Fall Opera Gala Performers Will Be in Masks; All Will Perform in the Audience Section
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1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini. -
La Fondazione Università Popolare Di Torino “CONCERTO DI PRIMAVERA”
EUROPEAN BUREAU OF ADULT EDUCATION TENORE GIOVANNI RIBICHESU nato a “Traviata” a Monza, “Carmen” a Padova, “Il Trovatore” a Milano, Torino nel 1975, compie gli studi di “La vedova allegra” a Milano e Mantova, “Aida” a Milano, “Luisa pianoforte presso il conservatorio G. Miller” e “Boheme” nel Trentino Opera Festival, “Turandot” (Liù) a Verdi di Torino e all'Ecole Alfred Cortot a Milano. Parigi sotto la guida di Maria Golia e Nella sua attività concertistica interpreta Mozart “Requiem” e “Exsul- Germaine Mounier, inizia gli studi di tate jubilate”, Fauré “Requiem”, Vivaldi “Gloria”, Beethoven “Nona canto con il papà Rolando (allievo del sinfonia”, Gounod “Messa solenne di Santa Cecilia”. Esegue con grande successo Concerto Verdiano a San Pietroburgo con Maestro Marcello del Monaco e di Mario l’Orchestra Klassica Statale sotto la direzione del Maestro Giuseppe del Monaco) successivamente con i Dellavalle. Ha inciso per la “Ricordi” in “Cantolopera” cinque CD con maestri: Pier Miranda Ferraro, Franco le arie di soprano: “Rarities I e II, Belle Epoque, Arie sacre, Le pazzie”. Corelli, Gianfranco Cecchele, Antonio Marcenò, Nicola Martinuc- ci. Debutta in Aida nel ruolo di Radames al teatro Arca di Milano e successivamente al Festival di Aspendos in Turchia. Vince il concorso Renata Tebaldi a Milano e parte la tournèe in Korea dove si presenta nel ruolo di Manrico ne Il Trovatore. Debutta Via Principe Amedeo, 12 - 10123 Torino - tel. e fax 011.812.78.79 successivamente nei Pagliacci come Canio e in Turiddu nella Il grande BARITONO ENZO www.unipoptorino.it Cavalleria Rusticana nella medesima serata al Teatro Reale di SORDELLO conseguita la maturità ha Ankara in Turchia con la Regia di Vincenzo Grisostomi. -
07 – Spinning the Record
VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini. -
Otello Di Giuseppe Verdi Prima Rappresentazione Milano, Teatro Alla Scala, 5 Febbraio 1887
STAGIONE LIRICA E DI BALLETTO 2013 L’OPERA NELLA MEMORIA: LE EDIZIONI CAGLIARITANE DEL PASSATO Otello di Giuseppe Verdi prima rappresentazione Milano, Teatro alla Scala, 5 febbraio 1887 Teatro Civico Stagione di Carnevale 1898 25 dicembre interpreti Pietro Nobilini (Otello), Michele De Padova (Jago), Michele Olivieri (Cassio), Giacinto Pinna (Roderigo), Ettore Conti (Lodovico), Giuseppe Sorgi (Montano), Augusta Crux (Desdemona), Maria Galliano (Emilia) maestro concertatore e direttore d’orchestra Lorenzo Malajoli maestro del coro Virginia Mariani Politeama Regina Margherita Stagione lirica 1914 Politeama Regina Margherita Stagione lirica 1928-1929 Politeama Regina Margherita Stagione lirica 1941 interpreti Francesco Merli (Otello), Luigi Montesanto (Jago), Fernanda Ciani (Desdemona) maestro concertatore e direttore d’orchestra Giuseppe Podestà maestro del coro Gennaro D’Angelo Teatro Giardino Stagione lirica estiva 1951 18 agosto - 5 settembre (13 recite) interpreti Emilio Marinescu (Otello), Antonio Manca Serra (Jago), Salvatore Di Tommaso (Cassio), Ezio Achilli (Roderigo), Umberto Frisaldi (Lodovico), Silvio Loddo (Montano), Rosetta Noli (Desdemona), Fernanda Cadoni (Emilia) maestro concertatore e direttore d’orchestra Oliviero De Fabritiis regia Carlo Acly Azzolini Ufficio Stampa via Sant’Alenixedda, 09128 Cagliari - Italia telefono +39 0704082 232-261-209 - fax +39 0704082216 [email protected] www.teatroliricodicagliari.it Teatro Massimo Stagione lirica 1956 18, 20, 22, 25 marzo interpreti Charles Guichandut (Otello), -
Lps-Vocal Recitals All Just About 1-2 Unless Otherwise Described
