Biography. French vocal school M garcia

Garcia M.P.V.

(Garcna) Manuel del Popolo Vicente (22 I 1775, Seville - 9 VI 1832, Paris) - Spanish. singer (tenor), guitarist, composer and wok. teacher. The ancestor of a family of famous vocalists. From the age of 6 he sang in the church. choir in Seville, where he studied singing with A. Ripa and X. Almarchi. The first muses wrote compositions for Nar. t-ra in Cadiz. Entering the theater in 1798. troupe in Madrid, became one of the best performers tenor parts in French comic operas, fashionable at that time in Spain. In 1802 he participated in the Spanish. premiere of Le nozze di Figaro. Since 1808 he sang at the "Italien Theater" in Paris (he made his debut in "Griselda" by F. Paer, after which he immediately became the leading soloist), from 1816 the first tenor of this t-ra. In 1811-16 he toured in Naples and other cities of Italy, where he improved with G. Anzani; was the first performer of the part of Count Almaviva in The Barber of Seville (Rome, 1816). From 1818 he performed in London, in 1823 he founded a singing school there. In 1825-27 he toured the United States with his child singers, and in 1828 he performed in Mexico City. G. performed all the main. parts of the tenor repertoire of the late 18th - early. 19th century: Don Ottavio, Don Basilio ("Don Giovanni", "The Marriage of Figaro"), Achilles ("Iphigenia in Aulis" by Gluck), Norfolk ("Elizabeth, Queen of England" by Rossini) and others. From 1829 he taught wok. art in the school of singing organized by him in Paris. Among the students of G.: son - M. P. R. Garcia and daughters M. Malibran and P. Viardo-Garcia; A. Mörik-Lalande, A. Nurri and others.
G. - author and director of numerous. opera, ch. arr. comic; among them 18 are Spanish, including "The Prisoner" ("El preso", 1803), 21 Italian - "The Caliph of Baghdad" ("Il califfo di Bagdad", 1813) and others, 8 French - "Two Sides marriage" ("Les deux contrats de mariage", 1824) and others. Spanish viewer, including "Maho and Maha" ("El Majo y la maja", 1798), "The Imaginary Servant" ("El criado fingida", 1804; melodic turns of the song in the polo style from this tonadilla were used by J. Bizet during the intermission to the 4th act of "Carmen"); popular song "I'm a smuggler!" from "The Calculating Poet" ("El poeta calculista", 1805) is included by G. Lorca in the play "Mariana Pineda".
Literature: Levien J. M., The Garcia family, L.., 1932; Harris L., Don Manuel Garcia, "Opera News", 1950, 11 Dec.; Subirá J., Dos grandes musicos desmadrileсizados, Manuel Garcia (padre e hijo), in: Institut de estudios madrileсos, Anales III, 1968. M.A. Weisbord.

Music Encyclopedia. - M.: Soviet encyclopedia, Soviet composer. Ed. Yu. V. Keldysha. 1973-1982 .

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- (also Garcia, Spanish García) Spanish surname And male name. Contents 1 Famous carriers 1.1 First name 1.2 Last name ... Wikipedia

Biographical Dictionary

I Garcia (Garcia) Manuel del Popolo Vicente (01/22/1775, Seville, 06/09/1832, Paris), Spanish singer (tenor), guitarist, composer and vocal teacher. In 1808 25 he sang in Italian opera in Paris and London. In 1825 27, along with his ... ... Great Soviet Encyclopedia

- (Garcna) Manuel Patricio Rodriguez (17 III 1805, Madrid 1 VII 1906, London) Spanish. singer (bass and baritone) and wok. teacher. Son, I am a student of M. del P. V. Garcia. Debuted as Opera singer as Figaro (The Barber of Seville, 1825, New ... ... Music Encyclopedia

Famous singer: see Viardot... encyclopedic Dictionary F. Brockhaus and I.A. Efron

- (Garcia), Carlos (b. 4.XI.1896) state. Filipino activist. Lawyer by education. From 1925 to 1931 he was elected to the Philippine Congress. In 1931, 40 governor of the province of Bohol. In 1941, 53 Senator, headed a number of standing committees of the Senate. In 1953 1957 vice ... ... Soviet historical encyclopedia

