Schede Testi Di Metastasio
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Betulia Liberata
Wolfgang Amadeus Mozart Pietro Metastasio BETULIA LIBERATA 1771 Éditionsǀ ǀ Copyright © 2018 Nicolas Sceaux, Les Talens Lyriques – Christophe Rousset. Nicolasǀ ǀ Sheet music from http://nicolas.sceaux.free.fr typeset using LilyPond on 2018-11-16. Sceauxǀ ǀ Creative Commons Attribution-ShareAlike 4.0 License — free to download, distribute, modify and perform. 2 TABLE DES MATIÈRES Libretto .......................................... 3 1-0 Overtura ......................................... 12 Parte Prima 1-1 Recitativo. Ozia: Popoli di Betulia, ah qual v’ingombra . 23 1-10 Aria. Giuditta: Del pari infeconda ................... 79 1-2 Aria. Ozia: D’ogni colpa la colpa maggiore ............ 24 1-11 Recitativo. Ozia, Cabri, Giuditta: Oh saggia, oh santa, 1-3 Recitativo. Cabri, Amital: E in che sperar? ............ 47 oh eccelsa donna! ................................. 91 1-4 Aria. Cabri: Ma qual virtù non cede .................. 48 1-12 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 93 1-5 Recitativo. Ozia, Cabri, Amital: Già le memorie antiche . 54 1-13 Recitativo. Oh saggia, oh santa, oh eccelsa donna! ..... 100 1-6 Aria. Amital: Non hai cor, se in mezzo a questi ......... 56 1-14 Aria. Achior: Terribile d’aspetto ..................... 102 1-7 Recitativo. Ozia, Amital, Coro: E qual pace sperate ..... 65 1-15 Recitativo. Ti consola, Achior ....................... 112 1-8 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 67 1-16 Aria. Giuditta: Parto inerme, e non pavento ........... 114 1-9 Recitativo. Cabri, Amital, Ozia, Giuditta: Chi è costei, 1-17 Coro: Oh prodigio! Oh stupor! ....................... 133 che qual sorgente aurora ........................... 74 Parte Seconda 2-1 Recitativo. Achior, Ozia: Troppo mal corrisponde ...... 144 2-9 Recitativo. -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
L'opera Italiana Nei Territori Boemi Durante Il
L’OPERA ITALIANA NEI TERRITORI BOEMI DURANTE IL SETTECENTO V. 1-18_Vstupy.indd 2 25.8.20 12:46 Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento a cura di Milada Jonášová e Tomislav Volek ACADEMIA Praga 2020 1-18_Vstupy.indd 3 25.8.20 12:46 Il libro è stato sostenuto con un finanziamento dell’Accademia delle Scienze della Repubblica Ceca. Il convegno «Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento» è stato sostenuto dall’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca con un finanziamento nell’ambito del programma «Collaborazione tra le Regioni e gli Istituti dell’Accademia delle Scienze della Repubblica Ceca » per l’anno 2019. Altra importante donazione ha ricevuto l’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca da Johann Adolf Hasse-Gesellschaft a Bergedorf e.V. Prossimo volume della collana: L’opera italiana – tra l’originale e il pasticcio In copertina: Pietro Metastasio, Il Demofoonte, atto II, scena 9 „Vieni, mia vita, vieni, sei salva“, Herissant, vol. 1, Paris 1780. In antiporta: Il Demofoonte, atto II, scena 5 „Il ferro, il fuoco“, in: Opere di Pietro Metastasio, Pietro Antonio Novelli (disegnatore), Pellegrino De Col (incisore), vol. 4, Venezia: Antonio Zatta, 1781. Recensori: Prof. Dr. Lorenzo Bianconi Prof. Dr. Jürgen Maehder Traduzione della prefazione: Kamila Hálová Traduzione dei saggi di Tomislav Volek e di Milada Jonášová: Ivan Dramlitsch -
Menchelli-Buttini 2
