Study Guide for Otello.Pub
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Verdi Falstaff
Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably. -
German Arias Concert Program
Graduate Vocal Arts Program Bard College Conservatory of Music OPERA WORKSHOP Stephanie Blythe and Howard Watkins, instructors “Thank you, do you have anything in German?” Friday, March 5 at 8pm Wo bin ich? Engelbert Humperdinck (1854 - 1921) from Hänsel und Gretel Diana Schwam, soprano Ryan McCullough, piano Nimmermehr wird mein Herze sich grämen Friedrich von Flotow (1812 - 1883) from Martha Joanne Evans, mezzo-soprano Elias Dagher, piano Glück, das mir verblieb Erich Wolfgang Korngold (1897 - 1957) from Die tote Stadt Jardena Gertler-Jaffe, soprano Diana Borshcheva, piano Einst träumte meiner sel’gen Base Carl Maria von Weber (1786 - 1826) from Der Freischütz Kirby Burgess, soprano Gwyyon Sin, piano Witch’s Aria Humperdinck from Hänsel und Gretel Maximillian Jansen, tenor Diana Borshcheva, piano Da Anagilda sich geehret… Ich bete sie an Reinhard Kaiser (1674 - 1739) from Die Macht der Tugend Chuanyuan Liu, countertenor Ryan McCullough, piano Arabien, mein Heimatland Weber from Oberon Micah Gleason, mezzo-soprano Gwyyon Sin, piano Da schlägt die Abschiedsstunde Wolfgang Amadeus Mozart (1756 - 1791) from Der Schauspieldirektor Meg Jones, soprano Sung-Soo Cho, piano Mein Sehnen, mein Wähnen Korngold from Die tote Stadt Louis Tiemann, baritone Diana Borshcheva, piano Wie du warst Richard Strauss (1864 - 1949) from Der Rosenkavalier Melanie Dubil, mezzo-soprano Elias Dagher, piano Presentation of the Rose Strauss from Der Rosenkavalier Samantha Martin, soprano Elias Dagher, piano Arie des Trommlers Viktor Ullman (1898 - 1944) from Der Kaiser von Atlantis Sarah Rauch, mezzo-soprano Gwyyon Sin, piano Weiche, Wotan, weiche! Richard Wagner (1813 - 1883) from Das Rheingold Pauline Tan, mezzo-soprano Sung-Soo Cho, piano Nun eilt herbei! Otto Nicolai (1810 - 1849) from Die lustigen Weiber von Windsor Alexis Seminario, soprano Elias Dagher, piano SYNOPSES: Wo bin ich? Hänsel und Gretel Engelbert Humperdinck, Adelheid Wette, 1893 Gretel has just awakened from a deep sleep in the forest. -
Otello Program
GIUSEPPE VERDI otello conductor Opera in four acts Gustavo Dudamel Libretto by Arrigo Boito, based on production Bartlett Sher the play by William Shakespeare set designer Thursday, January 10, 2019 Es Devlin 7:30–10:30 PM costume designer Catherine Zuber Last time this season lighting designer Donald Holder projection designer Luke Halls The production of Otello was made possible by revival stage director Gina Lapinski a generous gift from Jacqueline Desmarais, in memory of Paul G. Desmarais Sr. The revival of this production is made possible by a gift from Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 345th Metropolitan Opera performance of GIUSEPPE VERDI’S otello conductor Gustavo Dudamel in order of vocal appearance montano a her ald Jeff Mattsey Kidon Choi** cassio lodovico Alexey Dolgov James Morris iago Željko Lučić roderigo Chad Shelton otello Stuart Skelton desdemona Sonya Yoncheva This performance is being broadcast live on Metropolitan emilia Opera Radio on Jennifer Johnson Cano* SiriusXM channel 75 and streamed at metopera.org. Thursday, January 10, 2019, 7:30–10:30PM KEN HOWARD / MET OPERA Stuart Skelton in Chorus Master Donald Palumbo the title role and Fight Director B. H. Barry Sonya Yoncheva Musical Preparation Dennis Giauque, Howard Watkins*, as Desdemona in Verdi’s Otello J. David Jackson, and Carol Isaac Assistant Stage Directors Shawna Lucey and Paula Williams Stage Band Conductor Gregory Buchalter Prompter Carol Isaac Italian Coach Hemdi Kfir Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Assistant Scenic Designer, Properties Scott Laule Assistant Costume Designers Ryan Park and Wilberth Gonzalez Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department; Angels the Costumiers, London; Das Gewand GmbH, Düsseldorf; and Seams Unlimited, Racine, Wisconsin Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses strobe effects. -
FALSTAFF Verdi's Last Masterpiece
FALSTAFF Verdi’s Last Masterpiece By Rosalba Pisaturo The Guild of Mercury Opera Rochester Guild Address P.O.Box 92245 Rochester NY 14692 Mercury Opera Website www.mercuryoperarochester Guild Website http//www.mercuryoperarochester.org/guild.htm Guild Contacts Dr. Agneta Borgstedt, President (585) 334-2323 Art Axelrod, Vice President (585) 377-6133 Helga Strasser, Trip Coordinator (585) 586-2274 Falstaff Commedia lirica in three acts Music by Giuseppe Verdi Libretto by Arrigo Boito After Shakespeare’s plays “The Merry Wives of Windsor” and “Henry IV” • Verdi’s operatic timing • Verdi and his librettist Arrigo Boito • Falstaff, the character • Opera Synopsis • Conclusion • Verdi’s operatic timing Giuseppe Verdi was born in 1813 and died in 1901. He composed his first opera, Oberto, when he was 26 years old and his last, Falstaff, when he was 80. In between he composed 28 other operas, but only two of these are comic works. • His second opera, Un giorno di Regno, in 1940 turned out to be a fiasco. • His last opera, Falstaff, premiered in 1893 at La Scala of Milano, was a big success. Why, when we think of Verdi, we immediately think of Aida, La Traviata, Rigoletto, Il Trovatore, Nabucco, and many more of his operas, but we do not think of Falstaff? Perhaps it is because this opera is so much different and so modern that it does not seem to be a work of Verdi. For over 50 years this composer had given the opera houses masterpiece which dealt with every aspect of death; death by natural forces, by disease, by fate, for vengeance, for jealousy, for mistaken identity, and so on. -
