ERNANI Web.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

ERNANI Web.Pdf Foto: Metropolitan opera G. Verdi ERNANI Subota, 25. veljae 2012., 19 sati THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Giuseppe Verdi ERNANI Opera u etiri ina Libreto: Francesco Maria Piave prema drami Hernani Victora Hugoa SUBOTA, 25. VELJAČE 2012. POČETAK U 19 SATI. Praizvedba: Teatro La Fenice u Veneciji, 9. ožujka 1844. Prva hrvatska izvedba: Narodno zemaljsko kazalište, Zagreb, 18. studenoga 1871. Prva izvedba u Metropolitanu: 28. siječnja 1903. Premijera ove izvedbe: 18. studenoga 1983. ERNANI Marcello Giordani JAGO Jeremy Galyon DON CARLO, BUDUĆI CARLO V. Zbor i orkestar Metropolitana Dmitrij Hvorostovsky ZBOROVOĐA Donald Palumbo DON RUY GOMEZ DE SILVA DIRIGENT Marco Armiliato Ferruccio Furlanetto REDATELJ I SCENOGRAF ELVIRA Angela Meade Pier Luigi Samaritani GIOVANNA Mary Ann McCormick KOSTIMOGRAF Peter J. Hall DON RICCARDO OBLIKOVATELJ RASVJETE Gil Wechsler Adam Laurence Herskowitz SCENSKA POSTAVA Peter McClintock Foto: Metropolitan opera Metropolitan Foto: Radnja se događa u Španjolskoj 1519. godine. Stanka nakon prvoga i drugoga čina. Svršetak oko 22 sata i 50 minuta. Tekst: talijanski. Titlovi: engleski. Foto: Metropolitan opera Metropolitan Foto: PRVI IN - IL BANDITO (“Mercè, diletti amici… Come rugiada al ODMETNIK cespite… Oh tu che l’ alma adora”). Otac Don Carlosa, u operi Don Carla, Druga slika dogaa se u Elvirinim odajama u budueg Carla V., Filip Lijepi, dao je Silvinu dvorcu. Užasnuta moguim brakom smaknuti vojvodu od Segovije, oduzevši sa Silvom, Elvira eka voljenog Ernanija da mu imovinu i prognavši obitelj. Njegov sin, je otme iz mrskog zagrljaja. Djevojke joj Don Juan Aragonski, postao je odmetnik nose svadbene darove i pjevaju u njezinu i zove se Ernani. Ernani je zaljubljen u ast, ali ona misli samo na Ernanija. I Elvira Elviru, neakinju ostarjeloga španjolskog se predstavlja trodijelnom arijom “Surta è la plemia Don Ruya Gomeza de Silve koji se notte… Ernani!... Ernani, involami… Tutto želi oženiti njome. U Elviru je zaljubljen i sprezzo che d’ Ernani”). Drama poinje Don Carlo. Vjerojatno je to jedini primjer kad u Elvirine odaje iznenada bane Don u operi da su tri muškarca zaljubljena u Carlo, tj. kralj, i izražava joj žarku ljubav istu ženu! Elvira, naravno, voli Ernanija. (“Qui mi trasse amor possente”). Iz tajnog Ernani se krije u aragonskim brdima, ulaza dolazi Ernani. Kralj ga prepoznaje. okružen vjernim sljedbenicima (“Allegri… Obojica su spremna sukobiti se u borbi beviamo”). U uobiajenoj trodijelnoj ariji: za Elvirinu ljubav. Ona ih uspije sprijeiti, recitativ - cavatina - cabaletta povjerava im ali tada ulazi Silva. I on se predstavlja da se zaljubio u Elviru koju sutradan Silva trodijelnom arijom “Chi mai vegg’io? … namjerava odvesti pred oltar, što e znaiti Infelice!... e tuo credevi... L’ offeso onor, njegov, Ernanijev, kraj. Suborci mu obeaju signori”. Povrijeen u svojem ponosu, da e mu pomoi u planu da otme Elviru poziva na osvetu, ali posustaje kad shvati 6 · Metropolitan u Lisinskom: Sezona 2011./2012. Foto: Metropolitan opera Metropolitan Foto: da je pred njim kralj. Kralj, pak, ne želei da smrti. Ali bila je spremna da u trenutku se Silva osveti Ernaniju, traži od ostarjeloga pristanka pred oltarom sebi oduzme život. španjolskog granda da Ernaniju omogui Ernani i Elvira prepuštaju se ljubavi, ali se odlazak kao