DOCSLIB.ORG

Abraham - Märchen Im Grand-Hotel - 2017 Berlin Dir Benzwi 3117,01

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Abraham - Märchen Im Grand-Hotel - 2017 Berlin Dir Benzwi 3117,01 Woche-2018-01-N Details: http://www.euro-opera.de/Woche-1801-L.html Abraham - Märchen im Grand-Hotel - 2017 Berlin dir Benzwi 3117,01 20.10 Oper Komische Oper Berlin Aufzeichnung vom 17.12.2017 PAUL ABRAHAM "Märchen im Grand-Hotel" Lustspieloperette in zwei Akten mit einem Vor- und Nachspiel Libretto: Alfred Grünwald und Fitz Löhner-Beda nach Alfred Savoir Talya Lieberman, Sopran - Die Infantin Isabella Johannes Dunz, Tenor - Prinz Andreas Stephan Tom Erik Lie, Bariton - Präsident Chamoix, Besitzer des Grand Hotels Max Hopp, Sprechrolle - Albert, Zimmerkellner Philipp Meierhöfer Bass - Sam Makintosh, ein Filmmagnat Sarah Bowden, Sprechrolle - Marylou, seine Tochter Lindenquintett Berlin Orchester der Komischen Oper Berlin Leitung: Adam Benzwi 23.00 Märchen im Grand-Hotel (Alfred Grünwald und Fritz Löhner-Beda; 28. März 1934 Wien, Theater an der Wien) Wie bei Paul Abraham: Hotel Danieli in Venedig (Deutschlandradio/Rita und Rudi Schneider) Ein Stück der "frech-frivolen Vergnügungsästhetik der späten Weimarer Republik", vergnüglich umgesetzt vom drauf bestens eingestellten Team der Komischen Oper – das war der Kritiker-Tenor nach der jüngsten Operettenpremiere des Hauses. Dabei hat dieses "Märchen im Grand-Hotel" auch einen tragischen, gar nicht märchenhaften Aspekt: es war einer der letzten, schon von beträchtlichen öffentlichen Ressentiments begleiteten, Bühnenversuche des wegen seiner jüdischen Herkunft zunehmend geächteten Paul Abraham vor seiner erzwungenen Emigration in die USA. 1 Coccia - Caterina di Guisa - 2017 Hanau dir n 3058,01 2017 Hanau-Wilhelmsbad, Comoedienhaus Carlo Coccia Caterina di Guisa Melodramma in due atti Herzog Henri de Guise - Nenad Cica Catherine de Clèves - Chrissa Maliamani Arthur de Clèves - Laura Rieger Graf de Saint-Mégrin - Vassilis Kavayas Virtuosi ambulanti Mark Pogolski Caterina di Guisa (14.2.1833 Milano S) Caterina di Guisa (Felice Romani, nach Henri III et sa cour von Alexandre Dumas d. Ä.), melodramma 2 Akte (14. Febr. 1833 Mailand, Scala) Textbuch MDZ-BSB - 2 - 1836 Turin - it Herzog Henri de Guise - Bariton Catherine de Clèves, seine Gemahlin - Sopran Arthur de Clèves, ihr Vetter - Sopran Graf de Saint-Mégrin - Tenor Edelherren und -damen, Offiziere, Soldaten, Wachen, Masken Frankreich, spätes 16. Jahrhundert Caterina di Guisa (14.2.1833 Milano S) Caterina di Guisa (Felice Romani, nach Henri III et sa cour von Alexandre Dumas d. Ä.), melodramma 2 Akte (14. Febr. 1833 Mailand, Scala) Textbuch MDZ-BSB - 2 - 1836 Turin - it Herzog Henri de Guise - Bariton Catherine de Clèves, seine Gemahlin - Sopran Arthur de Clèves, ihr Vetter - Sopran Graf de Saint-Mégrin - Tenor Edelherren und -damen, Offiziere, Soldaten, Wachen, Masken Frankreich, spätes 16. Jahrhundert 2 Donizetti - La Favorita - 2017 Madrid dir Oren 3110,01 19.00 El fantasma de la ópera Novedades discográficas: Carlos Álvarez en La Monnaie. Obras de GARCÍA LORCA, ORTEGA, PENELLA, MORENO TORROBA, PÉREZ SORIANO, SERRANO, SOUTULLO Y VERT y otros. C. Álvarez (bar.), R. Fdez. Aguirre (p.). Temporada de Ópera de Euroradio. Desde el Teatro Real de Madrid. DONIZETTI: La Favorita. Alphonse XI - Simone Piazzola Léonor - Jamie Barton Inés - Marina Monzó Fernand - Javier Camarena Balthazar - Simón Orfila Don Gaspar - Antonio Lozano Un señor - Alejandro del Cerro Coro y Orq. Titulares del Teatro Real (Coro Intermezzo. Orq. Sinf. de Madrid). Dir.: Daniel Oren (Grab. de RNE el 6-XI-2017). 