Venetian Opera Libretti Author Index
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L'opera Italiana Nei Territori Boemi Durante Il
L’OPERA ITALIANA NEI TERRITORI BOEMI DURANTE IL SETTECENTO V. 1-18_Vstupy.indd 2 25.8.20 12:46 Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento a cura di Milada Jonášová e Tomislav Volek ACADEMIA Praga 2020 1-18_Vstupy.indd 3 25.8.20 12:46 Il libro è stato sostenuto con un finanziamento dell’Accademia delle Scienze della Repubblica Ceca. Il convegno «Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento» è stato sostenuto dall’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca con un finanziamento nell’ambito del programma «Collaborazione tra le Regioni e gli Istituti dell’Accademia delle Scienze della Repubblica Ceca » per l’anno 2019. Altra importante donazione ha ricevuto l’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca da Johann Adolf Hasse-Gesellschaft a Bergedorf e.V. Prossimo volume della collana: L’opera italiana – tra l’originale e il pasticcio In copertina: Pietro Metastasio, Il Demofoonte, atto II, scena 9 „Vieni, mia vita, vieni, sei salva“, Herissant, vol. 1, Paris 1780. In antiporta: Il Demofoonte, atto II, scena 5 „Il ferro, il fuoco“, in: Opere di Pietro Metastasio, Pietro Antonio Novelli (disegnatore), Pellegrino De Col (incisore), vol. 4, Venezia: Antonio Zatta, 1781. Recensori: Prof. Dr. Lorenzo Bianconi Prof. Dr. Jürgen Maehder Traduzione della prefazione: Kamila Hálová Traduzione dei saggi di Tomislav Volek e di Milada Jonášová: Ivan Dramlitsch -
Incoronazione Di Poppea *
B USENELLO’ S S ECRET H ISTORY: An allegorical reading of L’incoronazione di Poppea * By Magnus Tessing Schneider The 1623 publication of Procopius’ Secret History shocked the scholarly world. The ancient historian’s rejection of his official account of the reign of Justinian I forced humanists to reflect on the general reliability of historical sources. The article suggests that Giovan Francesco Busenello’s libretto L’incoronazione di Poppea (1643) reflects the challenge posed by Procopius’ book. Though its portrayal of historical figures adheres to Tacitus’ Annals, it plays with the possibility that even Tacitus himself was deceived by Machiavellian rulers. Did he, for example, condemn Nero and Poppaea while praising Octavia because this was the truth, or because Octavia was, in fact, a superior politician who had managed to craft a favourable epitaph for herself? Nerone innamorato di Poppea, ch’era moglie di Ottone, lo mandò sotto pretesto d’ambasciaria in Lusitania per godersi la cara diletta, così rappresenta Cornelio Tacito. Ma quì si rappresenta il fatto diverso. Ottone, disperato nel vedersi privo di Poppea, dà nei deliri e nelle esclamazioni. Ottavia, moglie di Nerone, ordina ad Ottone che sveni Poppea. Ottone promette farlo; ma non bastandogli l’animo di levar la vita all’adorata Poppea, si traveste con l’abito di Drusilla ch’era innamorata di lui. Così travestito entra nel giardino di Poppea. Amore disturba e impedisce quella morte. Nerone ripudia Ottavia, nonostante i consigli di Seneca, e prende per moglie Poppea. Seneca more, e Ottavia vien discacciata da Roma.1 Nero, in love with Poppaea, Otho’s wife, sent the latter to Lusitania under the pretext of an ambassadorship in order to enjoy his dearly beloved. -
Science @ the Symphony Ontario Science Centre, Concert Partner
Science @ the Symphony Ontario Science Centre, concert partner The Toronto Symphony Orchestra’s Student Concerts are generously supported by Mrs. Gert Wharton and an anonymous donor. The Toronto Symphony Orchestra gratefully acknowledges Sarah Greenfield for preparing the lesson plans for the Junior/Intermediate Student Concert Study Guide. Junior/Intermediate Level Student Concert Study Guide Study Concert Student Level Junior/Intermediate Table of Contents Table of Contents 1) Concert Overview & Repertoire Page 3 2) Composer Biographies and Programme Notes Page 4 - 11 3) Unit Overview & Lesson Plans Page 12 - 23 4) Lesson Plan Answer Key Page 24 - 30 5) Artist Biographies Page 32 - 34 6) Musical Terms Glossary Page 35 - 36 7) Instruments in the Orchestra Page 37 - 45 8) Orchestra Seating Chart Page 46 9) Musicians of the TSO Page 47 10) Concert Preparation Page 48 11) Evaluation Forms (teacher and student) Page 49 - 50 The TSO has created a free podcast to help you prepare your students for the Science @ the Symphony Student Concerts. This podcast includes excerpts from pieces featured on the programme, as well as information about the instruments featured in each selection. It is intended for use either in the classroom, or to be assigned as homework. To download the TSO Junior/Intermediate Student Concert podcast please visit www.tso.ca/studentconcerts, and follow the links on the top bar to Junior/Intermediate. The Toronto Symphony Orchestra wishes to thank its generous sponsors: SEASON PRESENTING SPONSOR OFFICIAL AIRLINE SEASON -
