DOCSLIB.ORG

Imagebildung Italienischer Fürsten Im 16. Jahrhundert-Die D'este, Della

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Imagebildung Italienischer Fürsten Im 16. Jahrhundert-Die D'este, Della Imagebildung italienischer Fürsten im 16. Jahrhundert - die d‘Este, della Rovere, Medici, Gonzaga und Farnese im Vergleich von Christine Dalliard Dissertation zur Erlangung der Doktorwürde an der Philosophischen Fakultät der Universität Freiburg (Schweiz). Genehmigt von der Philosophischen Fakultät auf Antrag der Professoren Volker Reinhardt (1. Gutachter) und Arne Karsten (2.Gutachter) Freiburg, den 17. Dezember 2012 Prof. Marc-Henry Soulet, Dekan 1 Inhaltsverzeichnis 1. Einleitung ........................................................................................................ 4 2. Erkenntnisstand, Vorgehensweise, Definitionen .............................................. 9 3. Künstler an italienischen Fürstenhöfen ...........................................................15 4. Selbstdarstellung ............................................................................................18 4.1 Portraits .....................................................................................................19 4.1.1 D’Este .................................................................................................19 4.1.2 Della Rovere .......................................................................................28 4.1.3 Medici .................................................................................................32 4.1.4 Gonzaga ..............................................................................................53 4.1.5 Farnese ................................................................................................58 4.1.6 Synthese ..............................................................................................63 4.2 Historische Darstellungen ..........................................................................66 4.2.1 Della Rovere .......................................................................................66 4.2.2 Medici .................................................................................................75 4.2.3 Gonzaga ..............................................................................................88 4.2.4 Farnese ................................................................................................90 4.2.5 Synthese ..............................................................................................95 4.3 Allegorien .................................................................................................98 4.3.1 D`Este .................................................................................................98 4.3.2 Della Rovere ..................................................................................... 101 4.3.3 Medici ............................................................................................... 104 4.3.4 Gonzaga ............................................................................................ 113 4.3.5 Synthese ............................................................................................ 115 5. Familie und Verwandtschaft ......................................................................... 117 5.1 Portraits ................................................................................................... 117 5.1.1 D`Este ............................................................................................... 117 5.1.2 Della Rovere ..................................................................................... 120 5.1.3 Medici ............................................................................................... 122 5.1.4 Gonzaga ............................................................................................ 126 5.1.5 Farnese .............................................................................................. 129 5.1.6 Synthese ............................................................................................ 132 5.2 Historische Darstellungen ........................................................................ 134 5.2.1 Della Rovere ..................................................................................... 134 5.2.2 Medici ............................................................................................... 135 5.2.3 Gonzaga ............................................................................................ 152 5.2.4 Farnese .............................................................................................. 154 5.2.5 Synthese ............................................................................................ 159 5.3 Imprese ................................................................................................... 161 5.3.1 D´Este ............................................................................................... 163 5.3.2 Della Rovere ..................................................................................... 166 5.3.3 Medici ............................................................................................... 168 5.3.4 Gonzaga ............................................................................................ 172 5.3.5 Farnese .............................................................................................. 175 5.3.6 Synthese ............................................................................................ 177 2 6. Territorium ................................................................................................... 179 6.1 Territorien und Karten ............................................................................. 179 6.1.1 D’Este und della Rovere .................................................................... 179 6.1.2 Medici ............................................................................................... 180 6.1.3 Gonzaga ............................................................................................ 184 6.1.4 Farnese .............................................................................................. 185 6.1.5 Synthese ............................................................................................ 188 6.2 Darstellungen von Schlachten .................................................................. 190 6.2.1 Della Rovere ..................................................................................... 190 6.2.2 Medici ............................................................................................... 190 6.2.3 Farnese .............................................................................................. 195 6.2.4 Synthese ............................................................................................ 197 7. Antike Darstellungen .................................................................................... 198 7.1 D`Este ..................................................................................................... 198 7.2 Medici ..................................................................................................... 200 7.3 Gonzaga .................................................................................................. 207 7.4 Synthese .................................................................................................. 210 8. Religion ........................................................................................................ 212 8.1 D`Este ..................................................................................................... 212 8.2 Medici ..................................................................................................... 214 8.3 Gonzaga .................................................................................................. 223 8.4 Farnese .................................................................................................... 224 8.5 Synthese .................................................................................................. 227 9. Mythologie ................................................................................................... 229 9.1 D´Este ..................................................................................................... 229 9.2 Della Rovere ........................................................................................... 234 9.3 Medici ..................................................................................................... 237 9.4 Gonzaga .................................................................................................. 245 9.5 Farnese .................................................................................................... 251 9.6 Synthese .................................................................................................. 253 10. Astronomie und Astrologie ......................................................................... 255 10.1 D`Este ................................................................................................... 255 10.2 Gonzaga ................................................................................................ 256 10.3 Farnese .................................................................................................. 259 10.4 Synthese ................................................................................................ 261 11. Schluss ....................................................................................................... 263 12. Literaturverzeichnis ...................................................................................
