Domenico CIMAROSA
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103 the Music Library of the Warsaw Theatre in The
A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska. -
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. -
An Evening of Comic Opera Scenes Cedarville University
Cedarville University DigitalCommons@Cedarville Ensemble Concerts Concert and Recital Programs 12-8-2011 An Evening of Comic Opera Scenes Cedarville University Follow this and additional works at: http://digitalcommons.cedarville.edu/ensemble_concerts Part of the Music Performance Commons Recommended Citation Cedarville University, "An Evening of Comic Opera Scenes" (2011). Ensemble Concerts. 19. http://digitalcommons.cedarville.edu/ensemble_concerts/19 This Program is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Ensemble Concerts by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. AN EVENING OF COMIC OPERA SCENES PRESENTED BY THE CEDARVILLE UNIVERSITY OPERA ENSEMBLE CRYSTAL STABENOW, DIRECTOR STEPHEN ESTEP, PIANO BEN.JAMIN SCHEERSCHMIDT, ASSISTANT STAGE DIRECTOR THURSDAY, DECEMBER 8, 20 1 1, 7 P.M. Act I, Scene I, from LA CENERENTOLA ...................................................... Gioachino Rossini (1792-1868) Clorinda, Alison Patton Tisbe, Kailey Grapes Cenerentola, Emalyn Bullis Alidoro, Benjamin Scheerschmidt Act II, Scene VII, from IL MATRIMONIO SEGRETO ........................................ Domenico Cimarosa (1749-1801) II Conte, Taylor Nelson Elisetta, Emma Gage Oh, Dry the Glistening Tear, from THE PIRATES OF PENZANCE ................. Arthur Gilbert & W. S. Sullivan (1836-1911) (1842-1900) Mabel, Vienna Trindal Chorus: Kailey Grapes, Sarah Thompson, -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
Cimarosa Domenico
CIMAROSA DOMENICO Compositore italiano (Aversa 17 XII 1749 - Venezia 11 I 1801) RRIITTRRAATTTTOO DDEELL CCOOMMPPOOSSIITTOORREE 327 Il padre era muratore e la madre lavandaia. Ancora bambino, la famiglia si trasferì a Napoli in cerca di lavoro, e il padre dopo poco tempo morì in seguito ad un infortunio occorsogli durante la costruzione del Palazzo Reale di Campodimonte. Ridotta in povertà, la madre mandò il figlio Domenico a vivere coi padri conventuali al Pendino dove ricevette le sue prime lezioni di musica. Dimostrando una particolare inclinazione per la musica, venne inviato nel 1761 al conservatorio di Santa Maria Loreto, con l'obbligo di rimanervi dieci anni. Ciò escluderebbe che Cimarosa abbia studiato con G. Manno e A. Sacchini in quanto questi maestri lasciarono il conservatorio rispettivamente nel 1761 e nel 1762 proprio, cioè, quando egli vi entrò. Si sa che i suoi principali insegnanti furono P. Gallo, F. Fenaroli e S. Carcajus, e che si perfezionò in violino, in clavicembalo, in organo e soprattutto in canto. Cimarosa iniziò a comporre mentre era ancora studente e i suoi primi saggi furono alcuni pezzi religiosi, fra i quali vanno ricordati due mottetti a quattro voci con strumenti, che portano la data 1765, attualmente conservati nella Biblioteca del conservatorio di Napoli. Uscito dal conservatorio all'età di 22 anni, ebbe subito la fortuna di incontrare una protettrice nella persona della signora C. Pallante, una nota cantante trasferitasi a Roma. Probabilmente, grazie all’influenza di C. Pallante, Cimarosa ricevette la commissione per due lavori per il carnevale del 1772 al teatro dei Fiorentini. Tali opere, Le stravaganze del conte e la farsa Le magie di Merlina e Zoroastro, non furono bene accolte dal pubblico, e secondo F. -
The Howard Mayer Brown Libretto Collection
• The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali -
