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[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” gutter_width=”2″ make_equal=”on” disabled_on=”on|on|on” module_id=”el-arbol-sonoro” _builder_version=”4.27.4″ width=”90%” width_tablet=”90%” width_phone=”90%” width_last_edited=”on|tablet” max_width=”1230px” max_width_tablet=”90%” max_width_phone=”90%” max_width_last_edited=”on|phone” custom_padding=”0px||120px||false|false” disabled=”on” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_image src=”https:\/\/www.mariaaltadill.es\/wp-content\/uploads\/2025\/08\/ARBOL-SONORO-BLOG.jpg” align=”center” force_fullwidth=”on” _builder_version=”4.27.4″ custom_margin=”||||false|false” custom_margin_phone=”-265px||||false|false” custom_margin_last_edited=”off|desktop” custom_padding=”|10%||10%|false|true” border_width_all=”8px” border_color_all=”#ffffff” border_width_bottom=”0px” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.4″ custom_padding=”||||false|false” custom_padding_tablet=”|||0px|false|false” custom_padding_phone=”|||0px|false|false” custom_padding_last_edited=”off|desktop” global_colors_info=”{}” custom_padding__hover_enabled=”off|desktop”][et_pb_text _builder_version=”4.27.4″ text_font=”Poppins|600|||||||” text_text_color=”#121619″ text_font_size=”40px” text_letter_spacing=”-1px” text_line_height=”1.1em” header_2_font=”Poppins||||||||” header_2_font_size=”40px” custom_margin=”32px||||false|false” text_font_size_tablet=”” text_font_size_phone=”25px” text_font_size_last_edited=”on|phone” global_colors_info=”{}”]<\/p>\n
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La naturaleza ha inspirado a los compositores de todas las \u00e9pocas. En el barroco, cada elemento natural se vinculaba a un sentimiento: la oscuridad al temor, el canto de un rebozuelo al amor, el r\u00edo a la calma\u2026
Ilerda Antiqua propone, en clave divertida y amena, un recorrido por esta m\u00fasica descriptiva con obras de Vivaldi, Telemann o Bach, en un espect\u00e1culo pensado para p\u00fablico familiar en el que los m\u00e1s peque\u00f1os aprenden disfrutando y los padres descubren nuevas experiencias. <\/p>\n
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De Mares y Vientos<\/p>\n
\u00c9TIENNE MOULINI\u00c9 \u2013 \u00bfQui\u00e9n quiere entrar conmigo en el barco?<\/p>\n
HENRY PURCELL \u2013 Come Away, fellow sailors (\u00f2pera Dido & Aeneas)<\/p>\n
ANTONIO VIVALDI \u2013 Agitata da due venti (\u00f2pera Griselda)<\/p>\n
En el Bosque<\/p>\n
CLAUDIO MONTEVERDI \u2013 Vi ricordo boschi ombrosi (\u00f2pera Orfeo)<\/p>\n
JUAN DE HIDALGO \u2013 Pein\u00e1ndose estaba un olmo<\/p>\n
JEAN PHILIPPE RAMEAU \u2013 Faurets paisibles (Les Indes Galantes)<\/p>\n
Flores y Aves<\/p>\n
G.F. H\u00c4NDEL \u2013 Augeletti che cantate (Orpheus)<\/p>\n
J.-B. DE BOUSSET \u2013 Pourquoy doux rossignol<\/p>\n
F. SCHUBERT \u2013 Heidenr\u00f6slein<\/p>\n
La Noche<\/p>\n
HENRY PURCELL \u2013 Cold song (King Arthur)<\/p>\n
J.S. BACH \u2013 Gute Nacht o Wesen (motet Jesu, meine Freude)<\/p>\n
Y Siempre Amanece<\/p>\n
G.F. H\u00c4NDEL \u2013 Che vai pensando folle pensier (duetto itali\u00e0)<\/p>\n
HENRY PURCELL \u2013 Now the night is chased away (The Fairy Queen)<\/p>\n
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Maria Altadill \u2013 Soprano<\/p>\n
Tom\u00e0s Max\u00e9 \u2013 Bar\u00edton<\/p>\n
Elisabeth Bataller \u2013 Viol\u00ed<\/p>\n
Lixsania Fern\u00e1ndez \u2013 Viola da braccio<\/p>\n
Santi Mir\u00f3n \u2013 Viola da gamba<\/p>\n
Eva del Campo \u2013 Clavec\u00ed<\/p>\n
Pep Planas \u2013 Direcci\u00f3 esc\u00e8nica<\/p>\n
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Shakespeare and Cervantes are two of the most widely read, performed, and influential writers in the history of world literature. They are cultural touchstones of two great European powers, locked in conflict with each other during the second half of the 16th century.<\/p>\n
Are their ideas really so opposed?<\/p>\n
How do their characters think?<\/p>\n
And what was the music of their time like?<\/p>\n
Through their texts, we learn about their own thoughts, beliefs, moral compass, and how they viewed life… and their dreams… And all of this is conveyed through music, the indispensable soundtrack of their works, which was so prevalent in their performances and in the streets and courts of their time.<\/p>\n
Can she excuse<\/strong> Have you seen<\/strong> Sonet CXVI Cor a Enric V Recercada La Spagna<\/strong> Romance de Abindarr\u00e1ez<\/strong> Fain would I change<\/strong> Constan\u00e7a de El Rei Joan<\/strong> Flow my tears<\/strong> Chacona de la Ilustre Fregona<\/strong> Fragment de El Quijote, Segunda parte, cap. XLVI<\/strong> De Antequera sale el Moro<\/strong> Si la noche haze escura<\/strong> Twits (Justa Po\u00e9tica)<\/strong> My Lady Carey\u2019s Dompe<\/strong> Fuego de Dios<\/strong> Fragment de El Juez de los Divorcios<\/strong> Away delights<\/strong> Desd\u00e8mona, d\u2019Otel\u00b7lo<\/strong> Willow song<\/strong> Sonet LXVI<\/strong> Harke<\/strong> Epitafi de El Quijote<\/strong> Hoy comamos y bebamos<\/strong> Ficha art\u00edstica<\/strong><\/p>\n MAB CONSORT<\/strong><\/p>\n Pep Planas<\/strong> Maria Altadill<\/strong> Felipe S\u00e1nchez Mascu\u00f1ano<\/strong> Santi Mir\u00f3n<\/strong> Abel Folk i Pep Planas<\/strong>
J. Dowland<\/p>\n
R. Johnson<\/p>\n
<\/strong>W. Shakespeare<\/p>\n
<\/strong>W. Shakespeare<\/p>\n
D. Ortiz<\/p>\n
D. Pisador<\/p>\n
T. Hume<\/p>\n
W. Shakespeare<\/p>\n
J. Dowland<\/p>\n
M. de Cervantes\/F. Schz.Mascu\u00f1ano<\/p>\n
M. de Cervantes<\/p>\n
M. Fuenllana<\/p>\n
D. Pisador<\/p>\n
Shakespeare\/Cervantes<\/p>\n
An\u00f2nim s.XVI<\/p>\n
An\u00f2nim s.XVI<\/p>\n
M. de Cervantes<\/p>\n
R. Johnson<\/p>\n
W. Shakespeare<\/p>\n
An\u00f2nim s.XV<\/p>\n
W. Shakespeare<\/p>\n
T. Hume<\/p>\n
M. de Cervantes<\/p>\n
J. de la Encina<\/p>\n
actor<\/p>\n
soprano<\/p>\n
vihuela i guitarra barroca<\/p>\n
viola da gamba<\/p>\n
direcci\u00f3n<\/p>\n