MICHAEL FINNISSY at 70 the PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’S College, London
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2016). Michael Finnissy at 70: The piano music (9). This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17520/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] MICHAEL FINNISSY AT 70 THE PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’s College, London Thursday December 1st, 2016, 6:00 pm The event will begin with a discussion between Michael Finnissy and Ian Pace on the Verdi Transcriptions. MICHAEL FINNISSY Verdi Transcriptions Books 1-4 (1972-2005) 6:15 pm Books 1 and 2: Book 1 I. Aria: ‘Sciagurata! a questo lido ricercai l’amante infido!’, Oberto (Act 2) II. Trio: ‘Bella speranza in vero’, Un giorno di regno (Act 1) III. Chorus: ‘Il maledetto non ha fratelli’, Nabucco (Part 2) IV. -
HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist
HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist Makinsey Grant . Bb Clarinet Fantasy Piece No. 1 by Robert Schumann Fantasy Piece No. 1 by Robert Schumann (1810 – 1856) was written in 1849. It is the first movement of three pieces written to promote the creative notion of the performer. It allows the performer to be unrestricted with their imagination. Fantasy Piece No. 1 is written to be “Zart und mit Ausdruck” which translates to tenderly and expressively. It begins in the key of A minor to give the audience the sense of melancholy then ends in the key of A major to give resolution and leave the audience looking forward to the next movements. (M. Grant) Tony Lozano . Guitar Tu Lo Sai by Giuseppe Torelli (1650 – 1703) Tu lo sai (You Know It) This musical piece is emotionally fueled. Told from the perspective of someone who has confessed their love for someone only to find that they no longer feel the same way. The piece also ends on a sad note, when they find that they don’t feel the same way. “How much I do love you. Ah, cruel heart how well you know.” (T. Lozano) Ruth Sorenson . Mezzo Soprano Sure on this Shining Night by Samuel Barber Samuel Barber (1910 – 1981) was an American composer known for his choral, orchestral, and opera works. He was also well known for his adaptation of poetry into choral and vocal music. Considered to be one of the composers most famous pieces, “Sure on this shining night,” became one of the most frequently programmed songs in both the United States and Europe. -
An Interpretation of Iago
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1953 An Interpretation of Iago Daniel Clayton Schario Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Schario, Daniel Clayton, "An Interpretation of Iago" (1953). Master's Theses. 1271. https://ecommons.luc.edu/luc_theses/1271 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1953 Daniel Clayton Schario .u DfBRPRE!ATION OF' IAGO 'tIJ D. Cla7ton Scha.r1o.. S. J' • A !besi. Submitted to the Pacult,. or the Graduate School of L0'101a Un!veNi t7 in Partial J\1ltl1lllent of the Req,u1Jl1bente to." the DegHe of Master ot Art. LIFE DanIel Clayton Seharl0, S. J., was bom In Canton, Ohio, April 15, 1923. He was graduated from Oanton McKinley High School, June, 1941. After graduation, he spent one year at st. Mary's College, St. Mary Kentucky, before entering the NoVitiate of the Sacred Heart, Miltord, Ohio, in August, 1943. He was graduated tram Loyola University with the degree ot Bachelor ot Arts in June, 1948. At this tIme, he enrolled in the Graduate School ot Loyola UniversIty and took courses in English and Philolophy. Since 1950, the author has been teaching English at the UniversIty ot Detroit High School, Detroit, Miohigan. -
12-04-2018 Traviata Eve.Indd
GIUSEPPE VERDI la traviata conductor Opera in three acts Yannick Nézet-Séguin Libretto by Francesco Maria Piave, production Michael Mayer based on the play La Dame aux Camélias by Alexandre Dumas fils set designer Christine Jones Tuesday, December 4, 2018 costume designer 8:00–11:00 PM Susan Hilferty lighting designer New Production Premiere Kevin Adams choreographer Lorin Latarro DEBUT The production of La Traviata was made possible by a generous gift from The Paiko Foundation Major additional funding for this production was received from Mercedes T. Bass, Mr. and Mrs. Paul M. Montrone, and Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,012th Metropolitan Opera performance of GIUSEPPE VERDI’S la traviata conductor Yannick Nézet-Séguin in order of vocal appearance violet ta valéry annina Diana Damrau Maria Zifchak flor a bervoix giuseppe Kirstin Chávez Marco Antonio Jordão the marquis d’obigny giorgio germont Jeongcheol Cha Quinn Kelsey baron douphol a messenger Dwayne Croft* Ross Benoliel dr. grenvil Kevin Short germont’s daughter Selin Sahbazoglu gastone solo dancers Scott Scully Garen Scribner This performance Martha Nichols is being broadcast live on Metropolitan alfredo germont Opera Radio on Juan Diego Flórez SiriusXM channel 75 and streamed at metopera.org. Tuesday, December 4, 2018, 8:00–11:00PM MARTY SOHL / MET OPERA Diana Damrau Chorus Master Donald Palumbo as Violetta and Musical Preparation John Keenan, Yelena Kurdina, Juan Diego Flórez Liora Maurer, and Jonathan -