Il Matrimonio Segreto Dramma Giocoso Per Musica in Due 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 Giancarlo Giordano presidente Adriano Olivetti Paolo Vigo Maurizia Zuanich Fischer SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. FONDAZIONE TEATRO LA FENICE DI VENEZIA Il matrimonio segreto dramma giocoso per musica in due atti libretto di Giovanni Bertati musica di Domenico Cimarosa Teatro Malibran venerdì 24 settembre 2004 ore 19.00 turno A domenica 26 settembre 2004 ore 15.30 turno B martedì 28 settembre 2004 ore 19.00 turno D giovedì 30 settembre 2004 ore 19.00 turni E-I sabato 2 ottobre 2004 ore 15.30 turni C-H La Fenice prima dell’Opera 2004 7 Francesco Saverio Candido, Domenico Cimarosa al cembalo (1785). Olio su tela. Napoli, Museo di San Martino. La Fenice prima dell’Opera 2004 7 Sommario 5 La locandina 7 «Son più strambo di un cavallo. / Vado tutti a maltrattar» di Michele Girardi 9 Il matrimonio segreto, libretto e guida all’opera a cura di Alessandro Di Profio 73 Il matrimonio segreto in breve a cura di Gianni Ruffin 77 Argomento – Argument – Synopsis – Handlung 85 Anna Laura Bellina Sussurri e grida. Per un matrimonio di successo 97 Giovanni Guanti Triplum, pour «méditerraniser la musique» 123 L’album per Cimarosa nel primo centenario della morte (1901) a cura di Giovanni Guanti 137 Vincenzina Ottomano Bibliografia 149 Online: «Lacreme napulitane» a cura di Roberto Campanella 159 Domenico Cimarosa a cura di Mirko Schipilliti Atto di nascita di Bertati (il nome di famiglia compare nella forma Bertato) e lapide commemorativa nella sala consiliare del Municipio di Martellago. -
21 Sonatas Andrea Chezzi Organ Domenico Cimarosa (1749-1801) 21 Organ Sonatas
Cimarosa 21 Sonatas Andrea Chezzi organ Domenico Cimarosa (1749-1801) 21 Organ Sonatas 1. Sonata in C - Allegro C54, F54 4’04 During his own lifetime, the fame of Domenico Cimarosa was mostly due to his 2. Sonata in A minor - Largo C55, F55 4’22 operas, while his works for keyboard instruments largely had to wait until the 20th 3. Sonata in C - Allegro C50, F50 2’56 century to receive the attention they deserve. Although the instrument for which he wrote his sonatas was the fortepiano, for this recording we have chosen a selection of 4. Sonata in G minor - Andantino C33, F33 1’41 them for the organ, since this was also an instrument that played a constant role in 5. Sonata in G - Allegro C32, F32 2’30 his life as a composer. Cimarosa’s father died when he was still a boy and his family was very poor. He 6. Sonata in D minor - Andante con moto C79, F79 3’13 received his early musical education from Father Polcano, the organist of the church 7. Sonata in D - Allegretto C30, F30 3’35 of San Severo of the Padri conventuali in Naples, and then at the Beata Vergine di Loreto Conservatoire, also in Naples. By the time he had concluded these studies he 8. Sonata in A - [Allegro] C19, F19 2’43 was considered an excellent harpsichordist, violinist, singer and organist. Although 9. Sonata in A minor - Andantino grazioso C58, F58 1’47 his career as an opera composer led him to travel widely among the capitals of the 10. -
Francesco Fanna Began to Study the Violin Under the Guidance Of
Francesco Fanna began to study the violin under the guidance of Antonio Carmignola, and then continued at the Giuseppe Verdi Conservatory of Music in Milan with Paolo Borciani, first violin of the famous Quartetto Italiano. He also studied Composition with Franco Donatoni, Niccolò Castiglioni, Danilo Lorenzini and Gianfranco Maselli. He studied Choral Music and Choral Conduction with Franco Monego and Lirical Theatre Conduction with Umberto Cattini. He obtained his Diploma in Orchestral Conduction under the guidance of Mario Gusella and later Michele Marvulli and Donato Renzetti. He attended several seminars and workshops in Nice, Assisi, Trieste and Rome, with teachers as Carlo Maria Giulini (Accademia Chigiana in Siena) and Leonard Bernstein (Accademia di Santa Cecilia in Rome). He conducted several orchestras in Italy and abroad – France, Switzerland, Germany, Great Britain, Rumania, Czech Republic, Argentina, Brazil, Korea, Japan – among which the “Bari Symphonic Orchestra” the Orchestras “I Pomeriggi Musicali”, “Angelicum”, “Milano Classica”, “Guido Cantelli” in Milan, the “Haydn” Symphonic Orchestra in Bolzano and Trento, the Sanremo Symphonic Orchestra, the “Filarmonia Veneta” Orchestra, the “Orchestra Sinfonica Abruzzese”, the “Orchestra Sinfonica Siciliana”, the “Orchestre Filarmonique de Nice”, the Philharmonic Orchestra of Ploiesti and the Symphonic Orchestra of Constanta (Rumania), the “Orchestre de Chambre de Genève”, the Ensembles “Accademia di San Rocco” and the “Accademia musicale of San Giorgio” in Venice, “Pian & Forte” -
METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M. -
Le Opere Europee 1800-1899 Michele Girardi (In Fieri, 20 Gennaio 2019)
Le opere europee 1800-1899 Michele Girardi (in fieri, 20 gennaio 2019) 1800 (2) Paris Les deux journées 16.I Nicholas Bouilly Luigi Cherubini Théâtre Feydeau melodramma, 3 Paris Le calife de Bagdad Charles Guillaume 16.IX Adrien Boïeldieu OC opera, 1 Etienne 1801 (1) Wien Die Geschöpfe des Prometheus Ludvig van 28.III Salvatore Viganò Hofburgtheater ballo eroico 2p Beethoven 1802 (2) Venezia Le metamorfosi di Pasquale, o 16.I T. San Moisé sia Tutto è illusione nel mondo Giuseppe Foppa Gaspare Spontini farsa giocosa per musica, 1 Venezia Werter e Carlotta Giulio Domenico primavera Vincenzo Pucitta T. San Moisé opera, 1 Camagna 1803 (1) 4.X Paris Anacréon, ou L’amour fugitif R. Mendouze Luigi Cherubini O opéra-ballet 1804 (3) Joseph Marie Paris La petite maison Armand Michel 12.V Gaspare Spontini OC (Feydeau) opéra-comique, 3 Dieulafoy e N. Gersin Dneprovskaja rušalka (L’ondina St Petersburg 17 Ferdinand Kauer Catterino Cavos Bol’šoj Kamenny T. del Dnepr) opera magico-buffa, 3 Victor-Joseph Étienne de Jouy e Paris Milton 12.XI Joseph Marie Gaspare Spontini OC (Favart) fait historique, 1 Armand Michel Dieulafo 1805 (2) Paris Julie, ou Le pot de fleurs 12.III Antoine Gabriel Jars Gaspare Spontini OC (Favart) comédie en prose, mêlée de chants, 1 Wien Fidelio Joseph von Ludvig van 20. I X Theater an der Wien opera, 3 (I vers.) Sonnleithner Beethoven 1806 (2) Paris Les deux aveugles de Tolède 28.I Benoît Marsollier Joseph Méhul OC opera, 1 Joseph von 29 Wien Fidelio Theater an der Wien opera, 3 (IIa vers.) Sonnleithner 2 1807 (3) Mosca Илья-Богатырь (Il’ja il prode) 12.I Ivan Krïlov Catterino Cavos Bol’šoj grande opera magico-buffa, 4 Paris Joseph 17.II Alexandre Duval Joseph Méhul OC drame en prose mêlé de chants, 3 Paris La Vestale 15.XII V. -
Small-Scale Opera: History and Continuing Relevance in the 21St Century
SMALL-SCALE OPERA: HISTORY AND CONTINUING RELEVANCE IN THE 21ST CENTURY Joel B. Trisel A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2015 Committee: Katherine Meizel, Advisor Christopher Scholl Kevin Bylsma ii ABSTRACT Katherine Meizel, Advisor This paper explores the history and recent rise in popularity of small-scale opera. Small- scale opera, originally referred to as chamber opera, and recently referred to as “Micro-opera”, “NANOWorks”, et cetera, has gained popularity in the past forty years due to artistic and financial reasons. The genre reflects the need for companies to find financially viable ways to continue to produce and perform classical music in a poor economic climate. The short length and relatively simple plots of the works in this genre also reflect the shift in media consumption on a broad level in the United States. While the genre is growing in popularity today, it has ties to historical practices, including some of the first documented operas written in the Baroque period. This paper provides a historical account of iterations of small-scale opera and culminates in interviews with professionals working in the field today. Through my research, I conclude that the genre is likely to succeed in the 21st century. This is due to the financial viability small-scale opera affords to both those producing and attending these works. Small-scale opera provides composers with a flexible medium in which they can explore writing sung drama that is substantially more likely to be produced than full-length works.