Julio – Agosto 2011
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[cmsmasters_button shortcode_id=»q3fr59b93v» button_link=»/wp-content/uploads/2020/01/JUL-AGO-2011_compressed.pdf» button_target=»blank» button_text_align=»center» button_style=»cmsmasters_but_bg_hover» button_font_weight=»normal» button_font_style=»normal» button_text_transform=»default» button_icon=»cmsmasters-icon-file-pdf» button_border_style=»solid» animation_delay=»0″]Descargar Revista[/cmsmasters_button][/cmsmasters_column][cmsmasters_column data_width=»1/2″ data_shortcode_id=»x2bk5g0qr»][cmsmasters_text shortcode_id=»nayc6e0tk» animation_delay=»0″]
04- Cartas al editor
06- Ópera en México
09- México en el mundo
[/cmsmasters_text][cmsmasters_heading shortcode_id=»ggwi1pi5lh» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]CRÍTICA[/cmsmasters_heading][cmsmasters_text shortcode_id=»jphg6f6sof» animation_delay=»0″]
[/cmsmasters_text][cmsmasters_heading shortcode_id=»pi47ugwmy» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]CENTENARIO[/cmsmasters_heading][cmsmasters_text shortcode_id=»6gnls8jq9i» animation_delay=»0″]
12- Gustav Mahler en México
16- Das Lied von der Erd Emotivo testamento
19- Gustav Mahler (1860-1911)
[/cmsmasters_text][cmsmasters_heading shortcode_id=»d7jcx0fwca» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]CRÍTICA[/cmsmasters_heading][cmsmasters_text shortcode_id=»99py5l7pko» animation_delay=»0″]
22- ¿Why the mulata? ¿Why De Falla?
24- Rusalka en Bellas Artes: Bajo las aguas
26- Ópera en los estados
[/cmsmasters_text][cmsmasters_heading shortcode_id=»4tv6uzfnqa» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]COMPOSITORES[/cmsmasters_heading][cmsmasters_text shortcode_id=»j4j2eloojg» animation_delay=»0″]
20- Marcela Rodríguez: “Los personajes me dictan la música”
[/cmsmasters_text][cmsmasters_heading shortcode_id=»4ssn9n2oj» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]AUDIO[/cmsmasters_heading][cmsmasters_text shortcode_id=»fd687240cn» animation_delay=»0″]
[/cmsmasters_text][cmsmasters_heading shortcode_id=»ehq71224mq» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]PORTADA[/cmsmasters_heading][cmsmasters_text shortcode_id=»manp0387r8″ animation_delay=»0″]
28- Vittorio Grigolo: “La ópera emerge de lo más profundo”
[/cmsmasters_text][cmsmasters_heading shortcode_id=»t6p1rue92e» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]ÓPERA Y JUSTICIA[/cmsmasters_heading][cmsmasters_text shortcode_id=»85cz1fwamh» animation_delay=»0″]
32- El caso Makropulos: Ópera, longevidad y ficción
[/cmsmasters_text][cmsmasters_heading shortcode_id=»istxv1couu» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]ENTREVISTA[/cmsmasters_heading][cmsmasters_text shortcode_id=»w5z3ur2ujl» animation_delay=»0″]
[/cmsmasters_text][cmsmasters_heading shortcode_id=»mv4towdpi3″ type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]PERFILES[/cmsmasters_heading][cmsmasters_text shortcode_id=»r03ny5hp5″ animation_delay=»0″]
40- Jacques Offenbach y la opereta parisina
[/cmsmasters_text][cmsmasters_heading shortcode_id=»l7xeffcbmk» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]ÓPERA Y JAZZ[/cmsmasters_heading][cmsmasters_text shortcode_id=»zmjg2s9se» animation_delay=»0″]
44- Porgy and Bess: Una ópera de folklore americano
[/cmsmasters_text][cmsmasters_heading shortcode_id=»gxi4d0ews7″ type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]DISCOS[/cmsmasters_heading][cmsmasters_text shortcode_id=»88ky0u7toq» animation_delay=»0″]
[/cmsmasters_text][cmsmasters_heading shortcode_id=»rwqdcozi0q» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]EFEMÉRIDES[/cmsmasters_heading][cmsmasters_text shortcode_id=»p0fx45ala8″ animation_delay=»0″]
[/cmsmasters_text][cmsmasters_heading shortcode_id=»psvqnjln1t» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]LETRAS SONORAS[/cmsmasters_heading][cmsmasters_text shortcode_id=»h6iorwzra9″ animation_delay=»0″]
56- Del armario al escenario, de Adolfo Planet
[/cmsmasters_text][cmsmasters_heading shortcode_id=»l1q2xxm5ed» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]LIBROS[/cmsmasters_heading][cmsmasters_text shortcode_id=»c8pghmn79v» animation_delay=»0″]
58- La mujer mexicana en la música, de Esperanza Pulido; La imaginación sonora, de Eugenio Trías
[/cmsmasters_text][cmsmasters_heading shortcode_id=»zwvem4drfl» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]RETRATO[/cmsmasters_heading][cmsmasters_text shortcode_id=»zefg145p3l» animation_delay=»0″]
60- Giovanni de’Bardi, ideólogo del juego
[/cmsmasters_text][cmsmasters_heading shortcode_id=»zjruw6zwiu» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]LA ÓPERA EN CLARO[/cmsmasters_heading][cmsmasters_text shortcode_id=»g788373rjj» animation_delay=»0″]
62- Consideraciones sobre las puestas en escena (primera de tres partes)
[/cmsmasters_text][cmsmasters_heading shortcode_id=»ab3wke133g» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]LA ÓPERA EN CLARO[/cmsmasters_heading][cmsmasters_text shortcode_id=»wc9e15uciv» animation_delay=»0″]
62- Consideraciones sobre las puestas en escena (primera de tres partes)
[/cmsmasters_text][cmsmasters_heading shortcode_id=»emrgbcg36r» type=»h4″ font_weight=»default» font_style=»default» text_align=»left» margin_top=»0″ margin_bottom=»10″ animation_delay=»0″]ENTREVISTAS[/cmsmasters_heading][cmsmasters_text shortcode_id=»yztkum9vsn» animation_delay=»0″]
Semyon Bychkov: “La música es como los ojos: no puede mentir”
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