# Serial: La música clásica en el cine, va de oberturas

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 1 Jul 2024, 51 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/60554358/lloviendo_clasica_oberturas.mp3

En el programa de hoy de Lloviendo cine, nuevo episodio de nuestro queridísimo serial La música clásica en el cine. En concreto las grandes protagonistas del mismo serán famosísimas oberturas de la historia de la música clásica, y de su mano vendrán también cuatro películas en las que sonaron esas piezas musicales. Las músicas del podcast proceden de: https://pixabay.com/es/music/caricaturas-celestial-voyage-overture-194069/ Performer Pages Fritz Reiner (conductor)Chicago Symphony Orchestra (orchestra)Publisher Info. Rossini OverturesNew York: RCA Victor Red Seal, 1959. LSC 2318.Copyright: Creative Commons Attribution-ShareAlike 4.0 License (Public Domain - Non-PD US)Misc. Notes Recorded November 22, 1958 in Chicago., CC BY-SA 4.0 , via Wikimedia Commons https://freemusicarchive.org/music/MC_Cullah/Adolessonce/06_-_Extra_Chrome_Mozart/ https://musopen.org/music/2673-don-giovanni-k-527/ https://freemusicarchive.org/music/jesus-superare/universal/sex-1/ https://musopen.org/music/1966-tannhauser-wwv-70/ Lyrics: Cecil Spring RiceComposer: Gustav HolstArranged by: Geoff Knorr, CC BY-SA 4.0 , via Wikimedia Commons Musopen Symphony Orchestra, PDM-owner, via Wikimedia Commons

