Chronologie Des Teatro Valle (1727-1850)
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Alberto Zedda
Le pubblicazioni del Rossini Opera Festival sono realizzate con il contributo di Amici del Friends of the Note al programma Rossini Opera Festival Rossini Opera Festival della XL Edizione Sotto l’Alto Patronato del Presidente della Repubblica XL edizione 11~23 agosto 2019 L’edizione 2019 è dedicata a Montserrat Caballé e a Bruno Cagli MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI Regione Marche Enti fondatori Il Rossini Opera Festival si avvale della collaborazione scientifica della Fondazione Rossini Il Festival 2019 si attua con il contributo di Ministero per i beni e le attività culturali Comune di Pesaro Provincia di Pesaro e Urbino Comune di Pesaro Regione Marche in collaborazione con Intesa Sanpaolo Fondazione Gruppo Credito Valtellinese Fondazione Scavolini con l’apporto di Abanet Internet Provider Bartorelli-Rivenditore autorizzato Rolex Eden Viaggi Grand Hotel Vittoria - Savoy Hotel - Alexander Museum Palace Hotel Harnold’s Hotel Excelsior Ratti Boutique Subito in auto Teamsystem Websolute partecipano AMAT-Associazione marchigiana attività teatrali AMI-Azienda per la mobilità integrata e trasporti ASPES Spa Azienda Ospedaliera San Salvatore Centro IAT-Informazione e accoglienza turistica Conservatorio di musica G. Rossini Si ringrazia UBI Banca per il contributo erogato tramite Art Bonus United Nations Designated Educational, Scientific and UNESCO Creative City Cultural Organization in 2017 Il Festival è membro di Italiafestival e di Opera Europa Sovrintendente Ernesto Palacio Direttore generale Olivier Descotes Presidente Relazioni -
IL CROCIATO in EGITTO Heroic Melodrama in Two Acts Libretto by Gaetano Rossi
MEYERBEER Il CrociaOtoRC 10in Egitto in association with Box cover and CD inlays Set design by Alessandro Sanquirico for 1826 production at La Scala, Milan . Arrival of the crusader into the Port of Damiette (akg-images/Pietro Baguzzi) Booklet cover Velluti as Armando, London 1825, watercolour by Chalon (Opera Rara archive) Opposite Giacomo Meyerbeer (Opera Rara archive) –1– GIACOMO MEYERBEER IL CROCIATO IN EGITTO Heroic melodrama in two acts Libretto by Gaetano Rossi Aladino, Sultan of Damietta ................................................................Ian Platt Adriano di Montfort, Grand Master of the Knights of Rhodes .............Bruce Ford Armando D’Orville, a Knight of Rhodes ..................................Diana Montague Palmide, daughter of the Sultan ...................................................Yvonne Kenny Felicia, in the attire of a Knight ........................................................Della Jones Alma, confidante of Palmide ........................................................Linda Kitchen Osmino, the Grand Vizier ..............................................................Ugo Benelli Geoffrey Mitchell Choir Chorus master: Geoffrey Mitchell Royal Philharmonic Orchestra Conductor: David Parry –2– Managing Director: Stephen Revell Producer: Patric Schmid Performing edition for this recording prepared by Robert Roberts Assistant conductors: Paul McGrath, Peter Lipari Répétiteur and recitatives: Rosemary Barnes Italian coach: Gabriella Bullock English libretto: Gwyn Morris Article: Don White Recording -
G010003126831D Se Tu Conoscessi Semiramide, Sventurata La Diresti, Non Rea
G010003126831D Se tu conoscessi Semiramide, sventurata la diresti, non rea. Kenntest du Semiramis, würdest du sie unglücklich nennen, nicht schuldig. Nessuno amò la povera regina, nessuno! Niemand liebt die arme Königin, nicht einer! Ella è sola, si sente sola nel suo vasto impero, come un’isola deserta sul mare. Sie ist allein, sie fühlt sich einsam in ihrem unermesslichen Imperium, wie eine verlassene Insel im Meer. Ognuno in lei vede e desidera la regina; Die Königin ist es, die alle in ihr sehen und begehren: nessuno ha amato la donna. Keiner liebt die Frau allein. Semiramide. Racconto babilonese (Anton Giulio Barrili, 1873) Semiramide. Racconto babilonese (Anton Giulio Barrili, 1873) If you knew Semiramis, you would call her unfortunate, not guilty. Si tu connaissais Sémiramis, tu la jugerais malheureuse, et non point coupable. No one loves the poor queen, no one! Personne n’aima la pauvre reine, personne! She is alone, she feels alone in her vast empire, Elle est seule, elle se sent seule dans son vaste empire, like a desert island in the sea. comme une île déserte au milieu de la mer. It is the queen that everyone sees in her and desires; Chacun voit et désire en elle la reine ; no one loved the woman. Mais jamais la femme ne fut aimée. Semiramide. Racconto babilonese (Anton Giulio Barrili, 1873) Semiramide. Racconto babilonese ( Anton Giulio Barrili, 1873 ) 3 S emiramide La Signora Regale ANTONIO CALDARA (1670–1736) SEMIRAMIDE IN ASCALONA | 1725 GIOVAN BATTISTA BORGHI (1738– 1796) LA MORTE DI SEMIRAMIDE | 1791 1 Introduzione * -