- ... Wikipedia

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Alan Garcia Perez Alan Garcia Perez Alan García Pérez ... Wikipedia

Books

• Federico Garcia Lorca. Selected works. In 2 volumes (set of 2 books), Federico Garcia Lorca. The two-volume "Selected Works" by F. Garcia Lorca included his poetry, dramaturgy and prose. Each volume contains works of these three genres arranged in chronological order. IN…
• Gabriel Garcia Marquez. Selected Writings, Gabriel Garcia Márquez. Among the major writers Latin America the name of Gabriel Garcia Marquez is perhaps the most popular in Russia. Such success is explained not only by the bright talent of the writer. Its problem...

The theoretical provisions of the course, vocal techniques and exercises of the Bel Canto Mobile School are largely based on the theory and practice of the school Pauline Viardot-Garcia.

The Garcia family are representatives of the Neapolitan vocal school, the strongest direction of the Italian bel canto school.

The high effectiveness of the Garcia school, the speed of learning, the quality of the classical voices based on it - allowed this school to take its rightful place in the world of vocal practice.

	Garcia (Garcia) Manuel del Popolo Vicente (January 22, 1775, Seville - June 9, 1832, Paris), Spanish singer (tenor), guitarist, composer and vocal teacher. In 1808-25 he sang at the Italian opera in Paris and London. In 1825-27, together with his child singers, he toured the United States. Main parties: Don Ottavio, Don Basilio ("Don Giovanni", "The Marriage of Figaro" by Mozart), etc. From 1829 he taught vocal art in Paris at the singing school he organized. He gained fame as the author of numerous comic operas and tonadilia - small musical and dramatic plays (with 1-3 participants). A polo-style song from G.'s tonadilla "Imaginary Servant" was used by J. Wiese in the opera "Carmen" (intermission to the 4th act), the song "I'm a smuggler!" from The Calculating Poet - Garcia Lorca in the play "Mariana Pineda". He became famous as a teacher; among G.'s students are his daughters M. Malibran and M. P. Viardo-Garcia, son of M. P. R. Garcia and others (Lit.: Levien J. M., The Garcia family, L., 1932.)
	Garcia (Garcia) Manuel Patricio Rodriguez (March 17, 1805, Madrid - July 1, 1906, London), Spanish singer (bass) and vocal teacher. M.D. (1855). Son and student of M. del P. V. Garcia. In 1825-27 he toured with his father around the cities of the USA; debuted as an opera singer in New York (1825). In 1829 he began teaching at his father's vocal school in Paris. In 1842-50 he taught singing at the Paris Conservatory. In 1848-95 he was a professor at the Royal Academy of Music in London. Wrote several important methodical works: "Notes on the Human Voice" (1840), "Complete Guide to the Art of Singing" (1847, Russian translation - "School of Singing", parts 1-2, 1956). G. also worked in the field of studying the physiology of the human voice. In 1855 he invented the laryngoscope (a device for examining the larynx). The pedagogical principles of G. had a significant impact on the development vocal art 19th century G.'s students: singers - J. Lind, M. Marchesi, G. Nissen-Saloman, singers - J. Stockhausen, K. Everardi and others (Lit.: Levien J. M., The Garcia family, L. 1932. )
	Viardot-Garcia (Viardot-Garcia) Michel Polina (18.7.1821, Paris, - 17 or 18.5.1910, ibid.), singer (mezzo-soprano), vocal teacher and composer. Daughter and student of the Spanish singer and teacher M. Garcia (senior). She took piano lessons from F. Liszt, composition theory from A. Reicha. In 1837 she performed for the first time at opera stage in Brussels. Since 1839 soloist of the Italian Opera in Paris. She performed in various theaters in Europe, including in St. Petersburg; from 1837 she gave many concerts. V.'s work was notable for its high musical culture and dramatic expression; she had a voice of a wide range, performed in a diverse repertoire. Parts: Fidesz ("Prophet" by Meyerbeer), Sappho ( work of the same name Gounod), Orpheus ("Orpheus and Eurydice" by Gluck), Cinderella, Rosina, Desdemona ("Cinderella", "The Barber of Seville", "Othello" by Rossini), Norma (Bellini's work of the same name), Lucia, Leonora ("Lucia di Lammermoor" , "Favorite" by Donizetti), Donna Anna ("Don Giovanni" by Mozart), etc. In 1863 she left the stage, studied pedagogical activity. Author of many romances, several comic operas, including Too Many Women (1867), Biryuk (1868), The Last Sorcerer (1869). The libretto for these operas was written by I. S. Turgenev, close friend V. In 1871-75 she taught singing at the Paris Conservatory. Among these students are D. Artaud, M. Brandt, A. Sterling. (Lit.: Rozanov A., Pauline Viardot-Garcia, L., 1969; Torrigi-Heiroth Z., M-me Pauline Viardot-Garcia. Sa biographie, ses compositions, son enseignement, Gen., 1901.)

