Operatic Danaids Peter Burian ([email protected]) CAMWS 2018
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Danaus Plexippus) in Milkweed Gardens and Conservation Areas
Journal of Insect Conservation https://doi.org/10.1007/s10841-018-0102-8 ORIGINAL PAPER Recruitment, survival, and parasitism of monarch butterflies (Danaus plexippus) in milkweed gardens and conservation areas Emily A. Geest1 · L. LaReesa Wolfenbarger1 · John P. McCarty1 Received: 10 July 2018 / Accepted: 24 October 2018 © The Author(s) 2018 Abstract Monarch butterflies (Danaus plexippus) are suffering from declining populations and conservationists have encouraged planting milkweed gardens in urban and suburban landscapes to help offset habitat loss across the breeding range. The effectiveness of gardens as a conservation strategy depends on their ability to attract ovipositing adults and the survival of monarch larvae in these gardens. Larvae are susceptible to a variety of predators as well as to parasitism by a tachinid fly (Lespesia archippivora) and a protozoan parasite (Ophryocystis elektroscirrha) which cause lethal or sublethal effects, yet the severity of these risks in gardens is not well understood. We compared egg abundance and larval survival in traditional conservation areas to gardens that incorporated milkweed to attract monarchs. Additionally, we collected late instar larvae and reared them in the lab to compare parasitism rates between monarch gardens and conservation areas. Both gardens and conservations sites varied widely in recruitment and survival of monarchs and there were no significant differences between the garden and conservation sites. Tachinid fly parasitism ranged from 30% of larvae from conservation sites in 2016 to 55% of larvae from gardens in 2017, but did not differ between the two categories of sites. Parasitism byO. elektroscirrha was detected in fewer than 2% of larvae. The density of milkweed had no effect on the number of monarch eggs in conservation areas or gardens in either year. -
Contributi Alla Bibliografia Di G. Paisiello 239 Nazione. Cm. 17
U. Rolandi - Contributi alla bibliografia di G. Paisiello 239 nazione. Cm. 17><11 - pagg. 64, in 3 atti. Poeta (F. Livigni) non no- minato. Nome del Paisiello. La 1.a esecuzione avvenne a Venezia (T. S. Moisè, C. 1773) e non a Napoli (D. C.) dove fu dato nella seguente estate al T. Nuovo. - 32. - L'IPERMESTRA. Padova, Nuovo, 1791 (v. Sonneck). Bru- nelli (Teatri di Padova p. 285) la dice « già scritta in Russia ». Ignoto al D. C. " L' Isola d i s a b i t a t a, cantata su testo del Metastasio. Li- sbona, T. S. Carlo, E. 1799. Libretto in Biblioteca S. Cecilia (Roma). Ignoto al D. C. e ad altri. * I e f te sa c r i f i c i u m. Eseguito a, Venezia (Conservatorio Men- dicanti). Il libretto trovasi alla Bibl. S. Cecilia (Roma), ma è senza data. Il Carvalhaes — da cui deriva il libretto stesso -- dice essere 1774. Non trovo ricordato questo lavoro dal D. C. o da altri. * La Lavandara astuta. v. Il Matrimonio inaspettato. * La Locanda (e la Locandiera) v. 11 Fanatico in berlina. 33. - LUCIO PAPIRIO I DITTATORE Lisbona, Salvaterra, 1775 (v. Sonneck). * Madama l'umorista v. La Dama umorista. * 11 Maestro di scuola napolitano. v. La Scuffiara amante. * Il Marchese Tulipano. v. Il e7'Catrimonio inaspettato. * La Ma s c h e r a t a. Con questo titolo fu data al Ballhuset di Stocolma, I'l 1 dicembre 1788 un'opera « con musica del Sacchini e del Paisiello ». Forse si trattò di un'opera pasticcio, caso frequente allora. -
Amanda Holton University of Reading
Chaucer and Pronominatio Amanda Holton University of Reading Pronominatio, or antonomasia, is the replacement of a proper noun with another noun or adjective or a periphrastic formulation, such as 'Cristes mooder' for Mary.] I apply the term only when the reader needs some knowledge outside the immediate context in order to understand the reference and when the name itself is not given at all in surrounding lines. 2 Pronominatio is a fairly common figure in classical and medieval literature, and Chaucer encountered it in a number of his sources; indeed this article, while it focuses on Chaucer's practice, also indicates how it is used in a range of his sources and analogues. The figure is discussed in various classical and medieval rhetorical manuals, featuring, for example, in the Rhetorica Ad Herennium and in Quintilian' s /nstitutio oratoria3 Chaucer's own use of it as a freestanding figure is sparse, highly selective and often pointed, and reveals mixed feelings about its potential, for he is very conscious of how it can express both grandeur and pomposity, splendour and insincerity. After discussing Chaucer's preferred methods of denoting people and places, this article examines how his use of pronominatio relates to his response to Virgil, and, by extension, how he uses the figure as a marker of epic style in several texts. It then demonstrates how he exploits its more negative possibilities when denoting Diomede in Troilus and Criseyde and Mary in the Prioress's Tale. On the whole Chaucer shows a strong preference for simple and direct naming, and will often reject pronominatio even when he encounters it in a source he otherwise favours stylistically. -
Juilliard415 Program Notes
