Lucio Silla Wolfgang Amadeus Mozart S T a G I O N E D I O P E R a 2 0 1 4 / 2 0 1
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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
The Magic Flute
WOLFGANG AMADEUS MOZART the magic flute conductor Libretto by Emanuel Schikaneder Harry Bicket Saturday, December 29, 2018 production 1:00–2:45 PM Julie Taymor set designer George Tsypin costume designer Julie Taymor lighting designer The abridged production of Donald Holder The Magic Flute was made possible by a puppet designers Julie Taymor gift from The Andrew W. Mellon Foundation Michael Curry and Bill Rollnick and Nancy Ellison Rollnick choreographer Mark Dendy The original production of Die Zauberflöte was made possible by a revival stage director David Kneuss gift from Mr. and Mrs. Henry R. Kravis english adaptation J. D. McClatchy Additional funding was received from John Van Meter, The Annenberg Foundation, Karen and Kevin Kennedy, Bill Rollnick and Nancy Ellison Rollnick, Mr. and Mrs. William R. general manager Miller, Agnes Varis and Karl Leichtman, and Peter Gelb Mr. and Mrs. Ezra K. Zilkha jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The Magic Flute is The 447th Metropolitan Opera performance of performed without intermission. WOLFGANG AMADEUS MOZART’S This performance is being broadcast the magic flute live over The Toll Brothers– Metropolitan Opera conductor International Radio Harry Bicket Network, sponsored by Toll Brothers, in order of vocal appearance America’s luxury ® tamino second spirit homebuilder , with Ben Bliss* Eliot Flowers generous long- first l ady third spirit term support from Gabriella Reyes** N. Casey Schopflocher the Annenberg Foundation and second l ady spe aker GRoW @ Annenberg, Emily D’Angelo** Alfred Walker* The Neubauer Family third l ady sar astro Foundation, the Maria Zifchak Morris Robinson* Vincent A. -
Opeapoint 4 Jg20.Indd
OPERAPOINT Jahrgang 20, Heft 4, 2020 Einzelpreis 6 Euro Magazin für Oper und Konzert - unabhängig - publikumsnah Die Zauberfl öte in der Kölner Oper Hier lege ich Ihnen, liebe Lesergemeinde, das 4. Heft 2020 vor. Diesmal wird es durch die verschiedenen Festivals ermöglicht, zwölf Opernrezen- Editorial sionen vorzustellen. Die meisten Kritiken verdanken wir unserem uner- müdlichen Redakteur Oliver Hohlbach. Er durchfährt mit viel Courage die deutschen und ausländischen Länder und erläutert mit Sachverstand die vorgeschriebenen Verordnungen der Regierungen, die dem Volk die Ansteckungen des Virus ersparen wollen. Den Sommerurlaub verbrachte unser Boardmitglied Dr. Martin Knust auf einem Segeltörn in Schweden. Es läßt seine Bürger trotz Virusge- fahr – trotz erheblicher Kritik vieler Länder – frei handeln. In der Nähe Stockholms gibt es eine ausgedehnte Schärenlandschaft. Dr. Knust schil- dert neben der Landschaft mit vielen eindrucksvollen Seebildern auch den schwedischen Komponisten Hugo Alfvén, der kaum jemand der Leser- schaft bekannt seine dürfte, dessen Werke aber großen Hörgenuß berei- ten. Auch in Köln gab es die Oper Die Zauberfl öte ohne Kürzungen in der bewährten Regie von Michael Hampe, dessen unvergeßlicher Zeiten als Kölner Opernintendant von zwei Jahrzehnten 1975-1995 man sich in der jetzigen Theaterinstanz entsann und ihn zu dieser Inszenierung eingela- den hat. Die reduzierten Opernbesucher quittierten seine intelligente und gekonnte Leistung mit starkem Applaus. Die Sängerschar der Premiere, die ich am 3. Oktober 2020 besuchte, ist über die Maßen zu loben. Einer davon, der französische Tenor Julien Behr, war bereit, mir ein Interview zu gewähren, das Sie auf Seite 15 lesen können. Eine der Erscheinungen, die diese Zeiten hervorgebracht haben, ist die Entdeckung der Sächsischen Landschaft in Deutschland. -