In vocal literature, one can find references to the fact that the school of Pauline Viardot was distinguished by the softness of sound production, the absence of any kind of forcing, high speed voice setting.

But what does Pauline Viardot-Garcia, worldwide famous singer and teacher, has to school "Bel Canto Mobile"?

The most immediate.

Having received musical education, Irina Ul'eva became a teacher-vocalist. Her first technical education and engineering and design thinking, in conjunction with a lyric-dramatic soprano range of three octaves, helped to comprehend deeper and deeper great secret bel canto vocal technique.

Irina Ul'eva worked with professional singers, students and amateurs, often putting last vote literally "from scratch", from a few natural notes of a spoken voice.

She corrected incorrectly set and torn voices, prepared young singers for admission to educational establishments to professional work.

Pupils of Irina Ul'eva sang and sing at the State Academic Bolshoi Theater, at the Moscow Academic Musical Theater. Stanislavsky K.S. and Nemirovich-Danchenko V.I., in the Moscow State Academic Chamber Choir of Vladimir Minin, in the Mosconcert, as well as in musical theaters and on concert venues Germany, France, Italy, America.

In her practice, Irina Ul'eva has always proceeded from the fact that the nature of the human voice has a physical and physiological essence, and the human voice, first of all, should be considered as a sound wave.

This approach allowed not only to successfully apply the inherited secrets of the Italian bel canto school, but also to develop it, enriching it with new provisions, techniques, rules and exercises.

Spanish opera singer, composer, impresario and singing teacher.

Garcia was born in Seville, Spain (Seville, Spain). By the age of 33, he had already managed to try himself as an opera singer in Madrid (Madrid) and Cadiz (Cadiz) and move to Paris (Paris). His hobbies were not limited to singing alone - by the time he moved to Paris, Manuel managed to write several light operas.

After working in Paris, Garcia moved to Naples, Italy (Naples, Italy); there he actively performed in productions based on the works of Gioachino Rossini (Gioachino Rossini). Manuel happened to sing in premiere screenings"Elizabeth of England" ("Elisabetta, regina d" Inghilterra") and "The Barber of Seville" ("The Barber of Seville"); in the latter production, he portrayed Count Almaviva (Count Almaviva).

In 1816, Garcia first revisited Paris, and then went to London (London).

In the period from 1819 to 1823, the singer lived in Paris; he was still regularly occupied in popular opera productions - like "The Barber of Seville", "Otello" ("Otello") and Mozart's "Don Giovanni" ("Don Giovanni").

Garcia's musical gift was passed on to his descendants. Eldest daughter Manuel, Maria Malibran, was a very, very famous mezzo-soprano; another daughter, Pauline Viardot (Pauline Viardot), also became an outstanding singer and composer. Followed in the footsteps of Manuel and his son, Manuel Garcia Jr. (Manuel Patricio Rodríguez García) - for some time he sang in opera productions, after which he retrained as a teacher.