njegovu povjerljivom ovjeku. izmeu njih iznenada isprijei Silva. Željan je I slijedi jedan od onih poznatih Verdijevih osvete, ali na svoj nain. Nee ubiti Ernanija završetaka ina, veliki ansambl prizor kojim sada, nego mu sprema goru sudbinu. Za dominira Elvirin sopran. sada e ga sakriti u tajnu prostoriju. U dvorac dolazi kralj i zatjee naoružane DRUGI IN - L’ OSPITE /GOST straže. Traži od Silve da mu preda Ernanija, no Silva to odbija. Ne želi izdati gosta i u U sjajno osvijetljenoj dvorani u Silvinu zamjenu nudi vlastitu glavu. Kralj nareuje dvorcu sve je spremno za svadbu Silve da se pretraže sve prostorije i prijeti starome i Elvire. Vjerujui da je Ernani mrtav, plemiu (“La vedremo, veglio audace”). Elvira je nevoljko ipak pristala udati se za Uzalud, Silva nee izdati Enanija ni kad kralj Silvu. Pojavljuje se hodoasnik i u skladu odvodi Elviru kao taokinju, obasipajui je s kastiljskom tradicijom, Silva mu nudi najljepšim obeanjima (“Vieni meco, sol di gostoprimstvo. To je zapravo prerušeni rose”). Ernani. Kad ugleda Elviru kao nevjestu, Ernani i Silva ostaju sami. Silva poziva odaje se tko je i nudi svoju glavu Silvi kao mladia na dvoboj, ali Ernani to ne svadbeni dar. Ali Silva ne želi prekršiti obiaj prihvaa zbog Silvinih godina. A i u tom - gost e u njegovu domu uvijek uživati trenutku važnije je spasiti Elviru od njihova zaštitu. Kad su na trenutak ostali sami, zajednikog suparnika, kralja. Ernani e Ernani predbacuje Elviri nevjeru. Ona mu svakako pružiti Silvi zadovoljštinu. Daje mu objašnjava da je pristala na brak sa Silvom svoj lovaki rog. Kad zauje njegov zov, sam zato što je bila zavedena vijestima o njegovoj e se ubiti prema Silvinoj želji. 7 · Metropolitan u Lisinskom: Sezona 2011./2012. Foto: Metropolitan opera Metropolitan Foto: TREI IN - LA CLEMENZA svim sposobnostima nije uspjelo ostvariti MILOST postavljene ciljeve, godine 1557. odrekao Treim inom dominira lik kralja Carla V. Po se prijestolja i vlast nad Nizozemskom, majci unuk Ferdinanda Aragonskog (1452- Španjolskom i Napuljem ostavio sinu Filipu, 1516) i Isabelle od Castille (1451-1504), a a njemaku krunu bratu Ferdinandu I. Tako po ocu njemakoga cara Maksimilijana I. je razdvojio habsburško carstvo. Povukao se (1459-1519) i Marije od Burgundije, sin u samostan Svetoga Justa pokraj Valencije Filipa I. Lijepog (1478-1506) i Ivane Lude i umro 1558. godine. U poznijoj životnoj (Juana La Loca) (1479-1555), neak prve dobi bio je vrlo religiozan, ali u mladosti žene engleskog kralja Henrika Osmog, prilino slobodna vladanja, što je Verdi Katarine Aragonske (1485-1536), Carlo V. genijalno dao naslutiti u njegovoj ariji kao njemaki car, a Carlos I. kao španjolski na poetku ina i njezinu orkestralnom kralj, roen 1500., izabran je 1519. za cara postludiju. Carlo dolazi u grobnicu svojeg svetog Rimskog Carstva. Godine 1527. velikog prethodnika, cara svetog Rimskog dobio je sa ženom Isabellom Portugalskom Carstva, Carla Velikog (742-814) u katedrali sina Filipa II., koji je glavni lik Verdijeva de Aquisgran u Aix-La-Chapelle (Aachenu). Don Carla. Vladao je Španjolskom i njezinim Tamo e se sakriti i priekati da vidi urotnike kolonijama te dijelom Italije, Flandrije koji kuju urotu protiv njega, ali i ishod svojeg i Austrije. S pravom je mogao rei da u izbora za cara. Ostavši sam, pjeva jednu od njegovu kraljevstvu sunce izlazi i zalazi. onih lijepih Verdijevih baritonskih arija “Oh