POLYMNIA Studi Di Storia Romana 4 Polymnia Collana Di Scienze Dell’Antichità Fondata E Diretta Da Lucio Cristante ______
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Indice Dei Nomi E Delle Opere Citate
INDICE DEI NOMI E DELLE OPERE CITATE A Sonate a tre, op. 1, 135 AA.VV. Aldrovandini, Giuseppe Antonio Il Demofoonte, 258 155, 171 Zenobia in Palmira, 255 Cesare in Alessandria, 155 Abbarelli, Luigi, 161 Eurilla e Nesso, 155 Abbatini, Antonio Maria, 65 Mirena e Floro, 155 La comica del cielo, 68, 75, 84 Semiramide, 155, 171 Abos, Girolamo, 357 Alessandro VII (Chigi, Fabio), Accademico Palladio (G.B.), 296 papa, 63 Intermezzi in musica, 296 Alessandro VIII (Pietro Vito Acciaiuoli (Acciaoli), Filippo, 69‑ O��oboni), papa, 64, 118, 120‑122, 70, 83, 96, 109 129, 135‑136, 139, 149‑150 Chi è cagion del suo mal pianga Alfani, Francesco, 297‑298 sé stesso, 69, 88 Alfonso II d’Este, duca di Ferrara, L’Empio punito, 66‑67, 69, 77, 18 79, 84, 90‑91, 93, 100, 109, Alfonso VI, re del Portogallo, 132 111, 115 AlfonzeLi, Beatrice, 305 Il Girello, 66, 69, 71, 76, 78, 85, Aliprandi, Ines, 165 89‑90, 94, 101, 109, 115 Allacci, Lione (Leone), 6, 17, 224 Il silenzio d’Arpocrate, 83 Allouache, Joan E., 118 La sincerità con la sincerità Alm, Irene M., 68, 78, 84‑85, 88, 90, ovvero il Tirinto, 67, 69, 74, 109 81, 83, 101, 103, 110, 114 Altamura, Antonio, 350, 362, 379, Il Tito, 68‑69, 75, 77, 80, 88, 90, 384‑386, 388, 391, 393, 399, 412‑ 96‑97 413, 415, 421, 425‑428, 434, 436, Ademollo, Alessandro, 63, 80 439 Agazzari, Agostino, 17 Altieri, famiglia, 71‑72 Eumelio, 17 Altieri, Emilio Bonaventura, v. Intermedi, 17 Clemente X, papa Agostini, Lodovico, 14 Álvarez‑Ossorio Alvariño, Il Nuovo Echo, 14 Antonio, 255 Agostini, Pietro Simone, 69 Amaini, Carlo, 224, 229 Gl’inganni innocenti, overo Amati, Antonio, 285, 297‑298 L’Adalinda, 67, 69, 76, 80‑81, Ambrosio, Luca, 63, 66, 70 84, 103‑104, 112, 114 Amicone, Antonio, 359 Ajola, Filippo, 296 Andreini, Giovanni BaLista, 19 Albani, Giovan Francesco, v. -
Winged Feet and Mute Eloquence: Dance In
Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice. -
Francesco Cavalli
V O L U M E I Arias, duets and ensembles from the operas of Francesco Cavalli Edited, and with translations by Oliver Doyle E D I T I O N M V S I C A A N T I C A 1 Edition Mvsica Antica, Rotherhithe, London. © 2021 by Musica Antica Rotherhithe. This book has been made freely available to facilitate the study and performance of Francesco Cavalli’s music. Parts are also available on request; please write to [email protected] for further information. The manuscript sources consulted in the production of this book can be viewed on internetculturale.it, made available in a digitised format by the Biblioteca Marciana, Venice. For more editions of rare music and their performance in London, please visit www.musicaantica.org.uk. 2 Contents (by opera) Editor’s note v La Didone (1641) Padre, ferma i passi (S) 10 L’alma fiacca svanì (S) 16 L’Ormindo (1644) Prologo (S) 1 Tu per me ben felice (A) 20 Volate fuggite – D’Amor non si quereli (S, S, A, T) 25 Giasone (1649) Delizie, e contenti (A) 40 La Rosinda (1651) Vieni, vieni in questo seno (S) 45 La Calisto (1651) Restino imbalsamate (S) 48 Il Ciro (1654) Mia vita, mio bene (S, S, A, T ) 55 L’Erismena (1655) Piante odorose (S) 60 La Statira (1655) Cresce il foco (S) 66 Menfi, mia patria a (S) a 72 Io vivo (S) 78 3 L’Artemisia (1657) Ardo, sospiro e piango (S) 80 Dammi morte (S) 92 L’Elena (1659) Ecco l’idolo mio (S, S) 97 Mia Speranza (S, S) 104 Ercole Amante (1662) Come si beff’ amore (B) 114 Figlio, figlio (S, T) 124 Pompeo Magno (1666) Coetaneo con gli’astri (T) 128 Sonno, placido nume (A) 132 L’Eliogabalo (1667) Misero così va (S) 137 Pur ti stringo (S, S, S, S) 146 Sources 150 4 unless found in the sources consulted. -
