“La Voce D' Abruzzo”
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Donizetti Operas and Revisions
GAETANO DONIZETTI LIST OF OPERAS AND REVISIONS • Il Pigmalione (1816), libretto adapted from A. S. Sografi First performed: Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo. • L'ira d'Achille (1817), scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini. First performed: Possibly at Bologna where he was studying. First modern performance in Bergamo, 1998. • Enrico di Borgogna (1818), libretto by Bartolomeo Merelli First performed: November 14, 1818 at Teatro San Luca, Venice. • Una follia (1818), libretto by Bartolomeo Merelli First performed: December 15, 1818 at Teatro San Luca,Venice. • Le nozze in villa (1819), libretto by Bartolomeo Merelli First performed: During Carnival 1820-21 at Teatro Vecchio, Mantua. • Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), libretto by Gherardo Bevilacqua-Aldobrandini First performed: December 26, 1819 at the Teatro San Samuele, Venice. • Zoraida di Granata (1822), libretto by Bartolomeo Merelli First performed: January 28, 1822 at the Teatro Argentina, Rome. • La zingara (1822), libretto by Andrea Tottola First performed: May 12, 1822 at the Teatro Nuovo, Naples. • La lettera anonima (1822), libretto by Giulio Genoino First performed: June 29, 1822 at the Teatro del Fondo, Naples. • Chiara e Serafina (also known as I pirati) (1822), libretto by Felice Romani First performed: October 26, 1822 at La Scala, Milan. • Alfredo il grande (1823), libretto by Andrea Tottola First performed: July 2, 1823 at the Teatro San Carlo, Naples. • Il fortunate inganno (1823), libretto by Andrea Tottola First performed: September 3, 1823 at the Teatro Nuovo, Naples. -
CHAN 3036 BOOK COVER.Qxd 22/8/07 2:50 Pm Page 1
CHAN 3036 BOOK COVER.qxd 22/8/07 2:50 pm Page 1 CHAN 3036(2) CHANDOS O PERA I N ENGLISH Il Trovatore David Parry PETE MOOES FOUNDATION CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 2 Giuseppe Verdi (1813–1901) Il trovatore (The Troubadour) Opera in four parts AKG Text by Salvatore Cammarano, from the drama El trovador by Antonio Garcia Gutiérrez English translation by Tom Hammond Count di Luna, a young nobleman of Aragon ....................................................................Alan Opie baritone Ferrando, captain of the Count’s guard ..................................................................................Clive Bayley bass Doña Leonora, lady-in-waiting to the Princess of Aragon ..............................................Sharon Sweet soprano Inez, confidante of Leonora ........................................................................................Helen Williams soprano Azucena, a gipsy woman from Biscay ....................................................................Anne Mason mezzo-soprano Manrico (The Troubadour), supposed son of Azucena, a rebel under Prince Urgel ........Dennis O’Neill tenor Ruiz, a soldier in Manrico’s service ..................................................................................Marc Le Brocq tenor A Gipsy, a Messenger, Servants and Retainers of the Count, Followers of Manrico, Soldiers, Gipsies, Nuns, Guards Geoffrey Mitchell Choir London Philharmonic Orchestra Nicholas Kok and Gareth Hancock assistant conductors David Parry Further appearances in Opera in English Dennis O’Neill: -
Lucia Di Lammermoor