LPs-Vocal Recitals All just about 1-2 unless otherwise described. Single LPs unless otherwise indicated. Original printed matter with sets should be included. 4208. LUCINE AMARA [s]. RECITAL. With David Benedict [pno]. Music of Donaudy, De- bussy, de Falla, Szulc, Turina, Schu- mann, Brahms, etc. Cambridge Stereo CRS 1704. $8.00. 4229. AGNES BALTSA [ms]. OPERA RECITAL. From Cenerentola, Il Barbiere di Siviglia, La Favorita, La Clemenza di Tito , etc. Digital stereo 067-64-563 . Cover signed by Baltza . $10.00. 4209. ROLF BJÖRLING [t]. SONGS [In Swedish]. Music of Widéem, Peterson-Berger, Nord- qvist, Sjögren, etc. The vocal timbre is quite similar to that of Papa. Odeon PMES 552. $7.00. 3727. GRACE BUMBRY [ms]. OPERA ARIAS. From Camen, Sappho, Samson et Dalila, Dr. Frieder Weissmann and Don Carlos, Cavalleria Rustican a, etc. Sylvia Willink-Quiel, 1981 Deut. Gram. Stereo SLPM 138 826. Sealed . $7.00. 4213. MONTSERAAT CABALLÉ [s]. ROSSINI RARITIES. Orch. dir. Carlo Felice Cillario. From Armida, Tancredi, Otello, Stabat Mater, etc. Rear cover signed by Caballé . RCA Victor LSC-3015. $12.00. 4211. FRANCO CORELLI [t] SINGS “GRANADA” AND OTHER ROMANTIC SONGS. Orch. dir Raffaele Mingardo. Capitol Stereo SP 8661. Cover signed by Corelli . $15.00. 4212. PHYLLLIS CURTIN [s]. CANTIGAS Y CANCIONES OF LATIN AMERICA. With Ryan Edwards [pno]. Music of Villa-Lobos, Tavares, Ginastera, etc. Rear cover signed by Curtin. Vanguard Stereolab VSD-71125. $10.00. 4222. EILEEN FARRELL [s]. SINGS FRENCH AND ITALIAN SONGS. Music of Respighi, Castelnuovo-Tedesco, Debussy. Piano acc. George Trovillo. Columbia Stereo MS- 6524. Factory sealed. $6.00. -
Stagione 2018-2019 Aida Compositore: Giuseppe Verdi
Progetto5_v 18/12/15 18:51 Pagina 1 La Griffe Roma Hotel Papadopoli Venezia A COLLECTION OF MEMORABLE BOUTIQUE HOTELS sofitel.com - accorhotels.com Progetto5_v 18/12/15 18:51 Pagina 1 La Griffe Roma Hotel Papadopoli Venezia A COLLECTION OF MEMORABLE BOUTIQUE HOTELS sofitel.com - accorhotels.com Progetto5_v 18/12/15 18:51 Pagina 2 Eau de Parfum pour Homme et pour Femme Merging of olfactory notes with musical harmonies. themerchantofvenice.com Fondazione Teatro La Fenice di venezia Radio3 per la Fenice Opere della Stagione Lirica 2018-2019 trasmesse in diretta o in differita dal Teatro La Fenice o dal Teatro Malibran venerdì 23 novembre 2018 ore 19.00 Macbeth venerdì 8 febbraio 2019 ore 19.00 Il sogno di Scipione venerdì 15 febbraio 2019 ore 19.00 Il re pastore domenica 24 febbraio 2019 ore 15.30 L’italiana in Algeri martedì 23 aprile 2019 ore 19.00 Dorilla in Tempe venerdì 10 maggio 2019 ore 19.00 Turandot sabato 18 maggio 2019 ore 15.30 Aida Concerti della Stagione Sinfonica 2018-2019 trasmessi in differita dal Teatro La Fenice o dal Teatro Malibran Myung-Whun Chung (sabato 3 novembre 2018) Kerem Hasan (sabato 10 novembre 2018) Jérémie Rhorer (venerdì 11 gennaio 2019) Juraj Valčuha (venerdì 12 aprile 2019) Diego Fasolis (venerdì 19 aprile 2019) Jonathan Webb (venerdì 7 giugno 2019) www.radio3.rai.it – per le frequenze: numero verde 800 111 555 FONDAZIONE AMICI DELLA FENICE STAGIONE 2018-2019 Incontri con l’opera giovedì 15 novembre 2018 GIORGIO PESTELLI Macbeth martedì 11 dicembre 2018 SILVIA POLETTI Romeo e Giulietta lunedì 21 gennaio -
BORIS TRAJANOV Baritone
BORIS TRAJANOV Baritone The UNESCO Artist for Peace studied lyrics with his father Goga Trajanov, Biserka Cvejic (Belgrade) and Pier Miranda Ferraro (Milan). After his debut on the stage of Skopje opera in 1986 till 1991, the Macedonian baritone became a member of State Theatre in Karlsruhe until September 1996. From 1996 he is a free lance. He is a winner of several international singing awards. During the 20 years of international career he has performed in more than 100 renown opera companies in Europe (Italy, France, Holland, Germany, Austria, Norway, U.K. and others), as well as in USA, Brazil, South Africa and South Korea. He performed 45 principal roles in more than 700 opera performances. In the new millennium he is performing as a Principal the most in Italy 20 Productions: (Rome, Bologna, Palermo, Parma, Trieste, Cagliari, Bergamo, Pisa, Messina, Ravenna, Modena, Bari...) but also in Germany (Deutsche Oper Berlin, Staatsoper Hamburg, Oper Frankfurt..), Austria (Vienna, Graz...), Monte Carlo, Moscow, Seoul/ South Korea, Israeli opera, Marseille and Pacific Opera in the USA. In February 2005 he was awarded the "UNESCO Artist for Peace" title because ”…of outstanding career as a renowned opera singer and for his support of humanist values...”. He participated on Gala Concert 60 Years of UNESCO in Paris‐France on 16th of November 2005, also in the UNESCO Gala Evenings Dec. 2007 in Paris and New York (Lincoln Center‐ Avery Fisher Hall) He sang MORE THAN 45 ROLES from them: Scarpia/Tosca: Teatro dell’Opera Rom‐Italy (2002, Tournee in Moscow), Teatro Massimo Palermo‐Italy with Maurizio Arena (2001) and Pinchas Steinberg (2007), Teatro Regio Parma‐Italy (2002) with Raina Kabaiwanska for his Farwell from the Role, Teatro Vittorio Emanuele Messina‐Italy (2006), Tournee Italy (Dez. -