Two Operatic Seasons of Brothers Mingotti in Ljubljana
Prejeto / received: 30. 11. 2012. Odobreno / accepted: 19. 12. 2012. tWo OPERATIC SEASONS oF BROTHERS MINGOTTI IN LJUBLJANA METODA KOKOLE Znanstvenoraziskovalni center SAZU, Ljubljana Izvleček: Brata Angelo in Pietro Mingotti, ki sta Abstract: The brothers Angelo and Pietro med 1736 in 1746 imela stalno gledališko posto- Mingotti between 1736 and 1746 based in Graz janko v Gradcu, sta v tem času priredila tudi dve organised during this period also two operatic operni sezoni v Ljubljani, in sicer v letih 1740 seasons in Ljubljana, one in 1740 and the other in 1742. Dve resni operi (Artaserse in Rosmira) in 1742. Two serious operas (Artaserse and s komičnimi intermezzi (Pimpinone e Vespetta) Rosmira) with comic intermezzi (Pimpinone e je leta 1740 pripravil Angelo Mingotti, dve leti Vespetta) were produced in 1740 by Angelo Min- zatem, tik pred svojim odhodom iz Gradca na gotti. Two years later, just before leaving Graz sever, pa je Pietro Mingotti priredil nadaljnji for the engagements in the North, Pietro Mingotti dve resni operi, in sicer Didone abbandonata in brought another two operas to Ljubljana, Didone Il Demetrio. Prvo je nato leta 1744 priredil tudi v abbandonata and Il Demetrio. The former was Hamburgu, kjer je pelo nekaj že znanih pevcev, ki performed also in 1744 in Hamburg with some so izvajali iz starejše partiture, morda tiste, ki jo of the same singers who apparently used mostly je impresarij preizkusil že v Gradcu in Ljubljani. an earlier score, possibly first checked out in Primerjalna analiza ljubljanskih predstav vseka- Graz and Ljubljana. The comparative analysis kor potrjuje dejstvo, da so bile te opera pretežno of productions in Ljubljana confirms that these lepljenke, čeprav Pietrova Didone abbandonata operas were mostly pasticcios. -
The Possibility of Opera
7 The Possibility of Opera In the performances of the Prologue of Orfeo, as staged by Luca Ronconi (see chapter 3), and of Combattimento, as staged by Pierre Audi (chapter 6), a char- acter at first represents the narrator — La Musica in the former case, Testo in the latter one. Both characters assert their presences through musical, verbal, and scenic effects. At a later phase — respectively, in the third and seventh strophes of their settings — La Musica and Testo also emerge as focalizing agents, their func- tion as narrators gradually receding into the background in order to “give life” to focalized characters — respectively, Orpheus and Tancredi/Clorinda. Clorinda becomes so autonomous a character as to herself become a focalizer at the end. Under this perspective, both performances can be said to stage the birth of musi- cal theater, and in the second case, we might add, out of the spirit of the madrigal. The madrigal is traditionally dominated by the narrator’s voice, diffused into the polyphonic concentus. But in the hands of Monteverdi, particularly in his Books V to VIII, the madrigal becomes the privileged site for the performance of a plurality of points of view. Characters come to life intermittently even despite their absence from the verbal text as such, thanks, for example, to the focalizing role played by instruments in concertato madrigals. Still, the narrator remains the ever-present voice (in narrative terms) that is audible and visible mostly in the continuo line, but also intermittently in individual voices (in physical terms) such as the bass — this was a traditional conduit of the “speaker” since Arcadelt. -
Winged Feet and Mute Eloquence: Dance In
Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice. -
Grand Finals Concert
NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel) -
La Divisione Del Mondo Giovanni Legrenzi