Želio je vladati cijelom Europom i tijekom de’ verd’ anni miei” s krasnom završnom svoje vladavine borio se protiv francuskog frazom. Dolaze urotnici s lozinkom “Ad kralja Franje I. (1494-1547) i turskog sultana augusta! Per angusta”, što bi znailo “Do Sulejmana II. Velianstvenog (1494-1566). uzvišenog cilja doi emo uskim putovima”. Ali njegova najljua bitka bila je protiv Meu njima su Silva i Ernani. Treba izabrati protestanata - luteranaca. Kad mu unato tko e ubiti kralja. Izvuen je Ernani. Silva 8 · Metropolitan u Lisinskom: Sezona 2011./2012. ga preklinje da prepusti njemu ruku pravde izvoakog ansambla izdiže se zanosni i nudi mu zauzvrat njegov, Ernanijev, život motiv soprana i tenora, a klicu pobune i sva svoja dobra, ali Ernani ne odustaje od donosi prijetei bas staroga Silve. osvete. Urotnici se zaklinju u spremnost za borbu za slobodu i pjevaju poznati zbor ETVRTI IN - LA “Si ridesti il Leon di Castiglia” - Neka se MASCHERA / MASKA ponovno probudi kastiljski lav - još jedan U palai Don Juana Aragonskog u Zaragozi od onih odlomaka iz Verdijevih opera koji traje svadbena sveanost. Meu uzvanicima su u to doba znaili poziv na borbu protiv promie maskirani lik u crnom dominu i Austrije. Kako je ugodno odzvanjao taj zbor unosi tjeskobu, ali veselje ne prestaje. u ušima boraca za ujedinjenje Italije! Ernani i Elvira predaju se svojoj teško Tri topovska hica najavljuju dolazak Carla ostvarenoj ljubavi. No uje se zvuk roga Petog. Skuplja se sjajna dvorska suita u kojoj iz daljine. Ernani shvaa da Silva traži svoj je i Elvira. Izbornici su izabrali Carla za cara plijen i zbunjenu Elviru šalje da mu donese svetog Rimskog Carstva. Carlo najprije lijek. A tada na scenu stupa Silva i razvija zaprijeti urotnikom plemstvu smru na se tercet u kojemu se razabire budui veliki stratištu, a obinom puku tamnicom. Verdi (“Solingo, errante, misero”). Uzalud Ernani otkriva tko je - Don Juan Aragonski Ernani preklinje starca da mu nakon svih - i prepušta se caru na milost i nemilost. pretrpljenih zala dopusti da ispije pehar Elvira na koljenima moli cara za milost. I ljubavnog zanosa. Silva je neumoljiv, tada se u Carlu nešto prelomi. Ne samo da umjesto pehara nudi mu izbor: bodež ili oslobaa Ernanija nego mu daje i Elviru za otrov. Uzalud i Elvira moli milost. Ernaniju ženu. Slijedi velianstven skupni prizor - u preostaje samo da asno ode u smrt, izabire emu je Verdi ostao nenadmašen - jedan od bodež i zarine ga u grudi. Elvira se ruši nad najljepših u njegovu opusu. Iznad golemog njegovim mrtvim tijelom. Foto: Metropolitan opera Metropolitan Foto: 9 · Metropolitan u Lisinskom: Sezona 2011./2012. Foto: Metropolitan opera Metropolitan Foto: opera Metropolitan Foto: Marcello Giordani Dmitrij Hvorostovsky VEČERAŠNJI INTERPRETI baritona Dmitrija Hvorostovskog, proričući mu sjajnu pjevačku budućnost. Ernanija pjeva Marcello Giordani (1963.), Rođen 1962. u Krasnojarskom u Sibiru, jedan od najboljih i najtraženijih lirico tumač Don Carla, Hvorostovsky, na spinto tenora današnjice. Sicilijanski tenor tamošnjem je Glazbenom učilištu završio debitirao je 1986. na festivalu u Spoletu studij glasovira i zborskog dirigiranja, kao vojvoda od Mantove u Rigolettu. Dvije a 1987. diplomirao je i pjevanje. Iste godine poslije u Scali je pjevao Rodolfa u je godine pobijedio na Svesaveznom La Bohème i njegova je svjetska karijera pjevačkom natjecanju Glinka, a sljedeće i počela.