Load more

Recommended publications
  • Dispacci Da Roma, 19 Gennaio
    Omaggio della Giunta regionale del Veneto Centro Studi Veneziani I curatori del volume esprimono la loro gratitudine al Centro Studi Ve- neziani Donatus, al suo Presidente, Nicolò Donà dalle Rose, appartenen- te allo stesso ramo familiare dell’ambasciatore Girolamo, per aver favori- to la stampa dell’opera, e ad Antonio Foscari Widmann Rezzonico per il costante aiuto. Ringraziano altresì l’Associazione Nobiliare Regionale Veneta per il patrocinio. GIROLAMO DONÀ DISPACCI DA ROMA 19 GENNAIO - 30 AGOSTO 1510 Trascrizione di VIOLA VENTURINI Introduzione di MARINO ZORZI Venezia 2009 Direttore della collana FERIGO FOSCARI Venezia La Malcontenta 2009 Tutti i diritti riservati INDICE INTRODUZIONE, di Marino Zorzi XI REGESTI DEI DISPACCI, a cura di Marino Zorzi LIII I DISPACCI DI GIROLAMO DONÀ. Trascrizione di Viola Venturini NOTA ARCHIVISTICA 3 FONTI ARCHIVISTICHE 5 I DISPACCI 7 INDICI INDICE DEI NOMI DI PERSONA CONTENUTI NEI DISPACCI 417 INDICE DEI NOMI GEOGRAFICI CONTENUTI NEI DISPACCI 427 INDICE DEI DISPACCI NON NUMERATI 434 INTRODUZIONE 1. Girolamo Donà, umanista e uomo di stato I dispacci che qui si pubblicano sono opera di Girolamo Donà, no- bile veneziano, figura di rilievo nella vita politica e culturale del suo tempo. Nacque a Venezia nel 1456, figlio di Antonio e di Lucia Balbi; il padre, uomo politico e diplomatico, era figlio di Andrea e di Camil- la Foscari, figlia del doge Francesco. Il suo ramo è detto « dalle rose », per le tre rose che figurano nell’arma. Si laureò in artibus a Padova nel 1478; come di regola per i patrizi dottori, fu impiegato senza posa dalla Repubblica in missioni diplomatiche all’estero e nel governo di città e terre appartenenti al dominio veneto; tra un incarico e l’altro fe- ce parte degli organi centrali dello stato in posizioni adeguate alla sua cultura e alla sua conoscenza del mondo.
