DOCSLIB.ORG

The Musical Works of Pauline Viardot-Garcia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Musical Works of Pauline Viardot-Garcia University of Calgary PRISM: University of Calgary's Digital Repository Arts Arts Research & Publications 2011 The Musical Works of Pauline Viardot-Garcia (1821-1910) A chronological catalogue, with an index of titles and a list of writers set, composers arranged, & translators and arrangers; together with the musical incipits of works and a discography Waddington, Patrick; Žekulin, Nicholas G.; Zekulin, Nicholas G. http://hdl.handle.net/1880/48502 bibliography Downloaded from PRISM: https://prism.ucalgary.ca The Musical Works of Pauline Viardot-Garcia (1821-1910) A chronological catalogue, with an index of titles and a list of writers set, composers arranged, & translators and arrangers compiled by Patrick Waddington together with the musical incipits of works and a discography compiled by Nicholas G. Žekulin New online edition, thoroughly revised, augmented and recast Heretaunga (New Zealand) and Calgary (Canada) 2011 © Patrick Waddington, 2001, 2004, 2011 and © Nicholas G. Žekulin, 2011. All rights reserved in all countries, including moral rights. No part of this work may be reproduced in any form without authorisation. First published by Whirinaki Press in 2001. 2nd edition, revised and enlarged, 2004. New online edition, 2011. Viardot catalogue: introductory material ii Contents Note on the new online edition Bibliography 1. Chief published and online sources and authorities 2. Some relevant theses 3. Select modern collections and editions of the music Chronological catalogue Miscellaneous and undatable manuscripts Index of titles List of writers set, composers arranged, & translators and arrangers Chronological list of musical incipits Recordings of Pauline Viardot’s music Viardot catalogue: introductory material iii Note on the new online edition Pauline Viardot wrote a quite astonishing amount of music, yet never considered herself a composer by profession: she was rather a singer, pia- nist, teacher and materfamilias. The works that she produced arose from these other functions, and were frequently experiments, test pieces, or tasks for herself, her pupils and her children to undertake and have con- structive fun with. Some were simply adaptations of one kind or another from Chopin, Schubert, Brahms and other masters, or arrangements of popular French and Spanish airs. Her works carried no opus numbers, ex- isted in variant forms, often remained in manuscript, and were for the most part brief. As one of her pupils put it, ‘Unlike most composers, Viardot seemed unwilling to make her own compositions public. All her life she shrank from publicity in any form.’ That is not to say that Pauline Viardot’s music has no character or originality: far from it. Much of it ex- hibits that same genius and intellectual strength which distinguished her from lesser contemporaries on the concert platform or the operatic stage. As her career developed, the quantity and seriousness of what she wrote became ever more remarkable. It is both good and rewarding that a wave of modern performers should bring her fresh and enjoyable compositions to the attention of a music-loving public. But they remain essentially spontaneous and occasional, unlike that of the many composers who ad- mired her and counted her their colleague or friend: Liszt, Chopin, Schu- mann, Meyerbeer, Gounod, Berlioz, Brahms, Tchaikovsky, Saint-Saëns, Fauré, Lalo, Hahn... It is because of her eclecticism, her ventures into many disparate fields, that Pauline Viardot’s work is best viewed from the chronological perspective of her lifetime. Among other things, the ar- rangement by year clearly demonstrates how busy and creative she was even in the long decades of her widowhood. Despite the foregoing, it should not be thought that Pauline Viardot as a composer has been ‘discovered’ only recently. As early as 1843 music critics were applauding her inventiveness, refinement, warmth and spe- cial charm. Later, Saint-Saëns among others praised her compositions highly, and in her maturity one commentator was so bold as to compare her songs to Schubert’s. At her death, Henri de Curzon stated that she had written four hundred and fifty works. How this figure was arrived at cannot be said, but it almost certainly counts as two or more each work that was reissued in a variant form or forms, for instance a song published originally in one language and later in another or others. It may well also embrace those many items not by Pauline Viardot herself which she used Viardot catalogue: introductory material iv in her Ecole classique du chant, and which for the sake of completeness are included in the present online catalogue. Four hundred and fifty is nevertheless a useful number to bear in mind as the tally of her pro- ductions creeps up, with hitherto unknown pieces continually surfacing in libraries and personal archives. Most of these are of course in manuscript, but a few published in now rare periodicals also remain to be located. This online catalogue will be able to do what its printed