Recommended publications
  • National-Council-Auditions-Grand-Finals-Concert.Pdf
    NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Bertrand de Billy National Council Auditions host and guest artist Grand Finals Concert Joyce DiDonato Sunday, April 29, 2018 guest artist 3:00 PM Bryan Hymel 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 music director designate Yannick Nézet-Séguin 2017–18 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Bertrand de Billy host and guest artist Joyce DiDonato guest artist Bryan Hymel “Martern aller Arten” from Die Entführung aus dem Serail (Mozart) Emily Misch, Soprano “Tacea la notte placida ... Di tale amor” from Il Trovatore (Verdi) Jessica Faselt, Soprano “Va! laisse couler mes larmes” from Werther (Massenet) Megan Grey, Mezzo-Soprano “Cruda sorte!” from L’Italiana in Algeri (Rossini) Hongni Wu, Mezzo-Soprano “In quali eccessi ... Mi tradì” from Don Giovanni (Mozart) Today’s concert is Danielle Beckvermit, Soprano being recorded for “Amour, viens rendre à mon âme” from future broadcast Orphée et Eurydice (Gluck) over many public Ashley Dixon, Mezzo-Soprano radio stations. Please check “Gualtier Maldè! ... Caro nome” from Rigoletto (Verdi) local listings. Madison Leonard, Soprano Sunday, April 29, 2018, 3:00PM “O ma lyre immortelle” from Sapho (Gounod) Gretchen Krupp, Mezzo-Soprano “Sì, ritrovarla io giuro” from La Cenerentola (Rossini) Carlos Enrique Santelli, Tenor Intermission “Dich, teure Halle” from Tannhäuser (Wagner) Jessica Faselt, Soprano “Down you go” (Controller’s Aria) from Flight (Jonathan Dove) Emily Misch, Soprano “Sein wir wieder gut” from Ariadne auf Naxos (R. Strauss) Megan Grey, Mezzo-Soprano “Wie du warst! Wie du bist!” from Der Rosenkavalier (R.
