Teatro Da Rua Dos Condes 1738-1882
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La Furba E Lo Sciocco
Domenico Sarri LA FURBA E LO SCIOCCO Due intermezzi di Tommaso Mariani per Artemisia Napoli, Teatro di San Bartolomeo, 1731 edizione critica a cura di Eric Boaro vai alla scheda del libro su www.edizioniets.com Edizioni ETS Musica teatrale del Settecento italiano Serie I: Drammi veneziani su testi di Goldoni Serie II: Drammi per musica di Niccolò Jommelli Serie III: Intermezzi napoletani del Settecento Questo volume è stato realizzato grazie a un contributo dell’Università degli Studi di Milano – Dipartimento di Beni Culturali e Ambientali, erogato nell’ambito del Piano di Sostegno alla Ricerca 2015/2017 per pubbli- cazioni di collane tematiche e creazione di supporti multimediali per la comunicazione dei risultati della ricerca In copertina: Antonio Joli (1700-1777), Veduta di Napoli con il Vesuvio, olio su tela (collezione privata) Realizzazione grafica della partitura: Eric Boaro Impaginazione dei testi: Edizioni ETS Copyright © 2017 Edizioni ETS s.r.l. Piazza Carrara, 16-19 - 56126 Pisa Tel. 050/29544-503868 - Fax 050/20158 e-mail [email protected] www.edizioniets.com ISMN 979-0-705015-35-5 ISBN 978-884674945-1 SOMMARIO Introduzione VII Fonti dell’edizione XV Criteri dell’edizione XIX Libretto XXI Organico e personaggi XXXI La furba e lo sciocco Intermezzo primo Aria di Barlacco «Se mi vien la bizzarria» 3 Recitativo «Infin sarà bisogno ch’io m’ammazzi» 6 Aria di Sofia «Dolce pensier d’amore» 6 Recitativo «Il merlotto è venuto» 8 Aria di Barlacco «Mi rimbomba dentro il core» 11 Recitativo «Signor, con sua licenza» 19 Aria di Sofia -
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 -
Fragments of Renaissance Schools on the Banks of the Po River
Fragments of Renaissance schools on the banks of the Po River David Salomoni Università degli Studi Roma Tre Department of Education Via Manin, 53 – 00185 Roma [email protected] 1. Inclusion and free admission in private and public schools Paul Grendler, in his book Schooling in Renaissance Italy, stated that the Italian educational structure «assumed definite form by 1300 and did not change until the late six- teenth century»1. However, a vast variety of political forms existing in late medieval and early modern Italy was reflected in the functioning and government of the educational institutions which communities and lordships accommodated. To a certain extent, a school reflected the political order and physiognomy of the community in which it found itself and, of which, it was the expression; this was the case as much in the towns as in the villages and rural lands. This article will consider in particular, though not exclusively, some smaller centers located in the lower Po Valley, near the banks of the longest river in Italy, on the border be- tween the Renaissance States of Mantua and Ferrara. 1 P. Grendler, Schooling in Renaissance Italy. Literacy and Learning 1300-1600, Baltimore and London, The Johns Hopkins University Press, 1989, p. 3. EDUCAZIONE. Giornale di pedagogia critica, VI, 1 (2017), pp. 7-30. ISSN 2280-7837 © 2017 Editoriale Anicia, Roma, Italia. DOI: 10.14668/Educaz_6102 David Salomoni A first distinction concerns the public or private na- ture of the institution2. A school can be defined as private when it is established and financed by one or more mem- bers of the community or by the local nobleman. -
The Howard Mayer Brown Libretto Collection
• The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali -
Carlo Goldoni As Musical Reformer
CARLO GOLDONI AS MUSICAL REFORMER IN SEARCH OF REALISM IN THE DRAMMA GIOCOSO La vraisemblance doit toujours être la principale règle, et sans laquelle toutes les autres deviennent déréglées. -l’Abbé d’Aubignac, La Pratique du Théâtre by Pervinca Rista Dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy. Baltimore, Maryland March 18, 2015 © Pervinca Rista All Rights Reserved Abstract Venetian playwright Carlo Goldoni (1707-1793), who is best remembered in literary history for his realist ‘reform’ of comic theatre, was also a prolific librettist. In particular, his texts for music written from 1748 onwards remain understudied but warrant significant reappraisal, for Goldoni was one of the first to give shape to the dramma giocoso, an innovative and realistic new genre of opera that went on to have a lasting