Monumenti Del Giardino Puccini
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Private Musiksammlung Archiv CD/DVD
Private Musiksammlung Aktualisierung am: 04.09.15 Archiv CD/DVD - Oper Sortierung nach: in CD - mp3 / DVD - MEGP- Formaten 1. Komponisten 2. Werk-Nummer (op.Zahl etc) TA und TR: Daten sind bei „alne“ vorhanden 3. Aufnahmejahr Auskünfte über Mail [email protected] Diese Datei erreichen Sie unter: T und TR: Daten sind bei „EO“ vorhanden http://www.euro-opera.de/T-TA-TR.pdf Auskünfte über Mail in Kürze auch unter: [email protected] http://www.cloud-de.de/~Alne_Musik/ Pacini Pacini LA POETESSA - 2001 Festival Pesaro - - - - - - - - - n O - 21.08.2001 Giovanni Pacini IDROFOBA - (1796 - 1867) - l 'Orchestra Giovanile 01.01.1900 - del Festival Oper 12 - cda1411 TA-an Anna-Maria di Micco, Tiziana Fabricini, Dariusz Machej, Alessandro Codeluppi, Roberto Rizzi Brignoli A Marco Vinco, Rosita Frisani alne 1 CD Pacini La poetessa idrofoba - 2001 Pesaro Annamaria Di Micco - Tiziana Roberto Rizzi Brignoli O - 21.08.2001 Fabbricini - Alessandro Codeluppi - 871,01 Giovanni Pacini - Dariusz Machej - Marco Vinco - Rosita (1796 - 1867) - Dalla beffa il disinganno, Orchestra giovanile 01.01.1900 - ossia La poetessa Frisani - - - - del Festival Oper 12 - cda701 T- Alne 706 1 CD 5 Pacini ALESSANDRO - 2006 London - - - - - - - - - n O - 19.11.2006 Giovanni Pacini NELL'INDIE - (1796 - 1867) - 01.01.1900 - Oper 31 - cda1411 TA-an Bruce Ford, Jannifer Larmore, Laura Claycomb, Dean robinson, Mark, Wilde. David Parry A OR 3 CD Pacini Alessandro nelle Indie - 2006 London Bruce Ford - Jennifer Larmore - Laura David Parry O - 19.11.2006 Claycomb - Dean Robinson -
Three Moments in Western Cultural History
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 3 Issue 1 Article 9 September 2010 Tosca’s Prism: Three Moments in Western Cultural History Juan Chattah [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Chattah, Juan (2010) "Tosca’s Prism: Three Moments in Western Cultural History," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 3 : Iss. 1 , Article 9. Available at: https://trace.tennessee.edu/gamut/vol3/iss1/9 This Review is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. REVIEW TOSCA’S PRISM: THREE MOMENTS IN WESTERN CULTURAL HISTORY, EDITED BY DEBORAH BURTON, SUSAN VANDIVER NICASSIO, AND AGOSTINO ZIINO. BOSTON: NORTHEASTERN UNIVERSITY PRESS, 2004. JUAN CHATTAH osca’s Prism is a collection of essays first presented at the “Tosca 2000” conference T held in Rome on 16–18 June 2000. Organized by Deborah Burton, Susan Vandiver Nicassio, and Agostino Ziino, the event celebrated the centennial of the premiere of Giacomo Puccini’s opera Tosca, and the bicentennial of the historic events depicted in Victorien Sardou’s play La Tosca. The conference organizers served as editors of this wide-ranging study, selecting essays that examine the well-chiseled facets of Puccini’s oeuvre. -
Giacomo Puccini from Wikipedia, the Free Encyclopedia
Giacomo Puccini From Wikipedia, the free encyclopedia Giacomo Puccini Giacomo Antonio Domenico Michele Secondo Maria Puccini ( 22 December 1858 – 29 November 1924) was an Italian composer whose operas are among the important operas played as standards. Puccini has been called "the greatest composer of Italian opera after Verdi". While his early work was rooted in traditional late-19th-century romantic Italian opera, he successfully developed his work in the realistic verismo style, of which he became one of the leading exponents. Family and education Puccini was born Giacomo Antonio Domenico Michele Secondo Maria Puccini in Lucca in Tuscany, in 1858. He was one of nine children of Michele Puccini and Albina Magi. The Puccini family was established in Lucca as a local musical dynasty by Puccini's great-great grandfather – also named Giacomo (1712–1781).This first Giacomo Puccini was maestro di cappella of the Cattedrale di San Martino in Lucca. He was