Análisis musicológico post mortem: Colombo a Santo Domingo o la ópera del Centenario
In 1892, the celebrations for the quatercentenary of the discovery of America included the participation of musicians. The climax of these festivities was the premiere of Colombo a Santo Domingo by the Mexican composer Julio Morales. The nature of this piece implied that Mexico would contribute, wit...
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| Formato: | Online |
| Idioma: | español |
| Editor: |
El Colegio de México, A.C.
2021
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| Acceso en línea: | https://historiamexicana.colmex.mx/index.php/RHM/article/view/4247 |
| Revista: |
Historia Mexicana |
| authentication_code | dc |
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| _version_ | 1844255888816209920 |
| author | Gómez Rivas, Armando |
| author_facet | Gómez Rivas, Armando |
| author_sort | Gómez Rivas, Armando |
| category_str_mv |
"Bolivia", "hyperinflation", "economic crisis", "Bolivia", "hiperinflación", "crisis económica"
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| collection | OJS |
| description | In 1892, the celebrations for the quatercentenary of the discovery of America included the participation of musicians. The climax of these festivities was the premiere of Colombo a Santo Domingo by the Mexican composer Julio Morales. The nature of this piece implied that Mexico would contribute, with its own voice, to the most aristocratic genre in music: opera. Nevertheless, after the premiere and one benefit performance immediately afterwards, Colombo a Santo Domingo was immediately withdrawn by its composer and it was never performed again. Morales himself wondered if the absence of a critical response was a sign of the piece’s true aesthetic achievements.This article questions the process that led him to withdraw the piece from the centennial opera season by studying the programming of the Italian Opera Company run by the businessman Napoleón Sieni. By viewing this piece in the context of the other operas presented that season, it puts forward a hypothesis based on a comparison between the Mexican opera and the classics of the bel canto canon.This argument is supported through an analysis of the contemporary press. As part of a historiographic process, it proposes a critique of the musical criticism of the time, allowing us to better understand the opera’s reception. It concludes with a musical analysis of Morales’s own score. |
| format | Online |
| id | oai:oai.historiamexicana.colmex.mx:article-4247 |
| index_str_mv | CONAHCYT LATINDEX PKP Index DOAJ DORA Redalyc Scielo México CLASE Handbook of Latin American Studies (HLAS) JSTOR Sociological Abstracts EBSCO Host HAPI HELA Scopus Ulrich’s International Periodicals Directory CIRC CSA Worldwide Political Science Abstracts Google Scholar Historical Abstracts IBSS MLA Biblat Current Abstracts Elektronische Zeitschriftenbibliothek Frei zugängliche ERIH PLUS IBZ Gale OneFile: Informe Académico Journal Scholar Metrics (EC3 Research Group: Evaluación de la Ciencia y la Comunicación Científica. Universidad de Granada) Periodicals Index Online America History and Life Global Issues in Context IBR Index Islamicus InfoTracCustom International Bibliography of Sociology Political Science Complete PubMed Social Services Abstracts SocINDEX SocINDEX with Full Text TOC Premier Anthropological Index Online Arts and Humanities Citation Index Chicano Periodical Index Current Contents CWTS Journal Indicators e-Revistas Humanities International Complete Humanities International Index Humanities Source PERIODICA Russian Academy of Sciences Bibliographies SCImago Journal & Country Rank |
| journal | Historia Mexicana |
| language | spa |
| publishDate | 2021 |
| publisher | El Colegio de México, A.C. |
| record_format | ojs |
| Terms_governing_use_and_reproduction_note | Derechos de autor 2021 Historia Mexicana |
| data_source_entry/ISSN | Historia Mexicana; Vol. 70, Núm. 4 (280) abril-junio 2021; 1917-1948 2448-6531 0185-0172 |
