Lorca Unchained. Mauricio Sotelo's El Público and the (New) Spanish Contemporary Opera.
Mauricio Sotelo's El Público is a polemical representation not only of the Federico García Lorca's homosexual and ethically-engaged last oeuvre, but also of the political, aesthetic, and technical possibilities of flamenco traditions in a contemporary music work. Following García Lorca's play, and a...
| Publicado en: | Contemporary Music Review Vol. 38; no. 1/2; pp. 76 - 94 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Taylor & Francis Ltd
Feb-Apr2019
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=135633638&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 135633638 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Feb-Apr2019 vid: 38 iid: 1/2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 135633638 10.1080/07494467.2019.1578121 ppf: 76 ppct: 18 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.1MB tig: atl: Lorca Unchained. Mauricio Sotelo's El Público and the (New) Spanish Contemporary Opera. aug: au: Ordóñez Eslava, Pedro su: Sotelo, Mauricio Opera Apologetics Flamenco Contemporary Chamber Ensemble sug: subj: Sotelo, Mauricio Opera Apologetics Flamenco Contemporary Chamber Ensemble keyword: Alterflamenco Contemporary Opera Contemporary Spanish Music Federico García Lorca Mauricio Sotelo (1961-) ab: Mauricio Sotelo's El Público is a polemical representation not only of the Federico García Lorca's homosexual and ethically-engaged last oeuvre, but also of the political, aesthetic, and technical possibilities of flamenco traditions in a contemporary music work. Following García Lorca's play, and as its title claims, Sotelo seeks in his Opera under the sand to leave the mask behind and reach the highpoint of his 20-plus years of experience in blending different sound cultures: from his academic seminars in Vienna in the 1980s, when he met Luigi Nono in Berlin shortly before the composer's death, up to his current investigations into the recorded voice and its electronic usefulness today. Moreover, in order to consider and discuss how this work could be understood as a new paradigm of Spanish contemporary opera, we should also note its great cultural impact. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
|---|