Der Stein Der Weisen and Die Zauberflöte
Nota Bene: Canadian Undergraduate Journal of Musicology Volume 12 | Issue 1 Article 3 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Mercer Greenwald Bard College Conservatory of Music Recommended Citation Greenwald, Mercer. “Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zaouberflöte.” Nota Bene: Canadian Undergraduate Journal of Musicology Vol. 12, no. 1 (2019): 30-45. https://doi.org/10.5206/notabene.v12i1.8145 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Abstract This paper probes how the rational and the irrational interact in Enlightenment operatic plots, and explores the effect of this interaction on the Viennese public. To do this, I will investigate the fantastic worlds of two operas premiered by the same opera company, both with libretti written by Emanuel Schikaneder: Der Stein der Weisen oder Die Zauberinsel (1790) and Die Zauberflöte (1791). David J. Buch’s seminal book Magic Flutes and Enchanted Forests (2008) explores the intertextual threads of magical ideas in Der Stein der Weisen and Die Zauberflöte, that is, how librettists and composers translated and reprocessed magical themes. I will draw on Buch’s comparison to show how these intertextual connections can be read for their broad cultural resonances. In this paper, I will first establish the connections between Der Stein der Weisen and Die Zauberflöte in plot and in music. Then I will show how the later opera diverges from its predecessor and discuss how it manages to diminish the polarity of rationality and irrationality considered central to Enlightenment thinking. Ultimately, I argue, Die Zauberflöte facilitates its audience’s access to Enlightenment values by magical means. -
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. -
Table of Contents
0 n 2. Sheet io TM rsi Ve Music 1 CD Tenor Arias The Ultimate Collection Table of Contents Welcome to the CD Sheet Music™ edition of Tenor Arias, The Ultimate Collection. This Table of Contents is interactive. Click on a title below or in the bookmarks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks be- come navigation aids to find the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Contents of this CD-ROM (click below to go to that section of the Table of Contents) OPERA ARIAS EARLY ITALIAN SONGS AND ARIAS The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 Music 2 CD OPERA ARIAS LUDWIG VAN BEETHOVEN In des Lebens Fruehlingstagen (Fidelio) VINCENZO BELLINI A te o cara (I Puritani) GEORGES BIZET La fleur que tu m’avais jetée (Flower Song) (Carmen) Je crois entendre encore (Romance) (Les Pêcheurs de Perles) ADRIEN BOIELDIEU Viens, gentille dame (La Dame Blanche) ARRIGO BOITO Dai campi, dai prati (Mefistofele) Giunto sul passo estremo (Mefistofele) ALFREDO CATALANI Nei verde maggio (Loreley) M’hai salvato (La Wally) FRANCESCO CILEA È la solita storia del pastore (Lamento di Federico) (L’Arlesiana) DOMENICO CIMAROSA Pria che spunti in ciel l’aurora (Il Matrimonio Segreto) LEO DELIBES Ah, viens dans la forêt (Lakmé) Fantaisie aux divins mensonges (Lakmé) Sheet TM Version 2.0 Music 3 CD GAETANO DONIZETTI Com’ è gentil (Don Pasquale) Adina, credemi (L’Elisir d’Amore) Quanto è bella (L’Elisir d’Amore) Una furtiva lagrima (L’Elisir d’Amore) Spirto gentil (La Favorita) Amici miei che allegro giorno (La Figlia del Reggimento) Pour me rapprocher de Marie (La Fille du Régiment) Fra poco a me ricovero (Lucia di Lammermoor) F. -
IL RE PASTORE July 19 and 21 in San Francisco