precursors could achieve only with difficulty and at great extra cost, namely to add from time to time such new items as may appear, as well as to correct or revise particular entries on the basis of fresh information. But our database has further aims. Ever since The Musical Works of Pauline Viardot-Garcia first appeared as a brochure in 2001, certain lim- itations then acknowledged have been hovering in the background. Some were partially addressed in the revised and enlarged second print edition (2004), but others still remained. With the veritable eruption of new in- terest in Pauline Viardot over recent years, especially in her composi- tions, and with the widespread diffusion of these both in recordings and on internet sites such as the MUGI Grundseite which has incorporated all the titles of her works that I had previously listed, it seemed appropriate to add to the present pioneering catalogue a register of musical incipits and a more comprehensive discography. The earlier editions included on- ly a selected list of recordings, and carried no incipits because of technic- al difficulties and my own relative musical illiteracy. My good friend and colleague Nicholas Žekulin, who has helped me with this work since the beginning and to whom I owe an enormous debt of gratitude, has kindly supplied the needed sections. We have together taken the opportunity also to thoroughly revise the whole, making corrections of detail, expanding entries where necessary, and adding a number of new ones where works by Pauline Viardot have come to light since the last edition in 2004. By making the fruits of our research available on the internet we are, of course, laying ourselves open to the daily plundering of that medium, which gobbles up most of what is published despite the laws of intellectu- al property. Just as when one searches someone’s life on Google a dozen versions come up with an almost identical text, each claiming to be origi- nal, even so the findings in our catalogue will doubtless quickly appear on a number of different sites. We can only urge users to comply with our copyright but, more still, to respect those genuine historical sources and authoritative works that we rely upon, rather than the half-truths of blog- gers. The phenomenal explosion of interest in Pauline Viardot has gener- ated much solid research but has led also to a previously unimagined pop- ularisation of her life and work, sometimes to the point of extravagance. The inevitable errors which occasionally occur even in dependable pub- Viardot catalogue: introductory material v lished works and in theses about her, once not harmful in themselves, un- fortunately now have a way of becoming so by their constant replication on multifarious, sometimes highly inaccurate websites. For instance, an album called L’Oiseau d’or had nothing to do with Pauline Viardot, and I can find no justification for the often repeated statement that she wrote or published in 1879 a stage work entitled ‘Le Conte de fées’ (L’Ogre was of course so described in 1868). We are nevertheless fully aware that there may be deficiencies in our own work, and will welcome any fact-based comments or suggestions, whether for additions, corrections or improvement. ********************* Most sections of the present work should be self-explanatory, but it is necessary to say something more about the catalogue proper. The vast majority of published compositions by Pauline Viardot included there are held in the Département de la Musique of the Bibliothèque nationale de France. Other important collections are to be found at the British Library, at Cambridge University Library, and in the Women Composers Collec- tion at the University of Michigan. The Malibran Society of Los Angeles, under the initiative of Carol Russell Law, has done excellent work in reprinting original scores. Numerous manuscript compositions are held in private archives, often referred to here but not named for reasons of con- fidentiality. The most significant public collections are at the Média- thèque Hector Berlioz in Paris, and in the Pauline Viardot-Garcia papers (MS Mus 232 and MS Mus 264) at the Houghton Library, Harvard Col- lege Library, Harvard University; both contain many printed works also. Most of the now public archives derive from the Chamerot-Decugis and Duvernoy-Beaulieu sides of the Viardot family; the Chamerot-Maupoil ones are still largely in private hands. Although many publishers’ records have disappeared, including those of Ries & Erler lost during World War II, it has been possible to supple- ment standard library information about Pauline Viardot’s compositions from music bibliographies such as the Hofmeister Monatsberichte (re- ferred to below as Whistling) and Pazdírek’s Universal-Handbuch. These often help with the challenging problem of dating published scores, few of which carried a year of issue, and many items can also be correctly placed in sequence thanks to accession stamps, press reviews, or refer- ences in the correspondence of Pauline Viardot’s friends and colleagues, including in particular the great Russian novelist Ivan Sergeyevich Tur- genev.