succeeded in this position by his son, Antonio Puccini, and then by Antonio's son Domenico, and Domenico's son Michele (father of the subject of this article). Each of these men studied music at Bologna, and some took additional musical studies elsewhere. Domenico Puccini studied for a time under Giovanni Paisiello. Each composed music for the church. In addition, Domenico composed several operas, and Michele composed one opera. Puccini's father Michele enjoyed a reputation throughout northern Italy, and his funeral was an occasion of public mourning, at which the then-famed composer Giovanni Pacini conducted a Requiem. With the Puccini family having occupied the position of maestro di cappella for 124 years (1740–1864) by the time of Michele's death, it was anticipated that Michele's son Giacomo would occupy that position as well when he was old enough. -
C E N T R O S T U D I G Ia C O M O P U C C in I W W W
CENTRO STUDI GIACO M O PUCCINI W W W .P U C C IN I.IT [email protected] itinerari pucciniani LU C C A V ICO PELA G O BAG N I DI LU C C A C ELLE D EI PU C C INI CHIATRI M A SSAC IUC C O LI TO R R E D EL LA G O PU C C INI VIAREGGIO Al lettore, al turista, al visitatore, al cultore dell’arte pucciniana 4 L U C C A Questa non è una guida consueta, dal momento che vi accompagna 15 V ICO PELA G O lungo un itinerario per lo più ideale: per vari motivi molti dei luoghi di cui si parla non sono accessibili e dovrete quindi accontentarvi di 16 B A G N I D I L U C C A vedere alcuni edifici solo dall'esterno, cercando di rivisitarli con l'aiuto 17 C ELLE D EI PU C C INI dell'immaginazione. D'altro canto, per fortuna, sono addirittura tre i musei pucciniani visitabili, grazie al fatto che Giacomo Puccini ebbe 20 C H IA T R I molte abitazioni. 22 M A SSAC IUC C O LI Infine occorre precisare che, per i monumenti e i luoghi che non sono soltanto “luoghi pucciniani”, come la Cattedrale o il Battistero di Lucca, 23 TO R R E D EL LA G O PU C C INI si rimanda alle guide più generali che contengono le informazioni specifiche. 28 VIAREGGIO W W W .P U C C IN I.IT Progetto e testi a cura di Gabriella Biagi Ravenni, con la collaborazione di: Giulio Battelli, Julian Budden, Michele Girardi, Arthur Groos, Maurizio Pera, Dieter Schickling, del Centro Studi Giacomo Puccini, e di Alessandra Belluomini Pucci, Riccardo Berutto, Elena Lazzarini. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Reading Religion: A Music and Text Approach to Religious Themes in Tosca and Suor Angelica A thesis submitted to the Graduate School of the University of Cincinnati on November 26th, 2007 In partial fulfillment of the requirements for the degree of Master of Music, Music History In the department of Composition, Musicology, and Theory at the College-Conservatory of Music By James Massol BM, Bassoon University of Cincinnati, June 2004 Committee Chair: Dr. Mary Sue Morrow Abstract This thesis analyzes the treatment of religious themes in the librettos and scores of Giacomo Puccini’s operas Tosca and Suor Angelica and explores Puccini’s own experience with religion. While it is difficult to draw sound conclusions about his beliefs from contemporary sources, we can infer a general ambivalence to the institution of the Church. The librettos of both operas, though, contain a clear subtext of anticlericalism, contrasting the forces of theocratic tyranny and love, and this theme reflects the anticlerical sentiments prevalent during Italy’s Risorgimento. To underscore the textual polarity, Puccini employed liturgical topics and dissonance in the music for the antagonists and sentimental, romantic styles for the protagonists. Thus, the scores have an active role in shaping the narrative. Finally, this thesis concludes by addressing whether or not there is more to deduce about Puccini’s own faith from the analysis of both operas. -
20Th-Century Repertory