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • Samson Et Dalila De Camille Saint-Saëns
    DOSSIER PÉDAGOGIQUE SAMSON © Christian Legay - Opéra-Théâtre de Metz Métropole de Metz - Opéra-Théâtre © Christian Legay ET DALILA DE CAMILLE SAINT-SAËNS CONTACTS ACTION CULTURELLE Marjorie Piquette / 01 69 53 62 16 / [email protected] Eugénie Boivin / 01 69 53 62 26 / [email protected] 1 SAMSON ET DALILA DE CAMILLE SAINT-SAËNS répétition générale : mercredi 7 novembre 2018 à 20h30 vendredi 9 novembre 2018 à 20h dimanche 11 novembre 2018 à 16h OPÉRA EN 3 ACTES ET 4 TABLEAUX Livret en français de Ferdinand Lemaire d’après la Bible (Juges 16, 4-30). Création au Théâtre de la Cour grand-ducale de Weimar, le 2 décembre 1877 grâce à Liszt et représenté à Paris en 1892. Direction Musicale David Reiland Mise en Scène Paul-Emile Fourny Assisté de Sylvie Laligne Décors Marco Japelj Costumes Brice Lourenço Lumières Patrice Willaume Chorégraphie Laurence Bolsigner-May Chef de Chant Nathalie Dang Chef de Chœur Nathalie Marmeuse Avec Samson Jean-Pierre Furlan Dalila Vikena Kamenica Le Grand Prêtre Alexandre Duhamel Abimélech Patrick Bolleire Un Vieillard Hébreu Wojtek Smilek Un Messager Daegweon Choi Le 1er Philistin Eric Mathurin Le 2e Philistin Jean-Sébastien Frantz Orchestre national d’Île-de-France Chœur de l’Opéra-Théâtre de Metz Métropole Chœurs Supplémentaires de l’Opéra de Massy Ballet de l’Opéra-Théâtre de Metz Métropole Production de l’Opéra-Théâtre de Metz Métropole En coproduction avec l’Opéra de Massy et le SNG-Opéra et Ballet National de Slovénie à Maribor ALLER PLUS LOIN : CONFÉRENCE CONFÉRENCE AUTOUR DE SAMSON ET DALILA : MARDI 6 NOVEMBRE À 19H Par Barbara Nestola, musicologue Entrée gratuite sur réservations au 01 60 13 13 13 (à partir du 23/10) 2 LE COMPOSITEUR On a pris la fâcheuse habitude de croire que, là où il y a des sons musicaux, il y a nécessairement de la musique.
    [Show full text]
  • Takte 1-09.Pmd
    [t]akte Das Bärenreiter-Magazin Wundersame Mischungen Ernst und komisch zugleich: Haydns „La fedeltà premiata” 1I2009 Das geheime Leben Informationen für Miroslav Srnka auf Entdeckungstour Bühne und Orchester Plädoyer für ein großartiges Repertoire Marc Minkowski über die französische Oper des 19. Jahrhunderts [t]akte 481018 „Unheilvolle Aktualität“ Abendzauber Das geheime Leben Telemann in Hamburg Ján Cikkers Opernschaffen Neue Werke von Thomas Miroslav Srnka begibt sich auf Zwei geschichtsträchtige Daniel Schlee Entdeckungstour Richtung Opern in Neueditionen Die Werke des slowakischen Stimme Komponisten J n Cikker (1911– Für Konstanz, Wien und Stutt- Am Hamburger Gänsemarkt 1989) wurden diesseits und gart komponiert Thomas Miroslav Srnka ist Förderpreis- feierte Telemann mit „Der Sieg jenseits des Eisernen Vorhangs Daniel Schlee drei gewichtige träger der Ernst von Siemens der Schönheit“ seinen erfolg- aufgeführt. Der 20. Todestag neue Werke: ein Klavierkon- Musikstiftung 2009. Bei der reichen Einstand, an den er bietet den Anlass zu einer neu- zert, das Ensemblestück „En- Preisverleihung im Mai wird wenig später mit seiner en Betrachtung seines um- chantement vespéral“ und eine Komposition für Blechblä- Händel-Adaption „Richardus I.“ fangreichen Opernschaffens. schließlich „Spes unica“ für ser und Schlagzeug uraufge- anknüpfen konnte. Verwickelte großes Orchester. Ein Inter- führt. Darüber hinaus arbeitet Liebesgeschichten waren view mit dem Komponisten. er an einer Kammeroper nach damals beliebt, egal ob sie im Isabel Coixets Film
    [Show full text]
  • Cna85b2317313.Pdf
    THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him.
