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0346. BOOKLET FRONT SIEPI 3-03-2006 10:20 Pagina 1 C M Y CM MY CY CMY K TMArchipelRecords CESARE SIEPI Desert Island Collection MOZART ROSSINI CESARE (KONZERARIE KV 612) (L'ITALIANA IN ALGERI) ROSSINI SCHUMANN (IL BARBIERE DI SIVIGLIA) (MYRTHEN OP. 25) SIEPI SCHUMANN RAVEL (DICHTERLIEBE OP. 48) (DON QUICHOTTE A DULCINEE) THE 1956 VERDI VERDI SALZBURG (I VESPRI SICILIANI) (SIMON BOCCANEGRA) RECITAL GOMEZ BOITO WITH (SALVATOR ROSA) (MEFISTOFELE) LEO Leo Taubmann, piano TAUBMANN Live Recording: Salzburg, 1956 BONUS MOZART CESARE SIEPI SINGS OPERATIC EXCERPTS FROM ROSSINI LA SONNAMBULA - LA FORZA DEL DESTINO LA BOHEME SCHUMANN VERDI GOMEZ ARPCD 0346 BOITO IMD MUSIC DISTRIBUTION LTD. - Made in E. U. Issued from the original sources - 1 CD RAVEL HI-END RESTORATION Recordings: 1951/1956 • Total Timing = 66' 43" BONUS This digital restoration made by IMD MUSIC DISTRIBUTION LTD. TECHNOLOGY Colori compositi 0346 BOOKLET BACK 3-03-2006 10:14 Pagina 1 C M Y CM MY CY CMY K COMPACT DISC ARPCD 0346 • TT 66'43 " COMPACT DISC ARPCD 0346 • TT 66'43 " 1 MOZART: Konzerarie KV 612: «Per questa bella mano» [05' 55"] 1/12 2 ROSSINI: L'Italiana in Algeri: «Con tutta la sua... Le femmine d'Italia» [02' 34"] Leo Taubmann, piano (Salzburg, 1956) 3 ROSSINI: Il barbiere di Siviglia: «La calunnia è un venticello» [03' 38"] 13 4 SCHUMANN: Myrthen op. 25: «Du bist wie eine Blume» [02' 08"] Orchestra Sinfonica e Coro di Torino della Rai/Franco Capuana (1952) 5 SCHUMANN: Dichterliebe Op. 48: «Ich grolle nicht» [02' 08"] 14/15 6 VERDI: I Vespri Siciliani: «O patria... O tu, Palermo» [05' 43"] Orchestra e Coro dell'Accademia di Santa Cecilia 7 VERDI: Simon Boccanegra: «A te l'estremo addio... Il lacerato spirito» [04' 11"] Renata Tebaldi, soprano/Francesco Molinari-Pradelli (1955) 8 GOMEZ: Salvator Rosa: «E il foglio io segnerò... Di sposo, di padre» [05' 24"] 16 9 BOITO: Mefistofele: «Ecco il mondo» [02' 32"] Orchestra Sinfonica e Coro di Torino della Rai/Gabriele Santini (1951) 10 RAVEL: Don Quichotte à Dulcinée: Chanson romanesque [02' 02"] 11 RAVEL: Don Quichotte à Dulcinée: Chanson épique [03' 15"] 12 RAVEL: Don Quichotte à Dulcinée: Chanson à boire [02' 02"] 13 BELLINI: La sonnambula: «Vi ravviso, o luoghi ameni... Tu non sai» [06' 57"] 14 VERDI: La forza del destino: «Or siam soli» [12' 00"] 15 VERDI: La forza del destino: «Ouf!... Del mondo i disinganni» [04' 21"] 16 PUCCINI: La Bohème: «Vecchia zimarra» [01' 43"] CESARE SIEPI, bass Colori compositi.

