Boda manu tenorio biography
"A baroque set design crafted with the utmost attention to detail"
LA RAZÓN
"It maintains fidelity to the story and the original spirit."
20 MINUTOS
"On par with the legend"
ABC
"The lighting effects, projections, ingenuity, and special effects by illusionist Paolo Carta will bring the magic of Broadway to Madrid."
LA RAZÓN
"Creating a new production of 'The Phantom of the Opera' is no easy task, and the team, led by Federico Bellone, has succeeded."
ABC
"The great asset of this production is, without a doubt, its magnificent cast."
ABC
"This 'Phantom' has the precise chiaroscuro and a lively rhythm."
ABC
"Audiences who have already seen the original version will be amazed by the cleverness and wit of some of the new techniques used; and the newcomer will be dazzled by a dynamic, imposing, and spectacular staging at many moments."
DIARIO PÚBLICO
"A baroque set design crafted with the utmost attention to detail"
LA RAZÓN
"It maintains fidelity to the story and the original spirit."
20 MINUTOS
"On par with the legend"
ABC
"The lighting effects, projections, ingenuity, and special effects by illusionist Paolo Carta will bring the magic of Broadway to Madrid."
LA RAZÓN
"Creating a new production of 'The Phantom of the Opera' is no easy task, and the team, led by Federico Bellone, has succeeded."
ABC
"The great asset of this production is, without a doubt, its magnificent cast."
ABC
"This 'Phantom' has the precise chiaroscuro and a lively rhythm."
ABC
"Audiences who have already seen the original version will be amazed by the cleverness and wit of some of the new techniques used; and the newcomer will be dazzled by a dynamic, imposing, and spectacular staging at many moments."
DIARIO PÚBLICO
"A baroque set design crafted with the utmost attention to detail"
LA RAZÓN
"It maintains fidelity to the story and the original spirit."
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Andres baida Claudia álvarez Sex and Class in the Seventeenth-Century Cloister: Sor Marcela de San Félix’s Love Poems to God
Arenal, Electa. "Sex and Class in the Seventeenth-Century Cloister: Sor Marcela de San Félix’s Love Poems to God". Studies on Women's Poetry of the Golden Age: Tras el espejo la musa escribe, edited by Julián Olivares, Adrienne L. Martín, Alison Weber, Amanda Powell, Anne J Cruz, Aránzazu Borrachero, Electa Arenal, Elizabeth Rhodes, Inmaculada Osuna Rodríguez, Judith A Whitenack, Julián Olivares, Lia Schwartz, Rosa Navarro Durán and Stacey Schlau, Boydell and Brewer: Boydell and Brewer, 2009, pp. 233-254. https://doi.org/10.1515/9781846157653-014
Arenal, E. (2009). Sex and Class in the Seventeenth-Century Cloister: Sor Marcela de San Félix’s Love Poems to God. In J. Olivares, A. Martín, A. Weber, A. Powell, A. Cruz, A. Borrachero, E. Arenal, E. Rhodes, I. Osuna Rodríguez, J. Whitenack, J. Olivares, L. Schwartz, R. Navarro Durán & S. Schlau (Ed.), Studies on Women's Poetry of the Golden Age: Tras el espejo la musa escribe (pp. 233-254). Boydell and Brewer: Boydell and Brewer. https://doi.org/10.1515/9781846157653-014
Arenal, E. 2009. Sex and Class in the Seventeenth-Century Cloister: Sor Marcela de San Félix’s Love Poems to God. In: Olivares, J., Martín, A., Weber, A., Powell, A., Cruz, A., Borrachero, A., Arenal, E., Rhodes, E., Osuna Rodríguez, I., Whitenack, J., Olivares, J., Schwartz, L., Navarro Durán, R. and Schlau, S. ed. Studies on Women's Poetry of the Golden Age: Tras el espejo la musa escribe. Boydell and Brewer: Boydell and Brewer, pp. 233-254. https://doi.org/10.1515/9781846157653-014
Arenal, Electa. "Sex and Class in the Seventeenth-Century Cloister: Sor Marcela de San Félix’s Love Poems to God" In Studies on Women's Poetry of the Golden Age: Tras el espejo la musa escribe edited by Julián Olivares, Adrienne L. Martín, Alison Weber, Amanda Powell, Anne J Cruz, Aránzazu Borrachero, Electa Arenal, Elizabeth Rhodes, Inmaculada Osuna Rodríg
He was born in Valdepeñas (Ciudad Real). He moved to Madrid in 1976 to study Teaching, a degree he abandoned in his final year to dedicate himself to theater. A professional since 1980, he was the technical director of the Sala Olimpia, working for the National Center for New Scenic Trends and the National Drama Center.
Between 1990 and 1992, he was responsible for the consultancy, construction, and later technical direction of the Teatro Central in Seville for Expo 92. In this field, he has also worked on the conversion of buildings into performance spaces for the company Stolle, with notable projects including the Teatro de la Abadía in Madrid and the Teatre Lliure in Barcelona.
As a lighting designer, he has worked in theater, music, dance, and opera, collaborating with renowned stage directors and set designers.
Gómez-Cornejo is the founder of the Association of Lighting Designers (president from 2012 to 2020) and a member of the Spanish Academy of Performing Arts. He has also contributed to the training of several generations of professionals in this field. He has been a guest professor in the Master’s Program in Theatrical Creation at the Carlos III University, and he has also contributed as an author to the publication of the book Light, Melody of the Performing Arts.
Ana valeria becerril novelas Lucía (canción)
«Lucía» es una canción del cantautor español Joan Manuel Serrat grabada en 1971. Originalmente forma parte del disco Mediterráneo, el último álbum producido en los estudios de Fonit Cetra. Se incluyó además en el disco de larga duración Serrat en directo, publicado en 1984. Finalmente, una nueva grabación de esta canción, interpretada en conjunto con Silvio Rodríguez, integra también el disco cuádruple Antología desordenada, una retrospectiva de su obra en 50 canciones seleccionadas por el propio Serrat, editado por Sony en noviembre de 2014 como celebración del 50.° aniversario de su carrera artística.
Contexto y tema de la letra
[editar]La canción es un poema al amor perdido e imposible de olvidar. Describe con sublime melancolía un sentimiento que ha quedado inscrito para siempre en la memoria («Tus recuerdos son cada día más dulces, el olvido sólo se llevó la mitad») como experiencia irrepetiblemente bella («la más bella historia de amor que tuve y tendré»).
El texto lírico de «Lucía», de verso libre y rima asonante, tiene la forma de una carta, escrita con tremenda intensidad emotiva, pero casi a fondo perdido, sin certeza alguna —y más bien sin esperanzas— de que llegue a su destinataria: «es una carta de amor, que se lleva el viento pintado en mi voz, a ninguna parte, a ningún buzón». La canción consta, aparte del estribillo, de dos estrofas iniciales de estructura similar, seguidas por otra estrofa compuesta por versos en donde se describe la experiencia sensible a través de la figura de "si fui esto o aquello fue por tu amor Lucía". El autor casi no habla de Lucía en el poema, no la describe, no da señas sobre ella, ni ensalza directamente sus características. La letra está centrada en lo que Lucía ha producido en él («si alguna vez fui bello y fui bueno, fue enredado en tu cuello y tus senos»). Lucía es esencialmente maravillosa por cómo lo hizo sentir a él y por la huella imborrable que le ha dej