LUCIA DI LAMMERMOOR An in-depth guide by Stu Lewis INTRODUCTION In Gustave Flaubert’s Madame Bovary (1857), Western literature’s prototypical “Desperate Housewives” narrative, Charles and Emma Bovary travel to Rouen to attend the opera, and they attend a performance of Lucia di Lammermoor. Perhaps Flaubert chose this opera because it would appeal to Emma’s romantic nature, suggesting parallels between her life and that of the heroine: both women forced into unhappy marriages. But the reason could have been simpler—that given the popularity of this opera, someone who dropped in at the opera house on a given night would be likely to see Lucia. If there is one work that could be said to represent opera with a capital O, it is Lucia di Lammermoor. Lucia is a story of forbidden love, deceit, treachery, violence, family hatred, and suicide, culminating in the mother of all mad scenes. It features a heroic yet tragic tenor, villainous baritones and basses, a soprano with plenty of opportunity to show off her brilliant high notes and trills and every other trick she learned in the conservatory, and, to top it off, a mysterious ghost haunting the Scottish Highlands. This is not to say that Donizetti employed clichés, but rather that what was fresh and original in Donizetti's hands became clichés in the works of lesser composers. As Emma Bovary watched the opera, “She filled her heart with the melodious laments as they slowly floated up to her accompanied by the strains of the double basses, like the cries of a castaway in the tumult of a storm. -
Francis Poulenc
CHAN 3134(2) CCHANHAN 33134134 WWideide bbookook ccover.inddover.indd 1 330/7/060/7/06 112:43:332:43:33 Francis Poulenc © Lebrecht Music & Arts Library Photo Music © Lebrecht The Carmelites Francis Poulenc © Stephen Vaughan © Stephen CCHANHAN 33134(2)134(2) BBook.inddook.indd 22-3-3 330/7/060/7/06 112:44:212:44:21 Francis Poulenc (1899 – 1963) The Carmelites Opera in three acts Libretto by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis Marquis de la Force ................................................................................ Ashley Holland baritone First Commissioner ......................................................................................James Edwards tenor Blanche de la Force, his daughter ....................................................... Catrin Wyn-Davies soprano Second Commissioner ...............................................................................Roland Wood baritone Chevalier de la Force, his son ............................................................................. Peter Wedd tenor First Offi cer ......................................................................................Toby Stafford-Allen baritone Thierry, a valet ........................................................................................... Gary Coward baritone Gaoler .................................................................................................David Stephenson baritone Off-stage voice ....................................................................................... -
Anna Bolena Opera by Gaetano Donizetti
ANNA BOLENA OPERA BY GAETANO DONIZETTI Presentation by George Kurti Plohn Anna Bolena, an opera in two acts by Gaetano Donizetti, is recounting the tragedy of Anne Boleyn, the second wife of England's King Henry VIII. Along with Gioachino Rossini and Vincenzo Bellini, Donizetti was a leading composer of the bel canto opera style, meaning beauty and evenness of tone, legato phrasing, and skill in executing highly florid passages, prevalent during the first half of the nineteenth century. He was born in 1797 and died in 1848, at only 51 years of age, of syphilis for which he was institutionalized at the end of his life. Over the course of is short career, Donizetti was able to compose 70 operas. Anna Bolena is the second of four operas by Donizetti dealing