FRANCESCA MENCHELLI-BUTTINI Johann Adolf Hasse, Demetrio (1732), Non ho più core, I-Vnm, Cod. It. IV.482, c. 112v, bb. 29-41 1 Le prerogative dell’inciso iniziale vengono esaurite in A e nella sezione centrale B, nel primo caso anche tramite una contrazione del ritmo melodico e armonico conseguente al singolare incastro fra il soprano e i primi violini, cui si affida la versione più aspra con il salto conclusivo, da ripetersi poi insistentemente sulla coloratura di «sfortunata», appresso il piccolo colpo di scena dell’entrata forte in anticipo dei primi violini (b. 79) che trascina con sé la voce, badando forse di evitare un’eccessiva monotonia: peraltro, già «temo il periglio» (bb. 73-74) assume rilievo dal gesto inatteso della scala discendente, sottolineato col mutare altrettanto improvviso del corteggio armonico e tramite il breve disporsi dei primi violini colla parte. Johann Adolf Hasse, Demetrio (1732), Non ho più core, I-Vnm, Cod. It. IV.482, cc. 113v-114r, bb. 67-74 e 78-86 – 496 – – 10 di 21 – HASSE E VIVALDI II. Nel secondo atto dell’Alessandro nell’Indie l’imprevista notizia della morte dello sposo costituisce l’ulteriore peripezia della regina Cleofide, totale rovesciamento rispetto alla precedente manifestazione di clemenza di Ales- sandro verso Poro. Forse proprio il subbuglio espresso nel recitativo Che mi giovò sull’are, confacente a un’intonazione con strumenti, nel 1736 consigliò per l’aria d’entrata Se il Ciel mi divide la sostituzione con versi più energici e vibranti come quelli di Il regno, il consorte (II.13), ma nel medesimo metro del senario regolarmente accentuato con misura dattilica, traendo dall’originale l’antitesi «vita-morte» (da «viver-morir») e l’ipotetica «Dell’idolo mio / se il Cielo mi priva» (da «Se il Ciel mi divide / dal caro mio sposo»). -
Viva!” Is the Final Number of Il Re Pastore (The Shepherd King), Which Mozart Composed in 1775 in Salzburg When He Was Just 19 Years Old
2 Editor’s Note Wolfgang Amadeus Mozart (1756-1791) was one of the most significant composers of the Viennese Classical style and is revered today as one of the greatest composers of all time. Mozart was a tremendously talented composer in the many forms of the Classical era, including operas, symphonies, concertos, chamber works, sonatas, choral works, arias, and songs. His works are highly revered today for their beautiful melodies and rich harmonies. Born in Salzburg, Austria, Mozart’s genius was apparent at a very early age. He became a well-known performer in many European cities by his early teens, eventually serving as concertmaster for the Archbishop of Salzburg. In 1781, after becoming discontented with his low salary and the lack of opportunity for more opera composition in Salzburg, Mozart quit the position and settled in Vienna. Achieving many successes in Vienna, he became known as the finest keyboardist in the city, and he completed a variety of works, including piano concertos and operas. Although he became famous for a while, Mozart’s career and finances gradually declined. He spent his remaining years without the security of a permanent position while struggling for recognition and commissions. “Viva!” is the final number of Il re pastore (The Shepherd King), which Mozart composed in 1775 in Salzburg when he was just 19 years old. Based on the 1751 libretto of Pietro Metastasio, this two-act work is often referred to as a “seranata” because it is a shortened version of an opera seria (serious opera). The production features a small cast of performers and was originally presented with very limited staging. -
Opera Olimpiade
OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello. -
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; -
3149028135572.Pdf
1 2 WOLFGANG AMADEUS MOZART BETULIA LIBERATA SANDRINE PIAU · AMANDA FORSYTHE · TERESA IERVOLINO PABLO BEMSCH · NAHUEL DI PIERRO ACCENTUS LES TALENS LYRIQUES CHRISTOPHE ROUSSET 3 Ce projet a reçu le généreux soutien de Monsieur Nizam Kettaneh. Les répétitions et la représentation publique du 22 juin 2019 à la Seine Musicale ont reçu le généreux soutien de Monsieur Alain Blanc-Brude. Enregistré par Little Tribeca le 22 juin 2019 et du 29 juin au 1er juillet 2019 à la Seine Musicale, Boulogne-Billancourt. Direction artistique : Gaëtan Juge Prise de son : Gaëtan Juge et Frédéric Briant Montage, mixage et mastering : Ignace Hauville Édition musicale : Nicolas Sceaux pour Les Talens Lyriques Traduction française par Dennis Collins (note) et Mary Pardoe (livret) English translation by Mary Pardoe (libretto) Deutsche