    [Show full text]
  • Venere Et Un’Altro Baccho, Con Certe Teste Pur Antiche
    L’attacco di Giovanni Francesco Pico della Mirandola alla “Venus felix” e alla Stanza della Segnatura Luiz Marques HOME Universidade Estadual de Campinas - UNICAMP Il 19 settembre 1512, Giovanni Francesco Pico[1] (1469-1533), Signore di Mirandola e conte di Concordia, firma a Roma una celebre epistola indirizzata a Pietro Bembo (1470-1547). Se il destinatario era una delle personalità più brillanti delle corti italiane e, con Erasmo, il più influente letterato della sua generazione, il mittente era un filosofo che godeva di una posizione di grande prestigio nei circoli umanistici, essendo considerato dotato di una erudizione e di un sapere non inferiori a quelli di suo zio, Giovanni Pico della Mirandola (1463-1494), della cui “Opera omnia” (1496) era stato editore e principale biografo[2]. Anche Paolo Giovio[3], nonostante la sua proverbiale malignità[4], riconosceva che: “La memoria e le prodigiose capacità di linguaggio di Giovanni Francesco Pico (…) lo distinsero nettamente tra tutti coloro che si dedicavano alle arti liberali e ambivano a scrivere”. Una testimonianza più vicina, quella di Fra Leandro Alberti[5], che lo aveva conosciuto bene, racconta che il conte portava incastonato in un anello un cammeo antico trovato nei suoi domini, con l’immagine suggestiva di Mercurio, nume tutelare degli eruditi: “tra li quali ne fu ritrovata una [corniola], ove era scolpito Mercurio, et presentata al di felice memoria signore Giovan Francesco Pico sìgnore della Mirandola, e Conte della Concordia, il quale per la pretiosità et bellezza sua, legara in oro la portava ne la mano, come io più volte ho veduto”. E Leandro Alberti compiange la sua morte con queste parole: “Certamente fu gran danno la perduta di tanto huomo alli litterati, concio fusse cosa che era peritissimo in ogni grado di dottrina, e in Greco, Hebreo, Caldeo e Arabico, in Humanita, Poesia, Logica, Philosophia, e Theologia, come chiaramente dall’opere da lui scritte, vero giuditio dar si può”.
    [Show full text]
  • B-RECORDS Ascanio B-RECORDS Ascanio P.1
    B-RECORDS Ascanio P.1 B-RECORDS Ascanio P.2 B-RECORDS Ascanio P.4 CAMILLE SAINT-SAËNS — ASCANIO Opéra en cinq Actes et sept Tableaux livret de Louis Gallet Première exécution absolue de la version conforme au manuscrit autographe de 1888. Concerts enregistrés les 24 et 26 novembre 2017 à Genève. Guillaume Tourniaire direction musicale Raphaël Hardmeyer Charles Quint Olivia Doutney Une Ursuline Jean-François Lapointe Benvenuto Cellini Joé Bertili Pagolo Choeur de la Haute école Bernard Richter Ascanio de musique de Genève Ève-Maud Hubeaux Scozzone Choeur du Grand Théâtre de Genève Jean Teigten François Ier Alan Woodbridge chef de chœur Karina Gauvin La Duchesse d'Étampes Clémence Tilquin Colombe D'Estourville Orchestre de la Haute école Mohammed Haidar Un Mendiant de musique de Genève Bastien Combe D'Estourville Maxence Billiemaz D'Orbec Joidy Blanco flûte solo B-RECORDS Ascanio P.5 B-RECORDS Ascanio P.6 ORCHESTRE DE LA HAUTE CLARINETTES CHŒUR DU GRAND THÉÂTRE ALTOS ÉCOLE DE MUSIQUE DE GENÈVE Marina Yamashita, Mio Yamashita DE GENÈVE Leilla Attigui, Camille Bourquin, Pierre-Antoine Marçais Roberto Balistreri Ornella Corvi, Alina Delgadillo, chef d’orchestre assistant BASSONS Assistant du chef de choeur Zoé Vauconsant Aline Kalchofner, Citlalli Medina Durán, VIOLONS Carla Rouaud (et contrebasson) SOPRANOS TÉNORS Lucie Menier (1er VS), Camille Guilpain Fosca Aquaro, Chloé Chavanon, Paul Belmonte, Quentin Monteil, (2ème VS), Jou Chan, Sen Chan, CORS Magali Duceau, Györgyi Garreau-Sarlos, Jeka Pawel, Marin Yonchev Seat Byeol Choi, Benjamin
    [Show full text]
  • Electricity and Magnetism (Cont'd), Light and Optics
    Problems 931 53. Suppose you install a compass on the center of a car’s needle” is a magnetic compass mounted so that it can dashboard. (a) Assuming the dashboard is made rotate in a vertical north–south plane. At this location, mostly of plastic, compute an order-of-magnitude esti- a dip needle makes an angle of 13.08 from the vertical. mate for the magnetic field at this location produced What is the total magnitude of the Earth’s magnetic by the current when you switch on the car’s headlights. field at this location? (b) How does this estimate compare with the Earth’s 59. A very large parallel-plate capacitor has uniform magnetic field? S charge per unit area 1s on the upper plate and 2s 54. Why is the following situation impossible? The magnitude on the lower