A Opera Catalogue Sectio#42336
Opera Operetta Music Theatre Supplement 2009 www.boosey.com/opera Opera Operetta Music Theatre Chamber Opera Musicals Stageworks for Young Audiences Stageworks for Young Performers from Boosey & Hawkes Bote & Bock Anton J. Benjamin Supplement 2009 Edited by David Allenby Cover illustrations: John Adams: Doctor Atomic Penny Woolcock’s production for the Metropolitan Opera and English National Opera (2008) with Gerald Finley as Oppenheimer Photo: © 2008 Ken Howard/Metropolitan Opera Detlev Glanert: Caligula Christian Pade’s world premiere production for Oper Frankfurt (2006) with Ashley Holland (Caligula) Photo: Monika Rittershaus Unsuk Chin: Alice in Wonderland Achim Freyer’s world premiere production for the Bavarian State Opera (2007) with Sally Matthews (Alice) Photo: Wilfried Hösl Jacques Offenbach: Les Fées du Rhin Vocal score in the Offenbach Edition Keck (OEK) published by Boosey & Hawkes / Bote & Bock Harrison Birtwistle: The Minotaur Stephen Langridge’s world premiere production for The Royal Opera in London (2008) with John Tomlinson (The Minotaur) and Johan Reuter (Theseus) Photo: Bill Cooper Michel van der Aa: The Book of Disquiet Still from the composer’s video for his world premiere production for Linz 2009 European Capital of Culture (2009) with Klaus Maria Brandauer Photo: Michel van der Aa Published by Boosey & Hawkes Music Publishers Limited Aldwych House 71–91 Aldwych London WC2B 4HN www.boosey.com an company © Copyright 2009 Boosey & Hawkes Music Publishers Ltd Printed in England by Halstan & Co Ltd, Amersham, Bucks Designed and typeset by David J Plumb ARCA PPSTD ISBN 978-0-85162-599-7 Contents 4 Introduction 5 Abbreviations 6 Catalogue 52 Addenda 55 Title Index 56 Boosey & Hawkes Addresses Introduction This 2009 Supplement contains works added since the publication of the 2004 Boosey & Hawkes Opera Catalogue. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
The History of the International Lyric Competition Iris Adami Corradetti
The history of the international lyric competition Iris Adami Corradetti The international lyric competition Iris Adami Corradetti took place in Padua for the first time in 1985 to honour the great soprano, born in Milan, but adopted by Padova. She was the teacher of important artists and organizer, a strong and determined woman until her death. Since 2000 the competition, initiated by the Committee of Opera, is being organized by the Municipality of Padua, which is giving the event the security of continuity by ensuring adequate financial and organizational support. The competition is organized every two years. Amongst the commissioners of the jury illustrious names in the artistic field: Giulietta Simionato, Renata Tebaldi, Rosanna Carteri, Giacinto Prandelli, Franco Corelli, Pier Miranda Ferraro, Maria Chiara, Renato Bruson and Mara Zampieri. In addition, artistic directors and managers of major Italian and foreign theatres. Corradetti herself was president of the jury for many years and followed by three Venetian sopranos: Rosanna Lippi, from the very beginning vice president and subsequently Mara Zampieri and Rosanna Carteri. In the 2005 edition the jury was chaired by the baritone Renato Bruson, in 2006 by the soprano Maria Chiara and from 2007 until the 2014 edition by Mara Zampieri, one of Corradetti’s pupils. For several years now, with the inclusion of many people in the field of theatre - including international agents - in the jury, the competition has turned into a full role audition and the singing event has grown in terms of participation, nourishing expectations for a future career in the world of opera of many young competitors (an average of 150 per year).