Übersetzung von Hilla Maria Heintz (Libretto - Textbeilage) L’introduction par Simon Keefe, tirée du programme du concert donné à l’occasion de la Mozartwoche 2019, est ici reproduite avec l’autorisation de la Stiftung Mozarteum Salzburg. Les Talens Lyriques sont soutenus par le ministère de la Culture-DRAC Île-de-France, la Ville de Paris et le Cercle des Mécènes. L’ensemble remercie ses Grands Mécènes : la Fondation Annenberg / GRoW – Gregory et Regina Annenberg Weingarten, Madame Aline Foriel-Destezet et Mécénat Musical Société Générale. Les Talens Lyriques sont depuis 2011 artistes associés, en résidence à la Fondation Singer-Polignac. [LC] 83780 · AP235 ℗ 2020 Little Tribeca · Les Talens Lyriques © 2020 Little Tribeca · Les Talens Lyriques 1 rue Paul Bert, 93500 Pantin apartemusic.com lestalenslyriques.com 4 WOLFGANG AMADEUS MOZART BETULIA LIBERATA KV 118 [1771] Azione sacra in due parti Libretto by Pietro Metastasio 5 6 1. -
Masarykova Univerzita Filozofická Fakulta Ústav Hudební Vědy Teorie A
Masarykova univerzita Filozofická fakulta Ústav hudební vědy Teorie a provozovací praxe staré hudby Ing. Blanka Šedivcová Karnetová Bakalářská diplomová práce Opera Il Demofoonte (1771) Jana Antonína Koželuha Vedoucí práce: doc. PhDr. Jana Perutková, Ph.D. Brno 2016 Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené prameny a literaturu. .................................................... 2 Na tomto místě bych ráda poděkovala doc. PhDr. Janě Perutkové, Ph.D., za odborné vedení práce, cenné rady a trpělivost. Poděkování patří rovněž mým nejbližším za podporu. 3 OBSAH: 1. Úvod 5 2. Stručný životopis autora 7 3. Okolnosti provedení opery Il Demofoonte J. A. Koželuha - stav bádání 10 3.1 Primární prameny 10 3.2 Opera Il Demofoonte J. A. Koželuha v lexikách a monografiích 11 3.3 Dizertační práce Johann Anton Koželuch (1738-1814) – Život a dílo. 12 3.4 Diplomová práce Opera „Il Demofoonte“ Jana Antonína Koželuha. 14 4. J. A. Koželuh: Opera Il Demofoonte v souvislostech 15 4.1 Opera Il Demofoonte v kontextu tzv. „neapolského“ operního stylu 15 4.2 Přehled zhudebnění libreta Il Demofoonte Pietra Metastasia 17 4.3 Stručný děj opery 23 4.4 Rozdělení rolí 24 4.5 Koželuhova práce s textem libreta 26 5. Hudební zpracování opery 28 6. Edice partitury 37 6.1. Ediční zpráva 37 6.2. Popis pramene 38 6.3. Soupis edičních zásahů 40 7. Závěr 47 8. Resumé 48 9. Seznam použitých pramenů a literatury 49 10. Příloha: Edice Sinfonie, Árie Timanta a Duetta Dircey a Timanta z opery Il Demofoonte Jana Antonína Koželuha 52 1. Úvod Existuje mnoho indicií, z nichž lze vyvodit, že žánr italské opery byl v kulturním prostředí Prahy 18. -
Howard Mayer Brown Microfilm Collection Guide
HOWARD MAYER BROWN MICROFILM COLLECTION GUIDE Page individual reels from general collections using the call number: Howard Mayer Brown microfilm # ___ Scope and Content Howard Mayer Brown (1930 1993), leading medieval and renaissance musicologist, most recently ofthe University ofChicago, directed considerable resources to the microfilming ofearly music sources. This collection ofmanuscripts and printed works in 1700 microfilms covers the thirteenth through nineteenth centuries, with the bulk treating the Medieval, Renaissance, and early Baroque period (before 1700). It includes medieval chants, renaissance lute tablature, Venetian madrigals, medieval French chansons, French Renaissance songs, sixteenth to seventeenth century Italian madrigals, eighteenth century opera libretti, copies ofopera manuscripts, fifteenth century missals, books ofhours, graduals, and selected theatrical works. I Organization The collection is organized according to the microfilm listing Brown compiled, and is not formally cataloged. Entries vary in detail; some include RISM numbers which can be used to find a complete description ofthe work, other works are identified only by the library and shelf mark, and still others will require going to the microfilm reel for proper identification. There are a few microfilm reel numbers which are not included in this listing. Brown's microfilm collection guide can be divided roughly into the following categories CONTENT MICROFILM # GUIDE Works by RISM number Reels 1- 281 pp. 1 - 38 Copies ofmanuscripts arranged Reels 282-455 pp. 39 - 49 alphabetically by institution I Copies of manuscript collections and Reels 456 - 1103 pp. 49 - 84 . miscellaneous compositions I Operas alphabetical by composer Reels 11 03 - 1126 pp. 85 - 154 I IAnonymous Operas i Reels 1126a - 1126b pp.155-158 I I ILibretti by institution Reels 1127 - 1259 pp. -