23.00 La Favorite (2.12.1840 Paris O) [rev L'Ange de Nisida] La Favorita (La Favorite) (Die Favoritin; ursprünglich: L'Ange de Nisida in drei Akten; Alphonse Royer/Gustave Vaëz nach Baculard d'Arnaud, Le comte de Comminges), grand opéra 4 Akte (komponiert 1839 (Ange de Nisida) und 1840 (Favorite) in Paris; UA 2. Dez. 1840 Paris, Grand Opéra) "La favorita ist durchweg schön, der letzte Akt aber: ein Meisterwerk!" lobte Arturo Toscanini. Zweifellos darf das Werk von Gaetano Donizetti als Glanzstück innerhalb der Gattung der französischen Grand Opéra gelten. Allerdings ist diese Fassung im Lauf des 19. Jahrhunderts durch die italienische Version verdrängt worden. Gut ein Dutzend Aufnahmen von "La favorita" bzw. "La favorite" liegen bis heute vor, die erste entstand bereits 1912. Die nächsten Studioproduktionen folgten dann erst mit Einführung der Langspielplatte in den 1950er-Jahren. 3 Meyerbeer - Le Prophète - 2017 Berlin dir Mazzola 3115,01 19.05 Oper Deutsche Oper Berlin Aufzeichnung vom 26.11.2017 GIACOMO MEYERBEER "Le Prophète", Grand Opéra in fünf Akten Libretto: Eugène Scribe und Émile Deschamps Gregory Kunde, Tenor - Jean van Leyden Clémentine Margaine, Alt - Fidès Elena Tsallagova, Sopran - Berthe Derek Welton, Bass - Zaccharias Andrew Dickinson, Tenor - Jonas Noel Bouley, Tenor - Mathisen Seth Carico, Bariton - Graf Oberthal Chor der Deutschen Oper Berlin Kinderchor der Deutschen Oper Berlin Orchester der Deutschen Oper Berlin Leitung: Enrique Mazzola Mit der Wiedertäuferbewegung des 16. Jahrhunderts entscheiden sich Scribe und Meyerbeer erneut für einen religionsgeschichtlichen Stoff: einen Konflikt, der von Sektierern und Eiferern entfacht wird und der dem Dramatiker die Möglichkeit für Massenszenen und groß angelegte Chöre bietet. Die Personen der Handlung geben Anlaß zu zeitkritischen Parallelen: heuchlerische Verführer, der falsche Prophet, die zügellosen Gesellen, die man die Sozialisten des 16. Jahrhunderts nennt, reaktionäre Fürsten, feile Spitzel und das entmündigte Volk. Neue Wege beschreitet Meyerbeer auch hier in der Instrumentation: So intonieren im V. Akt dreifach geteilte Kontrabässe dissonante Akkorde, die wie ein drohendes, diffuses Geräusch wirken. Ein formales Großkonzept verzahnt heterogene Strukturen und schafft abseits von tradierter Nummernfolge ausladende Spannungsbögen. Höhepunkt der Tableaukomposition ist die Domszene im IV. Akt: In einem groß dimensionierten Bühnen- und Klangraum wird vermittels einer multiperspektivischen musikalischen Montagetechnik eine unerreichte Durchdringung von spectacle und drame theatralisch konkretisiert. 