Messa Per Rossini
Messa per Rossini L'oeuvre oubliée... 13 novembre 2018 30 ans Un événement exceptionnel pour fêter les 30 ans du chœur ! 1792 – 1868 Pour le 150è anniversaire de la disparition du maître, le chœur Arianna présente pour la première fois dans notre région une œuvre du Répertoire Romantique majeure et pourtant oubliée : Messa per Rossini composée en 1868-69 par Antonio Antonio Carlo Antonio Federico Alessandro BUZZOLA BAZZINI PEDROTTI CAGNONI RICCI NINI Requiem – Kyrie Dies irae Tuba mirum Quid sum miser Recordare Jesu Ingemisco Raimondo Carlo Gaetano Pietro Lauro Teodulo Giuseppe BOUCHERON COCCIA GASPARI PLATANIA ROSSI MABELLINI VERDI Confutatis – Oro supplex Lacrymosa Domine Jesu Sanctus Agnus Dei Lux æterna Libera me 13 novembre 1868, l'Europe musicale est sous le choc : Rossini est mort ! Les hommages pleuvent de toutes parts : compositeurs, musiciens, politiciens ou simples mélomanes, aucun ne trouve assez de mots pour exprimer son désarroi face à cette perte immense. Il est vrai que, de son vivant même, Gioacchino Rossini est devenu une légende, lui qui, après avoir composé des chefs-d'œuvres immortels, dont plus de trente opéras, a décidé, dès 1830, de se retirer en n'écrivant plus que pour ses amis. Cette longue « retraite » voit naître tout de même des œuvres extrêmement célèbres telles que le Stabat Mater (1841) ou la Petite Messe Solennelle (1864). L'Italie est en deuil Verdi souhaite un hommage au maître digne de son talent, de son génie. Non pas un simple concert hommage ou des discours... Il faut une œuvre monumentale qui rappelle au monde, aux générations futures, à quel point Rossini était immense. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Patrimônio Musical Bibliográfico Na Seção De Obras Raras Da
DOI 10.5965/2525530405032020444 Patrimônio musical bibliográfico na Seção de Obras Raras da Biblioteca Fran Paxeco do Grêmio Literário e Recreativo Português em Belém do Pará: um estudo acerca de memórias e identidades em uma coleção especial Bibliographic musical heritage in the Rare Works Section of the Fran Paxeco Library of the Portuguese Literary and Recreational Society in Belém do Pará: a study on memories and identities in a special collection Fernando Lacerda Simões Duarte1 Escola de Música da UFPA [email protected] Submetido em 30/05/2020 Aprovado em 18/09/2020 ORFEU, v.5, n.3, dezembro de 2020 P. 444 de 577 Patrimônio musical bibliográfico na Seção de Obras Raras da Biblioteca Fran Paxeco do Grêmio Literário e Re- creativo Português em Belém do Pará: um estudo acerca de memórias e identidades em uma coleção especial Resumo Abstract Embora menos mencionados no Although less discussed in the field campo da musicologia histórica no Brasil of historical musicology in Brazil than ar- do que os arquivos, os acervos das biblio- chives, library collections also contain tecas também contêm fontes de interesse sources of interest to the study of music. para o estudo da música. Neste trabalho, This article seeks to understand the con- busca-se compreender a constituição da stitution of the rare works section of the Seção de Obras Raras da Biblioteca do Grê- library of Grêmio Literário e Recreativo mio Literário e Recreativo Português do Português [Portuguese Literary and Rec- Pará, observando-se indícios que sugiram reational Society] of Pará, observing signs ou afastem a hipótese de que os itens da that suggest or rule out the hypothesis that seção e, mais especificamente, aqueles de the items in the section and, more specif- interesse musical – manual de procissões, ically, those of musical interest – a book livros de teoria e libretos encadernados, for processions, theory books and bound datados dos séculos XVII e XVIII – tenham librettos, dating from the 17th and 18th tido usos locais ao tempo de sua produção. -