with the Tudor period in English history, followed by Maria Stuarda (named for Mary, Queen of Scots), and Roberto Devereux (named for a putative lover of Queen Elizabeth I of England). The leading female characters of these three operas are often referred to as "the Three Donizetti Queens." Anna Bolena premiered in 1830 in Milan, to overwhelming success so much so that from then on, Donizetti's teacher addressed his former pupil as Maestro. The opera got a new impetus later at La Scala in 1957, thanks to a spectacular performance by 1 Maria Callas in the title role. Since then, it has been heard frequently, attracting such superstar sopranos as Joan Sutherland, Beverly Sills and Montserrat Caballe. Anna Bolena is based on the historical episode of the fall from favor and death of England’s Queen Anne Boleyn, second wife of Henry VIII. -
Roberto Devereux
GAETANO DONIZETTI roberto devereux conductor Opera in three acts Maurizio Benini Libretto by Salvadore Cammarano, production Sir David McVicar after François Ancelot’s tragedy Elisabeth d’Angleterre set designer Sir David McVicar Saturday, April 16, 2016 costume designer 1:00–3:50 PM Moritz Junge lighting designer New Production Paule Constable choreographer Leah Hausman The production of Roberto Devereux was made possible by a generous gift from The Sybil B. Harrington Endowment Fund The presentation of Donizetti’s three Tudor queen operas this season is made possible through a generous grant from Daisy Soros, general manager in memory of Paul Soros and Beverly Sills Peter Gelb music director James Levine Co-production of the Metropolitan Opera principal conductor Fabio Luisi and Théâtre des Champs-Élysées 2015–16 SEASON The seventh Metropolitan Opera performance of GAETANO DONIZETTI’S This performance roberto is being broadcast live over The Toll Brothers– devereux Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury Maurizio Benini homebuilder®, with generous long-term in order of vocal appearance support from sar ah (sar a), duchess of not tingham The Annenberg Elīna Garanča Foundation, The Neubauer Family queen eliz abeth (elisabet ta) Foundation, the Sondra Radvanovsky* Vincent A. Stabile Endowment for lord cecil Broadcast Media, Brian Downen and contributions from listeners a page worldwide. Yohan Yi There is no sir walter (gualtiero) r aleigh Toll Brothers– Christopher Job Metropolitan Opera Quiz in List Hall robert (roberto) devereux, e arl of esse x today. Matthew Polenzani This performance is duke of not tingham also being broadcast Mariusz Kwiecien* live on Metropolitan Opera Radio on a servant of not tingham SiriusXM channel 74. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
16-20 May 2018
OPERA HONG KONG & LE FRENCH MAY PROUDLY PRESENT AN OPERA IN 4 ACTS 四幕歌劇 16-20 MAY 2018 (WED - SUN) | 19:30 Libretto 編劇及作詞: Henri Meilhac and Ludovic Halévy Grand Theatre, 麥爾哈克及阿萊維 Hong Kong Cultural Centre 香港文化中心大劇院 Producer 監製: Warren Mok 莫華倫 Conductor 指揮: Yves Abel 阿貝爾 Performed in French with Chinese and English Surtitles Director 導演: Jean-Romain Vesperini 衛斯皮烈尼 法語演出,中英文字幕 Chorus Director 合唱團總監: Alex Tam 譚天樂 卡比才 門 Bizet’s CARMEN 節目主要贊助及5月20日演出之冠名贊助 鳴謝 Hong Kong Sinfonietta Performance Major Sponsor and Title Sponsor of 20 May performance Acknowledgement 香港小交響樂團 康樂及文化事務署 Opera Hong Kong Chorus Leisure and Cultural Services Department 香港歌劇院合唱團 Opera Hong Kong Children Chorus 香港歌劇院兒童合唱團 香港歌劇院榮譽贊助及5月18日演出之冠名贊助 5月19日演出之獨家贊助 全力支持 Honorary Patron of Opera Hong Kong & Sole Sponsor of 19 May performance Supported by The Song and Dance Troupe of Fujian Opera Title Sponsor of 18 May performance Dance and Drama Theatre 福建省歌舞劇院歌舞團 OPERA HONG KONG & LE FRENCH MAY PROUDLY PRESENT Love Awaits You Peter Gordon If any opera belies the notion that this art form is Bizet’s music is irresistible, so much so that it can somehow snobby and elitist, it’s Carmen. obscure the fact that this simple story of a doomed love affair is populated who characters who are deeply This now famous story of the gypsy seductress and the ambivalent. fatally besotted soldier Don José combines drama that is AN OPERA IN 4 ACTS both metaphorically and literally gut-stabbing with music Micaëla, the ostensibly simple country girl, turns out to be 四幕歌劇 16-20 MAY 2018 that is popular in the best sense of the word: hummable the only person with courage and decency. -
Artisti Ed Arte
artisti ed arte A cura di Antonio Gasbarrini, Antonio Zimarino Testi di Ciro Canale, Antonio Gasbarrini, Giuseppe Rosato Aleandro Rubini, Leo Strozzieri, Antonio Zimarino / '9 o o ARTISTI E D ART E in Abruzzo ...a partire dalla Provincia di Pescara A cura di Antonio Gasbarrini, Antonio Zimarino Testi di Ciro Canale, Antonio Gasbarrini, Giuseppe Rosato Aleandro Rubini, Leo Strozzieri, Antonio Zimarino INTRODUZIONE La lunga, complessa gestazione del presente volume e della parallela mostra dedicata alla collezio ne di dipinti, grafiche e sculture di proprietà della Provincia di Pescara su cui getta la potenza di tutta la sua aura la tela La Figlia di ]orio (1895) di Francesco Paolo Michetti, è ben tratteggiata, nelle sue linee essenziali, nella presentazione di Luciano Violante. Una iniziativa fortemente voluta dall'Amministrazione De Dominicis della Provincia di Pescara, quasi a voler onorare un impegno con gli artisti attivi o gravitanti nell'area pescarese, sulla base di una continuità ideale di un lungi mirante mecenatismo (lo stesso Michetti, come d'altronde Teofilo Patini su sostegno della Provin cia dell'Aquila e Raffaello Pagliaccetti di quella di Teramo, può frequentare l'Istituto di Belle Arti di Napoli grazie all'assegno mensile elargito dall'Ente). Il Comitato Scientifico appositamente nominato (Ciro Canale, Antonio Gasbarrini, Leo Strozzieri, Giuseppe Rosato, Aleardo Rubini e Antonio Zimarino, estensori dei testi e curatori della mostra) per il buon esito di un'iniziativa osteggiata da alcuni operatori del settore con una preconcetta osti lità- e per spiccioli interessi di bottega- perduranti all'atto della stesura di questa nota, ha modifi cato il progetto iniziale, ripartendo da zero ed estendendo la propria indagine storica, critica e cro nachistica. -
Bullettino Della Deputazione Abruzzese Di Storia Patria
BULLETTINO DELLA DEPUTAZIONE ABRUZZESE DI STORIA PATRIA già BOLLETTINO DELLA SOCIETA’ DI STORIA PATRIA ANTON LUDOVICO ANTINORI NEGLI ABRUZZI (1889-1909); BULLETTINO DELLA REGIA DEPUTAZIONE ABRUZZESE DI STORIA PATRIA (1910-1944) indice generale N.B. L’indice è ordinato cronologicamente dal recente all’antico. Per le annate 1889-1909 si riproduce la serie pubblicata a stampa nel 1974 a cura di Walter Capezzali; le annate 1974- 2004 sono parzialmente tratte dal sito della Fondazione Istituto Internazionale di Storia Eco- nomica “F. Datini”; per le restanti annate la serie è stata completata a cura della Deputazione. a. CVII, 2016 (CXXVIII dell’intera collezione) Ezio Mattiocco, Precisazioni sui confini settentrionali della terra di San Vincenzo al Volturno, p. 5 Maurizio D’Antonio, Due documenti inediti di Corrado IV sulla fondazione dell’Aquila, p. 17 Franco Cavallone, Il Reliquiario del sangue di san Francesco a Castelvecchio Subequo. Tra storia e araldica alla ricerca dell’identità del committente, p. 35 Vincenzo Di Flavio, Antiche croci astili nell’Abruzzo aquilano già diocesi di