4 Puccini - Il Tabarro - 2017 München dir Petrenko 3116,01 IL TRITTICO Il tabarro / Suor Angelica / Gianni Schicchi Drei Opern in je einem Akt Komponist Giacomo Puccini - Libretti von Giuseppe Adami und Giovacchino Forzano In italienischer Sprache mit deutschen Übertiteln | Neuproduktion Sonntag, 17. Dezember 2017 18.00 Uhr Nationaltheater Bayerisches Staatsorchester Chor der Bayerischen Staatsoper Musikalische Leitung - Kirill Petrenko Inszenierung - Lotte de Beer Bühne - Bernhard Hammer Kostüme - Jorine van Beek Chöre - Sören Eckhoff Il tabarro Michele - Wolfgang Koch Luigi - Yonghoon Lee Il Tinca - Kevin Conners Il Talpa - Martin Snell Giorgetta - Eva-Maria Westbroek La Frugola - Heike Grötzinger Ein Liedverkäufer - Dean Power 5 Rossini - Semiramide - 2017 München dir Mariotti 2870,01 SONNTAG, 12.02.2017 18:00 BIS 22:00 UHR BR-KLASSIK LIVE AUS DEM MÜNCHNER NATIONALTHEATER - SURROUND GIOACCHINO ROSSINI: "SEMIRAMIDE" Melodramma tragico in zwei Akten In italienischer Sprache Semiramide - Joyce DiDonato Assur - Alex Esposito Arsace - Daniela Barcellona Idreno - Lawrence Brownlee Oroe - Simone Alberghini (Christophoros Stamboglis) und andere Chor der Bayerischen Staatsoper Bayerisches Staatsorchester Leitung: Michele Mariotti Absolut zurechnungsfähig, mit voller Absicht, bringt Orest seine Mutter Klytämnestra um - wie Opernfreunde aus "Elektra" von Richard Strauss wissen. Eine rund 80 Jahre ältere Oper, "Semiramide" von Gioachino Rossini, führt uns hingegen vor Augen, wie jemand seine Mutter versehentlich tötet und so ganz unfreiwillig ebenfalls einen Vatermord rächt. Der babylonische Stoff wurde nicht weniger als 60 Mal vertont, kein Geringerer als Voltaire lieferte die Vorlage zu Rossinis zweiaktigem "Melodramma tragico". Irgendwo zwischen Gluck und Meyerbeer bewegt sich der "Schwan von Pesaro" stilistisch, bei dieser 1823 am Teatro La Fenice zu Venedig aus der Taufe gehobenen Partitur. Die Bayerische Staatsoper, an der "Semiramide" szenisch zuletzt 1832 aufgeführt wurde (1990 nur konzertant), präsentiert als dritte Neuproduktion der laufenden Saison eine Neuinszenierung des Regisseurs David Alden. In der Ära Sir Peter Jonas war er maßgeblich an der Münchner Barockopern-Renaissance beteiligt. Für Star- Glamour sorgt die amerikanische Mezzosopranistin Joyce DiDonato in der Titelrolle der babylonischen Königin, mit der früher Joan Sutherland und Montserrat Caballé brilliert haben. 6 Kontakt: [email protected] Service: Neu ab 1.1.2018: Die Aufnahmen der Woche Woche 1: http://www.euro-opera.de/Woche-2018-01-N.pdf Woche 2: http://www.euro-opera.de/Woche-2018-02-N.pdf Woche 3: http://www.euro-opera.de/Woche-2018-03-N.pdf Woche 4: http://www.euro-opera.de/Woche-2018-04-N.pdf Die Radio-Programmseiten wurden heute aktualisiert. Opern: http://www.euro-opera.de/RADIOOP.html Konzerte http://www.euro-opera.de/RADIOKON.html Oper und Konzert 15.09.2017 - 15.11.2017 http://www.euro-opera.de/RADIOHEU.html Zu "meiner persönlichen Musiksammlung" geht es über diesen Link: Die Aktualisierung ist weitgehend abgeschlossen. http://www.euro-opera.de/mpms.html Ganz ohne Fehler geht es nicht. Zur Behebung erbitte ich eine Mail. Um diese Information abzubestellen, genügt eine Mail an: [email protected] Viele Grüße Roland www.euro-opera.de/ 7 .