Mikrokosmos List 595. - 2 - February 2015 ....20TH-CENTURY REPERTORY 1 Alain, Jehan: Organ Works (3 Danses, etc) - Haselbock organ (gatefold) 1978, PAPE 6622018 A 10 1980 S 2 Bainbridge: Vla Con (W.Trampler vla)/O.Knussen: Sym 3, Ophelia Dances - London UNICORN WR 5094 A 15 Sinfonietta, cond.Tilson Thomas 1981 S 3 Bantock: Celtic Sym, The Frogs & The Women's Festival Overtures - cond.W.Collins, PAXTON LPT 1003 A 10 comp, Linden (UK) 10" 4 Barraque, Jean: ... au dela du hasard - Ensemble 2E2M, cond. Mefano (gatefold) ASTREE AS 50 A– 12 1979 S LC 5 Barraque: Piano Sonata - R.Woodward pno 1972 S UNICORN UNS 263 A 15 6 Barraque: Sequence, Chant apres chant - Nendick, Lee, Copenhague Perc Ens, ASTREE AS 75 A 15 Prisma Ens, cond.Veto 1969 S 7 Bartok: Hungarian Folk Music: Gramophone Records with Bartok's Transcriptions 3 x HUNGAROT LPX 18058 A 20 (with reprints & nice booklet) 8 Bax, Arnold: Piano Works Vol.3 (Sonata 3, etc) - Loveridge pno (Decca pressing) LYRITA RCS 12 A 10 9 Benjamin, Arthur: Con quasi una Fantasia; Concertino - Crowson pno, London SO, EVEREST SDBR(UK) 3020 A 10 cond.comp. (1972) S 10 Berio: Laborintus 2 - Ens Musique Vivante, cond.comp (gatefold) HARMONIA M HM 764 A 12 11 Blake, David: Vln Con (I.Brown, cond.Mar); In Praise of Krishna (cond.comp) (UK) ARGO ZRG 922 A 10 1979 S 12 Boulez: 3 Sonatas - C.Helffter pno 1980 S ASTREE AS 60 A 20 13 Boulez: Le Marteau Sans Maitre - Deroubaix alto, Gazzeloni fl, etc, cond.Boulez HARMONIA M C065 99831 A 10 (gatefold) (1964) S 14 Brott, Boris: From Sea To Sea sym suite - CBC SO, cond.comp -
Lirica 2002-3 1 Comune Di Lucca Teatro Del Giglio Centro Studi G
LIRICA 2002-3 1 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI Teatro di Tradizione LIRICA 2002-3 TOSCA TOSCA Progetto Puccini nel Novecento TEATRO DEL GIGLIO STAGIONE LIRICA 2002-3 In collaborazione con Ministero per i Beni e le Attività Culturali Regione Toscana Amministrazione Provinciale di Lucca COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI TOSCA Progetto Puccini nel Novecento AZIENDA TEATRO DEL GIGLIO Luigi Della Santa Presidente Anna Filomena Mennucci vicepresidente Gabriella Biagi Ravenni Ilaria Del Bianco Bertelli Claudio Nucci Consiglio d’Amministrazione Riccardo Sarti presidente Roberto Giorgi Paolo Scacchiotti Collegio dei Revisori Aldo Tarabella Direttore artistico Luigi Angelini Direttore generale TEATRO DEL GIGLIO - Teatro di Tradizione Stagione Lirica 2002-3: 21 settembre 2002 - 26 gennaio 2003 Pubblicazione del Teatro del Giglio Numero unico, ottobre 2002 A cura del TEATRO DEL GIGLIO e CENTRO STUDI GIACOMO PUCCINI Progetto grafico Marco Riccucci Stampa Nuova Grafica Lucchese - Lucca - ottobre 2002 Sommario 7Introduzione del Sindaco di Lucca 9Premessa del Presidente del Teatro del Giglio 13 Andrea Chegai Questioni di prospettiva drammatica: storia e religione in Tosca 27 Gabriella Biagi Ravenni Puccini librettista 49 Tosca facsimile del libretto Ricordi 108 Tosca a Lucca CEL - Teatro di Livorno Presidente Massimiliano Talini Direzione Segreteria Isabella Bartolini, Paolo Demi, Antonella Peruffo Direttore artistico Alberto Paloscia via Goldoni, 83 - 57125 Livorno tel 0586 204211 - fax 0586 899920 -
Premessa La Vecchia, Inguaribile, Un Tempo Quasi Epidemica Passione
PREMESSA La vecchia, inguaribile, un tempo quasi epidemica passione per il tea- tro d’opera: in sostanza bisognava provarsi a rafforzarla alla grande, o a confermarla vivamente, o addirittura a suscitarla dal nulla o quasi. Allora, rivolgendosi a un pubblico così diverso d’età, di gusti e di abitudini da conoscere a memoria tutta la Traviata (altro che il solo Amami Alfredo) oppure da credere che Verdi sia solo colui che ha messo in musica un certo Va pensiero, questo libro s’è rimboccato le metaforiche maniche, ha allarga- to le sue braccia generose e ha sentenziato, fra sé e sé, come segue. Ha scelto parecchie “voci” di nomi propri di persona, specie di com- positori (alcuni da allungare assai), cantanti e concertatori-direttori d’or- chestra. Ha