MEROLA OPERA PROGRAM CONTINUES ITS 61 ST SEASON WITH IL RE PASTORE July 19 and 21 in San Francisco SAN FRANCISCO, CA (6 June 2018) – San Francisco’s acclaimed Merola Opera Program presents the stars of tomorrow in Mozart’s Il re pastore . Merola is one of the most prestigious and selective opera training programs in the world, featuring 29 artists selected from more than 800 international applicants. This exquisite early Mozart work featuring a string of thrilling arias explores the competing pulls of love and duty, as a young shepherd finds he must renounce his true love in order to reclaim his lost throne. Il re pastore will be performed 7:30pm, Thursday, July 19, and 2:00pm, Saturday, July 21, at the San Francisco Conservatory of Music . For tickets or more information, visit www.merola.org or call ( 415) 864-3330. In the spring of 1775, 19-year-old Mozart wrote Il re pastore in response to a commission by the Archbishop of Salzburg. With a plot that explored the demands of love against the demands of kingship, the young Mozart’s work shines with its rich orchestration and ingenious score. In addition to fulsome dramatic singing from all five soloists, highlights include Aminta’s famous arias “Aer tranquillo e di sereni” and “L'amerò, sarò costante.” Performances will be conducted by Stephen Stubbs, a leading figure in the American early music scene and winner of a Grammy Award for Best Opera Recording in 2015 for Charpentier: La descente d’Orphée aux enfers. In 2007, Stubbs established his production company, Pacific MusicWorks, based in Seattle, reflecting his lifelong interest in both early music and contemporary performance. -
Mozart's Operas, Musical Plays & Dramatic Cantatas
Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct. -
Classical Opera Ian Page (Conductor)
ZAIDE CLASSICAL OPERA IAN PAGE (CONDUCTOR) 7586_CO_Zaide_BOOKLET_FINAL.indd 1 13/06/2016 10:15 WOLFGANG AMADEUS MOZART (1756 - 1791) ZAIDE, K.344 Libretto by Johann Andreas Schachtner (1731 - 1795) ZAIDE SOPHIE BEVAN soprano Performance material: New Mozart Edition (NMA) By kind permission of Bärenreiter-Verlag GOMATZ ALLAN CLAYTON tenor Kassel · Basel · London · New York · Praha Recorded at the Church of St. Augustine, Kilburn, London, UK from 10 to 13 March 2016 ALLAZIM JACQUES IMBRAILO baritone Produced and engineered by Andrew Mellor Assistant engineer: Claire Hay SULTAN SOLIMAN STUART JACKSON tenor Post-production by Andrew Mellor and Claire Hay Design by gmtoucari.com Cover image by Debbie Coates OSMIN DARREN JEFFERY bass-baritone Photographs by Benjamin Ealovega German language coaches: Johanna Mayr and Rahel Wagner VORSINGER JONATHAN McGOVERN baritone Harpsichord technician: Malcolm Greenhalgh ZARAM DARREN JEFFERY Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George and Efthalia Koukis for supporting this recording. SKLAVEN PETER AISHER, ROBIN BAILEY, We are also grateful to the following people for their generous support: Kate Bingham and Jesse Norman, Sir Vernon and Lady SIMON CHALFORD GILKES, Ellis, John Warrillow and Pamela Parker, Kevin Lavery, Pearce and Beaujolais Rood, John Chiene and Carol Ferguson, and all ED HUGHES, STUART LAING, the other individuals who supported this project. NICK MORTON, DOMINIC WALSH Special thanks to: Mark Braithwaite, Anna Curzon, Geoff Dann, Chris Moulton, Verena Silcher, Alice Bellini, Léa Hanrot, Simon Wall and TallWall Media. THE ORCHESTRA OF CLASSICAL OPERA Leader: Bjarte Eike IAN PAGE conductor 2 MOZART / ZAIDE MOZART / ZAIDE 3 zaide7586_CO_Zaide_BOOKLET_FINAL.indd booklet FINALEsther.indd 2 2-3 09/06/2016 15:58:54 zaide booklet FINALEsther.indd 3 09/06/201613/06/2016 15:58:54 10:15 ZAIDE, K.344 ACT ONE Page 1 [Overture – Entr’acte from Thamos, König in Ägypten, K.345] 3’23 32 2 No. -
Francesco Cavalli One Man. Two Women. Three Times the Trouble