    [Show full text]
  • Jamie Barton & Angela Meade
    A DEDICATION TO RUTH BADER GINSBURG JAMIE BARTON & ANGELA MEADE WITH JOHN KEENE, PIANO “Our very first duo recital together took place at Stage Director................................................................................................................David Gately the Supreme Court in November 2015, where Film Director...................................................................................................................Kyle Seago we performed at the invitation of Supreme Court Lighting Designer.............................................................................................................Connie Yun Justice Ruth Bader Ginsburg. Production Stage Manager.........................................................................................Yasmine Kiss Assistant Stage Manager..................................................................................Adrienne Mendoza We were deeply honored to be asked and elated to have a chance to share with her how her work had impacted our lives. “Oh, rimembranza” from Act I of Norma .....……...……...….……... Vincenzo Bellini (1801–1835) That experience immediately became—and has remained—one of the high points in each Angela Meade and Jamie Barton of our careers. “Morrò, ma prima in grazia” from Un ballo in maschera .....……. Giuseppe Verdi (1813–1901) In this moment, we are mourning the tremendous loss that so many of us are feeling at Angela Meade Justice Ginsburg’s passing. And the timing is hitting home for us in a deeply personal way. “O don fatale” from Act
    [Show full text]
  • Maria Di Rohan
    GAETANO DONIZETTI MARIA DI ROHAN Melodramma tragico in tre atti Prima rappresentazione: Vienna, Teatro di Porta Carinzia, 5 VI 1843 Donizetti aveva già abbozzato l'opera (inizialmente intitolata Un duello sotto Richelieu) a grandi linee a Parigi, nel dicembre 1842, mentre portava a termine Don Pasquale; da una lettera del musicista si desume che la composizione fu ultimata il 13 febbraio dell'anno successivo. Donizetti attraversava un periodo di intensa attività compositiva, forse consapevole dell'inesorabile aggravarsi delle proprie condizioni di salute; la "prima" ebbe luogo sotto la sua direzione e registrò un convincente successo (furono apprezzate soprattutto l'ouverture ed il terzetto finale). L'opera convinse essenzialmente per le sue qualità drammatiche, eloquentemente rilevate dagli interpreti principali: Eugenia Tadolini (Maria), Carlo Guasco (Riccardo) e Giorgio Ronconi (Enrico); quest'ultimo venne apprezzato in modo particolare, soprattutto nel finale. Per il Theatre Italien Donizetti preparò una nuova versione, arricchita di due nuove arie, nella quale la parte di Armando fu portata dal registro di tenore a quello di contralto (il ruolo fu poi interpretato en travesti da Marietta Brambilla). Con la rappresentazione di Parma (primo maggio 1844) Maria di Rohan approdò in Italia dove, da allora, è stata oggetto soltanto di sporadica considerazione. Nel nostro secolo è stata riallestita a Bergamo nel 1957 ed alla Scala nel 1969, oltre all'estero (a Londra e a New York, dove è apparsa in forma di concerto). Maria di Rohan segna forse il punto più alto di maturazione nell'itinerario poetico di Donizetti; con quest'opera il musicista approfondì la propria visione drammatica, a scapito di quella puramente lirica e belcantistica, facendo delle arie di sortita un vero e proprio studio di carattere e privilegiando i duetti ed i pezzi d'assieme in luogo degli 276 episodi solistici (ricordiamo, tra i momenti di maggior rilievo, l'aria di Maria "Cupa, fatal mestizia" ed il duetto con Chevreuse "So per prova il tuo bel core").
    [Show full text]
  • Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
    DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
    [Show full text]
  • Milka Trnina