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.
    [Show full text]
  • «Je Me Figurais Être Orphée», Wrote Countess Sophie Fersen After At- Tending a Performance of Christoph Gluck's Orpheus Oc
    Women in love: Gluck’s Orpheus as a source of romantic consolation in Vienna, Paris, and Stockholm JOHN A. RICE ABSTRACT Among those who witnessed early performances of Gluck’s Orfeo ed Euridice were Princess Isabelle of Parma, Julie de Lespinasse, and Countess Sophie Fersen. Orpheus, and the music Gluck wrote for him, stirred up similar responses in these passionate young women, all of whom found in the protagonist’s tragic plight consolation for own romantic yearning. This paper explores their emotio- nal states, as documented in their letters, and offers some explanations for their identification with a male character from Greek mythology, as brought to life by Gluck’s music and the men who sang it. «Je me figurais être Orphée», wrote Countess Sophie Fersen after at- tending a performance of Christoph Gluck’s Orpheus och Euridice in Stockholm in 1777. She was writing to a man with whom she had been involved in a brief and passionate love affair, and who had just left Sweden. Countess Fersen was not the only young woman who found romantic consolation in Gluck’s Orpheus. Already during the first run of performances in 1762, Princess Isabelle of Parma, recently married to Archduke (later Emperor) Joseph, wrote mournfully to her sister-in-law Marie Christine, whose company she much preferred to Joseph’s. Isabelle identified herself with Orpheus as a way of express- ing the depth and hopelessness of her love. And shortly after the première of the Paris version in 1774, Julie de Lespinasse wrote to her beloved Comte de Guibert, who was far from Paris, that she found a mixture of pain and pleasure in Gluck’s opera: «Je voudrois entendre dix fois par jour cet air qui me déchire, et qui me fait jouir de tout ce que je regrette: j’ai perdu mon Euridice».
    [Show full text]
  • Emily Jackson, Soprano Kathryn Piña, Soprano Mark Metcalf, Collaborative Pianist
    Presents Emily Jackson, soprano Kathryn Piña, soprano Mark Metcalf, collaborative pianist Friday, April 23, 2021 ` 8:30 PM PepsiCo Recital Hall Program Cuatro Madrigales Amatorios Joaquín Rodrigo (1901-1999) 1. ¿Con qué la lavaré? 2. Vos me matásteis 3. ¿De dónde venís, amore? 4. De los álamos vengo, madre Ms. Piña Three Irish Folksong Settings John Corigliano (b. 1938) 1. The Salley Gardens 2. The Foggy Dew 3. She Moved Thro’The Fair Ms. Jackson Dr. Kristen Queen, flute Selections from 24 Canzoncine Isabella Colbran (1785-1845) Benché ti sia crudel T’intendo, si mio cor Professor Mallory McHenry, harp In uomini, in soldati from Cosi fan tutte W. A. Mozart (1756-1791) Ms. Piña Er Ist Gekommen in Sturm und Regen Clara Schumann Die Lorelei (1819-1896) O wär ich schön from Fidelio Ludwig van Beethoven (1770-1827) Ms. Jackson Of Memories and Dreams Patrick Vu (b. 1998) 1. Spring Heart Cleaning 2. Honey 3. Iris 4. On the Hillside *world premiere* Ms. Piña Patrick Vu, collaborative pianist Selections from Clarières dans le ciel Lili Boulanger (1893-1918) Parfois, je suis triste Nous nous aimerons tant Ms. Jackson Tarantelle Gabriel Fauré (1845-1924) Ms. Jackson and Ms. Piña This recital is given in partial fulfillment of the requirements for a Bachelor’s Degree of Music with a vocal emphasis. Ms. Piña is a student of Dr. James Rodriguez and Emily Jackson is a student of Professor Angela Turner Wilson. The use of recording equipment or taking photographs is prohibited. Please silence all electronic devices including watches, pagers and phones.