GIASONE FRANCESCO CAVALLI ONE MAN. TWO WOMEN. THREE TIMES THE TROUBLE. 1 Pinchgut - Giasone Si.indd 1 26/11/13 1:10 PM GIASONE MUSIC Francesco Cavalli LIBRETTO Giacinto Andrea Cicognini CAST Giasone David Hansen Medea Celeste Lazarenko Isiile ORLANDO Miriam Allan Demo BY GEORGE FRIDERIC HANDEL Christopher Saunders IN ASSOCIATION WITH GLIMMERGLASS FESTIVAL, NEW YORK Oreste David Greco Egeo Andrew Goodwin JULIA LEZHNEVA Delfa Adrian McEniery WITH THE TASMANIAN SYMPHONY ORCHESTRA Ercole Nicholas Dinopoulos Alinda Alexandra Oomens XAVIER SABATA Argonauts Chris Childs-Maidment, Nicholas Gell, David Herrero, WITH ORCHESTRA OF THE ANTIPODES William Koutsoukis, Harold Lander TOWN HALL SERIES Orchestra of the Antipodes CONDUCTOR Erin Helyard CLASS OF TIMO-VEIKKO VALVE DIRECTOR Chas Rader-Shieber LATITUDE 37 DESIGNERS Chas Rader-Shieber & Katren Wood DUELLING HARPSICHORDS ’ LIGHTING DESIGNER Bernie Tan-Hayes 85 SMARO GREGORIADOU ENSEMBLE HB 5, 7, 8 and 9 December 2013 AND City Recital Hall Angel Place There will be one interval of 20 minutes at the conclusion of Part 1. FIVE RECITALS OF BAROQUE MUSIC The performance will inish at approximately 10.10 pm on 5x5 x 5@ 5 FIVE TASMANIAN SOLOISTS AND ENSEMBLES Thursday, Saturday and Monday, and at 7.40 pm on Sunday. FIVE DOLLARS A TICKET AT THE DOOR Giasone was irst performed at the Teatro San Cassiano in Venice FIVE PM MONDAY TO FRIDAY on 5 January 1649. Giasone is being recorded live for CD release on the Pinchgut LIVE label, and is being broadcast on ABC Classic FM on Sunday 8 December at 7 pm. Any microphones you observe are for recording and not ampliication. -
L'arte Di Fare Teatro Fra Intuizione E Ragione
GIORGIO STREHLER ..................................................................................................................................................................................................................... L’arte di fare teatro fra intuizione e ragione testi di Alberto Bentoglio, Marco Blaser e Claudio Magris introduzione di Rita Levi Montalcini L’arte di fare teatro fra intuizione e ragione ..................................................................................................................................................................................................................... «Il teatro è l’attiva riflessione dell’uomo su se stesso»: una riflessione questa che un mae- stro, un regista quale Giorgio Strehler ha saputo conciliare al meglio con la sua vita. È riuscito, infatti, a contrapporre la vita alla scena, dove tutte le libertà sono possibili. La sua imponente produzione artistica è la testimonianza di una crescita culturale che vede unito il teatro italiano a quello della scena europea. La sua attività di cinquanta anni lo ha visto impegnato alla direzione del “Piccolo” di Milano da lui fondato nel 1947 con Paolo Grassi. Strehler è riuscito a sviluppare un lavoro teatrale legato al realismo poetico attraverso le opere di grandi autori, quali Shakespeare, Goldoni, Pirandello, Brecht, Bertolazzi, Cechov. Ha percorso non sol- tanto la strada del teatro con l’apporto di regista anche all’opera lirica, ma la sua conoscenza della musica ha fatto eccellere la sua “abilità” nell’aver saputo “svecchia- re” le arretrate tradizioni teatrali creando l’epifania di un metodo teatrale del tutto nuovo, offrendo agli spettatori di ogni estrazione sociale la proiezione di un calei- doscopio fantastico del mondo dell’arte, della poesia e della musica. Parole e musica hanno diretto la vita di A pagina I: Ritratto di Giorgio Giorgio Strehler così come egli stesso ha Strehler nel 1974. diretto la musica e il teatro. A sinistra: Una scena del Faust. -
ARSC Journal
HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote- Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner baron--0 habet acht.