William Shakespeare's the TAMING of the SHREW a STUDY GUIDE
The Classic Theatre of San Antonio Presents William Shakespeare’s THE TAMING OF THE SHREW Directed by Diane Malone A STUDY GUIDE Prepared by The Classic Theatre of San Antonio November 2013 TABLE OF CONTENTS Forward by Diane Malone, Director/Designer .............................................................................1 The Dramaturgical Research Process by Timothy Retzloff, Dramaturg ...................................................................................2 About William Shakespeare, Playwright (1564-1616) .......................................................4 Principal Characters .............................................................................................................5 Synopsis of the Play ...............................................................................................................6 Map of Renaissance Italy .....................................................................................................8 Cast, Production Staff, and Theatre Staff ..........................................................................9 Interviews with Some of the Cast ......................................................................................10 Reflections on the Play and Performance .........................................................................15 Rehearsal Photographs .......................................................................................................16 Works Cited ........................................................................................................................18 -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
La Traviata Synopsis 5 Guiding Questions 7
1 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of La Traviata Synopsis 5 Guiding Questions 7 The History of Verdi’s La Traviata 9 Guided Listening Prelude 12 Brindisi: Libiamo, ne’ lieti calici 14 “È strano! è strano!... Ah! fors’ è lui...” and “Follie!... Sempre libera” 16 “Lunge da lei...” and “De’ miei bollenti spiriti” 18 Pura siccome un angelo 20 Alfredo! Voi!...Or tutti a me...Ogni suo aver 22 Teneste la promessa...” E tardi... Addio del passato... 24 La Traviata Resources About the Composer 26 Online Resources 29 Additional Resources Reflections after the Opera 30 The Emergence of Opera 31 A Guide to Voice Parts and Families of the Orchestra 35 Glossary 36 References Works Consulted 40 2 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. Meet the Characters / The Story/ Resources Fostering familiarity with specific operas as well as the operatic art form, these sections describe characters and story, and provide historical context. Guiding questions are included to suggest connections to other subject areas, encourage higher-order thinking, and promote a broader understanding of the opera and its potential significance to other areas of learning. Guided Listening The Guided Listening section highlights key musical moments from the opera and provides areas of focus for listening to each musical excerpt. -
The Unconsummated Marriage in “Othello”
Goodfellow 1 K. A. Goodfellow Professor Henderson English 102 5 May 200X A Guiltless Death: The Unconsummated Marriage in Othello Although Desdemona and Othello are truly in love when they marry, they are unable to consummate their marriage in William Shakespeare's Othello. Because their marriage was tragically short (only three days), there were few opportunities for them to be together alone. When the opportunity did present itself, unforeseen circumstances arose and the moment was lost. This being the case, in murdering Desdemona, Othello kills a virginal wife -- a deeper irony considering that he murders her because he believes her to be unchaste. Desdemona is faithful before and during her marriage to Othello. Her own words defend the fact that she is an "honest" wife. After Othello accuses her for the first time of being a whore, Desdemona responds to Iago's queries of why Othello would thus accuse her with "I do not know. I am sure I am none such" (4.2.130). She continues to defend her virtue up to the moment of her death when she says "A guiltless death I die" (5.2.126). While Desdemona's words alone may not be enough proof of her faithfulness to Othello, her attendant, Emilia, also denies Othello's accusations of Desdemona. When Othello's questions Emilia about Desdemona's honesty, she replies "For if she be not honest, chaste, and true,/There's no man happy; the purest of their wives/ Is foul as slander" (4.2.18-20). As Desdemona's longtime servant, she is more aware than anyone Copyright (c) 2005, Pearson Education Inc., publishing as Pearson Longman.