    Èitajte o glazbi i svim Èitajte o glazbi i svim nje-zinim pojavno- njezinim pojavnostima webzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuzici] stima iz pera naših ponajboljih pisaca iz pera naših ponajbo-? Èitajte o glazbi i svim u esejima i èlancima koje možete èitati ljih pisaca u esejima njezinim pojavnostima webzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuzici] na stranicama našeg èasopisa WAM. ? i èlancima koje možete iz pera naših ponajbo- Èitajte o glazbi i svim èitati na stranicama ljih pisaca u esejima njezinim pojavnostima našeg èasopisa WAM. i èlancima koje možete iz pera naših ponaj- èitati na stranicama boljih pisaca u esejima našeg èasopisa WAM. eseji i èlancima koje možete èitati na stranicama našeg èasopisa WAM. 1 Ilustracija Munir Vejzoviæ Marija Barbieri MILKA TRNINA - GREAT TOSCA Èitajte o glazbi i svim Čitajte o glazbi i svim njezinim pojavnostima njezinim pojavnostima iz pera naših ponaj- iz pera naših ponaj- Èitajte o glazbi i svim boljih pisaca u esejima boljih pisaca u esejima njezinim pojavnostima i èlancima koje možete i člancima koje možete iz pera naših ponaj-Èitajte o glazbi i svim èitati na stranicama čitati na stranicama boljih pisaca u esejimanjezinim pojavnostima našeg èasopisa WAM. našeg časopisa WAM. ? webzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzii èlancimanoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzino koje možeteiz pera naših ponaj-
    [Show full text]
  • 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
    [Show full text]
  • Programa-Ernani.Pdf
    Socios Fundadores Alicia Bourdieu de Menéndez Behety Alejandro H. Dagnino Horacio C. M. Fernández Félix C. Luna Juan Archibaldo Lanús Frank Marmorek Horacio A. Oyhanarte Comisión directiva Presidente / Director general Frank Marmorek Secretario Juan Lasheras Shine Tesorero Enrique Rebagliati Vocal Fernando Romero Carranza Revisor de cuentas Horacio C. M. Fernández Director de elencos Claudio Ratier Gerente de administración y finanzas Cecilia Cabanne Gerente de producción Alejandro Farías Gerente de comunicación y marketing Carla Romano Atención de socios Lorena Mangieri Edición de publicaciones Graciela Nobilo Prensa OCTAVIA Comunicación y Gestión Cultural Buenos Aires Lírica es una asociación civil sin fines de lucro. Buenos Aires Lírica es miembro de OPERA America. Círculo de mecenas Tradicionales Frank Marmorek Abarrategui, Martín Erize, Mónica Margarita Ullmann de Marmorek Adjoyan, Carlos Faifman, Judith V. Alberti, Edgardo Marcelo Fernández Escudero, Josué Círculo de amigos Alvarez, Alicia Graciela Fernández, Horacio Alvarez, Jorge Ferreirós, Alicia Benefactores Angió, Alicia Ferreria, José Luis Luna, María Angió, Jorge Ferreyra, Mario Félix Mitre, María Elena Antequera, Susana Fiorito, Guillermo Arango, Meik Fliess, Reni Protectores Araujo de Asencio, Medalla Forchieri, Aníbal Arauz, María Antonieta Galanternik, Rafael Bade de Lanusse, Sofía Ares, Alejandro Garamendy, Arturo Brull, Ana Arzeno, María Susana García Vega, Susana Cordero, Alejandro Atucha, Luisa Gelly Cantilo, Alberto Lasheras Shine, Juan Lagioia, Andrea Betro, Ricardo
    [Show full text]
  • Attila Dramma Lirico in Un Prologo E Tre Atti
    FONDAZIONE TEATRO LA FENICE DI VENEZIA Paolo Costa presidente Cesare De Michelis Pierdomenico Gallo Achille Rosario Grasso Mario Rigo Luigino Rossi Valter Varotto Giampaolo Vianello consiglieri sovrintendente Giampaolo Vianello direttore artistico Sergio Segalini direttore musicale Marcello Viotti Angelo Di Mico presidente Adriano Olivetti Paolo Vigo Maurizia Zuanich Fischer SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. FONDAZIONE TEATRO LA FENICE DI VENEZIA Attila dramma lirico in un prologo e tre atti libretto di Temistocle Solera musica di Giuseppe Verdi PalaFenice venerdì 26 marzo 2004 ore 19.00 turno A domenica 28 marzo 2004 ore 15.30 turni B-H martedì 30 marzo 2004 ore 19.00 turno D giovedì 1 aprile 2004 ore 19.00 turni E-I sabato 3 aprile 2004 ore 15.30 turno C La Fenice prima dell’Opera 2004 3 Ritratto fotografico di Verdi con dedica autografa alla Direzione del Teatro. Venezia, Archivio Sto- rico del Teatro La Fenice. La Fenice prima dell’Opera 2004 3 Sommario 5 La locandina 7 «Qual risorta fenice novella» … di Michele Girardi 9 Attila, libretto e guida all’opera a cura di Marco Marica 57 Attila in breve a cura di Gianni Ruffin 59 Argomento – Argument – Synopsis – Handlung 69 Marco Marica Verdi, Mozart e l’opera del Settecento 83 Emanuele Senici «Prima donna Sig.na Sofia Loewe, primo tenore Guasco»: cantanti, caratterizzazione e scelte compositive nell’Attila 99 Guido Paduano Il gioco delle parti nella drammaturgia di Attila 101 Lorenzo Bianconi Risposta a Giuliano Procacci 117 Stefano Castelvecchi Verdi per la storia d’Italia 123 John Rosselli Risposta a Giuliano Procacci 129 Walter Le Moli Attila: un’esperienza di lavoro registico 139 Marco Marica Bibliografia 151 Online: L’Unno nazionale a cura di Roberto Campanella 161 Giuseppe Verdi a cura di Mirko Schipilliti Locandina della prima rappresentazione di Attila.