plate. The plates are horizontal, and both of the Earth’s magnetic field at either pole is approxi- move horizontally with speed v to the right. (a) What mately 7.00 3 1025 T. Suppose the field fades away to is the magnetic field between the plates? (b) What is zero before its next reversal. Several scientists propose the magnetic field just above or just below the plates? plans for artificially generating a replacement mag- (c) What are the magnitude and direction of the mag- netic field to assist with devices that depend on the netic force per unit area on the upper plate? (d) At presence of the field. The plan that is selected is to lay what extrapolated speed v will the magnetic force on a a copper wire around the equator and supply it with a plate balance the electric force on the plate? Suggestion: current that would generate a magnetic field of magni- Use Ampere’s law and choose a path that closes tude 7.00 3 1025 T at the poles.
    [Show full text]
  • Domenichino's Scenes from the Life
    DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION by Emily Freeman Bachelor of Arts, 2005 The University of Texas at Austin Austin, Texas Submitted to the Faculty Graduate Division of the College of Fine Arts Texas Christian University in partial fulfillment of requirements for the degree of MASTER OF ARTS May 2008 DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION Thesis approved: Major Professor, Dr. Babette Bohn Dr. Mark Thistlethwaite Dr. Nadia Lahutsky Graduate Studies Representative For the College of Fine Arts ii Copyright © 2008 by Emily Freeman All Rights Reserved iii TABLE OF CONTENTS List of Illustrations.................................................................................................. v Introduction............................................................................................................. 1 St. Cecilia and the Revival of Her Cult................................................................... 4 St. Cecilia in Art and Literature............................................................................ 13 Early Life and the Carracci Academy................................................................... 22 Conclusion ............................................................................................................ 43 Images................................................................................................................... 45 Bibliography ........................................................................................................
    [Show full text]
  • {Download PDF} Michelangelo and the Popes Ceiling Ebook, Epub
    MICHELANGELO AND THE POPES CEILING PDF, EPUB, EBOOK Ross King | 384 pages | 08 May 2006 | Vintage Publishing | 9781844139323 | English | London, United Kingdom Michelangelo and the Pope's Ceiling by Ross King A panorama of illustrious figures converged around the creation of this magnificent work-from the great Dutch scholar Erasmus to the young Martin Luther-and Ross King skillfully weaves them through his compelling historical narrative, offering uncommon insight into the intersection of art and history. Four years earlier, at the age of twenty-nine, Michelangelo had unveiled his masterful statue of David in Florence; however, he had little experience as a painter, even less working in the delicate medium of fresco, and none with the curved surface of vaults, which dominated the chapel's ceiling. The temperamental Michelangelo was himself reluctant, and he stormed away from Rome, risking Julius's wrath, only to be persuaded to eventually begin. Michelangelo would spend the next four years laboring over the vast ceiling. He executed hundreds of drawings, many of which are masterpieces in their own right. Contrary to legend, he and his assistants worked standing rather than on their backs, and after his years on the scaffold, Michelangelo suffered a bizarre form of eyestrain that made it impossible for him to read letters unless he held them at arm's length. Nonetheless, he produced one of the greatest masterpieces of all time, about which Giorgio Vasari, in his Lives of the Artists, wrote, 'There is no other work to compare with this for excellence, nor could there be. Battling against ill health, financial difficulties, domestic problems, inadequate knowledge of the art of fresco, and the pope's impatience, Michelangelo created figures-depicting the Creation, the Fall, and the Flood-so beautiful that, when they were unveiled in , they stunned his onlookers.
