married the painter Irene de la Torre Argentina, which had met in Antwerp and with who had two daughters, Irene Mary and Monica. From 1960 and for four years Olavide followed the Darmstadt summer courses, where he received lessons from Pierre Boulez, Karlheinz Stockhausen, György Ligeti, and Luciano Berio. With the support of Huarte-Beaumont Foundation, between 1964 and 1966 ended up in the German city of Cologne, where he perfected his training at the Hochschule für Musik and began to publicize their works while digging aspects of contemporary alongside the as Pousseur, Stockhausen, Kontasrky, Palm or Caskel. He also practiced in electroacoustic WDR laboratory. In 1966 he settled in Switzerland, fully integrated in the musical life of Geneva, where he was linked professionally to his colleague and friend Jacques Guyonnet, founder and driving force in Geneva important centers of musical experimentation and diffusion from which Olavide began consolidating prestige European projection.
Until 1991, the date of his definitive return to Spain, Olavide made his career from Geneva, without incurring a total disconnect Hispanic musical environment, as evidenced by the Composition Prize of Musical Youth of Madrid (1967-68 season), one grant from the Juan March Foundation enjoyed in 1974, the Symphony Homage to Falla composed in 1976 by order of the National Police of Music in the centenary year of failure, the Chant in memoriam García Lorca made in 1979 on behalf of the National Orchestra, paths works composed in 1982 on Antonio Machado and St. Teresa commissioned by the Ministry of Culture and National Radio of Spain, respectively, the concert offered RNE Olavide monograph on the occasion of its fiftieth anniversary, commissioned by the Department of Music to be released in the European Year of Music (1985), the National Music Award which was granted in 1986, the National Radio representing Spain at the International Rostrum of Composers of UNESCO in 1990, the 1991 composition of a work on St. John of the Cross on behalf of the Government of Andalusia, to mark the fourth centenary of the death of the great mystic of Fontiveros or, among other links with our environment, the granting in 2001 of Queen Sofia Prize Composition Ferrer Salat Foundation. Gonzalo de Olavide died in Manzanares el Real, Madrid, on November 4, 2005.
The Madrid stablished label recorded the complete works symphonic orchestral and choral from the spanish composer
The recording of the album, performed at the Teatro Monumental in Madrid between July 2011 and June 2012, has had an exceptional artistic team: Carole Sidney Louis soloists (soprano), Magdalena Llamas (mezzo-soprano), José Manuel Montero ( tenor) and Richard Rittelmann (baritone), Orchestra and Chorus of RTVE and director Arturo Tamayo.
To those already numerous of Spanish musical heritage recoveries the Verso label has undertaken throughout its career, now joins triple monograph that collects the entire production and symphonic orchestral and choral composer of Gonzalo de Olavide in Madrid (1934-2005), most of it written during his years francs.
Spread over three CDs, the careful edition paints a broad path from 1964 (Indices) to 2001 (Concertante-Divides), providing the listener Olavide creative evolution and its particular combination of elements mark of Spanish avant-garde, particularly remarkable in Sing in Memoriam García Lorca and Falla Homenaje Symphony for large orchestra.
Gonzalo de Olavide born in Madrid on March 28, 1934. Upon graduation from Music, made in private classes at the Conservatory of Madrid, where he was a pupil of Victorino Echevarria- the continued since 1956 in Belgium at the Antwerp Conservatory with Eugène Traey-and Brussels, with André Souris- . In 1958 he married the painter Irene de la Torre Argentina, which had met in Antwerp and with who had two daughters, Irene Mary and Monica. From 1960 and for four years Olavide followed the Darmstadt summer courses, where he received lessons from Pierre Boulez, Karlheinz Stockhausen, György Ligeti, and Luciano Berio. With the support of Huarte-Beaumont Foundation, between 1964 and 1966 ended up in the German city of Cologne, where he perfected his training at the Hochschule für Musik and began to publicize their works while digging aspects of contemporary alongside the as Pousseur, Stockhausen, Kontasrky, Palm or Caskel. He also practiced in electroacoustic WDR laboratory. In 1966 he settled in Switzerland, fully integrated in the musical life of Geneva, where he was linked professionally to his colleague and friend Jacques Guyonnet, founder and driving force in Geneva important centers of musical experimentation and diffusion from which Olavide began consolidating prestige European projection.
Until 1991, the date of his definitive return to Spain, Olavide made his career from Geneva, without incurring a total disconnect Hispanic musical environment, as evidenced by the Composition Prize of Musical Youth of Madrid (1967-68 season), one grant from the Juan March Foundation enjoyed in 1974, the Symphony Homage to Falla composed in 1976 by order of the National Police of Music in the centenary year of failure, the Chant in memoriam García Lorca made in 1979 on behalf of the National Orchestra, paths works composed in 1982 on Antonio Machado and St. Teresa commissioned by the Ministry of Culture and National Radio of Spain, respectively, the concert offered RNE Olavide monograph on the occasion of its fiftieth anniversary, commissioned by the Department of Music to be released in the European Year of Music (1985), the National Music Award which was granted in 1986, the National Radio representing Spain at the International Rostrum of Composers of UNESCO in 1990, the 1991 composition of a work on St. John of the Cross on behalf of the Government of Andalusia, to mark the fourth centenary of the death of the great mystic of Fontiveros or, among other links with our environment, the granting in 2001 of Queen Sofia Prize Composition Ferrer Salat Foundation. Gonzalo de Olavide died in Manzanares el Real, Madrid, on November 4, 2005.