Load more

Recommended publications
  • The Kapralova Society Journal Fall 2018
    Volume 16, Issue 2 The Kapralova Society Journal Fall 2018 A Journal of Women in Music Three Nineteenth Century Composers of Salon Music: Léonie Tonel, Maddalena Croff, Elisa Bosch Tom Moore The name of LÉONIE TONEL is forgotten were highly-regarded horticulturists, origi- today, but in the nineteenth century, despite nally from Gand (Ghent). Jean-Baptiste Tonel, her foreign origins, she made a significant born in Gand in 1819, traveled to Mexico in career in Paris as pianist and composer of sa- 1845 (other sources say about 1846), appar- lon music, producing a long catalogue of ently joining an unnamed older brother, and works for piano, published not only in France was followed by family members Auguste and Germany, but even in New York City. Tonel in 1850 and Constant Tonel in 1852. 3 Tonel’s name does appear in Aaron Cohen’s Tonel is mentioned in the Souvenirs de Voy- International Encyclopedia of Women Com- age 4 of his fellow Belgian J.-J. Coenraets posers ; however, the encyclopedia mentions (where the name is spelled Tonell). According only one of her works (the op. 2, Perles et to an obituary in the Bulletins d’arboricul- Diamans , a mazurka), gives no date of birth or ture ,5 he established his residence in Cordova, death, and describes her only as “19 th -century Vera-Cruz, Mexico (about 110 km inland Special points of interest: French composer”. As will be seen, she is from the port city of Veracruz). He returned to certainly French only by adoption. Belgium numerous times. Most importantly, The nineteenth-century salon Tonel is a very unusual surname.
    [Show full text]
  • Notes Upon Dancing Historical and Practical by C. Blasis
    : / NOTES UPON DANCING, HISTORICAL AND PRACTICAL, BY C. BLASIS, BALLET MASTER TO THE ROYAL ITALIAN OPERA, COVENT GARDEN ; FINISHING MASTER OF THE IMPERIAL ACADEMY OF DANCING AT MILAN; AUTHOR OF A TREATISE ON DANCING, AND OTHER WORKS ON THEATRICAL ART, PUBLISHED IN ITALY, FRANCE, AND ENGLAND. FOLLOWED BY A HISTORY OF THE IMPERIAL AND ROYAL ACADEMY OF DANCING, AT MILAN, TO WHICH ARE ADDED BIOGRAPHICAL NOTICES OF THE BLASIS FAMILY, INTERSPERSED WITH VARIOUS PASSAGES ON THEATRICAL ART. EDITED AND TRANSLATED, FROM THE ORIGINAL FRENCH AND ITALIAN, by R. BARTON. WITH ENGRAVINGS. ? - 4 . / E r -7 ' • . r ' lionJjon PUBLISHED BY M. DELAPORTE, 116, REGENT STREET, AND SOLD BY ALL BOOKSELLERS. 1847. Digitized by Google M'OOWAN AND CO., GREAT WINDMILL STREET, HAYMAREET Digitized by Google Digitized by Google ; ADVERTISEMENT. (by tiik kditor.) It will be seen, that the principle object of this work is to place that part of the entertainment at the Lyric Theatres or Opera, called the Ballet, on a new basis. This, the eminent artiste, who is the author of this work, has already effected in his own country, where he is patronized and supported by the government, and is there undoubtedly the first in his profession, as he is perhaps in Europe. The true object of the Ballet appears to be the Beautiful in motion, supported by expressive and well-adapted music. This may be effected in two ways, by two classes of movements the one is quick, vehement and joyous, and is no other than Dancing—but the other class of motions is a far different tiling ; it is no less than a mute expression of feelings, passions, ideas, intentions, or any other sensations belonging to a reasonable being—this is properly termed Pantomime, and must also be sus- tained by music, which now becomes a kind of explanatory voice ; and while it greatly assists the Mime, when well adapted to the subject to be ex- pressed by his gestures, it produces upon the mind and feelings of the spectator an extraordinary effect.