| spelling | oai:oai.historiamexicana.colmex.mx:article-42472025-07-10T19:12:43Z Post Mortem Musicological Analysis: Colombo a Santo Domingo Análisis musicológico post mortem: Colombo a Santo Domingo o la ópera del Centenario Gómez Rivas, Armando Mexico City Julio Morales music criticism reception opera Porfiriato ciudad de México Julio Morales crítica musical recepción ópera Porfiriato In 1892, the celebrations for the quatercentenary of the discovery of America included the participation of musicians. The climax of these festivities was the premiere of Colombo a Santo Domingo by the Mexican composer Julio Morales. The nature of this piece implied that Mexico would contribute, with its own voice, to the most aristocratic genre in music: opera. Nevertheless, after the premiere and one benefit performance immediately afterwards, Colombo a Santo Domingo was immediately withdrawn by its composer and it was never performed again. Morales himself wondered if the absence of a critical response was a sign of the piece’s true aesthetic achievements.This article questions the process that led him to withdraw the piece from the centennial opera season by studying the programming of the Italian Opera Company run by the businessman Napoleón Sieni. By viewing this piece in the context of the other operas presented that season, it puts forward a hypothesis based on a comparison between the Mexican opera and the classics of the bel canto canon.This argument is supported through an analysis of the contemporary press. As part of a historiographic process, it proposes a critique of the musical criticism of the time, allowing us to better understand the opera’s reception. It concludes with a musical analysis of Morales’s own score. En 1892, la celebración del cuarto centenario del descubrimiento de América tuvo una colaboración destacada del gremio musical. En el clímax de la festividad se realizó el estreno de la partitura Colombo a Santo Domingo; composición escrita por el autor mexicano Julio Morales. La naturaleza de la obra artística suponía que México participara con voz propia en el discurso más aristocrático de la música: la ópera. Sin embargo, tras el estreno y una inmediata función a beneficio, Colombo a Santo Domingo fue retirada por el autor y jamás se volvió a escenificar. Morales cuestionaba la ausencia de una apreciación crítica que advirtiera el verdadero alcance estético de la escritura musical.En este trabajo se cuestiona el proceso que llevó al retiro de la cartelera de la ópera del centenario. Para este fin, se realiza un acercamiento a la programación de la Compañía de Ópera Italiana del empresario Napoleón Sieni. A partir de este punto, se vincula el entorno de las producciones presentadas en 1892, para proponer una hipótesis que parte de la comparación que se realizó con obras consagradas del repertorio bel cantista. En el desarrollo de la argumentación se utilizan fuentes hemerográficas contemporáneas a la presentación. Como parte de un proceso historiográfico se propone una crítica de la crítica musical de la época que permite entender con mayor precisión la recepción de la obra. Finalmente, la conclusión se desprende de la comparación fundamentada en el análisis musical de la partitura autógrafa de Morales. El Colegio de México, A.C. 2021-03-24 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/xml https://historiamexicana.colmex.mx/index.php/RHM/article/view/4247 10.24201/hm.v70i4.4247 Historia Mexicana; Vol. 70, Núm. 4 (280) abril-junio 2021; 1917-1948 2448-6531 0185-0172 spa https://historiamexicana.colmex.mx/index.php/RHM/article/view/4247/4438 https://historiamexicana.colmex.mx/index.php/RHM/article/view/4247/4450 Derechos de autor 2021 Historia Mexicana |
| spellingShingle | Mexico City Julio Morales music criticism reception opera Porfiriato ciudad de México Julio Morales crítica musical recepción ópera Porfiriato Gómez Rivas, Armando Análisis musicológico post mortem: Colombo a Santo Domingo o la ópera del Centenario |
| title | Análisis musicológico post mortem: Colombo a Santo Domingo o la ópera del Centenario |
| title_alt | Post Mortem Musicological Analysis: Colombo a Santo Domingo |
| title_full | Análisis musicológico post mortem: Colombo a Santo Domingo o la ópera del Centenario |
| title_fullStr | Análisis musicológico post mortem: Colombo a Santo Domingo o la ópera del Centenario |
| title_full_unstemmed | Análisis musicológico post mortem: Colombo a Santo Domingo o la ópera del Centenario |
| title_short | Análisis musicológico post mortem: Colombo a Santo Domingo o la ópera del Centenario |
| title_sort | analisis musicologico post mortem colombo a santo domingo o la opera del centenario |
| topic | Mexico City Julio Morales music criticism reception opera Porfiriato ciudad de México Julio Morales crítica musical recepción ópera Porfiriato |
| topic_facet | Mexico City Julio Morales music criticism reception opera Porfiriato ciudad de México Julio Morales crítica musical recepción ópera Porfiriato |
| url | https://historiamexicana.colmex.mx/index.php/RHM/article/view/4247 |
| work_keys_str_mv | AT gomezrivasarmando postmortemmusicologicalanalysiscolomboasantodomingo AT gomezrivasarmando analisismusicologicopostmortemcolomboasantodomingoolaoperadelcentenario |