    [Show full text]
  • ARSC Journal
    A PROVISIONAL MAPIESON CYLINDER CHRONOLOGY 1865 - October 23. Lionel S. Mapleson born, London, England, of a line of music librarians going back to the mid-18th century. His uncle was the famed impressario "Colonel" James Henry Mapleson. 1889 - Emigration to New York, having been trained by his music librarian­ violinist father and having played under Hans Richter as violinist and violist. He joined the orchestra of the then six-year-old Metropolitan Opera and soon assumed the position of Librarian, serving in that capacity for 48 years. 1893 - Marriage to Helen White, a soprano in the Company. 1900 - Following acquisition of an Edison cylinder phonograph (Home - Model A - "suitcase" type), Mapleson undertakes initial recording experiements with Metropolitan Opera artists. Marcella Sembrich during March of this year records the cadenza from Johan Strauss's Friihlingstimmen (in its popular Italian language vocal version, Voci di primavera). Mapleson adds his own announcement at the close. 1901 - January 16. From the Metropolitan Opera prompter's box, Mapleson records Mme. Melba in the Infanta's Alleluia from Massenet's Le Cid, this being the earliest of the extant 2-minute wax cylinders taken by him from actual stage performances. other notable Melba cylinders from that season include items from Lucia di Lammermoor (March 2 and 18), Rom6o et Juliette (March 9, with closing announce­ ment by Mapleson), La Traviata (March 16), and Faust (March 4 and 28). From this season come also the only extant audio documentations of legendary tenor, Jean de Reszke, in bits from Le Cid (January 19), L 'Africaine (March 15), Les Huguenots (Marchil},Siegfried (March 19), and Lohengrin (March 29--de Reszke's final appearance at the Metroplitan).
    [Show full text]
  • UBC Opera 2018 2019 SEASON
    UBC Opera 2018 2019 SEASON SILENT NIGHT DIE ZAUBERFLÖTE DON GIOVANNI Welcome to UBC Opera! Our 2018–19 Season will begin on August 27 and September 3 with four performances of beloved operatic excerpts at Bard on the Beach, with the Bard himself, Christopher Gaze, conductor, Leslie Dala and members of the Vancouver Opera Orchestra. We will again have our ever-popular Opera Teas at the Old Auditorium and the Botanical Gardens where audiences can be up close and personal with our talented young singers. Our series Singer Behind the Song will continue beginning on September 18, with one of opera's greatest singers, Renée Fleming, who now is devoting much of her attention to research in neuroscience and music and the mind. She entitles her presentation “Sound Health: Music and the Mind”, a collaboration with the Kennedy Centre, the U.S. National Institutes of Health and the U.S. National Endowment for the Arts. We also appreciate the collaboration of the Vancouver Symphony, the Peter Wall Institute for Advanced Studies, Dean Gage Averill, Faculty of Arts and our President, Professor Santa Ono. Our own team of UBC researchers who are involved in a similar opera project, “Brain Sculpting” funded by the Peter Wall Institute, will join Ms. Fleming in a panel discussion after her presentation. On December 5, at the Old Auditorium, the Metropolitan Opera soprano Angela Meade will return to Vancouver to join us at UBC. She joins us for a concert, interview and reception, followed by a masterclass with our students. Hailed as “the most talked about soprano of her generation” (Opera News), American soprano Angela Meade is the winner of both the Metropolitan Opera’s 2012 Beverly Sills Artist Award and the 2011 Richard Tucker Award.