Das Tragico Fine Auf Venezianischen Opernbühnen Des Späten 18
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Heidelberger Dokumentenserver Das tragico fine auf venezianischen Opernbühnen des späten 18. Jahrhunderts Textband Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Ruprecht-Karls-Universität Heidelberg Zentrum für Europäische Geschichts- und Kulturwissenschaften Musikwissenschaftliches Seminar vorgelegt bei Prof. Dr. Silke Leopold von Katharina Kost November 2004 INHALT DANKSAGUNG............................................................................................. IV TEIL I: DIE FRAGE EINLEITUNG .................................................................................................................... 2 Die Geschichte des tragico fine in der italienischen Oper des 18. Jahrhunderts – Forschungsüberblick ........................................................................................................ 2 Tragico fine zwischen 1695 und 1780 ......................................................................... 4 Bislang in der Forschung berücksichtigte Aspekte im Repertoire ab 1780 .................. 9 Fragestellung und Vorgehensweise ................................................................................ 15 Die Eingrenzung des Repertoires .............................................................................. 15 Das Repertoire im Überblick ..................................................................................... 18 Untersuchung anhand von Vergleichen – Dramaturgie -
Nini, Bloodshed, and La Marescialla D'ancre
28 Nini, bloodshed, and La marescialla d’Ancre Alexander Weatherson (This article originally appeared in Donizetti Society Newsletter 88 (February 2003)) An odd advocate of so much operatic blood and tears, the mild Alessandro Nini was born in the calm of Fano on 1 November 1805, an extraordinary centre section of his musical life was to be given to the stage, the rest of it to the church. It would not be too disrespectful to describe his life as a kind of sandwich - between two pastoral layers was a filling consisting of some of the most bloodthirsty operas ever conceived. Maybe the excesses of one encouraged the seclusion of the other? He began his strange career with diffidence - drawn to religion his first steps were tentative, devoted attendance on the local priest then, fascinated by religious music - study with a local maestro, then belated admission to the Liceo Musicale di Bologna (1827) while holding appointments as Maestro di Cappella at churches in Montenovo and Ancona; this stint capped,somewhat surprisingly - between 1830 and 1837 - by a spell in St. Petersburg teaching singing. Only on his return to Italy in his early thirties did he begin composing in earnest. Was it Russia that introduced him to violence? His first operatic project - a student affair - had been innocuous enough, Clato, written at Bologna with an milk-and-water plot based on Ossian (some fragments remain), all the rest of his operas appeared between 1837 and 1847, with one exception. The list is as follows: Ida della Torre (poem by Beltrame) Venice 1837; La marescialla d’Ancre (Prati) Padua 1839; Christina di Svezia (Cammarano/Sacchero) Genova 1840; Margarita di Yorck [sic] (Sacchero) Venice 1841; Odalisa (Sacchero) Milano 1842; Virginia (Bancalari) Genova 1843, and Il corsaro (Sacchero) Torino 1847. -
Introduction: on Not Singing and Singing Physiognomically
Cambridge University Press 978-1-107-00426-9 - Opera Acts: Singers and Performance in the Late Nineteenth Century Karen Henson Excerpt More information Introduction: On not singing and singing physiognomically Here you are, my dear Berty, an When the French baritone Victor Maurel wrote this image of the Don Giovanni your old to his son from New York City in 1899, he had just papa just presented to the New York enjoyed an extraordinary ten years performing public. In spite of squalls and storms around the world as Giuseppe Verdi’s first Iago and endured on land and sea, the ravages ff of time don’t seem to show up too Falsta , but was heading into the twilight of his much on my physiognomy, which I career, into a last half-decade of appearances in the think has the chic and youthfulness repertory. The note is written on the back of a appropriate to the character. photographic