Milan, 26Th January, 1770
0158. MOZART TO HIS SISTER ,1 SALZBURG [Milan, 26 th January, 1770] I am truly and wholeheartedly glad that you enjoyed this sleigh ride so much 2 and I wish you a thousand opportunities for enjoyment so that you may live your life in truly high spirits. But one thing vexes me, [5] that you let Herr von Mölk 3 sigh and suffer so endlessly, and that you did not go on a sleigh ride with him so that he could have tipped it over for you. How many sniffle-handkerchiefs will he have needed that day for weeping over you? He will of course have taken 2 ounces of tartar 4 beforehand, which no doubt expelled from him the horrifying uncleanliness of body that he has. [10] I know of nothing new, except that Herr Gelehrt, 5 the poet in Leipzig, has died and has written no more poetry since his death. Just before I started this letter, I finished an aria from Demetrio ,6 which begins like this: Misero tu non sei: [15] Tu spieghi il tuo dolore; e se non desti amore; ritrovi almen pietà. * Misera ben son io Che nel segretto laccio [20] Amo, non spero e taccio E l’idol mio nol sà. 7 The opera in Mantua was fine, they played Denetrio .8 The leading lady sings well but quietly and, if you do not see her acting, but only singing, you think she is not singing, for she cannot open her mouth, [25] but whines her way through everything, but that is nothing new to us. -
Siroe Fondazione Teatro La Fenice Di Venezia
GEORG FRIEDRICH HÄNDEL SIROE FONDAZIONE TEATRO LA FENICE DI VENEZIA SIROE Georg Friedrich Händel in un ritratto di Thomas Hudson. (Londra, National Portrait Gallery). 2 FONDAZIONE TEATRO LA FENICE DI VENEZIA SIROE musica di GEORG FRIEDRICH HÄNDEL VENEZIA - SCUOLA GRANDE S. GIOVANNI EVANG E LI STA Giovedì 28 dicembre 2000, ore 20.00 Sabato 30 dicembre 2000, ore 15.30 Martedì 2 gennaio 2001, ore 20.00 Giovedì 4 gennaio 2001, ore 20.00 3 —————— Edizioni dell’Ufficio Stampa del TEATRO LA FENICE Responsabile Cristiano Chiarot Hanno collaborato Pierangelo Conte, Giorgio Tommasi Ricerca iconografica Maria Teresa Muraro Copertina Tapiro Pubblicità AP srl Torino 4 SOMMARIO 7 LA LOCANDINA 11 I LIBRETTI 90 SIROE IN BREVE 92 ARGOMENTO - ARGUMENT - SYNOPSIS - HANDLUNG - 97 LORENZO BIANCONI L’“INTOLLERANTE” SIROE DA VENEZIA A HAYMARKET 102 HÄNDEL E METASTASIO 103 JORGE LAVELLI SIROE, RE DI PERSIA ALLA SCUOLA GRANDE S. GIOVANNI EVANGELISTA 104 GIORGIO GUALERZI UNA CITTÀ HÄNDELIANA 112 BIOGRAFIE 5 Lauro Crisman, modellino per Siroe. Venezia, Scuola Grande S. Giovanni Evangelista, dicembre 2000. 6 LA LOCANDINA SIROE musica di GEORG FRIEDRICH HÄNDEL libretto di NICOLA FRANCESCO HAYM da PIETRO METASTASIO prima rappresentazione in Italia personaggi ed interpreti Cosroe LORENZO REGAZZO Siroe VALENTINA KUTZAROVA Medarse ROBERTO BALCONI Emira PATR IZIA CIOFI Laodice JAHO ERMONELA Arasse DARIO GIORGELÉ maestro concertatore e direttore ANDREA MARCON regia JORGE LAVELLI scene LAURO CRISMAN costumi FRANCESCO ZITO assistente regia CARLO BELLAMIO effetti sonori JEAN MARIE BOURDAT light designer FABIO BARETTIN VENICE BAROQUE ORCHESTRA nuovo allestimento in coproduzione con APOLLONESQUE e in collaborazione con il Comitato Nazionale per le celebrazioni del Terzo Centenario della nascita di Pietro Metastasio Si ringraziano l’Università di Birmingham – Centre of Early Music Performance and Research e la Dott.ssa Mary O’Neill per aver gentilmente fornito copia dei manoscritti originali del Siroe.