    [Show full text]
  • IN the AIR WELCOME Click Below for a Video Welcome from Wexford Festival Opera’S Artistic Director ROSETTA CUCCHI
    THE 69TH FESTIVAL 11–18 OCTOBER, 2020 WAITING FOR… THE FESTIVAL… IN THE AIR WELCOME Click below for a video welcome from Wexford Festival Opera’s Artistic Director ROSETTA CUCCHI FUNDERS FALSTAFF CHRONICLES SIX EPISODES FROM FALSTAFF BY GIUSEPPE VERDI (1813–1901) NATIONAL OPERA HOUSE | 12, 13, 14, 15, 16, 17 OCTOBER | 18:00 GMT + 1 The plays of William Shakespeare CREATIVE TEAM were the 17th century equivalent Music Directors.....Carmen Santoro, Andrea Grant to the modern-day soap-operas, Director...........Roberto Recchia which are watched daily to hear Designer ..........Serena Treppiedi tell of the latest scandal. Giuseppe Verdi was inspired to write his CAST final opera Falstaff, based on one Sir John Falstaff ....Rory Dunne / David Howes of Shakespeare’s most beloved Ford .............Dmitry Cheblykov characters, when he was nearly Bolshoi Young Artist Programme 80 years of age. The members of Alice Ford .........Francesca Federico / Jade Phoenix the Wexford Factory will perform Nannetta..........Kathleen Norchi / Sarah Shine a six-part mini-series rendition of Meg Page .........Sarah Richmond Verdi’s masterpiece Falstaff over Mistress Quickly ....Anna Brady six consecutive days. Follow the Fenton ...........Andrew Gavin chronicles of the fat knight, Sir Dr Caius ..........Conor Prendiville John Falstaff, as he attempts to Bardolfo ..........Vladimir-Mihai Sima seduce two married women in Pistola ............Conall William O’Neill an effort to gain access to their husbands’ wealth. Sung in Italian LEARN MORE ABOUT THE WEXFORD FACTORY YOUNG ARTIST PROGRAMME ON THE WFO WEBSITE PETITE MESSE SOLENNELLE Gioachino Rossini (1792–1868) NATIONAL OPERA HOUSE | SUNDAY, 11 OCTOBER | 20:00 GMT + 1 Rossini’s final composition CREATIVE TEAM before his death, and one of Conductor ........Kenneth Montgomery the finest examples of a solemn First Pianist ........Finghin Collins mass.
    [Show full text]
  • The Double in Late Nineteenth-Century Italian Literature: Readings in Fogazzaro and His Contemporaries
    The Double in Late Nineteenth-Century Italian Literature: Readings in Fogazzaro and His Contemporaries Samuel Fleck Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Samuel Fleck All rights reserved ABSTRACT The Double in Late Nineteenth-Century Italian Literature: Readings in Fogazzaro and His Contemporaries Samuel Fleck This dissertation is organized around main axes: the literary and critical concept of the Double and the analysis of Antonio Fogazzaro’s 1881 novel, Malombra, in which the Double plays a complex thematic role. In the first chapter, I address the concept of the Double as a critical category, assessing its meaning across three different levels of reality: in terms of the cultural specificity of the representation (the nineteenth century and Romantic literature), in terms of the theoretical approach (whether it is construed as a transcendental figure, as in Freudian theory, or a transgressive figure, as in Jungian theory, etc.) and in terms of its placement relative to the other themes in the text. In the second chapter, I take up the analysis of three Italian texts from the second half of the nineteenth century which privilege the theme of the Double and invest it with idiosyncratic meaning: Uno spirito in un lampone by Iginio Ugo Tarchetti (1867), Due anime in un corpo by Emilio de Marchi (1877) and Le storie del castello di Trezza by Giovanni Verga (1875). My reading of these texts draws on diverse psychoanalytic perspectives, namely those of Jung, Lacan and Abraham and Torok.
    [Show full text]