María Teresa Carreño Gertrudis de Jesús García

(Caracas, December 22, 1853 - New York, USA, June 12, 1917)

Was a pianist, singer and Venezuelan composer. It has been called by many experts as the most Maria pianist Teresa Carreño Gertrudis de Jesus Garciar prolific in Latin America during the nineteenth and twentieth centuries, and one of the most important pianists and composers in the world considering how unusual that a woman of her time is devoted to that profession.

She was baptized as Maria Teresa Gertrudis Jesus by his parents, Manuel Antonio Carreño, nephew of Simon Rodriguez and Clorinda Garcia de Sena and Rodríguez del Toro, niece Maria Teresa Rodríguez del Toro and Alaiza, wife of Simon Bolivar, in whose honor it received its name. Teresa Carreño began his musical studies at an early age to his father's side. In fact, five years practiced using more than 500 exercises and composed by his father who walked around the rhythmic difficulties and most important techniques. These studies continued with the pianist Julio Hohené and later with Louis Moreau Gottschalk U.S... At six he published his first work dedicated to his Master Gottschalk (Gottschalk Waltz), exhausted in three successive editions in one year.

Teresa Carreño made his first public concert on November 25, 1862 in the living Irving Hall, New York. Criticism of the artist was very favorable, so much so that after this concert and end of the year, had five more shows, especially his successful performance at the Academy of Music in Brooklyn. In the fall of 1863, offered a private concert at the White House invited by former U.S. President Abraham Lincoln.

In 1873, at age 19, marries Emile Sauret, skilled violinist but an irresponsible person and weak character. On 23 March the following year born Emilia Sauret Carreño, Teresa soon divorced after the loss of her second child.

In 1876 Teresa travels to Boston posing as a singer, and knows the Italian baritone Giovanni Tagliapietra, a member of the company with which he was on tour. They married the same year. From this marriage Teresa gives birth to 3 children: Lulu (1878), Teresita (1882) and Giovanni (1885) Teresa who devoted much of his life and whose upbringing alternated with his tours and concerts in the United States and Canada. In 1889 Teresa is separated from Giovanni Tagliapietra and travel with their children to Germany, where he performed various concerts and managed to win the approval of that difficult stage where codifies internationally renowned concert.

In 1917, shortly before his death, preparing a tour of South America and before starting the tour goes to Cuba, where, after a successful concert with the Havana Philharmonic, suffers serious ill health so the doctor advises cancel its artistic commitment and return to New York. There is diagnosed with partial paralysis of the optic nerve that threatens to spread to the brain. He prescribed complete rest and a diet. But despite having taken reasonable care, died on June 12, 1917.

The coffin was carried on a stretcher by his colleagues Ignacy Jan Paderewski, Mischa Elman, Albert Spalding, Charles Steinway, Ernest Hutcheson, Walter Damrosch, Walter Rothwell, and Franz Josef Stránský Kneisel.4 Later; his remains were cremated, according to his last will. His ashes were brought to Venezuela in 1938 and from December 9, 1977 rest in the National Pantheon. In his honor, the main cultural complex of Caracas, opened in 1983, bears his name.

Throughout his more than half century of artistic life is presented in the best theaters in cities such as New York, Paris, Berlin and Milan, as well as many other cities in Europe, America, Africa and Australia.

It can be said that Teresa Carreño played an important role as a pianist, opera singer, and businesswoman artistic adviser and teacher of generations of artists of his time. Teresa Carreño noted that the overall culture of an artist was essential for the specific projection of his particular art. It is therefore pleased to note in their classes the importance of simple observation of nature, the study of human beings as men and as creators of knowledge of architecture, narrative and poetry. As for the piano itself as physical support tool, known techniques and sensory qualities of the performer.

Author:

1er Semester: Management Administration.