Rieti e di Ascoli, p. 83 Paolo Buonora, Il secolo d’oro dello zafferano aquilano e la sua eredità, p. 113 Elena Ragonese, La Congregazione di Maria Ss. Assunta ed il Palazzetto dei Nobili a L’Aquila, p. 137 Stefania Di Primio, Il catasto onciario di San Valentino, p. 187 Fabrizio Marinelli, Giacinto Dragonetti e la Commissione feudale napoletana, p. 199 Fausto Eugeni, Fedele Romani viaggiatore del futuro, p. 221 Fabio Valerio Maiorano, Stemma e gonfalone della Regione Abruzzo: problemi di araldica, p. 249 Commemorazioni: Bruno Sulli (Convegno in memoria, contributi di Franco Sabatini, W. -
Donizetti Double Delight La Zingara and L'assedio Di Calais
Donizetti Double Delight La zingara and L'assedio di Calais Charles Jernigan, October 30, 2017 La zingara Donizetti wrote over 70 operas in the 26 years or so of his career, and about 4 or 5 of them are in the regular repertory of opera houses all over the world, with another half dozen on the fringes of the standard repertory. The chance to see any of the other 60 or so of the works he wrote comes along every now and then, but the chance to see two of those rarities in three days is worth a trip for the true bel canto lover. That chance occurred on October 26 and 28th of this year in Boston and New York where there were productions of #7 or #10, depending on how you count, the obscure La zingara (The Gypsy Girl) and #55, L'assedio di Calais (The Siege of Calais). Both works saw the light of day in Naples, but one dated from Donizetti's early career (La zingara, 1822) and the other came from his full maturity--1836, a year after Lucia di Lammermoor. La zingara is the greater rarity. It was Donizetti's very first opera for Naples (he came from practically another country--Bergamo in far northern Italy), the city which would see the premieres of more of his works than any other, and it was a big hit, receiving around 50 performances in its first year at the Teatro Nuovo. It made it to Germany (in 1823) and as far afield as Havana (in 1859) according to William Ashbrook. -
La Generación Rota Pilar Jurado Jean-Guihen Queyras Violeta
REVISTA DE MÚSICA Año XXVI - Nº 261 - Marzo 2011 - 7 € Año XXVI - Nº 261 Marzo 2011 DOSIER La generación rota ENCUENTROS Pilar Jurado ACTUALIDAD Jean-Guihen Queyras Violeta Urmana DISCOS Premios ICMA 9778402 134807 16200 'HVFXEUDXVWHGPLVPR WRGDV ODVQRYHGDGHV FG FG FG FG FG FG 'tDDGtDOHLQYLWDPRVDGHVFXEULU\GLVIUXWDUGHODVPHMRUHV JUDEDFLRQHVGHP~VLFDFOiVLFD(VWiQDOPHMRUSUHFLR HQORVFDWiORJRVGH%ULOOLDQW&ODVVLFV\1HZWRQ&ODVVLFV INTERIOR CUBIERTA 261.indd 1 25/02/11 7:59 261-Pliego 1 22/2/11 11:46 Página 1 AÑO XXVI - Nº 261 - Marzo 2011 - 7 € 2 OPINIÓN DOSIER 101 CON NOMBRE La generación rota PROPIO Cadenas generacionales, sendas estéticas 6 Violeta Urmana Jorge de Persia 102 Fernando Fraga Recuerdo de Óscar Esplá 8 Jean-Guihen Queyras Alberto González Lapuente 106 Juan Manuel Viana Jesús Guridi o la luz del norte Asier Vallejo Ugarte 112 10 AGENDA La generación rota: algunos otros nombres 14 ACTUALIDAD José Luis Temes 116 NACIONAL ENCUENTROS 44 ACTUALIDAD Pilar Jurado INTERNACIONAL David Rodríguez Cerdán 122 56 ENTREVISTA EDUCACIÓN Pedro Sarmiento 126 Carlos Kalmar Luis Suñén JAZZ Pablo Sanz 128 58 Discos del mes LIBROS 130 59 SCHERZO DISCOS Sumario LA GUÍA 132 CONTRAPUNTO Norman Lebrecht 136 Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Íñigo Arbiza, Emili Blasco, Alfredo Brotons Muñoz, Ricardo de Cala, José Antonio Cantón, Jacobo Cortines, Patrick Dillon, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, Germán Gan Quesada, Manuel García Franco, Juan García-Rico, José Antonio García y García, Carmen Dolores García González,