Musique De L'œil
ARTAMAG' FOCUS MUSIQUE DE L’ŒIL 13 NOVEMBRE 2015 | JEAN-CHARLES HOFFELÉ La musique se voit dans la peinture vénitienne, mieux, elle se montre, de la trompette de la Gloire de Giuseppe Angeli au « concertino » qui accompagne les joueurs de cartes de Pietro Longhi nommant d’ailleurs son tableau. Instruments pour les scènes mythologiques ou les « moralités », fresques où se mirent la dramaturgie du théâtre d’opéra que Venise invente puis réinvente sans cesse, concerts de cordes et de bois qui rappellent la pratique instrumentale intimement liée aux Ospedali, c’est tout ce répertoire pictural qu’Olivier Lexa parcourt au long des deux cent pages du livre d’art qu’il consacre à ce sujet inusable : « La musique à Venise ». Période : de Monteverdi à Vivaldi ; sujet : toiles, fresques, apparat, pratique domestique, et évidemment opéra où entre décors, costumes, dramaturgie, l’auteur suit l’évolution du goût vénitien. En refermant cet ouvrage magnifique qui va chercher parfois dans les parts les moins courues du répertoire pictural de la Sérénissime, je me dis que le sujet n’avait pas été traité avec tant d’à propos et une si profonde sensibilité. C’est qu’Olivier Lexa « entend » cette peinture musicale dans les deux acceptations du terme. Il est l’auteur de la première biographie française de l’autre père de l’opéra vénitien avec Monteverdi, Francesco Cavalli – en fait pour moi, son véritable créateur – un ouvrage très documenté au style enlevé que l’on retrouve toujours aussi brillant et juste dans le nouveau venu, comme dans le prologue qui pare le magnifique livre-disque concocté par Mariana Florès et Leonardo García Alarcón, où se résume en ses pages les plus éloquentes ou les plus touchantes tout le théâtre lyrique de Cavalli. -
The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato Author(S): Roger Freitas Freitas Source: the Journal of Musicology, Vol
The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato Author(s): Roger Freitas Freitas Source: The Journal of Musicology, Vol. 20, No. 2 (Spring 2003), pp. 196-249 Published by: University of California Press Stable URL: https://www.jstor.org/stable/10.1525/jm.2003.20.2.196 Accessed: 03-10-2018 15:00 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology This content downloaded from 146.57.3.25 on Wed, 03 Oct 2018 15:00:19 UTC All use subject to https://about.jstor.org/terms The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato ROGER FREITAS A nyone who has taught a survey of baroque music knows the special challenge of explaining the castrato singer. A presentation on the finer points of Monteverdi’s or Handel’s art can rapidly narrow to an explanation of the castrato tradition, a justification 196 for substituting women or countertenors, and a general plea for the dramatic viability of baroque opera. As much as one tries to rationalize the historical practice, a treble Nero or Julius Caesar can still derail ap- preciation of the music drama. -
Sara Elisa Stangalino