## Transcript

[0:10] Let' s go, but we stay because here begins one more show of
[0:31] your favorite podcast I watching ending, which you are all pertinent and conveniently invited.
[0:37] You don' t need any kind of entry, you don' t
[0:41] need any permission. The doors are open. As a couple, one more
[1:02] show of raining cinema in what is going to be one more episode of our
[1:07] serial, of our dearest would be classical music in cinema. And what classical
[1:14] music is going to sound on today' s show. We are going to
[1:19] sound overtures or musical vertures, i e, tigrons or mode the instrumental introductions
[1:29] that each composer previously included to what was persecinos that we are. The opera
[1:34] in question. It was a piece that introduced the opera that was going to
[1:41] sound in the theater of the large scale let us put for case and obviously,
[1:48] caught by the hand of these overtures will come four films, in particular,
[1:53] that they had to include four famous openings, very famous of the history
[2:00] of the music, because overtures there are many and we already say well famous.
[2:06] He can even give us for more than one classical music show in the
[2:12] cinema. But on this occasion we' re going to keep these four and
[2:17] we' re going to start with a very well- known overture of a
[2:25] very recent film that has won an oscar for the best film. But before
[2:45] we say the films, let' s name the overtures and start with the
[2:52] overture of William Tell Prior to Yakino Rossi' s famous opera, which,
[3:00] by some curiosities aside from the merely cinematic aspect. It was the last opera
[3:08] composed by its author. Let' s go if you don' t remember
[3:13] what Guillermo Tell' s overture was, as soon as the first note sounds,
[3:19] you' re going to take your hand to the forehead, it'
[3:22] s going to ring this time the palm of your hand and in which film
[3:28] sounds, among many others, Guillermo Tell' s overture, because in a
[3:36] controversial Oscar- winning film to the best film all at once everywhere. Controverted
[3:40] film, not because of the argument, but because we all know it,
[3:45] for having won the greatest prize that can be given in this world of cinema
[3:50] to a film, the Oscar award for the best film of the act,
[3:55] specifically that of last year. They do give them the movie that you almost
[4:02] have to see more than once to try to understand it. Although the server
[4:08] is good with a view, we don' t think we' ll see
[4:14] it again in the film that doesn' t admit half a man, without
[4:19] going in to assess whether he deserved it or not, whether he deserved to
[4:23] win the Oscar to the best movie. We were left with a few,
[4:25] but a few more better Oscar winners throughout the story. There' s no
[4:33] doubt about that, no matter how much you' re the biggest fan of
[4:39] this movie. But we also keep the classical music that is heard in it.
[4:45] We already say the overture of William Tell of Joakino Rossi, that you
[4:51] don' t remember what this overture was. Get the palm of your hand
[4:57] ready because it' s gonna end up on your forehead right away. S
[5:31] s N o p o PS S S S s N S equipment s SS.
[8:09] Next opening next film appears a regular tenant, because that habitual tenant composed
[8:33] the overture of Don Giovanni, the bufa opera of Don volgan Ama de Us
[8:41] Mosser. Here again our favorite Austrian composer operates a bufa by Don bolfan Na
[8:50] Amadeus, based on Don Juan del Burlador de Sevilla, by Don Tirso de
[8:56] Molina. We did not know a Volgaramadeus knew the work of Don Terso because
[9:05] the libretto, the libretto of the opera was not his. That was written
[9:11] by the music, although you know and in which film this overture of Don
[9:18] Giovanni sounds, for example, and without going further, in Amadeus de Millorformer
[9:22] as well as the most important compositions of his author. Yes or another winner
[9:31] by Oscar to the best film in this case, forty years ago, in
[9:35] nineteen hundred and eighty- four. Yes, forty years ago, and curiously
[9:41] we advanced to his listening. Any resemblance to a bufa opera. It is
[9:48] almost mere coincidence, because listening above all to its beginning, it seems that
[9:54] we have to go to a mass of the deceased. Let us now listen
[10:00] to the over of the opera bufa Don Giovanni Ques the twenty- seven of
[10:09] ln Mozart that sounds in amari ta so much u n o n o o
[15:43] o so much o o o n o and of Don volcan amadeus mozar.
[16:37] We are going to go to a German romantic and of rom we can sing
[17:00] as much as has been commented by him for issues strictly to the more of
[17:07] the music to Don Richard Wagnet who composed back in the 19th century, The
[17:11] opening of his opera Tan House one of the large operas composed by the German
[17:18] author. We already say we abstain from what happened in the first third of
[17:26] the 20th century related to the use and manipulation of the work of Mr Paco
[17:33] and in what film this overture of Don Richard Fagner sounds, So why go
[17:37] further, Don Millors form again sounds in the Larrifflin scandal of the year nine
[17:44] hundred and ninety- six. We entered the final stage as director of the
[17:51] first Czechoslovak filmmaker and later Czechs, the film starring Don Buddy Harrison, Kurniello,
[18:00] the ec delfinado Kurcobain and Edward Norton. We did not remember that Edward
[18:07] Norton, also at the beginning of his career, had participated in this film,
[18:14] a film that is therefore another biopic, a controversial one, in this
[18:18] case also biopic about one of the tycoons of the industry more than green of
[18:23] the pornographic production of the United States. Well, well, thought it beats
[18:30] him to a movie like the Larry fren scandal Use Richard Warner' s music,
[18:36] as let' s hear the overture of this opera in three such Richard
[18:41] Wagner Houser acts that they less form included in the reli s scandal. S.
[20:12] S. S o n o n o n o n o s O
[23:00] s O? Yeah? Yeah? Yeah? Yeah? S o s o
[24:00] n o n o n o o n? O n o n o n
[25:56] o n o n o n? O s n o n o n o
[28:00] n o n o s o s o s o n s s s s
[29:33] s s s s s? Yeah? Yeah? Yeah? Yeah? Yeah?
[30:00] Yeah? Yeah? O n o n o n o n o o
[31:37] o o o o s o s s S? And we' re going
[33:22] to finish the show by watching a movie dedicated to musical overtures with a movie
[33:30] from the 1940s. But before we say which movie it is, let'
[33:54] s go with the overture. Well, in this case it' s an
[33:59] overture, but a little against. It' s about the overture the mwww
[34:07] P seven opus twenty- six of Don Felix Mendelson and why we say he
[34:14] ' s got a little bit of a trap. And with this again we
[34:15] are getting into musical technical terms that almost almost escape us a little bit in
[34:22] Joking The Harina from another program and from another to the hebrides is called overture,
[34:29] but in spite of everything, it is an independent work as much as
[34:35] it is called coverage. In this case it is not the prelude to any
[34:40] opera sounds the hebrids And behind us sounds no opera on the scale of Milan
[34:47] And in which film the opening of the tenties sounds the hebrids of Felix Mendelson,
[34:54] Well in a film that we will claim and recommend life and death of
[35:00] Colonel Blimp of the British Michael Powell i Emerick Presburger, year thousand nine hundred
[35:08] forty- three, yes, film of the year Latina, film of those
[35:15] timeless, of those films that have stayed a little off the road, those
[35:21] films of the period of the Second World War, signed in this case by
[35:25] Michael Powell Emeric Presburger, but also of the type of ones that Don Day
[35:31] by Link filmed at that time, patriotic films, a propagandistic pelin, if
[35:38] I know what, but beautifully filmed films. One of those eternal subjects to
[35:46] be seen even with illusion, a film we already say lost in the time
[35:52] of very scarce repercussion, a film as we say well inÑovindo cinema with
[36:00] flavor, with that radiant technocolor of the time, because in this film it
[36:07] is where this overture sounds, not or vertura the sebrides of Felix Mendelson,
[36:13] a gentleman to whom we have to bring more in these stages of classical music
[36:19] in cinema. Well, let' s listen to the overture the hebrides m
[36:25] w UP, seven opus twenty- six of Felix Mendelson, which sounds in
[36:31] Colonel Blin' s more than vindictable life and death film. O n o
[39:29] n o n o n o s three? O s o n o s
[42:00] o n o n s s n o n o n o n s o
[43:54] n s s s o s s o s? Yeah? N? O
[46:39] n o n o n o n o? And here' s one more
[48:36] show of your favorite podcast. I watching cinema in what has been a new
[48:39] episode of our beloved would be classical music in it on this occasion we have
[48:46] brought very famous overtures of the history of classical music and we have brought four
[48:54] films in which these overtures sounded. We have brought William Tell' s overture
[49:02] from Joaquin no Rossini, which sounds all at once everywhere. We have brought
[49:07] the overture of Don Giovanni, of Dolball Gannama, of Us Mozart that that
[49:13] in Amadeus we have brought the overture so House of Richard Wagner, which neither
[49:19] form included in the riffling scandal and, finally, that vindictable film life and
[49:24] death of Colonel Bling, which included the opening overture the hebrids of Felice Mendels.
[49:34] We already say there are a few more overtures. Over there we have
[49:38] more fabric to cut in a matter of overture music. Wait till the show
[49:45] has been to your liking. We said goodbye until next week, in which
[49:50] we will talk about a topic that, as always, comes to mind in
[49:53] the coming days. Until then we can only thank you very much for your
[49:59] attention, much more your patience and make you the final culinary recommendation of all
[50:05] those watching cinema eat a lot of bananas, which is very healthy. We
[50:08] don' t remember, but what that overture of the banana looks like stripping
[50:15] it out of the shell. And especially when you see heaven, you know
[50:17] what you have to do. Find your cloud. We all have one,
[50:22] and when you have entered into trust and conversation with her, you have to
[50:27] tell her loudly and clearly what I evade cinema par ten

Shows are listed from Apple Podcasts' charts and directory, and Podcast Index where it is used. Every show and episode belongs to its publisher and plays from the publisher's own feed; this site hosts none of them.