individuato diverse opere particolari, quelle senza dubbio più valenti e interessanti, da trattare con una certa estensione, che fosse il dia- bolico Don Giovanni o l’erotico Tristano e Isotta. Ha schizzato una sorta di indice di opere (ulteriori), personaggi, arie, cori e quant’altro, da meglio illustrare mediante le voci maggiori. Ha alleggerito il testo con parecchie immagini, sempre benefiche al discorso e spesso curiose di per sé. Infine ha raccolto uno specimen di pezzi d’opera popolari, dicasi pur proverbiali e l’ha proposto come allegato sonoro. Quello che ne è sortito, del famoso e magari famigerato “melodramma” vorrebbe essere un quadro ragionevolmente preciso e comunicativo. Da un lato, infatti, fornisce e tratteggia le notizie, i nomi, le forme, i fenomeni, gli stili, e qua e là indulge anche a certi aspetti un po’ comici, alquanto inve- rosimili, simpaticamente aneddotici del genere. -
— 257 — BIBLIOGRAFIA DEGLI SCRITTI SU GIACOMO PUCCINI N./Nn
BIBLIOGRAFIA DEGLI SCRITTI SU GIACOMO PUCCINI AGGIORNAMENTI 2010-2015 a cura di Michele Girardi e Riccardo Pecci La bibliografia pucciniana pubblicata in epoca anteriore all’anno 2010 è disponibile nei precedenti numeri di «Studi pucciniani»: fino al 1998, nel n. 1, 1998, pp. 127-228, a cura di Virgilio Bernardoni, Gabriella Biagi Ravenni, Michele Girardi, Arthur Groos, Jürgen Maehder, Peter Ross e Dieter Schickling; per gli anni 1997-98 e 1999, nel n. 2, 2000, pp. 235- 240, a cura di Linda B. Fairtile; e per gli anni 2000-2009, nel n. 4, pp. 179-198, a cura di Linda B. Fairtile e Virgilio Bernardoni. Il presente aggiornamento comprende anche titoli che non figurano nei precedenti, editi in particolare negli anni 2008 e 2009. Per le pubblicazioni qui citate con frequenza si fa uso delle seguenti forme abbreviate: CO Giacomo Puccini, Composizioni per orchestra, edizioni critiche di Michele Gi- rardi, Virgilio Bernardoni, Dieter Schickling, Stuttgart, Carus Verlag, 2015 («Edizione Nazionale delle Opere di Giacomo Puccini – Opere musicali», II/1). CSPI-III Giacomo Puccini nei teatri del mondo: cronache dalla stampa periodica, atti del convegno internazionale di studi: Lucca, 11-13 dicembre 2008, Lucca, Isti- tuto storico lucchese, 2013, 3 voll.: I. Stampa periodica estera, «Actum luce» XXXVII/1-2, 2008; II. Stampa periodica italiana, ivi, XXXVIII/1-2, 2009; III. Stampa periodica Toscana Ovest, ivi, XXXIX/1-2, 2010. MFP Edgar. Musset, Fontana, Puccini, a cura di Francesco Cesari e Guido Paduano, Pisa, Edizioni Plus, 2010 («Musica e letteratura», 2). FD D’Amico, Fedele, Forma divina: saggi sull’opera lirica e sul balletto, a cura di Nicola Badolato e Lorenzo Bianconi, Firenze, Leo S. -
PUCCINI, Composer
THE GIRL OF THE GOLDEN WEST COMPOSER BIOGRAPHY GIACOMO PUCCINI, Composer Giacomo Antonio Domenico Michele Secondo Maria Puccini (December 22, 1858 – November 29, 1924) was an Italian composer who has been called the most important Italian composer in the generation after Guiseppe Verdi. His operas, including La bohème, Tosca, Madama Butterfly, and Turandot, are among the most frequently performed in the standard repertoire. Some of his arias, such as "O mio babbino caro" from Gianni Schicchi, "Che gelida manina" from La bohème, and "Nessun dorma" from Turandot, have become part of popular culture. EARLY LIFE Giacomo Puccini was born in Lucca, in the region of Tuscany in Italy, into a family with five generations of musical history behind them (his family included famous composer Domenico Puccini). It was therefore assumed Puccini would inherit the talent and interest and continue in his family's chosen craft. Pucciniʼs father died when Puccini was only five years old, and upon his death, Puccini fell heir to the position of choir master and organist at San Martino Church, and also professor of music at Collegio Ponziano. His mother had high hopes for him and entrusted Puccini to her brother, Fortunato Magi, for musical instruction. Magi considered Puccini to be a poor and undisciplined student. It was not until Puccini and his brother, Michele, walked 18.5 miles (30 kilometers) to see a performance of Verdi's Aida in Pisa that he became entranced by opera. This incident is what inspired Puccini to be an opera composer. In 1880, with financial assistance from his uncle, Dr Nicolao Cerù, and a sizeable grant from Queen Margherita of Italy, Puccini enrolled in the Milan Conservatory and studied composition with Amilcare Ponchielli (Italian opera composer) and Antonio Bazzini (Italian violinist, composer and teacher). -