STRASBOURG Opéra 8 > 16 février MULHOUSE La Sinne 2018 / 2019 1 et 3 mars • E COLMAR Théâtre SS 9 mars IER DE PRE IER SS DO la divisione del mondo giovanni legrenzi / P. 1 DOSSIER DE PRESSE DOSSIER du rhin opéra d'europe MONDO / DIVISIONE DEL LA © la fabrique des regards fabrique © la la divisione del mondo • gioVANNI LEGRENZI Opéra en trois actes Livret de Giulio Cesare Corradi Créé le 4 février 1675 à Venise Coproduction avec l’Opéra national de Lorraine [ nouveLLE PRODUction ] création française STRASBOURG Direction musicale Christophe Rousset Opéra Mise en scène Jetske Mijnssen Décors ve 8 février 20 h Herbert Murauer Costumes di 10 février 15 h Julia Katharina Berndt Lumières ma 12 février 20 h Bernd Purkrabek je 14 février 20 h Giove sa 16 février 20 h Carlo Allemano Nettuno Stuart Jackson Plutone Andre Morsch MULHOUSE Saturno Arnaud Richard La Sinne Giunone Julie Boulianne ve 1 mars 20 h Venere Sophie Junker di 3 mars 15 h Apollo Jake Arditti Amore Ada Elodie Tuca Marte Christopher Lowrey COLMAR Cintia Soraya Mafi Théâtre Mercurio Rupert Enticknap sa 9 mars 20 h Discordia Alberto Miguélez Rouco En langue italienne Les Talens Lyriques Surtitrages Publié par les éditions Balthasar Neumann / Édité par Thomas Hengelbrock en français et en allemand / P. 2 Durée du spectacle 2 h 45 environ entracte après l’Acte II PROLOGUE OPÉRA RENCONTRE BONSOIR MAESTRo ! 1 h avant chaque DE PRESSE DOSSIER Christophe Rousset avec l’équipe artistique représentation : sa 2 février 18 h à la librairie Kléber une introduction Strasbourg Opéra je 7 février à 18 h de 30 minutes Strasbourg > Salle Bastide entrée libre > Salle Paul Bastide entrée libre Mulhouse La Filature > Salle Jean Besse Colmar Théâtre entrée libre avec le soutien de MONDO / DIVISIONE DEL LA fidelio association pour le développement de l'Opéra national du Rhin l’œuvre en deux mots.. -
Howard Mayer Brown Microfilm Collection Guide
HOWARD MAYER BROWN MICROFILM COLLECTION GUIDE Page individual reels from general collections using the call number: Howard Mayer Brown microfilm # ___ Scope and Content Howard Mayer Brown (1930 1993), leading medieval and renaissance musicologist, most recently ofthe University ofChicago, directed considerable resources to the microfilming ofearly music sources. This collection ofmanuscripts and printed works in 1700 microfilms covers the thirteenth through nineteenth centuries, with the bulk treating the Medieval, Renaissance, and early Baroque period (before 1700). It includes medieval chants, renaissance lute tablature, Venetian madrigals, medieval French chansons, French Renaissance songs, sixteenth to seventeenth century Italian madrigals, eighteenth century opera libretti, copies ofopera manuscripts, fifteenth century missals, books ofhours, graduals, and selected theatrical works. I Organization The collection is organized according to the microfilm listing Brown compiled, and is not formally cataloged. Entries vary in detail; some include RISM numbers which can be used to find a complete description ofthe work, other works are identified only by the library and shelf mark, and still others will require going to the microfilm reel for proper identification. There are a few microfilm reel numbers which are not included in this listing. Brown's microfilm collection guide can be divided roughly into the following categories CONTENT MICROFILM # GUIDE Works by RISM number Reels 1- 281 pp. 1 - 38 Copies ofmanuscripts arranged Reels 282-455 pp. 39 - 49 alphabetically by institution I Copies of manuscript collections and Reels 456 - 1103 pp. 49 - 84 . miscellaneous compositions I Operas alphabetical by composer Reels 11 03 - 1126 pp. 85 - 154 I IAnonymous Operas i Reels 1126a - 1126b pp.155-158 I I ILibretti by institution Reels 1127 - 1259 pp. -
Il Caso Gualino a Cura Di Francesca Ponzetti
Il caso Gualino A cura di Francesca Ponzetti INDICE DEI MATERIALI: Cronologia degli anni torinesi: p. 2 1923 – Teatro Odeon – Programma: p. 8 1925-1929 – Teatrino privato – Programma: p. 9 1925-1930 – Teatro di Torino – Programma: p.10 Recensioni agli spettacoli: p.25 I Diari di Cesarina Gualino: p. 72 1 Riccardo Gualino negli anni torinesi - Cronologia Riccardo Gualino (Biella 1879- Firenze 1964) Cesarina Gurgo Salice (Casale Monferrato 1890-Roma 1992) 1879 Riccardo Gualino nasce a Biella (nel quartiere popolare Riva), decimo di 12 figli. 