REVIEWS
MAGDALENA LLAMAS, MEZZO-SOPRANO
“THE NEW YORK TIMES”.
Maddalena in Rigoletto-New York Grand Opera: “The young Spaniard Magdalena Llamas made the debut with the company tonight. We could found the passion of the Mediterranean woman on stage. Her performance was full of expression and sensuality”
“THE PORTLAND TRIBUNE” Rossina in Il Barbiere Di Siviglia. PORTLAND-OR
“Sweeping and carried away with the grace and innocence of an Andalusian young woman. Fresh and agile coloratura, with great power”
“L. A. INDEPENDENT (LOS ANGELES-CA)”: The Mother in Amahl and the Night Visitors. Hollywood Opera.
“It was impossible to hold the tears during the performance. The role of The Mother (Mrs. Llamas) was full of sweetness and desperation. She gave life to one of the Menotti's most popular roles.
“IL NUOVO CORRIERE VITERBESE (ROME-ITALY): “
“She is the bravest with charming and a very powerful voice. It is magic the moment in which the explosion of the passion of ¨La Llamas¨ floods the stage, with a great interpretive capacity”
“LA VERDAD. (MURCIA-SPAIN)”: Symphony of Murcia. Gala Concert with Bank of Mediterranean. (CAM)
“The extraordinary and sublime ways with which Magdalena Llamas (mezzo or soprano, or both things simultaneously) approached several memorable pages of our lyric genre, giving them life of a supreme way. With a wonderful curriculum, this admirable singer from Granada has come to give us an authentic lesson of musicality and performance, about interpretation, acting and musicality”
“EL NUEVO DIA. (PUERTO RICO-USA)”:
“The texture of her voice has captivated the public. The personality of the artist on the stage, courage, valor, energy, talent, beauty and sensuality make all the public from Puerto Rico felt in love with her”.
“LA VOZ DE ALMERIA. (ALMERIA- SPAIN)”: Carmen in title role, with the OCAL:
“Eight thousand people met yesterday to listen to Magdalena's interpretation in the title role of Carmen by Bizet. It was a sublime interpretation of the most international andalusian gypsy. She sang with a voice full of shades, expressivity and sonority. The sensuality of her performance, always passionate and very elegant, it makes us return to the Spanish 19th century”.
“THE NEW YORK TIMES”.
Maddalena in Rigoletto-New York Grand Opera: “The young Spaniard Magdalena Llamas made the debut with the company tonight. We could found the passion of the Mediterranean woman on stage. Her performance was full of expression and sensuality”
“THE PORTLAND TRIBUNE” Rossina in Il Barbiere Di Siviglia. PORTLAND-OR
“Sweeping and carried away with the grace and innocence of an Andalusian young woman. Fresh and agile coloratura, with great power”
“L. A. INDEPENDENT (LOS ANGELES-CA)”: The Mother in Amahl and the Night Visitors. Hollywood Opera.
“It was impossible to hold the tears during the performance. The role of The Mother (Mrs. Llamas) was full of sweetness and desperation. She gave life to one of the Menotti's most popular roles.
“IL NUOVO CORRIERE VITERBESE (ROME-ITALY): “
“She is the bravest with charming and a very powerful voice. It is magic the moment in which the explosion of the passion of ¨La Llamas¨ floods the stage, with a great interpretive capacity”
“LA VERDAD. (MURCIA-SPAIN)”: Symphony of Murcia. Gala Concert with Bank of Mediterranean. (CAM)
“The extraordinary and sublime ways with which Magdalena Llamas (mezzo or soprano, or both things simultaneously) approached several memorable pages of our lyric genre, giving them life of a supreme way. With a wonderful curriculum, this admirable singer from Granada has come to give us an authentic lesson of musicality and performance, about interpretation, acting and musicality”
“EL NUEVO DIA. (PUERTO RICO-USA)”:
“The texture of her voice has captivated the public. The personality of the artist on the stage, courage, valor, energy, talent, beauty and sensuality make all the public from Puerto Rico felt in love with her”.
“LA VOZ DE ALMERIA. (ALMERIA- SPAIN)”: Carmen in title role, with the OCAL:
“Eight thousand people met yesterday to listen to Magdalena's interpretation in the title role of Carmen by Bizet. It was a sublime interpretation of the most international andalusian gypsy. She sang with a voice full of shades, expressivity and sonority. The sensuality of her performance, always passionate and very elegant, it makes us return to the Spanish 19th century”.