PROGRAM NOTES The connected realms of madness and enchantment were endlessly fascinating to the Baroque imagination. People who are mad, or who are under some kind of spell, act beyond themselves in unexpected and disconcerting ways. Perhaps because early modern culture was so highly hierarchical, 17th- and 18th-century composers found these moments where social rules were broken and things were not as they seem — these eruptions of disorder — as fertile ground for musical invention. Our concert today explores how some very different composers used these themes to create strange and wonderful works to delight and astonish their listeners. We begin in late 17th-century England at a moment when London theaters were competing to stage ever more spectacular productions. Unlike in other countries, the idea of full-blown opera did not quite take root in England. Instead, the taste was for semi-operas where spoken plays shared the stage with astonishing special effects and elaborate musical numbers. One of the biggest Restoration theaters in London was the Dorset Garden House, which opened in 1671. Its impresario, Thomas Betterton, had gone twice to France to study the theatrical machinery perfected by the Paris Opéra. Betterton went on to stage lavish versions of Shakespeare, packed with interpolated musical numbers and coups de théâtre. The last of these was a magnificent version of Shakespeare’s Midsummer Night’s Dream, now called “The Fairy Queen,” produced for the 1691-92 season. In between the acts of Shakespeare, Betterton introduced a series of Las Vegas-like show stoppers. A dance for six monkeys? A symphony while swans float down an onstage river? A chaconne for twenty-four Chinese dancers? Anything is possible in this world of enchantment, where things are not what they seem. -
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. -
Big Love by Charles Mee: a Bit of Background
Big Love by Charles Mee: A Bit of Background About ‘the (re)making project’ All of Chuck Mee’s plays are available online, for free, and in the spirit of his collage style of playwriting, he welcomes artists borrow The Love Trilogy from, steal and transform his scripts into new projects. He also en- courages, possibly even requires, the artists working on his scripts to Big Love is the third play in a thematic trilogy of plays by become creators themselves, completing the work he has laid out Charles Mee. While the plots of the plays do not connect, with their own performance and interpretation. the subject, themes and elements of the plays intersect. The Love Trilogy was written during Mee’s love affair “There is no such thing as an original play. with Laurie Williams that “burst suddenly into flame and None of the classical Greek plays were original: they were all based then, a few years later, was just as suddenly doused.” on earlier plays or poems or myths. And none of Shakespeare's plays are original: they are all taken from earlier work. As You Like It is First Love taken from a novel by Thomas Lodge published just 10 years before Shakespeare put on his play without attribution or acknowledgment. Two people in their seventies fall in love—for the first Chunks of Antony and Cleopatra are taken verbatim, and, to be sure, time in their lives. And, as they work their way toward without apology, from a contemporary translation of Plutarch's one another through the accumulated baggage of their Lives. -
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. -
The Fragmentation of Being and the Path Beyond the Void 2185 Copyright 1994 Kent D
DRAFT Fragment 48 THE HOUSE OF BAAL Next we will consider the house of Baal who is the twin of Agenor. Agenor means the “manly,” whereas Baal means “lord.” In Baal is Belus. Within the Judeo- Christian religious tradition, Baal is the archetypal adversary to the God of the Old Testament. No strange god, however, is depicted more wicked, immoral and abominable than the storm god Ba’al Hadad, whose cult appears to have been a great rival to Yahwism at certain times in Israel’s history. In the bible we read how the prophets of Ba’al and Yahweh persecuted and killed one another, and how the kings of Israel wavered in their attitudes to these gods, thereby provoking the jealousy of Yahweh who tolerated no other god beside him. Thus, it appears that the worship of Ba’al Hadad was a greater threat to Yahwism than that of any other god, and this fact, perhaps more than the actual character of the Ba’al cult, may be the reason for the Hebrew aversion against it. The Fragmentation of Being and The Path Beyond The Void 2185 Copyright 1994 Kent D. Palmer. All rights reserved. Not for distribution. THE HOUSE OF BAAL Whereas Ba’al became hated by the true Yahwist, Yahweh was the national god of Israel to whose glory the Hebrew Bible is written. Yahweh is also called El. That El is a proper name and not only the appelative, meaning “god” is proven by several passages in the Bible. According to the Genesis account, El revealed himself to Abraham and led him into Canaan where not only Abraham and his family worshiped El, but also the Canaanites themselves. -
Mccallum Fine Arts Academy Orchestra 2009 Master Class: the Neapolitan Masters