Sara Elisa Stangalino <[email protected]> Dottore di ricerca nell’Università di Bologna. Ambiti di ricerca e interesse: Musicologia, Storia della musica, Drammaturgia musicale (in particolare secoli XVII e XVIII). Diplomata in canto lirico al Conservatorio di musica “G. Nicolini” di Piacenza, si laurea in Lettere col massimo dei voti e la lode nell’Università degli Studi di Parma con una tesi sulla drammaturgia musicale settecentesca, presentata in conferenza al Museo Teatrale alla Scala. Consegue il titolo di Dottore di ricerca in Musicologia e Beni musicali nell’Università di Bologna dietro la guida di Lorenzo Bianconi, con una dissertazione dal titolo I drammi musicali di Nicolò Minato per Francesco Cavalli. Dal 2007 al 2016 è stata titolare di contratti di ricerca e di supporto alla didattica per le cattedre di Storia della musica e Drammaturgia musicale del Dipartimento delle Arti dell’Università di Bologna (già Dipartimento di Musica e Spettacolo). Ha preso parte a programmi di ricerca nazionali tra cui: “Edizioni critiche di musicisti italiani dal XVII al XX secolo” (PRIN 2007; unità di Bologna), “Edizioni critiche di musicisti italiani e di opere italiane dalla metà del XVII al primo XX secolo” (PRIN 2009; unità di Bologna). Nel 2015 ha partecipato al progetto e-learning “Insegnare Drammaturgia musicale in modalità a distanza o blended” (Università di Parma). Organizza e coordina con regolarità convegni e conferenze di approfondimento sulle proprie discipline. Dal 2005 partecipa regolarmente a convegni nazionali e internazionali. Ha pubblicato due manuali per Alphatest (La musica classica, 2004; Mozart, 2008), la monografia “Ciro in Armenia” di Maria Teresa Agnesi: tra professionismo e dilettantismo nel Settecento milanese (Roma, Aracne, 2015) e numerosi saggi sulla cultura letteraria e musicale tra Sei e Settecento (editori: Clueb, ETS, Il Mulino, L. -
Cavalli and the Staging of Venetian Opera - Part One Transcript
Calisto a le stelle: Cavalli and the Staging of Venetian Opera - Part One Transcript Date: Monday, 22 September 2008 - 1:00PM Location: Barnard's Inn Hall RESTORING CAVALLI TO THE THEATRE IN THE 21ST CENTURY Ellen Rosand I. Cavalli could not have been restored to the theater in the 21stcentury if he had not been restored to history in the 20th. That is, prerequisite to the revival of Cavalli's operas was the revival of interest in Cavalli as a composer, and in Venetian opera as a historical subject. (You can look at the bibliography on the screen as I mention the various authors.) Slide 1 Already in the 19th century, the first German musicologists recognized Cavalli's importance in the development of opera. They were spurred in their interest by the availability of sources of information going back almost to Cavalli's time itself, many of them published. These included complete annual series of librettos, carefully amassed by collectors, and annotated chronologies based on them. The chronologies of Ivanovich, Bonlini, Groppo, and Allacci, each proporting to correct as it expanded upon its predecessors, established an almost unbroken link between the period they documented and the modern era. The author of the first of these chronologies, Cristoforo Ivanovich, was actually a contemporary of some of the librettists in his catalogue and had even seen some of the works in his list. He evidently supplemented the information he garnered from the librettos themselves with material drawn from more casual or informal sources, as well as by deduction. This is significant with respect to Cavalli, because Ivanovich attributed many more works to him than the evidence provided, and his "errori" were preserved for some three-hundred years, until the early 1970s, in fact, when a young American student, Thomas Walker, undertook to correct them. -
Ombra Mai Fu