    [Show full text]
  • 15 FINAL VDL II De Simone-Maccavino APPENDICE E
    PAOLA DE SIMONE – NICOLÒ MACCAVINO APPENDICE I I titoli della Collezione Guillaume in trascrizione diplomatica dall’elenco allega- to nel Registro d’inventario della Biblioteca del Conservatorio di Musica San Pietro a Majella - Esercizio finanziario 1895-1896 Tabella n. 4* Figurini di Opere Figurini di Balli A A Astuccio d’oro Assedio di Leyda Adelia Alfredo Albina di Lerida Azurina Alzira Appuntamento Adolfo di Warbel Amore e Psiche Assedio di Leyda [Ballo] Anacreonte Aroldo Alcidoro [Alcindoro] Anna Bolena Astuzie amorose Alceste Alloggio militare Aida Amore e mistero Arabi nelle Gallie Ariella Attila Adoratori del sole Antonio Foscarini Africana Alfonso d’Aragona [Il ritorno di Alfonso Abecerraghi e Zegrindi d’Aragona, Ballo] Alina Amazilek Amalia Candiano Armida e Rinaldo Angelica Veniero Assedio di Negroponte Alchimista Assedio di Corinto Amore alla prova B B Batilde di Turenna Batilde Wolman Betly Bassora Briganti Benvenuto Cellini Birraio di Preston Batilde di Turenna [opera] Bosco di Dafne Bonaventura Belisario Bianchi e ne[g]ri * I titoli evidenziati in grassetto risultano nell’elenco registrato all’acquisto ma non in Collezione. 276 I FIGURINI DELLA COLLEZIONE CARLO GUILLAUME Battaglia di Nav.[arin]o Bella fanciulla di Gand Ballo in maschera I bucanieri Bianca Turenga Boccaccio Buondelmonte Battaglia di Legnano Bianca Orsini Bravo C C Colonnello Carlo Himmerich Conte di Chalais Il cittadino e la statua Contrabbandieri Cristina di Svezia Coscritto Carlo di Roverestein [sic] Conte di Rossiglione Castore e Polluce Caterina di Blum Capra Cenerentola Cacciatore nero Caterina di Guisa Camelia Ciarlatani Coppa de’ Fidanzati Corradino Cadet barbiere Caterina Howard Corazziere di Brest Cantante Collegiali in vacanza Chiara di Rosemberg Coscritto Celinda Caccia di Enrico IV Costanza d’Aragona Corte di amore Cantata nozze Francesco 2° Caterina Cornaro Corsaro Candiano C.[on]te di Marsico Claudina Corrado d’Altamura Curioso accidente Carlo Gonzaga Coraggio di una donna Chi dura vince Camelia Corsaro Cid Caterina Cornaro C.[on]te di S.
    [Show full text]
  • La Voce Di Casa Verdi Trimestrale - Nuova Serie - N
    la Voce di Casa Verdi Trimestrale - Nuova serie - N. 6 - Aprile 2013 foto: Giuseppina Strepponi la Voce di Casa Verdi GIUSEPPINA STREPPONI Giuseppina Strepponi, all’anagrafe Clelia Maria Josepha Strepponi (Lodi, 1815 - Sant’Agata di Villa- nova sull’Arda, 1897), soprano, è nota come la seconda moglie di Giuseppe Verdi. Figlia primogenita di una famiglia di musicisti, iniziò a studiare pianoforte con il padre, organista del duomo di Monza e poi direttore del Teatro Grande di Trieste. Dal 1832 studiò piano e canto al Conser- vatorio di Milano, ottenendo nel 1834 il primo premio per il bel canto. Nel dicembre dello stesso anno debuttò a Adria in Chiara di Rosembergh di Luigi Rossi e l’anno successivo ottenne il primo grande successo al Teatro Grande di Trieste con Matilde di Shabran di Rossini. Notata dall’impresario Bartolomeo Merelli, ottenne numerosi ingaggi: a Vienna, nello stesso 1834, fu Adalgisa nella Norma e Amina ne La Sonnambula, ambedue di Bellini. Nel 1836 si legò al tenore Napoleone Moriani, dal quale ebbe due figli, e più tardi a Merelli, dal quale ebbe pure un figlio che però morì bambino. Seguirono anni di intensa attività operistica. Ricoprì il ruolo di Ninetta ne La gazza ladra di Rossini, di Elvira ne I Puritani di Bellini, di Elena nel Marino Faliero di Donizetti e fu protagonista ne La Cenerentola di Rossini, nella Lucia di Lammermoor e nella Maria di Rudenz di Donizetti, nella Beatrice di Tenda di Bellini e nella Caterina di Guisa di Carlo Coccia. Nel 1839 debuttò alla Scala nel ruolo di Leonora alla prima rappresentazione dell’Oberto di Giu­‑ seppe Verdi.