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® I GRAN TEATRE DEL LICEU , Temporada 1996-97 CONSORCI DEL GRAN TEATRE DEL LICEU GENERALITAT DE CATALUNYA � AJUNTAMENT DE BARCELONA MINISTERIO DE CULTURA AJORlCA DIPUTACIÓ DE BARCELONA Joyas y Perlas Jewellery & Pearls ® II harhiere di Siviglia Òpera còmica en dos actes Llibret de Cesare Sterhini, sobre el text de Pierre-Augustin Caron de Beaumarchais Música de Gioacchino Rossini (amb sobretitulat) Teatre Victòria Dilluns, 16 de juny, 21 h, funció núm. 25, torn A Dijous, 19 de juny, 21 h, funció núm. 26, torn E Diumenge, 22 de juny, 17 h, funció núm. 27, torn T Dimecres, 25 de juny, 21 h, funció núm. 28, torn D Dissabte, 28 de juny, 21 h, funció núm. 29, torn e Dilluns, 30 de juny, 21 h, funció núm. 30, torn B GRAN TEATRE DEL LICEU - 150e Aniversari El Liceu fa 150 anys. Moltes felicitats a tothom que ho ha fet possible. junts en farem molts més! Societat, Consorci i Fundació del Gran Teatre del Liceu. IL·LUSIONATS AMB EL NOU LICEU. 1 8 4 7 / 1 997 IL·LUSIONATS AMB EL NOU LICEU. Generalitat de Catalunya, Ministerio de Cultura, Ajuntament de Barcelona, Diputació de Barcelona, Societat del Gran Teatre del Liceu i Consell de Mecenatge Autopistas C.E.SA II BILBAO BANCO VIZCAYA ARGENTARIA � w w w # BANCACATI'JANA u u u Banco II ...J Santander ...J ...J fiii· Central Hispano � BanesfQ Borsa de Barcelona ::J ::J ::J O O Cambra Oficial O de Comerç Z z Indústria i Navegació Z - de Barcelona ...J ...J ...J : R w w W ctlV[ •••• lli!�IJf!YA TURISME DE �f� RIJiO - BARCELONA i VINSA - , �Dragados .- w � Erkimia gasNajural l l l e( e( e( 11 z winterthur Z Z e PHILIPS Grupo Endesa O O O de Barcelona c� j\igües Telefónica ...J ...J ...J A Thvssen Boettlcher ...J ...J ...J MANTENIMIENTOS ESPECIALES IIHELLI WAAGNE�1ïl RUBENS, S.A.
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Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
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Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
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Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
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SILVANA SINTOW Roberto Scandiuzzi Bass
Silvana Sintow Classicalia International Promotions & Management Schleibingerstrasse 8 - 81669 München - Germany • Tel: + 49-89- 44 21 89 00 e-mail: [email protected] • www.classicalia-international.com • Fax: + 49-89- 44 21 89 03 Roberto Scandiuzzi Bass Roberto Scandiuzzi studied with Anna Maria Bicciato in his native Treviso and made his debut at La Scala in Milan in 1982 with „Le nozze di Figaro“ under the direction of Riccardo Muti. Shortly thereafter he achieved his first great international success as Fiesco in „Simon Boccanegra“ at the Royal Opera House Covent Garden conducted by Georg Solti. Today he is one of the most renowned singers of the operatic world and enthuses the audience with his vocal beauty, his round and noble timbre and his electrifying stage presence. He is often compared with famous basses such as Ezio Pinza and Cesare Siepi, by whom he was strongly influenced. Roberto Scandiuzzi frequently appears at the most prestigious opera houses worldwide: at the Metropolitan Opera, the Opéra-Bastille in Paris, Royal Opera House Covent Garden, State Operas of Vienna and Munich, the San Francisco Opera and Zürich Opera House as well as with the leading symphonic orchestras such as the Berlin and Vienna Philharmonic, Royal Philharmonic Orchestra, London Philharmonic Orchestra, the Orchestras of Chicago, San Francisco, Philadelphia, Boston and Los Angeles, the Orchestra Filarmonica della Scala, Maggio Musicale Fiorentino, the Accademia Nazionale di Santa Cecilia, Orchestre National de Paris and Orchestre National de France, the Symphony Orchestra of Bavarian Radio and the Munich Philharmonic. The vast list of conductors he worked with includes celebrities such as Claudio Abbado, Sir Colin Davis, Valéry Gergiev, Christoph Eschenbach, Gian Luigi Gelmetti, James Levine, Fabio Luisi, Lorin Maazel, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Myung Whun Chung, Giuseppe Sinopoli, Georges Prêtre, Marcello Viotti and Wolfgang Sawallisch.
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NEW YORK CRITICS REVIEW MARIA CALLAS and RENATA TEBALDI: a Study in Critical Approaches to the Inter-Relationship of Singing
NEW YORK CRITICS REVIEW MARIA CALLAS AND RENATA TEBALDI: A Study in Critical Approaches to the Inter-relationship of Singing and Acting in Opera by MarikolVan Campen B. A., University orBritish Columbia, 1968 A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts in The Faculty of Graduate Studies Department of Theatre, Faculty of Arts, University of British Columbia We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1977 1977 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of THEATRE The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date Oct. 5, 1977 i ABSTRACT The following study is an analysis of New York reviews of performances of Maria Callas and Renata Tebaldi which attempts to discover what opera critics feel to be the most effective artistic balance between singing and acting in opera. Callas and Tebaldi have been chosen as the subjects of the reviews because of their renown as singers, the closely coinciding cir• cumstances of their careers and the polarities which they represented in the issue of acting versus singing in operatic performance.
