Juilliard NOW: Vocal Arts

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Restart Stages at Lincoln Center presents Juilliard NOW: Vocal Arts Thursday, May 27, 4pm ET Damrosch Park Flowers and Tears A fully produced version of this program is being recorded in Juilliard’s Rosemary and Meredith Willson Theater and will be shown as part of Juilliard LIVE this summer. Kamal Khan, Music Director Mo Zhou, Stage Director GAETANO DONIZETTI (1797-1848) “Ciel!... Che vegg’io?” from Lucrezia Borgia (1833) Deborah Love, Soprano (GD ’21) Patrick Bessenbacher, Tenor (MM ’22) GIOACHINO ROSSINI (1792-1868) “Cessi vittoria… Sorgete, sorgete” from L’assedio di Corinto (1826) Matthew Soibelman, Bass (MM ’22) GAETANO DONIZETTI “Ed ancor la tremenda porta… A te dirò” from Roberto Devereux (1837) Santiago Pizarro, Tenor (MM ’21) GIUSEPPE VERDI (1813-1901) “Ah! Sgombro è il loco alfin… Sotto il paterno tetto” from Oberto (1841) Deborah Love, Soprano GAETANO DONIZETTI “A te, Signor del mondo” from Fausta (1832) Lydia Grace Graham, Soprano (BM ’20, MM ’22) Maggie Reneé, Mezzo-Soprano (BM ’20, MM ’22) Santiago Pizarro, Tenor Erik Grendahl, Baritone (MM ’22) Matthew Soibelman, Bass GIOACHINO ROSSINI “Squallida veste” from Il turco in Italia (1814) Lydia Grace Graham, Soprano GIOACHINO ROSSINI “Cessa di più resistere” from Il barbiere di Siviglia (1816) Patrick Bessenbacher, Tenor GAETANO DONIZETTI “Qual son? Qual fui? Che chiedo? ... Perche dell’aure in sen” from Torquato Tasso (1833) Erik Grendahl, Baritone, with the Company Assistant Stage Managers: Paulina Campbell*, Christian Rodriguez*, and Jamie Salinger* *Member, Juilliard Professional Apprentice Program This event is generously supported by the Joseph W. Polisi Artist as Citizen President’s Fund. Juilliard’s creative enterprise programming, including the Creative Associates program, is generously supported by Jody and John Arnhold. President’s initiatives at Juilliard are generously supported by the Andrew W. Mellon Foundation. Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts was established in 2010 by the generous support of Ellen and James S. Marcus. Juilliard is grateful to Sarah Billinghurst Solomon and Howard Solomon for their generous support of the Ellen and James S. Marcus Institute for Vocal Arts and the Juilliard Opera season. Restart Stages is made possible by Stavros Niarchos Foundation-Lincoln Center Agora Initiative. Major support is provided by First Republic Bank. Additional support is provided by BNY Mellon, Cleary Gottlieb, Warburg Pincus, the Scully Peretsman Foundation, Shari and Jeff Aronson, and Lincoln Center’s 20/21 donors and members. Operation of Lincoln Center's public plazas is supported in part with public funds provided by the City of New York. Juilliard is committed to the diversity of our community and to fostering an environment that is inclusive, supportive, and welcoming to all. For information on our equity, diversity, inclusion, and belonging efforts, and to see Juilliard's land acknowledgment statement, please visit our website at juilliard.edu. .

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The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the D
The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marion Woodrow Kruse, III Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Anthony Kaldellis, Advisor; Benjamin Acosta-Hughes; Nathan Rosenstein Copyright by Marion Woodrow Kruse, III 2015 ABSTRACT This dissertation explores the use of Roman historical memory from the late fifth century through the middle of the sixth century AD. The collapse of Roman government in the western Roman empire in the late fifth century inspired a crisis of identity and political messaging in the eastern Roman empire of the same period. I argue that the Romans of the eastern empire, in particular those who lived in Constantinople and worked in or around the imperial administration, responded to the challenge posed by the loss of Rome by rewriting the history of the Roman empire. The new historical narratives that arose during this period were initially concerned with Roman identity and fixated on urban space (in particular the cities of Rome and Constantinople) and Roman mythistory. By the sixth century, however, the debate over Roman history had begun to infuse all levels of Roman political discourse and became a major component of the emperor Justinian’s imperial messaging and propaganda, especially in his Novels. The imperial history proposed by the Novels was aggressivley challenged by other writers of the period, creating a clear historical and political conflict over the role and import of Roman history as a model or justification for Roman politics in the sixth century.