    [Show full text]
  • Universita' Degli Studi Di Pisa
    UNIVERSITA’ DEGLI STUDI DI PISA FACOLTA’ DI LETTERE E FILOSOFIA CORSO DI LAUREA IN SCIENZE DEI BENI CULTURALI INDIRIZZO BIBLIOGRAFICO - BIBLIOTECONOMICO CHIARA CATANIA IL FONDO GANDOLFO NELLA BIBLIOTECA DEL CONSORZIO ISTITUTO MUSICALE “V. BELLINI” DI CATANIA TESI DI LAUREA Relatore: Chiar.mo Prof. Alberto Petrucciani 1 ANTONINO GANDOLFO Dell’attività del musicista Antonino Gandolfo poco si conosceva prima della donazione all’Istituto musicale “V. Bellini” di Catania del suo Fondo personale da parte della famiglia Leonardi, che lo aveva ereditato dalla moglie dell’artista, Teresa Leonardi. Due infatti sono le opere pubblicate di cui si ha notizia: la Marcia funebre in occasione del trasporto delle ceneri di V. Bellini da Parigi a Catania, edita a Milano da Paolo De Giorgi1, e 4 Marce funebri per banda, eseguite nel giorno del trasporto della salma di Vittorio Emanuele II a Roma, pubblicate a Firenze da Genesio Venturini2. Pochi, prima della donazione, anche i manoscritti noti: solo due esemplari de Il Sultano (di cui uno autografo) conservati nella biblioteca del Conservatorio di S. Pietro a Majella. Non è stato semplice ricostruire la vita e la produzione di Gandolfo, considerati gli scarsi riferimenti bibliografici, in cui tra l’altro si sono riscontrati degli errori (Schmidl attribuisce la Caterina di Guisa a Riccardo Gandolfi3, falsa attribuzione poi ereditata da Manferrari4 e dal DEUMM5). Preziosa è stata la lettura di Pasquale Castorina, storico catanese e amico del musicista, che nella sua storia dei musicisti catanesi6 ci fornisce importanti notizie. 1 Dizionario degli editori musicali italiani 1750-1930, a cura di B. M. Antolini, Pisa, Edizioni ETS, 2000, p.
    [Show full text]
  • Holover-Opera-Part-1.Pdf
    J & J LUBRANO MUSIC ANTIQUARIANS Item 69 Catalogue 82 OPERA SCORES from the Collection of Jerome Holover (1943-2013) Part 1: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. v Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Fine Items & Collections Purchased v Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
    [Show full text]
  • Representacions Operístiques a Barcelona (1837-1852)
    Representacions operístiques a Barcelona (1837-1852) L’eclosió teatral a partir de la prensa. L’evolució del gust en el públic del segle XIX. Nous valors de la lírica a partir de la crítica Jaume Radigales i Babí ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) i a través del Dipòsit Digital de la UB (diposit.ub.edu) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) y a través del Repositorio Digital de la UB (diposit.ub.edu) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia.
    [Show full text]
  • Naples and the Emergence of the Tenor As Hero in Italian Serious Opera
    NAPLES AND THE EMERGENCE OF THE TENOR AS HERO IN ITALIAN SERIOUS OPERA Dave William Ekstrum, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 201 8 APPROVED: Jeffrey Snider, Major Professor Peter Mondelli, Committee Member Stephen Morscheck, Committee Member Molly Fillmore, Interim Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies of the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Ekstrum, Dave William. Naples and the Emergence of the Tenor as Hero in Italian Serious Opera. Doctor of Musical Arts (Performance), May 2018, 72 pp., 1 table, bibliography, 159 titles. The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples.