Ombra mai fu Francesco Cavalli 1602-1676 Opera Arias Philippe Jaroussky countertenor Artaserse Alessandro Tampieri violin Raul Orellana violin Marco Massera viola Marco Horvat lirone, guitar Marc Wolff archlute Christine Plubeau viola da gamba Garance Boizot viola da gamba Roberto Fernandez de Larrinoa violone Adrien Mabire cornett, recorder Benoît Tainturier cornett, recorder Michel Claude percussion Angélique Mauillon harp Yoko Nakamura harpsichord Marie-Nicole Lemieux contralto Emo”ke Baráth soprano 2 Xerse 1654 Orione 1653 1 Ombra mai fu 3:19 14 Sinfonia, Prologo 3:29 Statira, principessa di Persia 1656 Eritrea 1652 2 All’armi, mio core 3:05 15 O luci belle 2:29 Emo”ke Baráth Laodicea Erismena 1655 3 Dove mi conducete?... 0:56 Giasone 1649 4 Uscitemi dal cor, lagrime amare 5:47 16 Delizie, contenti 3:49 Calisto 1651 Doriclea 1645 5 Interprete mal buona... 17 Sinfonia, Prologo 1:25 L’uomo è una dolce cosa 2:51 6 Ninfa bella 4:16 Calisto Marie-Nicole Lemieux Linfea 18 Erme, e solinghe cime... Lucidissima face 3:26 Eliogabalo composed 1667 7 Sinfonia, Atto 1 1:58 La virtù de’ strali d’Amore 1642 19 Alcun più di me felice non è 1:03 Elena 1659 8 Ecco l’idolo mio... Pompeo Magno 1666 Mio diletto, mio sospiro 3:35 20 Cieche tenebre 2:24 Emo”ke Baráth Elena Xerse Ercole amante 1662 21 La bellezza è un don fugace 2:13 9 Sinfonia, Atto 1 0:54 La virtù de’ strali d’Amore Eliogabalo 22 Il diletto interrotto... 0:41 10 Io resto solo?... Misero, così va 3:27 23 Desia la verginella 2:33 Ormindo 1644 La virtù de’ strali d’Amore 11 Che città 3:19 24 Che pensi, mio core? 2:52 Gli amori d’Apollo e di Dafne 1640 65:13 12 Ohimè, che miro?.. -
Confronting the Baroque Body of the Castrato Author(S): Roger Freitas Freitas Source: the Journal of Musicology, Vol
The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato Author(s): Roger Freitas Freitas Source: The Journal of Musicology, Vol. 20, No. 2 (Spring 2003), pp. 196-249 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/jm.2003.20.2.196 . Accessed: 15/09/2013 21:57 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org This content downloaded from 69.43.75.64 on Sun, 15 Sep 2013 21:57:43 PM All use subject to JSTOR Terms and Conditions The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato ROGER FREITAS A nyone who has taught a survey of baroque music knows the special challenge of explaining the castrato singer. A presentation on the finer points of Monteverdi’s or Handel’s art can rapidly narrow to an explanation of the castrato tradition, a justification 196 for substituting women or countertenors, and a general plea for the dramatic viability of baroque opera. As much as one tries to rationalize the historical practice, a treble Nero or Julius Caesar can still derail ap- preciation of the music drama. -
REPORTS ARTICLES Fonds Blancheton OPERA ISSUE
REPORTS RICHARD KOPROWSKI 7 The Selling of the Burrell Collection: An Editorial Report EVELYN BRAND 10 The Beethoven Seminar at Bar-Ilan University, Ramat Gan, Israel, 1976-77 NANCY M. VAN DEUSEN 14 J ean-J acques Rousseau and the Swiss Musicological Society, May 1978 ALFRED E. LEMMON 17 Tulane University, Center for Latin American Studies: Festival of Latin American Music, 1977-1978 DON HARR"cN 20 Report from Jerusalem: World Con- gress on Jewish Music 24 Letter to the Editors 26 Announcement ARTICLES JANE FULCHER 27 Music and the Communal Order: The Vision of Utopian Socialism in France J EHOASH HIRSHBERG 36 The Formation and Destination of the Fonds Blancheton JAMES STILES 45 Control and Chance in the New Music PATRICIA TUNSTALL 51 Structuralism and