    [Show full text]
  • Qt7q1594xs.Pdf
    UC Irvine UC Irvine Previously Published Works Title A Critical Inferno? Hoplit, Hanslick and Liszt's Dante Symphony Permalink https://escholarship.org/uc/item/7q1594xs Author Grimes, Nicole Publication Date 2021-06-28 Peer reviewed eScholarship.org Powered by the California Digital Library University of California A Critical Inferno? Hoplit, Hanslick and Liszt’s Dante Symphony NICOLE GRIMES ‘Wie ist in der Musik beseelte Form von leerer Form wissenschaftlich zu unterscheiden?’1 Introduction In 1881, Eduard Hanslick, one of the most influential music critics of the nineteenth century, published a review of a performance of Liszt’s Dante Symphony (Eine Sym- phonie zu Dantes Divina commedia) played at Vienna’s Gesellschaft der Musikfreunde on 14 April, the eve of Good Friday.2 Although he professed to be an ‘admirer of Liszt’, Hanslick admitted at the outset that he was ‘not a fan of his compositions, least of all his symphonic poems’. Having often given his opinion in detail on those works in the Neue Freie Presse, Hanslick promised brevity on this occasion, asserting that ‘Liszt wishes to compose with poetic elements rather than musical ones’. There is a deep genesis to Hanslick’s criticism of Liszt’s compositions, one that goes back some thirty years to the controversy surrounding progress in music and musical aesthetics that took place in the Austro-German musical press between the so-called ‘New Germans’ and the ‘formalists’ in the 1850s. This controversy was bound up not only with music, but with the philosophical positions the various parties held. The debate was concerned with issues addressed in Hanslick’s monograph Vom Musika- lisch-Schönen, first published in 1854,3 and with opinions expressed by Liszt in a series of three review articles on programme music published contemporaneously in the 1 ‘How is form imbued with meaning to be differentiated philosophically from empty form?’ Eduard Hanslick, Aus meinem Leben, ed.
    [Show full text]
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
    [Show full text]
  • Sounding Nostalgia in Post-World War I Paris
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
    [Show full text]
  • Pauline Viardot-Garcia Europäische
    Beatrix Borchard PAULINE VIARDOT-GARCIA EUROPÄISCHE KOMPONISTINNEN Herausgegeben von Annette Kreutziger-Herr und Melanie Unseld Band 9 Beatrix Borchard PAULINE VIARDOT-GARCIA Fülle des Lebens 2016 BÖHLAU VERLAG KÖLN WEIMAR WIEN Die Reihe »Europäische Komponistinnen« wird ermöglicht durch die Mariann Steegmann Foundation Weiterführende Quellen und Materialien finden Sie auf der Buchdetailseite http://www.boehlau-verlag.com/978-3-412-50143-3.html unter Downloads Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://portal.dnb.de abrufbar. Umschlagabbildung: Pauline Viardot, Porträt von Ary Scheffer, 1840 (© Stéphane Piera / Musée de la Vie Romantique / Roger-Viollet) © 2016 by Böhlau Verlag GmbH & Cie, Köln Weimar Wien Ursulaplatz 1, D-50668 Köln, www.boehlau.de Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Korrektorat: Katharina Krones, Wien Satz: Peter Kniesche Mediendesign, Weeze Druck und Bindung: Strauss, Mörlenbach Gedruckt auf chlor- und säurefreiem Papier Printed in the EU ISBN 978-3-412-50143-3 Inhalt Vorwort der Herausgeberinnen ............................................................. 9 Vorbemerkung ....................................................................................... 11 Freiheit und Bindung – Pauline Viardot-Garcia ..........................
