LIA CIMAGLIA ESPIONSA - ARGENTINA
BORN 30 AUGUST
Lía Cimaglia Espinosa (Buenos Aires, August 30, 1906 - November 1, 1998) was an Argentine pianist, composer and teacher.
As a child, Lía Cimaglia already has shown her vocation and started her connection with the teacher Alberto Williams. After that, she kept studying with Celestino Piaggio and Jorge de Lalewicz.
In 1938 she would receive a scholarship from the National Culture Commission that would allow her to travel to Paris and continue her studies with the pianists Ives Nat, Alfred Cortot and Isidoro Phillipp and spread the music from Argentina in France, Italy and Germany. In the Pleyel Hall in Paris, she obtained a brilliant success by interpreting Debussy's Twenty-Four Preludes.
She has traveled America and Europe, and had performed in France, Spain, United Kingdom, Italy, Germany, Austria, Belgium, United States, Mexico, Venezuela, Chile, Uruguay, Peru and Paraguay. Her work as a composer is outstanding. She composed chamber works for piano only or for groups. She also made more than forty songs for voice and piano, for some of which she would receive the "Municipal Award for Interpretation and Composition", mixing music and the poems wrote by her brother-in-law Juan Oscar Ponferrada or by the writer Gabriela Mistral.
She completed her extensive work as a pedagogue, at the National Conservatory or at the "Williams". One of her disciples is Mauricio Annunziata.
BORN 30 AUGUST
As a child, Lía Cimaglia already has shown her vocation and started her connection with the teacher Alberto Williams. After that, she kept studying with Celestino Piaggio and Jorge de Lalewicz.
In 1938 she would receive a scholarship from the National Culture Commission that would allow her to travel to Paris and continue her studies with the pianists Ives Nat, Alfred Cortot and Isidoro Phillipp and spread the music from Argentina in France, Italy and Germany. In the Pleyel Hall in Paris, she obtained a brilliant success by interpreting Debussy's Twenty-Four Preludes.
She has traveled America and Europe, and had performed in France, Spain, United Kingdom, Italy, Germany, Austria, Belgium, United States, Mexico, Venezuela, Chile, Uruguay, Peru and Paraguay. Her work as a composer is outstanding. She composed chamber works for piano only or for groups. She also made more than forty songs for voice and piano, for some of which she would receive the "Municipal Award for Interpretation and Composition", mixing music and the poems wrote by her brother-in-law Juan Oscar Ponferrada or by the writer Gabriela Mistral.
She completed her extensive work as a pedagogue, at the National Conservatory or at the "Williams". One of her disciples is Mauricio Annunziata.
♫ LISTEN
Suite Cimaglia by Lia Cimaglia
HENRIETTE DE BEAUMESNIL - FRANCE
BORN 30 AUGUST
Henriette Adélaïde Villard or Henriette-Adélaïde de Villars, known under the stage name of Mlle Beaumesnil (30 August 1748 – 5 October 1813), was a French opera singer and composer.
Mlle Beaumesnil began working in minor comedy roles from the age of seven and debuted as a soloist at the Paris Opera in 1766, substituting for the primadonna Sophie Arnould in the title role of Berton and Trial's Sylvie. She later sang in many premieres and revivals, patiently hoping that she would finally replace Arnould after her retirement.
Around the same period she married tenor "Philippe" (Philippe Cauvy, 1754-ca 1820), a celebrated member of the Opéra-Comique (or, to be precise, the Comédie Italienne). Concerning Mlle Beaumesnil's strong temperament, Émile Campardon also relates the story (maybe a legend) of her being involved in a 'duel au pistolet' with the dancer Mlle Théodore (born Marie-Madelaine Crepé, 1760-1796). The two women firmly refused the mediation efforts of the conductor of the Paris Opera orchestra Jean-Baptiste Rey who had turned up at the scene of the duel. They eventually got back the pistols he had taken over and laid down on the grass, and would begin the fight. The pistols however had got moist with dew and misfired, whereupon the two ladies decided to bury their differences by throwing their arms around each other's neck.
Mlle Beaumesnil wrote music from time to time and was the third woman to have a composition of hers performed at the Paris Opéra. Anacréon, her first opera, was not accepted and just received a private performance at the Brunoy residence of the Count of Provence in 1781. In 1784, however, she set again to music the libretto of the third entrée of Colin de Blamont's Les festes grecques et romaines, under the title of Tibulle et Délie, and her composition was successfully given at the Paris Opera to serve as a companion piece for Gluck's Iphigénie en Aulide on 15 March 1784. In 1792, her two-act opéra comique, Plaire, c'est commander was mounted at the Théâtre Montansier.
BORN 30 AUGUST
Henriette Adélaïde Villard or Henriette-Adélaïde de Villars, known under the stage name of Mlle Beaumesnil (30 August 1748 – 5 October 1813), was a French opera singer and composer.
Mlle Beaumesnil began working in minor comedy roles from the age of seven and debuted as a soloist at the Paris Opera in 1766, substituting for the primadonna Sophie Arnould in the title role of Berton and Trial's Sylvie. She later sang in many premieres and revivals, patiently hoping that she would finally replace Arnould after her retirement.
Around the same period she married tenor "Philippe" (Philippe Cauvy, 1754-ca 1820), a celebrated member of the Opéra-Comique (or, to be precise, the Comédie Italienne). Concerning Mlle Beaumesnil's strong temperament, Émile Campardon also relates the story (maybe a legend) of her being involved in a 'duel au pistolet' with the dancer Mlle Théodore (born Marie-Madelaine Crepé, 1760-1796). The two women firmly refused the mediation efforts of the conductor of the Paris Opera orchestra Jean-Baptiste Rey who had turned up at the scene of the duel. They eventually got back the pistols he had taken over and laid down on the grass, and would begin the fight. The pistols however had got moist with dew and misfired, whereupon the two ladies decided to bury their differences by throwing their arms around each other's neck.
Mlle Beaumesnil wrote music from time to time and was the third woman to have a composition of hers performed at the Paris Opéra. Anacréon, her first opera, was not accepted and just received a private performance at the Brunoy residence of the Count of Provence in 1781. In 1784, however, she set again to music the libretto of the third entrée of Colin de Blamont's Les festes grecques et romaines, under the title of Tibulle et Délie, and her composition was successfully given at the Paris Opera to serve as a companion piece for Gluck's Iphigénie en Aulide on 15 March 1784. In 1792, her two-act opéra comique, Plaire, c'est commander was mounted at the Théâtre Montansier.
Source: Wikipedia and Oxford Index
♫ LISTEN
Sinfonia from Tibule et Delie by Henriette de Beaumesnil
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