In 1826, Manuel went to the USA with a group of comrades. It was thanks to Manuel that the States first saw Italian opera - the debut of Garcia's group took place in New York (New York). Manuel and his relatives played almost all the main roles in The Barber of Seville - Garcia played the same Almaviva, his second wife - Joaquina Sitchez (Joaquina Sitchez) - played the role of Berta (Berta), Manuel Jr. got used to the image of Figaro (Figaro) , and Maria became the wonderful Rosina. Polina did not participate in all this family enterprise for a quite convincing reason - she was only 5 years old at that time.

In America, Garcia met with the Venetian librettist Lorenzo da Ponte (Lorenzo Da Ponte); it was he who convinced Manuel to try to present to the audience the already familiar production of Don Juan. Once again the Americans enjoyed classical opera performed practically full membership Garcia family - the father of the family became Don Juan (Don Giovanni), his wife - Donna Elvira (Donna Elvira), Maria received the role of Zerlina (Zerlina), and Manuel Jr. - Leporello (Leporello).

For a while, Garcia performed in Mexico. It is known that Manuel even considered settling there; alas, political troubles forced him to return with his family to Paris. The French have already missed the talent of the Garcia clan; alas, age did not spare Manuel's voice - and gradually he was forced to leave the stage and switch to composing and teaching.

Manuel sang his last role in August 1831; On June 10, 1832, Garcia died. The ashes of the great singer and composer were buried at the Père Lachaise Cemetery; François-Joseph Fétis considered it an honor to perform the eulogy, who highly regarded Garcia's gift as a composer.

Garcia was born in Seville, Spain (Seville, Spain). By the age of 33, he had already managed to try himself as an opera singer in Madrid (Madrid) and Cadiz (Cadiz) and move to Paris (Paris). His hobbies were not limited to singing alone - by the time he moved to Paris, Manuel managed to write several light operas.

After working in Paris, Garcia moved to Naples, Italy (Naples, Italy); there he actively performed in productions based on the works of Gioachino Rossini (Gioachino Rossini). Manuel had a chance to sing in the premiere screenings of "Elisabetta of England" ("Elisabetta, regina d" Inghilterra") and "The Barber of Seville" ("The Barber of Seville"); in the latter production, he portrayed Count Almaviva (Count Almaviva).

In 1816, Garcia first revisited Paris, and then went to London (London).

In the period from 1819 to 1823, the singer lived in Paris; he was still regularly occupied in popular opera productions - like "The Barber of Seville", "Otello" ("Otello") and Mozart's "Don Giovanni" ("Don Giovanni").

Garcia's musical gift was passed on to his descendants. Manuel's eldest daughter, Maria Malibran, was a very, very famous mezzo-soprano; another daughter, Pauline Viardot (Pauline Viardot), also became an outstanding singer and composer. Followed in the footsteps of Manuel and his son, Manuel Garcia Jr. (Manuel Patricio Rodríguez García) - for some time he sang in opera productions, after which he retrained as a teacher.

In 1826, Manuel went to the USA with a group of comrades. It was thanks to Manuel that the States first saw Italian opera - the debut of Garcia's group took place in New York (New York). Manuel and his relatives played almost all the main roles in The Barber of Seville - Garcia played the same Almaviva, his second wife - Joaquina Sitchez (Joaquina Sitchez) - played the role of Berta (Berta), Manuel Jr. got used to the image of Figaro (Figaro) , and Maria became the wonderful Rosina. Polina did not participate in all this family enterprise for a quite convincing reason - she was only 5 years old at that time.

In America, Garcia met with the Venetian librettist Lorenzo da Ponte (Lorenzo Da Ponte); it was he who convinced Manuel to try to present to the audience the already familiar production of Don Juan. Once again, Americans enjoyed classical opera performed by almost the entire Garcia family - the father of the family became Don Giovanni, his wife - Donna Elvira, Maria received the role of Zerlina, and Manuel Jr. - Leporello (Leporello) .

For a while, Garcia performed in Mexico. It is known that Manuel even considered settling there; alas, political troubles forced him to return with his family to Paris. The French have already missed the talent of the Garcia clan; alas, age did not spare Manuel's voice - and gradually he was forced to leave the stage and switch to composing and teaching.

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