McCallum Fine Arts Academy Orchestra 2009 Master Class: The Neapolitan Masters Presented by: The Neapolitan Music Society Sponsored by: DUGAN Foundation McCallum Fine Arts Academy Orchestra Master Class 2009: The Neapolitan Masters This fall, the Neapolitan Music Society (NMS) will bring the great Neapolitan Masters back to the McCallum Fine Arts Academy Chamber Orchestra, one of the finest student orchestras in Texas and the southwest. This exciting program of extended study, rehearsal, and performance will immerse the academy’s advanced music students in the history and music of the Naples conservatories, which were the best music academies of their day. The effort will be personally lead by Mº Gioacchino Longobardi (Albany, NY), NMS President & Artistic Director, who will conduct the McCallum Chamber Orchestra. Mº Alberto Vitolo (Rome, Italy), the Society’s Assistant Artistic Director, will provide the students with personal instruction in the rare and beautiful string techniques that produced the famous Sound of Naples. Rounding out the week, Professor Robert Gjerdingen of Northwestern University and the Society’s music historian, will introduce the students to the rich history of Neapolitan music and the conservatories. In its second year, this collaborative program will involve a week of rehearsals and classroom instruction in music theory and history, culminating in a concert performance with the McCallum Chamber Orchestra under the direction of Mº Gioacchino Longobardi. The purpose of the project is to introduce the advanced music students of the McCallum Fine Arts Academy – through an intensive one-week curriculum of study, music theory, rehearsal and performance --to the 18th Century Neapolitan Masters. -
A Largely Unknown Chapter in Maltese History
Eighteenth-Century Music and its Political Configurations: a largely unknown Chapter in Maltese History Simon MERCIECA University of Malta The period of the rule of the Knights of Saint John (1530-1798) is currently remembered and celebrated as Malta's golden age. The Knights are typically perceived as benign Christian and Catholic rulers, and the Grand Masters considered among Malta's most famous historical characters. The Order is rightly credited with having brought a cultural Renaissance to the Island. During its rule, a number of far-reaching historical events took place. Conveniently, only the victory of the Knights of Saint John at the Great Siege of 1565, when a large Ottoman force was repelled following fierce fighting, is commemorated on a national scale. The arrival of Napoleon's forces in 1798, by contrast, does not receive the same acknowledgement or coverage in popular history. Yet the Order's rule was not necessarily as golden as it is sometimes made out to be, and the Knights' administration is tarnished by various miscarriages of justice. They were despotic rulers following ancien regime principles. The artistic and architectural grandeur of the time and the cultural renaissance fostered by the Order interested the few. It has been suggested that only two per cent of a country's population was really concerned with cultural issues during the early modern period.1 The arrival in Malta of Michelangelo Merisi di Caravaggio (the year 2007 marked the 400th anniversary of that event) and the engagement of other important artists, such as Mattia Preti together with the employment of important military engineers, provide proof of the Order's contribution to Malta's cultural history. -
Studies in Early Mediterranean Poetics and Cosmology
The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too. -
Preliminary Studies on the Scholia to Euripides
Preliminary Studies on the Scholia to Euripides CALIFORNIA CLASSICAL STUDIES NUMBER 6 Editorial Board Chair: Donald Mastronarde Editorial Board: Alessandro Barchiesi, Todd Hickey, Emily Mackil, Richard Martin, Robert Morstein-Marx, J. Theodore Peña, Kim Shelton California Classical Studies publishes peer-reviewed long-form scholarship with online open access and print-on-demand availability. The primary aim of the series is to disseminate basic research (editing and analysis of primary materials both textual and physical), data-heavy re- search, and highly specialized research of the kind that is either hard to place with the leading publishers in Classics or extremely expensive for libraries and individuals when produced by a leading academic publisher. In addition to promoting archaeological publications, papyrologi- cal and epigraphic studies, technical textual studies, and the like, the series will also produce selected titles of a more general profile. The startup phase of this project (2013–2017) is supported by a grant from the Andrew W. Mellon Foundation. Also in the series: Number 1: Leslie Kurke, The Traffic in Praise: Pindar and the Poetics of Social Economy, 2013 Number 2: Edward Courtney, A Commentary on the Satires of Juvenal, 2013 Number 3: Mark Griffith, Greek Satyr Play: Five Studies, 2015 Number 4: Mirjam Kotwick, Alexander of Aphrodisias and the Text of Aristotle’s Metaphys- ics, 2016 Number 5: Joey Williams, The Archaeology of Roman Surveillance in the Central Alentejo, Portugal, 2017 PRELIMINARY STUDIES ON THE SCHOLIA TO EURIPIDES Donald J. Mastronarde CALIFORNIA CLASSICAL STUDIES Berkeley, California © 2017 by Donald J. Mastronarde. California Classical Studies c/o Department of Classics University of California Berkeley, California 94720–2520 USA http://calclassicalstudies.org email: [email protected] ISBN 9781939926104 Library of Congress Control Number: 2017916025 CONTENTS Preface vii Acknowledgments xi Abbreviations xiii Sigla for Manuscripts of Euripides xvii List of Plates xxix 1.