postcard (or “cabinet card”) that cap- ... What do you think? When I tures him on the occasion of one of those appear- have the full set [of photographs] I’ll ances, as Don Giovanni at the Metropolitan Opera. send them to you; in the meantime ’ accept the affectionate kisses of a The image, which is indeed part of a set by the Met s father who loves you dearly.1 first regularly employed photographer, Aimé Dupont, is well known to specialists of historical singing, but Maurel’s personalization of his copy is striking and unique. Along with the wistful reference to his age and the affectionate greeting, the baritone manages to offer a miniature disquisition on the character of Mozart’s anti-hero, whom he hopes to have presented with “chic” and “youthfulness” (Figure 0.1). -
Mercadante's Emma D' Antiochia
Il maestro delle Gabalette? Mercadante's Emma d' Antiochia So zorv we know what he really meant when he said 'Ho.-Bando aUe Gabalette trivioli, esilio a'crescendo- Tessilura cortq: meno replirhe - Qualchz novitd nelle cadenze - Curata la parte dtammatica: I'orchestra ricca, senza coprire il catuo - Tolti i lunghi assoli ne'pezii concertati, che obbligavano le alne parti al essere fredde, a danno dell'azione - Poco gran cassa. e pochissima banda -" Now we get the message, Mercadante was talking about Emma d'Antiochiq. By 1838 and in this his welt-publicised tetter of reform to his friend Florimo he had come to a decision - he was never going to write an opera like Emma ever again. We can only be thanldut. At the time of writing this opera, four years earlier, the altamurese rnaestro had a real problem - he was struggling to draw his head out of a self-inllicted Rossinian noose. WhileBo/ena , Norma ard Lucrezia Borgia chalked-up a high-tide elsewhere on the ltalian stage the operas which marked Mercadante's retum from exile in Spain foundered in a rag-bag of empty gestures, predictable rcutines, pretty tunes in triple+ime and cringe nak;:.ng bande - a penchant for the most obvious dramatic-clich6s imaginable flanked by stage-business which simply did not come-off. Few big moments, dreary plots, vulgarity triumphant with knee-jerk music heavily dependent upon great pr te donnc. Thus Eruma d'Afitiochia created as a starring role for Giuditta Pasta. Staged at la Fenice on 8 March 1834 together with " cinq poupief' including Eugenia Tadolini as Adelia, Domenico Donzelli as Ruggiero and Orazio Cartagenova as Conado it made the tiniest of splashes: Pasta was out of yoice and sang only the music that pleased her; the house was unruly (as usua[); the press unsympathetic. -
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 -
Rossini: La Recepción De Su Obra En España
EMILIO CASARES RODICIO Rossini: la recepción de su obra en España Rossini es una figura central en el siglo XIX español. La entrada de su obra a través de los teatros de Barcelona y Madrid se produce a partir de 1815 y trajo como consecuencia su presen- cia en salones y cafés por medio de reducciones para canto de sus obras. Más importante aún es la asunción de la producción rossiniana corno símbolo de la nueva creación lírica europea y, por ello, agitadora del conservador pensamiento musical español; Rossini tuvo una influencia decisi- va en la producción lírica y religiosa de nuestro país, cuyo mejor ejemplo serían las primeras ópe- ras de Ramón Carnicer. Rossini correspondió a este fervor y se rodeó de numerosos españoles, comenzando por su esposa Isabel Colbrand, o el gran tenor y compositor Manuel García, termi- nando por su mecenas y amigo, el banquero sevillano Alejandro Aguado. Rossini is a key figure in nineteenth-century Spain. His output first entered Spain via the theatres of Barcelona and Madrid in 1815 and was subsequently present in salons and cafés in the form of vocal reduc- tions. Even more important is the championing of Rossini's output as a model for modern European stage music which slwok up conservative Spanish musical thought. Rossini liad a decisive influence on die sacred and stage-music genres in Spain, the best example of which are Ramón Carnicer's early operas. Rossini rec- ipricated this fervour and surrounded himself with numerous Spanish musicians, first and foremost, his wife Isabel Colbrand, as well as die great tenor and composer Manuel García and bis patron and friend, the Sevil- lan banker Alejandro Aguado.