The music in Mexico during the Independence (1822 - 1839).

From the consummation of the Independence a singular phenomenon takes place(is produced): the musician, the artist, capture arouses of his active paper(role) in the creation of institutions that would keep latent the education and the diffusion of the educated music.

It begins the age of the philharmonic companies(societies), real cultural companies encouraged by those musicians who in relief, will support heroically the practice of the educated music. If these musical associations did not prosper or had a continuity in yes same it was a fault(sin) of the times and the customs: not even the stability of a nation either in process of political integration, or the heterogeneity of a social class lacking in values and traditions, characteristics in the culture of the middle class, they allowed it.

The briefness of the governments in Mexico would make impossible the attainment of these projects.

In the Mexican Conservatoire founded by Elízaga, the education of the music was given and his study was divided in the fundamental beginning of the music, harmony and composition, instrumental technology skill and of the singing, and Philosophy of the Music and development in the instrumental technologyskill.

The real merit, nevertheless, corresponds(fits) to the father Caballero who supported the academy in a personal capacity for 28 consecutive years. His permanent and silent labor there would make possible the formation(training) of the musicians and Mexican teachers of then, between(among) them the singers Maria Jesus Cepeda y Cosío, Eufrasia Amat, Antonia Aduna, the pianist Agustín Balderas and the composer Melesio Morales. In reward, his(her,your) academy would re-be founded later on the Conservatoire of 1866, our current National Conservatoire.

The consummation of the Independence propitiatescauses better perspectives in what to the opera like spectacle and music it refers. In 1822, the city of Mexico possesses relies on a new theatre, Of the Roosters, or Provisionally. It turns into the headquarters of Manuel García's Italian company, tenor of Spanish origin.

Major fortune had the company of Filippo Galli's opera, the first great Italian company that came to Mexico in 1831 to remain until 1837. The digest that in the space of six consecutive years he(she) presented the company consolidated in Mexico the interest and devotion for the Italian opera.

Marietta Albini.

She was a high and robust woman, white as the milk, of majestic freightage, of small but very black eyes. When Marietta sang for the first time the Norm it was such the illusion of the public, who was persuaded from what it was happening(passing) in scene was true, and not only there were frantic plaudits, but tears, sighs, hand squeezes.

The Albini came to Mexico in 1836, and with it there was coming another singer, Adela Cesari. The Albini was maddening the public in the second act of Norm, if I die all'ore estrema, with Adalgisa. The reputation of the Albini influenced the modes. The ladies were putting in the dances of fantasy, a few hats introduced by the singer that were imitating those of the Queen Maria of Scotland, and the sleeves opened for the Norm did rage. They were of black velvet, lined with level white and adorned with blond black in the shore, with some embroideries and long tassels of gold in his extremities.

Traducción: Monserrat Morales Valencia

Redacción: Mónica Sauza de la Vega

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