Musicology: An Overview OPERA ISSUE SUPPLEMENT MARCELLO CONATI 65 Italian Romantic Opera and Musicology ELLEN ROSAND 73 Francesco Cavalli in Moderu Edition EDWARD R. RUTSCHMAN 84 Minato and the Venetian Opera Libretto 92 Publications Received 97 Contributors Tilden Russell University of North Carolina, Chapel Hill, N.C. Josephine Hart University of Oregon, Eugene, Ore. Leif Laudamus University of Pennsylvania, Philadelphia, Pa. Stephen Carlton University of Pittsburgh, Pittsburgh, Pa. Mark Radice University of Rochester, Eastman School, Rochester, N.Y. Harold Kjellberg University of Southern California, Los Angeles, Calif. Phyllis Rueb University of Texas, Austin, Tex. Cliff Eisen University of Toronto, Toronto, Ontario, Canada Edward Rutschman University of Washington, Seattle, Wash. Stephen Powell University of Western Ontario, London, Ontario, Canada Walter Burt University of Wisconsin, Madison, Wis. Edgar J. Lewis University of Wyoming, Laramie, Wyo. Michael Fleming Washington University, St. -
The Impact of Sulla on Italy and the Mediterranean World
1 THE IMPACT OF SULLA ON ITALY AND THE MEDITERRANEAN WORLD F e d e r i c o s a n t a n g e l o U n iv e r s i t y Co l l e g e L o n d o n P hD T h e s i s Subm itted M arch 2006 UMI Number: U591982 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591982 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 Abstract This Ph.D. thesis is a study of the role of the general and statesman Lucius Cornelius Sulla (138-78 BC) in the making of the Roman Empire. The first chapter describes the crisis of Roman imperial strategy that became apparent in the age of Sulla, leading to two subsequent wars, the Social War in Italy and the Mithridatic War in the Greek East, then followed by a Civil War at Rome. In both contexts large sectors of the local elites nearly succeeded in bringing Roman hegemony to an end. -
Download Booklet
Giulia Semenzato, soprano Raffaele Pe, alto La Venexiana Efix Puleo, violin Daniela Godio, violin Luca Moretti, viola Antonio Papetti, violoncello Alberto Lo Gatto, violone Chiara Granata, triple harp Gabriele Palomba, theorbo Diego Cantalupi, theorbo Luca Oberti, harpsichord Claudio Cavina, direction MN Recorded in Lodi (Teatro alle Vigne), Italy, in December 2015 Engineered by Matteo Costa Produced by Alberto Lo Gatto Executive producer & editorial director: Carlos Céster Editorial assistance: María Díaz, Mark Wiggins Design: Rosa Tendero © 2016 note 1 music gmbh Francesco Cavalli (1602-1676) Sospiri d’amore Opera duets and arias. Venice, 1644-1666 01 O luci belle (Duetto. Eritrea , 1652) Libretto: Giovanni Faustini 4:04 02 Qui cadè al tuo piè (Duetto. Orimonte , 1650) Libretto: Nicolò Minato 3:39 03 Né meste più (Duetto. La Veremonda , 1652) Libretto: Giulio Strozzi 5:23 04 Lassa, che fò (Soprano. Statira , 1656) Libretto: Giovanni Francesco Busenello 4:36 05 Corone ed honori (Alto. Il Ciro , 1653) Libretto: Anon. 3:02 06 Vanne intrepido o mio bene (Soprano. Statira , 1656) Libretto: Giovanni Francesco Busenello 3:36 07 L’aspetto feroce (Duetto. Muzio Scevola , 1665) Libretto: Nicolò Minato 3:03 08 D’Amor non si quereli (Duetto. Ormindo , 1644) Libretto: Giovanni Faustini 3:02 09 Io misero fui Rege (Alto. Scipione Affricano , 1664) Libretto: Nicolò Minato 2:31 10 Hor che l’aurora (Dialogo. Egisto , 1643) Libretto: Giovanni Faustini 10:25 11 Io chiudo nel core (Duetto. Il rapimento di Elena , 1659) Libretto: Nicolò Minato 6:35 12 Alpi gelate (Soprano. Pompeo Magno , 1666) Libretto: Nicolò Minato 3:40 13 Sì, sì, che questa notte (Duetto.