Role Musical composer Nationality Spanish Resting place Montjuic Cemetery | Other names Amadeo Librettists Federico Romero Name Amadeu i | |
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Full Name Amadeu Vives i Roig Born 18 November 1871 ( 1871-11-18 ) Collbato, Catalonia, Spain Residence Barcelona (from 1878) and Madrid (from 1897) Education Josep Ribera, Felipe Pedrell Occupation Composer, writer and impresario Died December 2, 1932, Madrid, Spain Compositions Dona Francisquita, Dona Francisquita, Maruxa, Maruxa, La Generala, La Generala, La Balanguera, La Balanguera, La gatita blanca, La gatita blanca, Bohemios: Intermedio, Bohemios: Intermedio, Bohemios: Coro de bohemios "La noche misteriosa", Bohemios: Coro de bohemios "La noche misteriosa", Maruxa: Acto II Preludio, Maruxa: Acto II Preludio, Dona Francisquita: Acto III Fandango, Dona Francisquita: Acto III Fandango, Dona Francisquita: Acto II Romanza de Fernando "Por el humo se sabe", Dona Francisquita: Acto II Romanza de Fernando "Por el humo se sabe", Dona Francisquita: Acto I Cancion del ruisenor "Era una rosa que un jardin", Dona Francisquita: Acto I Cancion del ruisenor "Era una rosa que un jardin", Dona Francisquita: Acto III Coro de romanticos "¿Donde va? - ¿donde va la alegria?", Dona Francisquita: Acto III Coro de romanticos "¿Donde va? - ¿donde va la alegria?", Bohemios: Escena de Cosette "La nina de los ojos azules", Bohemios: Escena de Cosette "La nina de los ojos azules", Bohemios: Preludio, Bohemios: Preludio Similar People Geronimo Gimenez, Federico Romero, Alfredo Kraus, Placido Domingo, Rolando Villazon | ||
Cause of death myocarditis and asthma | ||
Alfredo kraus y la generala
Amadeu Vives i Roig ([əməˈðew ˈβiβəz i rɔʧ]) (18 November 1871 – 2 December 1932) was a Spanish musical composer, creator of over a hundred stage works. He is best known for Doña Francisquita, which Christopher Webber has praised for its "easy lyricism, fluent orchestration and colourful evocation of 19th Century Madrid—not to mention its memorable vocal and choral writing" characterizes as "without doubt the best known and loved of all his works, one of the few zarzuelas which has 'travelled' abroad" .
Contents
The personal papers of Amadeu Vives are preserved in the Biblioteca de Catalunya.
Do a francisquita fandango a vives
Biography
A Catalan, Vives was born in Collbató, near Montserrat. He studied in Barcelona under José Ribera, and in 1891 helped found the influential Orfeó Català choral society, a key element in the Catalan musical renaissance. He then became an early pupil of Felipe Pedrell, a fundamental figure of 20th century Spanish music. He soon moved to Madrid, where he lived the rest of his life, first publishing a series of concert works, solo and much-loved choral songs before turning to the zarzuelas on which his fame rests.
Before turning to zarzuela, Vives wrote a successful Catalan-language stage play, Jo no sabia que el món era així ("I didn't know the world was like this", 1929) and an ambitious four-act opera Artús (1897, Barcelona) based on Sir Walter Scott. A year later, his first zarzuela, the one-act (género chico) La primera del barrio, was produced at the Teatro de la Zarzuela in Madrid. His next several zarzuelas met some critical acclaim—particularly for Don Lucas del Cigarral (1899) and La balada de la luz (1900)—but his real critical and popular breakthrough came with the one-act Bohemios (1904). Vives drew on the same literary source as Giacomo Puccini's masterpiece La bohème, but his score shows French rather than Italian influences, as well as his own growing individuality.
Soon after, he wrote two one-act zarzuelas in collaboration with Gerónimo Giménez: El húsar de la guardia (1904) and La gatita blanca (1905) both remain in the repertory of zarzuela a century later, though other once-popular works, such as Los viajes de Gulliver (1911), have faded. Many of his other works continue to be performed: the operetta La generala (1912; set in "Oxford and Cambridge"); the pastoral opera Maruxa (1914, without spoken parts); Doña Francisquita (1923), which Webber characterizes as perhaps the finest of all three-act género grande zarzuelas" and "without doubt the best-known and -loved of all Vives' works"; and La villana (1927). His last works, the two-act zarzuelas Los flamencos (1928) and Noche de verbena (1929) "have not proved so durable" (Webber); the comedia lírica Talismán (1932) was a critical success, but a commercial failure. Vives died in Madrid in 1932.
Reputation
Isaac Albéniz once said that if Vives had sought to compose with a universal accent, he could have undoubtedly have been a major international figure. He aspired to become a symphonic composer, but never pursued that ambition. Webber remarks that "Perhaps he simply lacked the confidence to try. His autobiographical book Sofía (1923) paints a revealing picture of a nervous figure," suffering from several physical disabilities, and "never entirely satisfied with being 'just' the leading zarzuelero of his day."