legacy all the way to W. A. Mozart and Lorenzo da Ponte. Through an interdisciplinary, historical approach and intertextual analysis, the present study reevaluates Goldoni’s drammi giocosi, largely overlooked by scholarship, to uncover the lasting innovations in form and content introduced by the Venetian playwright. Analysis of these texts also reveals clear affinity between Goldoni's contributions to the dramma giocoso and his reform of prose theatre. Most importantly, unlike other types of comic opera, the dramma giocoso has the particularity of combining buffo with serio, a dynamic that, through Goldoni's mature output, continually evolves to bring new realism and social relevance to opera theatre. Goldoni’s influence on this type of musical representation has not been fully considered, but the realism in music that he achieves through the dramma giocoso must be acknowledged as a lasting contribution to modern literature, and to operatic history. -
The Thesis Plan
Guglielmi’s Lo spirito di contradizione: The fortunes of a mid-eighteenth-century opera VOLUME ONE STUDY AND COMMENTARY Nancy Calo Thesis submitted in partial fulfilment of the requirements of the degree of Master of Music (Musicology) University of Melbourne 2013. ii THE UNIVERSITY OF MELBOURNE Faculty of the VCA and MCM TO WHOM IT MAY CONCERN This is to certify that the thesis presented by me for the degree of Master of Music (Musicology) comprises only my original work except where due acknowledgement is made in the text to all other material used. Signature: ______________________________________ Name in Full: ______________________________________ Date: ______________________________________ iii ABSTRACT Pietro Alessandro Guglielmi’s opera buffa or bernesca, titled Lo spirito di contradizione, premièred in Venice in 1766. It was based on another work that had successfully premièred in 1763 as a Neapolitan opera: Lo sposo di tre, e marito di nessuna. The libretto for Lo sposo di tre, e marito di nessuna was written by Antonio Palomba, and concerns a man who attempts to marry three women and escape with their dowries. In setting this opera, Guglielmi collaborated with Neapolitan composer Pasquale Anfossi, with the former contributing the Opening Ensemble, the three finali and the Baroness’s aria in the third act. After moving to Venice in the mid 1760s, Guglielmi requested Gaetano Martinelli to re- fashion the libretto, keeping the story essentially the same for his new opera Lo spirito di contradizione. Guglielmi wrote all the music for his new production, retaining some of his former ideas. I argue that Pietro Alessandro Guglielmi was a prominent composer and significant eighteenth-century industry figure whose output should be re-incorporated into the repertory of modern performance. -
Famiglie Di Cantanti E Compagnie Di Opera Buffa Negli Anni Di Goldoni
Famiglie di cantanti e compagnie di opera buffa saggi negli anni di Goldoni Franco Piperno Un’immagine stereotipa dell’opera italiana del Sei- Settecento è quel- la del grande evirato ritratto o in posa elegantemente vestito, indizio del rango sociale inequivocabilmente raggiunto – ne sono esempi il dipinto di Andrea Sacchi che ritrae Marcantonio Pasqualini incoronato da Apollo (1641) ora al Metropolitan saggi Museum di New York1 o uno dei tanti dedicati a Carlo Broschi detto Farinello fra 29 cui, notissimo, quello di Corrado Giaquinto (1755) conservato al Museo internazio- nale e biblioteca della musica di Bologna2 – o nell’atto di esibirsi davanti a spetta- tori sia in teatro, sia nel privato di un salotto: ad esempio Nicola Grimaldi detto Nicolino dipinto da Marco Ricci in una prova d’opera a Londra attorno al 17103. Se il cantante d’opera è raffigurato assieme ad altri, il dipinto o il disegno ne sot- tolineano in ogni caso, nella posa o negli abiti, il protagonistico individualismo: lo provano ad esempio una nota caricatura di anonimo che ritrae Gaetano Beren- stadt, Francesca Cuzzoni e Francesco Bernardi detto Senesino in abiti di scena alle prese con un’opera di Haendel a Londra nel 17234 o i disegni di soggetto ope- ristico di Giuseppe Ghezzi o Anton Maria Zanetti5. Quanto osservato si riferisce al cosmo della cosiddetta “opera seria”, il dramma per musica identificato perlopiù nella produzione esemplare di Apostolo Zeno e Pietro Metastasio destinata in primis ai teatri di corte o ai principali teatri di città. Diverso il caso del parallelo mondo degli “intermezzi” e della “opera buffa”, della commedia per musica di 29-39 1. -
METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M. -
700 Musicale Napoletano Orchestra Da Camera Di Napoli
Associazione Domenico Scalatti Anno di costituzione:1982 Emanazioni istituzionali: Istituto Internazionale per lo Studio del ‘700 Musicale Napoletano Orchestra da Camera di Napoli Presidente Enzo Amato Comitato scientifico: in o.a. Luca Bianchini Luisa Boffa Michaela Böhmig Ivano Caiazza Sandro Cappelletto Giovan Battista Columbro Vincenzo De Gregorio Maxence Larrieu Renata Maione Andrea Panzuti Claudia Scandura Anna Daniela Sestito Edoardo Vitale Filippo Zigante Segreteria di Produzione Il Canto di Virgilio Ufficio Stampa Enrica Buongiorno Festival Internazionale del ‘700 Musicale Napoletano Direzione Artistica Enzo Amato EDIZIONE 20 XIX XX INDICE 1. INTRODUZIONE 2. ASSOCIAZIONE DOMENICO SCARLATTI 3. IL FESTIVAL 4. NAPOLI NEL SETTECENTO: “CAPITALE MONDIALE DELLA MUSICA” 5. LA DIDATTICA 6. CALENDARIO 7. PROGRAMMA 1. INTRODUZIONE Sono trascorsi vent’anni dalla prima edizione del Festival Internazionale del ‘700 Musicale Napoletano, ne è trascorso tempo e tante cose sono accadute, innumerevoli brani sono stati riportati alla luce dalla nostra Associazione: “I Pittagorici” di Giovanni Paisiello, il Requiem di Niccolò Jommelli, tantissima musica strumentale. Attraverso un lavoro ed un impegno ventennale la nostra Associazione è riuscita a raggiungere un pubblico sempre più numeroso che ha imparato ad amare questo patrimonio musicale per troppo tempo relegato all’ascolto di una piccola schiera di appassionati. Varie organizzazioni hanno seguito il nostro esempio trasferendo l’idea che abbandonare l’esecuzione musicale di questo patrimonio è dannoso alla memoria e all’orgoglio di appartenenza del Popolo del meridione d’Italia che tanto ha donato al questo Paese. Napoli e la sua musica devono tornare ad essere un binomio inscindibile e l’opportunità che quest’anno l’Assessorato alla Cultura di Napoli ha voluto concedere al Festival, ci lascia ben sperare per il futuro con una delle più appassionanti ed appassionate epopee di storia della musica mai vissute. -
Archives Du Théâtre De L'odéon (1809-1983)
Archives du théâtre de l'Odéon (1809-1983) Répertoire (AJ/55/1-AJ/55/430) Par Élisabeth Gautier-Desvaux, Yvette Isselin, Odile Krakovitch, Brigitte Labat- Poussin, Sylvie Nicolas et Juliette Caron Archives nationales (France) Pierrefitte-sur-Seine 2009 1 https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_027874 Cet instrument de recherche a été encodé en 2012 par l'entreprise Numen dans le cadre du chantier de dématérialisation des instruments de recherche des Archives Nationales sur la base d'une DTD conforme à la DTD EAD (encoded archival description) et créée par le service de dématérialisation des instruments de recherche des Archives Nationales 2 Archives nationales (France) Préface Tableau chronologique des événements et directeurs du théâtre de l'Odéon de 1782 à 1982 Archives de l'Odéon - Théâtre de l'Europe conservées au service de la documentation du théâtre 1983-1999 Liens : Liens annexes : • Tableau chronologique des événements et directeurs du théâtre de l'Odéon de 1782 à 1982 • Archives de l'Odéon - Théâtre de l'Europe conservées au service de la documentation du théâtre 1983-1999 3 Archives nationales (France) INTRODUCTION Référence AJ/55/1-AJ/55/430 Niveau de description fonds Intitulé Archives du théâtre de l'Odéon Date(s) extrême(s) 1809-1983 Localisation physique Pierrefitte DESCRIPTION Présentation du contenu INTRODUCTION Les archives du théâtre de l'Odéon, rassemblées dans le fonds 55 AJ, par la diversité de leurs versements aussi bien que par leur réunion finale aux Archives nationales (Paris), sont le reflet de l'histoire et de la destinée mouvementée de l'établissement aux XIXeet XXesiècles ainsi que de la constitution souvent complexe des ensembles documentaires. -
Operatic Reform in Turin
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter tece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, If unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS This reproduction is the best copy available. UMI OPERATIC REFORM IN TURIN: ASPECTS OF PRODUCTION AND STYLISTIC CHANGE INTHEI760S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Margaret Ruth Butler, MA.