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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.
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Songs by Donizefti Composed for the Ferretti Family; There Are Numerous Mistakes
TUTTO FERRETTI? During a recent visit to Italy I was pleased to find a handsome volume on Jacopo Fenetli. It is a series of papers resulting fiom a conference held 1996 by' Accqdemia Nozionale di Sanla Cecilia, Rome, and published last year. The contents are useful and include transcriptions of three hitherto uncatalogued songs by Donizefti composed for the Ferretti family; there are numerous mistakes. Are these Donizetti"s or the editor's? I was surprised to find that the deep sense of huniour shared by composer and librettist is not explored or the oiginality of Ferretti's own thought, as may be noted, for example, in the text of La cenerentolq . The last contribution is by Gianni Legger and is a listing of Ferretti's works entitled Tuno Ferreal? This is a fascinating list but ignores the cantata w tten by Ferretti and set to music by Donizetti and listed in my 1991 Donizetti, f,mbet A149, Qual.fremito soave. Sinoe lhe cantata throws light on the lost cafiala Il /ato (which is cataloeged), the following may be of interest to readers. Owners of the a/ll may safely add Al49 to Legger's list. When Ian Caddy and I were writing to libraries enquiring whether they had an).thing of inter€st by Mayr in their cataloques, we received a kind letter dated 3:9:86 ftom Prof Piero Meldini, director of lhe Biblioteca Civica Gambalungo, Rimini. No, he had no Malr ol interest, but perhaps the enclosed text of a Donizetti,/Ferretti cantata would be. If only all libraries were so caring over serious enquiriesl I am now glad to make available the full text I wrote in 1986 which was later reduced for my book, see pages 36 and 37.
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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.
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POLIUTO Salvadore Cammarano Adolphe Nourrit Gaetano Donizetti
POLIUTO Tragedia lirica. testi di Salvadore Cammarano Adolphe Nourrit musiche di Gaetano Donizetti Prima esecuzione: 30 novembre 1848, Napoli. www.librettidopera.it 1 / 32 Informazioni Poliuto Cara lettrice, caro lettore, il sito internet www.librettidopera.it è dedicato ai libretti d©opera in lingua italiana. Non c©è un intento filologico, troppo complesso per essere trattato con le mie risorse: vi è invece un intento divulgativo, la volontà di far conoscere i vari aspetti di una parte della nostra cultura. Motivazioni per scrivere note di ringraziamento non mancano. Contributi e suggerimenti sono giunti da ogni dove, vien da dire «dagli Appennini alle Ande». Tutto questo aiuto mi ha dato e mi sta dando entusiasmo per continuare a migliorare e ampliare gli orizzonti di quest©impresa. Ringrazio quindi: chi mi ha dato consigli su grafica e impostazione del sito, chi ha svolto le operazioni di aggiornamento sul portale, tutti coloro che mettono a disposizione testi e materiali che riguardano la lirica, chi ha donato tempo, chi mi ha prestato hardware, chi mette a disposizione software di qualità a prezzi più che contenuti. Infine ringrazio la mia famiglia, per il tempo rubatole e dedicato a questa attività. I titoli vengono scelti in base a una serie di criteri: disponibilità del materiale, data della prima rappresentazione, autori di testi e musiche, importanza del testo nella storia della lirica, difficoltà di reperimento. A questo punto viene ampliata la varietà del materiale, e la sua affidabilità, tramite acquisti, ricerche in biblioteca, su internet, donazione di materiali da parte di appassionati. Il materiale raccolto viene analizzato e messo a confronto: viene eseguita una trascrizione in formato elettronico.
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Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'.
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Roger Parker: Curriculum Vitae
1 Roger Parker Publications I Books 1. Giacomo Puccini: La bohème (Cambridge, 1986). With Arthur Groos 2. Studies in Early Verdi (1832-1844) (New York, 1989) 3. Leonora’s Last Act: Essays in Verdian Discourse (Princeton, 1997) 4. “Arpa d’or”: The Verdian Patriotic Chorus (Parma, 1997) 5. Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, 2006) 6. New Grove Guide to Verdi and his Operas (Oxford, 2007); revised entries from The New Grove Dictionaries (see VIII/2 and VIII/5 below) 7. Opera’s Last Four Hundred Years (in preparation, to be published by Penguin Books/Norton). With Carolyn Abbate II Books (edited/translated) 1. Gabriele Baldini, The Story of Giuseppe Verdi (Cambridge, 1980); trans. and ed. 2. Reading Opera (Princeton, 1988); ed. with Arthur Groos 3. Analyzing Opera: Verdi and Wagner (Berkeley, 1989); ed. with Carolyn Abbate 4. Pierluigi Petrobelli, Music in the Theater: Essays on Verdi and Other Composers (Princeton, 1994); trans. 5. The Oxford Illustrated History of Opera (Oxford, 1994); translated into German (Stuttgart. 1998), Italian (Milan, 1998), Spanish (Barcelona, 1998), Japanese (Tokyo, 1999); repr. (slightly revised) as The Oxford History of Opera (1996); repr. paperback (2001); ed. 6. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford, 2001); ed. with Mary Ann Smart 7. Verdi in Performance (Oxford, 2001); ed. with Alison Latham 8. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli (Turin, 2002); ed. with Stefano La Via 9. Puccini: Manon Lescaut, special issue of The Opera Quarterly, 24/1-2 (2008); ed.