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COLORATURA and LYRIC COLORATURA SOPRANO
**MANY OF THESE SINGERS SPANNED MORE THAN ONE VOICE TYPE IN THEIR CAREERS!** COLORATURA and LYRIC COLORATURA SOPRANO: DRAMATIC SOPRANO: Joan Sutherland Maria Callas Birgit Nilsson Anna Moffo Kirstin Flagstad Lisette Oropesa Ghena Dimitrova Sumi Jo Hildegard Behrens Edita Gruberova Eva Marton Lucia Popp Lotte Lehmann Patrizia Ciofi Maria Nemeth Ruth Ann Swenson Rose Pauly Beverly Sills Helen Traubel Diana Damrau Jessye Norman LYRIC MEZZO: SOUBRETTE & LYRIC SOPRANO: Janet Baker Mirella Freni Cecilia Bartoli Renee Fleming Teresa Berganza Kiri te Kanawa Kathleen Ferrier Hei-Kyung Hong Elena Garanca Ileana Cotrubas Susan Graham Victoria de los Angeles Marilyn Horne Barbara Frittoli Risë Stevens Lisa della Casa Frederica Von Stade Teresa Stratas Tatiana Troyanos Elisabeth Schwarzkopf Carolyn Watkinson DRAMATIC MEZZO: SPINTO SOPRANO: Agnes Baltsa Anja Harteros Grace Bumbry Montserrat Caballe Christa Ludwig Maria Jeritza Giulietta Simionato Gabriela Tucci Shirley Verrett Renata Tebaldi Brigitte Fassbaender Violeta Urmana Rita Gorr Meta Seinemeyer Fiorenza Cossotto Leontyne Price Stephanie Blythe Zinka Milanov Ebe Stignani Rosa Ponselle Waltraud Meier Carol Neblett ** MANY SINGERS SPAN MORE THAN ONE CATEGORY IN THE COURSE OF A CAREER ** ROSSINI, MOZART TENOR: BARITONE: Fritz Wunderlich Piero Cappuccilli Luigi Alva Lawrence Tibbett Alfredo Kraus Ettore Bastianini Ferruccio Tagliavani Horst Günther Richard Croft Giuseppe Taddei Juan Diego Florez Tito Gobbi Lawrence Brownlee Simon Keenlyside Cesare Valletti Sesto Bruscantini Dietrich Fischer-Dieskau
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Opera Recordings: a Very Personal Guide by Ralph Moore
“Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time.
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02-19-2020 Nozze Eve.Indd
WOLFGANG AMADEUS MOZART le nozze di figaro conductor Opera in four acts Cornelius Meister Libretto by Lorenzo Da Ponte, production Sir Richard Eyre based on the play La Folle Journée, ou Le Mariage de Figaro by Pierre-Augustin set and costume designer Rob Howell Caron de Beaumarchais lighting designer Wednesday, February 19, 2020 Paule Constable 7:30–11:00 PM choreographer Sara Erde revival stage director Jonathon Loy The production of Le Nozze di Figaro was made possible by generous gifts from Mercedes T. Bass, and Jerry and Jane del Missier The revival of this production is made possible by a gift from the Metropolitan Opera Club general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 507th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S le nozze di figaro conductor Cornelius Meister in order of vocal appearance figaro antonio Adam Plachetka Paul Corona susanna barbarina Hanna-Elisabeth Müller Maureen McKay dr. bartolo don curzio Maurizio Muraro Tony Stevenson* marcellina MaryAnn McCormick continuo harpsichord cherubino Howard Watkins* Marianne Crebassa cello David Heiss count almaviva Etienne Dupuis don basilio Keith Jameson countess almaviva Amanda Woodbury Wednesday, February 19, 2020, 7:30–11:00PM This performance is dedicated to Dr. and Mrs. Stephen D. Prystowsky in grateful recognition of their generosity to the Metropolitan Opera as members of the Council for Artistic Excellence. KEN HOWARD / MET OPERA A scene Chorus Master Donald Palumbo from Mozart’s Fight Director Thomas Schall Le Nozze di Figaro Assistant to the Set Designer Rebecca Chippendale Assistant to the Costume Designer Irene Bohan Musical Preparation Howard Watkins*, J.
