Daniel Catán was looking to start making music for the finances. Recall his wife Thomas as the fairy of his father flattened in the waves of the 80s. The scenario of Mexico, countries in perpetuated crisis, and the hero of the history encountered obstacles to his determination to convert into a composer. La mala racha hizo pausar durte meses su trabajo en la score de La hija de Rapaccini, an opera based on an account that Octavio Paz had adapted from Nathaniel Hawthorne. The project interrupted and Catán started working in a ballroom. The passion for music of this philosopher educated in Sussex and with Princeton’s doctorate came after converting the description into an anecdote of who dedicated his life to the Spanish opera.
Daniel Catán passed away on April 9, 2011. The music, radiated at Pasadena City, was found in Texas, has been invited as a resident composer of the Butler School of State Music and will perform. details of his fifth opera, an adaptation of the film ¿Conoces a John Doe? (Frank Capra, 1941). A full-fledged approach will end with the creation of a plenipotentiary and that will include among its legacies the introduction of Spain in the United States operating world. ‘N A decade of his bankruptcy, his works continue to mount in halls of concierge of the country. ‘[La obra] has been confirmed in these years. It’s much more vigilant for all the influence that the minors have logged in the United States ”, considered in a telephone interview from San Diego in the second speech and speech, the arpista Andrea Puente, who also organized the artist’s archive and lived it to la Fonoteca de México.
Mexican filmmakers such as Alfonso Cuarón, Guillermo del Toro and Alejandro González Iñárritu are extremely famous. These are the examples of the exiting migrants, who dejaron their countries to triumph in the most competitive market. Catán hizo lo mismo en un mondo de nicho, más cerrado y donde el español staba margado frente a otros idiomas. His mayor runs a tray shop that has been extending for about 40 years producing material to repair the most traditional fronts. “Propose to popularize the opera and appeal to a public mayor who disputes anything that does not only go to the elites,” praised his wife, Thomas Catan.
A year before his death, Catán deslumbró to assistants at the American Opera conference, celebrated in June 2010. The composer would reflect on what musicians, singers, directors, composers, stageographers and producers had in mind to do the cultural conversation of the United States. Having a robust number of productions and trainers, it has not had a massive impact in the last medium sails more than the aficionados.
The artist proposes a new form of distribution more closely related to the cinematographic industry than theatrical companies. City as an example El caballero de la rosa, a comic book by Richard Strauss. It took place in Dresden in 1911 and provoked a great public outcry over some enthusiasm among critics. Ocho semanas después, la obra estaba montada en italiano en La Scala de Milán.
‘No computer photocopiers or computers. Copy the parts to mano and the enviaban for corrreo and train … 150 years after the Finds our technology is the best and definitely the fastest. We have aircraft, computers, telephones and PDF archives. We can conduct an orchestra in the Czech Republic from our halls in America. Aún así, a nuestro systistico systico le toma cuatro años respond to a new opera. Unwrap new products is essential, but distribution and in return this will happen through the channel. Our distribution system is a serial asset that needs to be rehabilitated, ”said Catán to colleagues.
One of the main characteristics of Catán’s work was his relationship with literature. His opera number is close, Encuentro en el ocaso (1979) tuvo como libretista al narrador y romanista Carlos Montemayor. Sondeverbod, Catán considered his first degree La hija de Rapaccini, which was presented to the United States in the California city of San Diego after being stranded in the Palacio de Bellas Artes de Ciudad de México. This is another adaptation and work with the riches of the Latin American universe. Para Salsipuedes: a story of love, war and anchovies (1998-1999) Trabujo el libreto con el cubano Eliseo Alberto y el mexicano Francisco Hinojosa.
“Daniel was one of the few artists in Mexico who knew how to write because he was a good reader,” said Hinojosa, who returned the book by Lichi (Alberto) when he read the text. The result was an opera bufa based on a Caribbean island in 1943, when the local dictator declared war on the Nazis. This beautiful white affixes the amorous life of two Caribbean lovers. The work was delivered by the telephone during the first opera at the Houston Opera on October 29, 2004, during the celebrations of the mid-existence of the house. “It was an abusive production conducted by Giulio Maria Guida”, remembers Hinojosa, who saw the stage play with his wife, also a composer.
Salsipuedes The second work for the Houston Opera, which took place years ago, together with the companies of Los Angeles and Seattle, was a worldwide literary achievement by Gabriel García Márquez. From this universe the composer created Florence in the Amazon (1996), the first opera in Spanish commissioned by the great producers and had a rotating audience of audiences. Finally read Il Postino, in 2010, based on the novel by Antonio Skármeta and the film by Michael Radford. Placido Domingo personally asked Catán to write the paper of the old poet Pablo Neruda.
Catán has always been well received by critics. The specialized press, especially Europe, has the right to qualify kitsch some rasgos of his work. Alumni of Milton Babbit at Princeton, a vanguardist who explored electronic music, dodecaphony and atonality in the 60s, Catán also opened the accusation of regodearse in the antiquated. Those who are considered are a show of honesty. “The most interesting thing was the orchestra. I always decided that I wanted to be like Puccini ”, says the musician Rodrigo Sigal, who helped the composer with the scores of Florence. “Look for the music that conveys it, which is contemporary, folkloric or neo-Mexican,” he said.
The work of this Mexican composer can be revised in a series of homages. His wife Andrea Puente moderated a charla with various variants of the opera, between the soprano María Katzarava, who could listen here. In the April finals, Catán’s work will be analyzed in the III Mexican Diploma, a cargo of critic and specialist Enid Negrete. On April 24, the Chicago Opera will perform La hija de Rapaccini streaming for 72 hours. A form of distribution that the Catán propión imagines but does not live to see.
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