1896 Si trasferisce a Sestri Ponente. A soli 17 anni si avvia alla vita degli affari alle dipendenze del cognato Attilio Bagnara (marito della sorella Maria Gualino) proprietario di un‟industria all‟avanguardia, nel commercio genovese, per l‟importazione di legname dalla Florida. Riccardo fu assunto in qualità di impiegato addetto alla segheria di Sestri e agli sbarchi e spedizioni da Genova. 1897 Parte per il servizio militare. 1899 Torna a Sestri Ponente dove lavora ancora per il cognato in qualità di “viaggiatore” (retribuito a percentuale) con il compito di curare il collocamento della mercanzia presso i compratori (zona Italia settentrionale). 1901 Lavora presso un‟importante azienda di Milano importatrice di legname d‟abete dalla Carinzia e dal Tirolo come addetto al “controllo della qualità”. 1903 Si trasferisce a Casale Monferrato dove lavora per il cugino Tancredi Gurgo Salice (padre di Cesarina), produttore di cemento, in qualità di “rappresentante autonomo”. 1905 Crea la sua prima impresa, la “Riccardo Gualino & C.”, avente per scopo l‟industria e il commercio dei legnami e dei cementi; l‟impresa nasce dalla collaborazione con i cugini Gurgo Salice (in particolare Tancredi). -
Agenda 21 Dicembre Ok:Agenda 19 Ottobre 2012
il settimanale dei brindisini Anno XXII • N. 44 • 21 dicembre 2012 • www.agendabrindisi.it AGENDA AUGURA A TUTTI BUONE FESTE E DA' APPUNTAMENTO AL 2013 Buon Natale e Buon Anno L’albero di Natale tra il Teatro Verdi e Palazzo Granafei-Nervegna (Foto Maurizio De Virgiliis) Verdi di Natale tra il Teatro L’albero SPORT: CALCIO IN RIPRESA, BASKET «CHANCE» DI COPPA www.bagnatoluigi.it - [email protected] ATTUALITA’ 3 Nomine - Nel numero pre- tro la propria maggioranza? cedente avevo «coinvolto» (a Se si volesse fare del sarca- sua insaputa e suo malgrado ZONA FRANCA smo si potrebbe dire che si ha ... e me ne scuso) un uomo OPINIONI IN LIBERTÀ DI GIORGIO SCIARRA un occhio di riguardo per gli che stimo - per serietà, com- animali ma non altrettanto per petenza e passione - indican- gli esseri umani, ma questo e- dolo come figura adatta ad oc- pisodio offende la sensibilità cupare la poltrona di presiden- di tante persone e non è pro- te del porticciolo turistico Ma- prio il caso delle facili ironie. rina di Brindisi. Non avevo IMU - «Il Governo sta por- fatto i conti, da sprovveduto, tando a termine un vero e pro- con l’intramontabile «manua- prio attentato ai danni dei Co- le Cencelli» che tiene sempre muni italiani che ospitano in considerazione l’apparte- grandi insediamenti industria- nenza a qualcosa o qualcuno, li. Come dire, insomma, che i raramente la competenza. In- nostri cittadini devono subire fatti, mentre Agenda era in il danno oltre la beffa». Parole stampa ho letto dell’avvenuta (le successive nomine). voto favorevole di tre consi- sante, pronunciate dal sindaco nomina di Dario Montanaro, Unioni di fatto - Il Consi- glieri dell’opposizione ma sul fatto che lo Stato dovrebbe che sicuramente svolge con e- glio comunale o, meglio, la non di Noi Centro e UDC. -
Bologna, 4Th Augusti, 1770 As I Write This, I Am Still on My Bed. Not That
0202. 1 LEOPOLD MOZART TO HIS WIFE , SALZBURG ; POSTSCRIPT FROM MOZART TO NANNERL Bologna , 4 th Augusti , 1770 As I write this, I am still on my bed. Not that my right leg is in danger. 2 No! Praise God, it is better, although the skin is now peeling off, [5] and it looks as if I had had chickenpox. But, besides the fact that I am still being careful with this right leg to avoid causing another swelling, I cannot walk because of the left foot, on which such severe pain and little swellings have started overnight, on the ball and one or other of the toes, and looking just like podagra , preventing me from walking. [10] Now I will hardly leave this inn for less than 20 ducats 3 – if that covers it. In God’s name, as long as one saves one’s skin, let the weevil 4 take the money! It was very sad for us to learn that our little Miss Martha 5 has consumption in the lungs and wasting in the neck. She did, of course, always look so lean. [15] 6Should one not be able to come to the help of such a young person with moisturising things? – – One simply can never be sure where consumption of this kind comes from. It does not always have to be consumption of the lungs. These are many other causes for a person getting consumption, especially in women. [20] It is, naturally, difficult to treat if one cannot find the root cause. I can assure you that this news has plunged both of us into great sorrow.