La-Boheme-Bios---Puccini.Pdf
LA BOHÈME COMPOSER BIOGRAPHY GIACOMO PUCCINI, Composer Giacomo Antonio Domenico Michele Secondo Maria Puccini (December 22, 1858 – November 29, 1924) was an Italian composer who has been called the most important Italian composer in the generation after Guiseppe Verdi. His operas, including La bohème, Tosca, Madama Butterfly, and Turandot, are among the most frequently performed in the standard repertoire. Some of his arias, such as "O mio babbino caro" from Gianni Schicchi, "Che gelida manina" from La bohème, and "Nessun dorma" from Turandot, have become part of popular culture. EARLY LIFE Giacomo Puccini was born in Lucca, in the region of Tuscany in Italy, into a family with five generations of musical history behind them (his family included famous composer Domenico Puccini). It was therefore assumed Puccini would inherit the talent and interest and continue in his family's chosen craft. Pucciniʼs father died when Puccini was only five years old, and upon his death, Puccini fell heir to the position of choir master and organist at San Martino Church, and also professor of music at Collegio Ponziano. His mother had high hopes for him and entrusted Puccini to her brother, Fortunato Magi, for musical instruction. Magi considered Puccini to be a poor and undisciplined student. It was not until Puccini and his brother, Michele, walked 18.5 miles (30 kilometers) to see a performance of Verdi's Aida in Pisa that he became entranced by opera. This incident is what inspired Puccini to be an opera composer. In 1880, with financial assistance from his uncle, Dr Nicolao Cerù, and a sizeable grant from Queen Margherita of Italy, Puccini enrolled in the Milan Conservatory and studied composition with Amilcare Ponchielli (Italian opera composer) and Antonio Bazzini (Italian violinist, composer and teacher). -
The Real Scarpia Historical Sources for Tosca
The Real Scarpia Historical Sources for Tosca D E B O R A H B U R T O N A name is a terrible thing. —Victorien Sardou, as quoted in Blanche Roosevelt, Victoricn Sardou: A Personal Study W HAT if Scarpia had been real? The murderous character from Puccini's opera Tosca, and the Sardou play La Tosca on which it was based, has been described in two recent works of fiction as if he had been real, overstep- ping the fictional boundaries originally set for him. In Susan Sontag's best-sell- ing The Volcano lover} Scarpia meets with the historical personage Lady Emma Hamilton, and the Italian novel Vissi d'amore, by Paola Capriolo,2 takes the form of Scarpia's diary, revealing his motions and emotions before and during the events of the drama.3 It would truly be horrific if such a man had existed. Unfortunately, he did. More precisely, he was two men. Sardou's plays are peopled by a mix of fac- tual and fictional personages. But even the fictional ones were often based on characteristics drawn from two or more actual individuals. Usually, the per- sonal history of a character would be taken from someone's real life, while his or her name would be appropriated from someone else. We will see below how the stage villain Scarpia, and other characters from Tosca, including the hero- ine herself, were created in just such a way. A word of warning is perhaps necessary to those readers who feel squeamish during the offstage torture scenes of Tosca.