{"id":36174,"date":"1998-01-01T00:00:00","date_gmt":"1998-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/zarzuela-y-opera-en-los-teatros-publicos-de-madrid-1730-1750\/"},"modified":"1998-01-01T00:00:00","modified_gmt":"1998-01-01T00:00:00","slug":"zarzuela-y-opera-en-los-teatros-publicos-de-madrid-1730-1750","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/zarzuela-y-opera-en-los-teatros-publicos-de-madrid-1730-1750\/","title":{"rendered":"Zarzuela y opera en los teatros publicos de Madrid (1730-1750)."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Leza Cruz Jos\u00e9 Maximo <\/strong><\/h2>\n<p>La tesis se centra en el repertorio musical (zarzuela y \u00f3pera) producido en los corrales y coliseos p\u00fablicos de Madrid e interpretado por compa\u00f1\u00edas espa\u00f1olas, durante los a\u00f1os centrales del siglo xviii. El trabajo se estructura en tres partes: \u00abla historia: desarrollo de la \u00f3pera y la zarzuela en los teatros p\u00fablicos\u00bb; \u00abel marco productivo: el teatro en Madrid en la primera mitad del siglo xviii\u00bb, y \u00ablos g\u00e9neros: evoluci\u00f3n de la dramaturgia en los espect\u00e1culos musicales (1730-1750)\u00bb.  en la primera parte se abordan las relaciones entre las representaciones de la corte y los teatros de la ciudad, analiz\u00e1ndose la incidencia del repertorio y las compa\u00f1\u00edas italianas sobre los espect\u00e1culos p\u00fablicos, y prest\u00e1ndose especial atenci\u00f3n a la figura del compositor francesco corradini. Se estudi\u00f3 tambi\u00e9n la organizaci\u00f3n de la primera temporada de \u00f3pera organizada por compa\u00f1\u00edas espa\u00f1olas en 1737.  la segunda parte se centra en el an\u00e1lisis de los factores institucionales y administrativos que condicionaron la producci\u00f3n de las obras musicales. Se prest\u00f3 atenci\u00f3n a las compa\u00f1\u00edas de actores y al concepto de temporada, donde se estudi\u00f3 la distribuci\u00f3n estacional de las \u00f3peras y zarzuelas.  un tercer apartado est\u00e1 dedicado a la prufundizaci\u00f3n en algunos componentes dram\u00e1tico-musicales de la zarzuela, fundamentalmente a trav\u00e9s de las obras conservadas del compositor jos\u00e9 de nebra. Se analizaron aspectos relacionados con el ritmo dram\u00e1tico, y la asociaci\u00f3n de la distinta tipolog\u00eda de los personajes con c\u00f3digos musicales concretos. Igualmente se contemplaron las relaciones e intercambios entre el repertorio oper\u00edstico de ra\u00edz metastasiana y la zarzuela de los a\u00f1os centrales del siglo xviii.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Zarzuela y opera en los teatros publicos de Madrid (1730-1750).<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Zarzuela y opera en los teatros publicos de Madrid (1730-1750). <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Leza Cruz Jos\u00e9 Maximo <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Zaragoza<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1998<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li> Carreras Lopez Juan  Jose<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Emilio Casares Rodicio <\/li>\n<li>Reinhard Strohm (vocal)<\/li>\n<li>Aurora Egido Martinez (vocal)<\/li>\n<li> De Brito Manuel Carlos (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Leza Cruz Jos\u00e9 Maximo La tesis se centra en el repertorio musical (zarzuela y \u00f3pera) producido en [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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