    [Show full text]
  • Notes Upon Dancing Historical and Practical by C. Blasis
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com | - |BIBLIOTECA NAZIONALE || CENTRALE – FIRENZE –=: 50.000 - 10-939 – \ * - ". pH 10 E FIVE SHILLIN08. - C. -- ". - NOTES UPON DANCING || Histori Al AND PRACTICAL - \\ - ' BY || C. B L AS IS, All sign to THE ROYAL ITALIAN opera. "sing MASTER or the - all ACADEMY of DANCING AT fil. AN AUTHOR of VARIous OTHER WORKS, &c. PUBLISHED BY M. DE LA PORTE, 16, REGENT STREET, AND SOLD BY ALL BOOKSELLERS. | | - * ~ * * * * * * * * * * -- M. - - - -- • ." - - NOTES UPON DANCING, HISTORICAL AND PRACTICAL, BY C. B L A SIS, BALLET MASTER TO THE ROYAL ITALIAN OPERA, covENT GARDEN ; F IN ISHING MASTER OF THE IMPERIAL ACADEMY OF DANCING AT MILAN, AUTHOR or A TREATIse ON DANCING, AND OTHER WORKS ON THEATRICAL ART, PUBLISHED IN ITALY, FRANCE, AND ENGLAND. FOLLOWED BY A HISTORY OF THE IMPERIAL AND ROYAL ACADEMY OF DANCING, AT MILAN, T0 WHICH ARE ADDED BIOGRAPHICAL NOTICES OF THE BLASIS FAMILY, INTERSPERSED WITH WARIOUS PASSAGES ON THEATRICAL ART. ED ITED AND TRANSLATED, t 3. 22:43: FROM THE ORIGINAL FRENCH AND ITALIAN, 2° ty", a * *.* ** By R. BARTON. | WITH ENGRAVINGS. 31 out on ; PUBLISHED BY M. DELAPORTE, 1 16, REGENT STREET, AND SOLD BY ALL BOOKSELLERS. * 1847. M‘GowAN AND Co., GREAT WINLMILL STREET, HAYMARKET. 60. 3. Q 3 |§ § § o -*. * 24.4%-4. /&% 2/2/2/0% exo~/9% * * : :w .2. : * -s -* - -: :s • . f; - * f - - *-, * * * : y * - * . : - :** - * . t * - - - - - - -- - -- | - -- - * - - - - -- - -- - --- * - -- -s - * --- - - . - - - --: - -- - - - * -* -- .-- ' -- -* -- - --- -1. -- -- , -- - .. - --- * , /-- ** --- -- - - - --\ ** - - --- . - AD VERTISE MENT. (BY THE EDIToR.) IT will be seen, that the principle object of this work is to place that part of the entertainment at the Lyric Theatres or Opera, called the Ballet, on a new basis.