    [Show full text]
  • La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020
    SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli La couleur du temps – The Colour of Time Pauline Viardot-Garcia (1821 – 1910) Photo: Uli Weber - Decca Salzburg Whitsun Festival 29 May – 1 June 2020 (SF, 30 December 2019) The life of Pauline Viardot-Garcia – singer, musical ambassador of Europe, outstanding pianist and composer – is the focus of the 2020 programme of the Salzburg Whitsun Festival. “The uncanny instinct Cecilia Bartoli has for the themes of our times is proven once again by her programme for the 2020 Salzburg Whitsun Festival, which focuses on Pauline Viardot. Orlando Figes has just written a bestseller about this woman. Using Viardot as an example, he describes the importance of art within the idea of Europe,” says Festival President Helga Rabl-Stadler. 1 SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli Pauline Viardot not only made a name for herself as a singer, composer and pianist, but her happy marriage with the French theatre manager, author and art critic Louis Viardot furthered her career and enabled her to act as a great patron of the arts. Thus, she made unique efforts to save the autograph of Mozart’s Don Giovanni for posterity. Don Giovanni was among the manuscripts Constanze Mozart had sold to Johann Anton André in Offenbach in 1799. After his death in 1842, his daughter inherited the autograph and offered it to libraries in Vienna, Berlin and London – without success. In 1855 her cousin, the pianist Ernst Pauer, took out an advertisement in the London-based journal Musical World. Thereupon, Pauline Viardot-García bought the manuscript for 180 pounds.
    [Show full text]
  • A Season of Thrilling Intrigue and Grand Spectacle –
    A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents.
    [Show full text]
  • Kadence Eleonory Z Ehrenbergů1 Milan Pospíšil
    MUSICALIA 1–2 / 2012, 43–55 Kadence Eleonory z Ehrenbergů1 MILAN POSPÍŠIL ěvecký pedagog a skladatel František Pivoda (1824–1898) se v závěru Nové nauky Pzpěvu zabývá operními kadencemi. Rozlišuje jejich různé druhy a vysvětluje své pojetí vzorových kadencí, jež v notované podobě měly sloužit k praktickému použití.2 Kadencím pak věnoval ještě obsáhlejší pojednání, které vydal samostatně česky a německy.3 Pedagogické využití nejen vlastních instruktivních kompozic, ale také úryvků z oper a jejich zpěvních variant pocházejících z živé interpretační tradice zařazuje Pivodovu kon- cepci k pěveckým školám, obsahujícím jak návody k provádění ozdobného zpěvu a ka- dencí, tak varianty kadencí, představovaným hlavně autory jako Manuel García, Mathilde Marchesi a Luigi Ricci.4 Recepce Pivodových prací se ovšem nemůže srovnávat se škola- mi Garcíi a Marchesiové, rozšířenými v překladech po celém světě, ani s dodnes užívanou a stále vydávanou antologií Ricciho. Nová nauka zpěvu vycházela na pokračování od roku 1879, poslední sešit obsahující kapitolu o kadencích je z roku 1883. Označení Eleonory z Ehrenbergů v separátním pojednání jako „bývalá výtečná virtuosní pěvkyně české ope- ry“5 zřejmě reflektuje její odchod z Národního divadla, takže tento nedatovaný spis vyšel 1) Studie vznikla za finanční podpory Ministerstva kultury ČR v rámci institucionálního financování dlouhodo- bého koncepčního rozvoje výzkumné organizace Národní muzeum (DKRVO). Autor děkuje všem, kdo mu v práci pomohli: Emilio Sala zpřístupnil důležitou disertaci (Lanfossi, Carlo
    [Show full text]
  • Le Temple De La Gloire
    april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire .
    [Show full text]