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Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke
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JOS-075-1-2018-007 Child Prodigy
From the Bel Canto Stage to Reality TV: A Musicological View of Opera’s Child Prodigy Problem Peter Mondelli very few months, a young singer, usually a young woman, takes the stage in front of network TV cameras and sings. Sometimes she sings Puccini, sometimes Rossini, rarely Verdi or Wagner. She receives praise from some well meaning but uninformed adult Ejudge, and then the social media frenzy begins. Aunts and uncles start sharing videos, leaving comments about how talented this young woman is. A torrent of blog posts and articles follow shortly thereafter. The most optimistic say that we in the opera world should use this publicity as a means to an end, to show the world at large what real opera is—without ever explaining how. Peter Mondelli The sentiment that seems to prevail, though, is that this performance does not count. This is not real opera. Opera was never meant to be sung by such a voice, at such an age, and under such conditions. Two years ago, Laura Bretan’s performance of Puccini’s “Nessun dorma” on America’s Got Talent evoked the usual responses.1 Claudia Friedlander responded admirably, explaining that there are basic physiological facts that keep operatic child prodigies at a distance from vocally mature singers.2 More common, however, are poorly researched posts like the one on the “Prosporo” blog run by The Economist.3 Dubious claims abound—Jenny Lind, for exam- ple, hardly retired from singing as the post claims at age twenty-nine, the year before P. T. Barnum invited her to tour North America.
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Siria: Preludio Alla Terza
La censura all’opera Motivi morali, religiosi e politici manomettono i libretti operistici durante la Restaurazione negli stati italiani preunitari INTRODUZIONE “Controllo sulla stampa e sugli altri mezzi di informazione, sugli spettacoli e sulle trasmissioni (cinema, teatro, radio, televisione ecc.), esercitato per lo più preventivamente dalle autorità civili o religiose per impedire pubblicazioni, diffusione di notizie o rappresentazioni e spettacoli che offendono la morale e il pudore, o le istituzioni, i valori e in genere i principi civili e religiosi” (EMIDIO DE FELICE, ALDO DURO, Vocabolario italiano, alla voce censura). Si riporta in qualche libro, senza precisare né la data né il teatro, un episodio riguardante una rappresentazione dell’Italiana in Algeri di Rossini, la cui protagonista, la pimpante Isabella naufragata ad Algeri e concupita dal bey Mustafà, progetta la propria fuga, quella del suo amato Lindoro e di altri schiavi italiani. Per incitare il giovane la donna gli canta i seguenti versi: “Pensa alla patria e intrepido / il tuo dovere adempi”, ma la parola “patria” mise in allarme la censura, che la sostituì con “sposa”. Alla recita il pubblico, ironizzando sul “dovere” cui il personaggio avrebbe dovuto ottemperare, scoppiò in una fragorosa risata. Letta questa correzione e pensando alle tante che il melomane certo conosce, si è portati a credere che la censura fosse solo un ghiribizzo di burocrati destinato a far sorridere gli spettatori, mentre invece è fuorviante considerarla “a prescindere dal potere di cui era espressione” (MORONI, pag. 6). Dopo la parentesi seguita alla Rivoluzione francese (che con l’articolo 11 della Dichiarazione dei diritti dell’uomo e del cittadino del 26 agosto 1789 proclamò che “la libera comunicazione dei pensieri e delle opinioni è uno dei più preziosi diritti degli uomini”),1 caduto Napoleone (che non fu alieno dal censurare scrittori ed oppositori e qualcosa ne seppe Madame de Staël), giunti al Congresso di Vienna e alla Restaurazione la censura in Italia si fece pesantemente sentire.
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EJ Full Draft**
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Lucia Di Lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012
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