    [Show full text]
  • Martina Grempler: Das Teatro Valle in Rom 1727-1850. Opera Buffa Im Kontext Der Theaturkultur Ihrer Zeit Schriftenreihe Analecta Musicologica
    Martina Grempler: Das Teatro Valle in Rom 1727-1850. Opera buffa im Kontext der Theaturkultur ihrer Zeit Schriftenreihe Analecta musicologica. Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom Band 48 (2012) Herausgegeben vom Deutschen Historischen Institut Rom Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat der Creative- Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC BY-NC-ND 4.0) unterliegt. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Das Teatro Valle in Rom1727–1850 Analecta musicologica Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in RoM Band 48 Martina Grempler Das Teatro Valle in Rom 1727–1850 Operabuffa im teKon xt der Theaterkultur ihrer Zeit Bärenreiter Kassel ·Basel ·London ·New York ·Praha Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über www.dnb.de abrufbar. www.baerenreiter.com
    [Show full text]
  • Ópera E Gênero : Personagens En Travesti Em Uma Nova Perspectiva
    UNESP - UNIVERSIDADE ESTADUAL PAULISTA LUIZA HELENA KRAEMER FRANCESCONI ÓPERA E GÊNERO : PERSONAGENS EN TRAVESTI EM UMA NOVA PERSPECTIVA SÃO PAULO 2018 LUIZA HELENA KRAEMER FRANCESCONI ÓPERA E GÊNERO : PERSONAGENS EN TRAVESTI EM UMA NOVA PERSPECTIVA Dissertação apresentada ao Programa de Pós- Graduação em Música do Instituto de Artes – IA, da Universidade Estadual Paulista “Júlio de Mesquita Filho” - UNESP, como parte dos pré- requisitos para obtenção do título de Mestre em Música. Área de Concentração: Musicologia, Etnomusicologia, Educação Musical Orientador: Prof. Dr. Achille Picchi SÃO PAULO 2018 Ficha catalográfica preparada pelo Serviço de Biblioteca e Documentação do Instituto de Artes da UNESP F815o Francesconi, Luiza Helena Kraemer, 1975- Ópera e gênero : personagens em travesti em uma nova perspectiva / Luiza Helena Kraemer Francesconi. - São Paulo, 2018. 123 f. Orientador: Prof. Dr. Achille Picchi. Dissertação (Mestrado em Música) – Universidade Estadual Paulista “Júlio de Mesquita Filho”, Instituto de Artes. 1. Performance (Arte). 2. Mulheres na ópera. 3. Teoria queer. I. Achille Picchi. II. Universidade Estadual Paulista, Instituto de Artes. III. Título. CDD 700.103 (Laura Mariane de Andrade - CRB 8/8666) LUIZA HELENA KRAEMER FRANCESCONI ÓPERA E GÊNERO: PERSONAGENS EN TRAVESTI EM UMA NOVA PERSPECTIVA Dissertação aprovada, apresentado à Universidade Estadual Paulista “Júlio de Mesquita Filho” - UNESP, como parte das exigências para a obtenção do título de Mestre em Música. São Paulo, 06 de setembro de 2018. BANCA EXAMINADORA ________________________________________ Prof. Dr. Achille Picchi Orientador - UNESP ________________________________________ Prof. Dr. Paulo M. Kühl Membro 1 - UNICAMP ________________________________________ Prof. Dr. Wladimir Mattos Membro 2 - UNESP Agradeço aos meus pais, pelo carinho, incentivo, revisões e amor. Ao Fabs por toda a paciência e compreensão.
    [Show full text]
  • Caterina Di Guisa Alexander Weatherson
    A miracle written twice: Caterina di Guisa Alexander Weatherson Just as a score begins with a cavatina and ends with a cabaletta so the life of Carlo Coccia began contrastato and ended luminoso. Born of a modest musical dynasty in Naples on 14 April 1782, the son of Nicola Coccia, a violinist, he was enrolled in the Conservatorio della Madonna di Loreto at the tender age of ten where his infantile prowess attracted the attention of Fedele Fenaroli and Giovanni Paisiello who in turn and in tandem took his education in hand. As a result he was destined to become the alternative choice of a generation of opera lovers forever confined to the airs and graces of the Settecento and bitterly opposed to the barbs and beatitudes of a certain brilliant composer not yet on the horizon. Like all his peers he opened his career with a chain of farse - the only friendly genre in an age of military invasion and political sins. It was Paisiello who got him his first commission: at the Teatro Valle in Rome on 14 November 1807, with Il matrimonio per lettere di cambio based on a play by Camillo Federici (1790) itself parodied from Raymond Poisson's Le marriage fait par lettre de change of 1735 (and fatally the same source for La cambiale di matrimonio which would ignite the career of his rival Rossini in three years time). Alas the young Neapolitan barely survived the challenge - his opera sank and he was ready to throw in the sponge but Paisiello threw him a lifebelt instead, and in the Spring of 1808 he re-emerged, this time at the Teatro degli'Intrepidi of Florence with Il poeta fortunato which was just fortunate enough to confirm its composer's vocation.
    [Show full text]