    [Show full text]
  • ASF - Ducato D’Urbino
    ASF - Ducato d’Urbino Introduzione Come già nel numero inaugurale della rivista (cfr. La morte di Ippolito de’ Medici: nuovi documenti dall’Archivio Gonzaga (1535) , a cura di Rossana Sodano) destiniamo lo spazio riservato dallo Stracciafoglio alla pubblicazione di documenti d’archivio a una sorta di risarcimento che ci pare dovuto a personaggi infamati a torto e la cui cattiva fama è stata, per forza di inerzia, ribadita anche dagli studiosi ottocenteschi e poi via via giunta fino a noi senza essere stata sottoposta a verifiche più puntuali. Il caso che vorrei qui sollevare è quello di Benedetto Accolti, cardinale di Ravenna, incriminato da papa Paolo III, super campione delle pratiche nepotistiche a favore di casa Farnese, la propria, e mosso, soprattutto nei primi tempi del suo pontificato che considerata la sua età a torto si immaginò di breve durata, da tali intenti nepotistici alle più efferate pratiche, il cui culmine fu la sua partecipazione alla congiura che portò all’assassinio del cardinale Ippolito de’ Medici. Benedetto Accolti se la cavò, ma passando attraverso un vero calvario, e tuttavia il suo nome finì per rimanere associato alle accuse che papa Farnese costruì sul suo conto, tanto che persino uno studioso della serietà di Danilo Romei (e cito ad esempio lui proprio per la stima che gli è giustamente dovuta) lo colloca tra i “fior di mascalzoni” e riassume così la sua vicenda: “fu liberato dal carcere, dove lo avevano condotto le sue malversazioni, da un intervento straordinario e provvidenziale dell’imperatore Carlo
    [Show full text]
  • CAVALLERIA RUSTICANA/PAGLIACCI Cast Biographies Cavalleria Rusticana
    CAVALLERIA RUSTICANA/PAGLIACCI Cast Biographies Cavalleria Rusticana Before making his San Francisco Opera debut in 1993 as Rodolfo in La Bohème, tenor Roberto Aronica (Turiddu) studied with famed singer Carlo Bergonzi and completed his training at the Accademia Chigiana in Siena. He made his professional debut as the Duke of Mantua in Rigoletto at Teatro Municipal in Santiago de Chile. More recent engagements have included Manrico in Il Trovatore at the Teatro Comunale di Bologna, the title role of Don Carlos at the Royal Opera House, Pinkerton in Madama Butterfly at the Gran Teatre del Liceu in Barcelona, Calaf in Turandot at Turin’s Teatro Regio, and Alfredo in La Traviata at the Metropolitan Opera. In 2018, Aronica performs Pinkerton at the Metropolitan Opera, Paolo in Francesca da Rimini at the Teatro alla Scala, and Don Carlo at the Teatro Comunale di Bologna. Russian mezzo-soprano Ekaterina Semenchuk (Santuzza) made her San Francisco Opera debut in 2015 as Federica in Luisa Miller and in 2016 she returned as Amneris in Aida. Her recent engagements include Eboli in Don Carlo at Teatro alla Scala and Royal Opera, Covent Garden; Azucena in Il Trovatore with Rome Opera, St. Petersburg’s Mariinsky Theatre, and Covent Garden; Fricka in Das Rheingold at the Edinburgh International Festival; and Lady Macbeth in Macbeth at Los Angeles Opera opposite Plácido Domingo. Career highlights encompass Marina Mnishek in Boris Godunov at the Metropolitan Opera; Azucena and Amneris at Milan’s Teatro alla Scala; Iocasta in Oedipus Rex and Ascanio in Benvenuto Cellini at the Théâtre des Champs-Élysées; the title role of Carmen at Arena di Verona; Preziosilla in La Forza del Destinoand Amneris with Berlin State Opera; Didon in Les Troyens at the Mariinsky Theatre, Carnegie Hall, and in Vienna and Tokyo; Laura Adorno in La Gioconda and Dalila inSamson et Dalila at Rome Opera; Giovanna Seymour in Anna Bolena at the Vienna State Opera; and Eboli and Azucena at the Salzburg Festival.
    [Show full text]