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OPERA NEWS (Mailto:[email protected]?Subject=Website%20Feedback)
Features May 2013 — Vol. 77, No. 11 (http://www.operanews.org/Opera_News_Magazine/2013/5/May_2013.html) The Lion Speaks For decades, Ferruccio Furlanetto has exemplified the highest performing standard in opera. As he prepares to sing Filippo in Covent Garden's Don Carlo, the Italian bass speaks to BARRY SINGER about maintaining that standard — and where he fears the opera world is heading. Portrait photographed by James Salzano at Maserati of Manhattan, New York City Grooming by Affan Malik / Jacket: Hickey Freeman / Watch: Rolex © James Salzano 2013 View More Images Massenet's Don Quichotte at the Mariinsky with Andrei Serov as Sancho Pança © N. Razina 2013 (http://www.operanews.org/uploadedImages/Opera_News_Magazine/2013/5/Features/LionSpeaksQuichottelg513.jpg) As Thomas Becket in Assassinio nella Cattedrale at La Scala, 2009 Marco Brescia/© Teatro alla Scala 2013 (http://www.operanews.org/uploadedImages/Opera_News_Magazine/2013/5/Features/LionSpeaksAssassiniolg513.jpg) As Thomas Becket in Assassinio nella Cattedrale at La Scala, 2009 Marco Brescia/© Teatro alla Scala 2013 As Fiesco in Simon Boccanegra at Lyric Opera of Chicago, 2012 © Dan Rest 2013 (http://www.operanews.org/uploadedImages/Opera_News_Magazine/2013/5/Features/LionSpeaksInBoccanegralg513.jpg) As Fiesco in Simon Boccanegra at Lyric Opera of Chicago, 2012 © Dan Rest 2013 "I belong to a generation that is almost gone now," says Ferruccio Furlanetto, who turns sixty-four this month. "When we started — when I started — I was in a position to learn daily from these amazing directors, from these amazing conductors. It was splendid. And a young kid could really grow and learn and gain a clear idea of each new role, and that role was then marked forever." Epic vocal brilliance and an eloquent sensitivity to character have marked virtually every role undertaken by this esteemed bass from Sacile, Italy, over a thirty-nine-year professional career.
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Alberto Curci Violin Concertos
Alberto Curci Violin Concertos Franco Gulli violin Studio Orchestra • Franco Capuana Alberto CURCI (1886-1973) Violin Concertos This release brings together four superb performances Alfredo – along with Oreste de Rubertis – founded the by one of the great Italian violinists, Franco Gulli, Neapolitan version of the Amici della Musica movement, sympathetically supported by a pick-up orchestra of which for more than a decade brought the finest musicians expert Milanese musicians conducted by Franco Capuana. and ensembles to the city for recitals. Their firm diversified The name of the composer Alberto Curci (1886-1973) is into film music and in 1932 and 1936 opened branches in virtually unknown outside Italy – and not that well known Rome and Milan, the latter destined to become the major within it – even though he spent his entire career in plain publishing enterprise under Alfredo’s direction, with its sight in Palermo, Parma and his native Naples, teaching the offices in the Galleria del Corso. violin, acting as a musical administrator and lending a hand with the family music publishing business. Alberto Curci, born in Naples on 5 December 1886, showed a precocious talent for the violin and studied at the San A convenient starting point for the Curci story is 1860, when Pietro a Majella Conservatorio with Angelo Ferni, a pupil Francesco Curci (1824-1912) moved from Avellino to Naples of Alard, Bériot and Vieuxtemps. Graduating in 1904, and opened a shop selling musical instruments and hand- Alberto was advised by the pianist Eugen d’Albert to go copied scores. His children Pasquale, Achille and Concetta to Berlin to further his studies with Joseph Joachim.
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Studyguidegiovanni.Pdf
DON GIOVANNI Opera in two acts by Mozart, text by Lorenzo da Ponte First performance at the National Theatre, Prague, October 28, 1787 THE PATRICIA & RODES HART PRODUCTION October 6 & 8, 2016 Andrew Jackson Hall, Tennessee Performing Arts Center Directed by John Hoomes • Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS The Commendatore Peter Volpe* Donna Anna, his daughter Karen Slack* Don Ottavio, her betrothed Yi Li* Don Giovanni, a young nobleman David Adam Moore* Leporello, his servant Donovan Singletary* Donna Elvira, a lady of Burgos Alyson Cambridge* Zerlina, a country girl Laura Krumm* Masetto, betrothed to Zerlina Jose Rubio* * Nashville Opera debut TICKETS Nashville Opera, 615.832.5242, nashvilleopera.org Available at all Ticketmaster outlets or at 615.255.ARTS MORE INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY ACT I ACT II At night, outside the Commendatore’s palace, Leporello Under Elvira’s balcony, Leporello exchanges cloaks with his grumbles about his duties as servant to Don Giovanni, a master to allow Giovanni to woo Elvira’s maid in disguise. dissolute nobleman. Soon the masked Don appears, pur - Leporello leads Elvira off. When Masetto passes with a sued by Donna Anna, the Commendatore’s daughter, whom band of armed peasants bent on punishing Giovanni, he has tried to seduce. The Commendatore himself answers Giovanni gives them false directions. After the armed peas - Anna’s cries. Don Giovanni kills him in a duel and then ants exit, Giovanni takes great pleasure in beating up escapes.
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