Gioachino Rossini, Catalogo Delle Opere
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Alberto Zedda
Le pubblicazioni del Rossini Opera Festival sono realizzate con il contributo di Amici del Friends of the Note al programma Rossini Opera Festival Rossini Opera Festival della XL Edizione Sotto l’Alto Patronato del Presidente della Repubblica XL edizione 11~23 agosto 2019 L’edizione 2019 è dedicata a Montserrat Caballé e a Bruno Cagli MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI Regione Marche Enti fondatori Il Rossini Opera Festival si avvale della collaborazione scientifica della Fondazione Rossini Il Festival 2019 si attua con il contributo di Ministero per i beni e le attività culturali Comune di Pesaro Provincia di Pesaro e Urbino Comune di Pesaro Regione Marche in collaborazione con Intesa Sanpaolo Fondazione Gruppo Credito Valtellinese Fondazione Scavolini con l’apporto di Abanet Internet Provider Bartorelli-Rivenditore autorizzato Rolex Eden Viaggi Grand Hotel Vittoria - Savoy Hotel - Alexander Museum Palace Hotel Harnold’s Hotel Excelsior Ratti Boutique Subito in auto Teamsystem Websolute partecipano AMAT-Associazione marchigiana attività teatrali AMI-Azienda per la mobilità integrata e trasporti ASPES Spa Azienda Ospedaliera San Salvatore Centro IAT-Informazione e accoglienza turistica Conservatorio di musica G. Rossini Si ringrazia UBI Banca per il contributo erogato tramite Art Bonus United Nations Designated Educational, Scientific and UNESCO Creative City Cultural Organization in 2017 Il Festival è membro di Italiafestival e di Opera Europa Sovrintendente Ernesto Palacio Direttore generale Olivier Descotes Presidente Relazioni -
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Creation / Basque Eurocity Teatro Victoria Eugenia - Donostia / San Sebastián NOAH Choreography Thierry Malandain Music Gioacchino Rossini - Messa di Gloria Set and costumes Jorge Gallardo Lighting design Francis Mannaert Dressmaker Véronique Murat Set production Frédéric Vadé Coproducers Chaillot - Théâtre National de la Danse(Paris), Opéra de Saint-Etienne, Donostia Kultura - Teatro Victoria Eugenia de Donostia / San Sebastián - Ballet T, CCN Malandain Ballet Biarritz. Partners Opéra de Reims, Théâtre de Gascogne - le Pôle, Theater Bonn (Allemagne), Forum am Schlosspark – Ludwigsburg (Allemagne) CREATION / BASQUE EUROCITY Teatro Victoria Eugenia de Donostia / San Sebastián, january 14th and 15th 2017 CREATION / FRENCH PREMIERE Chaillot - Théâtre National de la Danse (Paris) beetween May 10th and 24th 2017 Ballet for 22 dancers Lenght 70 minutes © Olivier Houeix Mickaël Conte et Irma Hoffren © Olivier Houeix NOAH CREATION 2017 Inspired by the parable of Noah’s Ark, Thierry Malandain’s new ballet once again addresses themes that he holds dear, such as Mankind and its future, destiny, fate, and the environment. From this story, which incidentally is rarely used in dance, he retains the symbolism rather than the religious message. Just as in the Biarritz choreographer’s previous work, Noah is punctuated with discreet references. For example, water, alternately destructive and life-sustaining, which is represented here as the element that gives new life to Mankind. Similarly, it represents the sacrament that we’re supposed to walk away from feeling different, if not changed. Mankind which boarded the Ark for forty days will emerge transformed. In essence, every artist dreams that the audience leaves a performance slightly changed. Malandain presents a more abstract Noah, who is not only a Christian reference to a new Adam, but also a figure common to various civilizations that lived through a flood and were saved by a protective, providential man. -
La Cultura Italiana
LA CULTURA ITALIANA BALDASSARE GALUPPI (1706–1785) Thousands of English-speaking students are only familiar with this composer through a poem by Robert Browning entitled “A Toccata of Galuppi’s.” Few of these students had an inkling of who he was or had ever heard a note of his music. This is in keeping with the poem in which the toccata stands as a symbol of a vanished world. Although he was famous throughout his life and died a very rich man, soon after his death he was almost entirely forgotten until Browning resurrected his name (and memory) in his 1855 poem. He belonged to a generation of composers that included Christoph Willibald Gluck, Domenico Scarlatti, and CPE Bach, whose works were emblematic of the prevailing galant style that developed in Europe throughout the 18th century. In his early career he made a modest success in opera seria (serious opera), but from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his opera buffa (comic opera) in the new dramma giocoso (playful drama) style. To the suc- ceeding generation of composers he became known as “the father of comic opera,” although some of his mature opera seria were also widely popular. BALDASSARE GALUPPI was born on the island of Burano in the Venetian Lagoon on October 18, 1706, and from as early as age 22 was known as “Il Buranello,” a nickname which even appears in the signature on his music manuscripts, “Baldassare Galuppi, detto ‘Buranello’ (Baldassare Galuppi, called ‘Buranello’).” His father was a bar- ber, who also played the violin in theater orchestras, and is believed to have been his son’s first music teacher. -
Aureliano in Palmira Gioachino Rossini (1792-1868) : Felice Romani (1788-1865)
1/3 Data Livret de Aureliano in Palmira Gioachino Rossini (1792-1868) : Felice Romani (1788-1865) Langue : Italien Genre ou forme de l’œuvre : Œuvres musicales Date : 1813 Note : "Dramma serio" en 2 actes créé à Milan, Teatro alla Scala, le 26 décembre 1813. - Livret de Felice Romani d'après "Zenobia di Palmira" d'Anfossi Éditions de Aureliano in Palmira (19 ressources dans data.bnf.fr) Partitions (13) Cavatina del maestro , Gioachino Rossini Quartetto pastorale , Gioachino Rossini Rossini nell' Aureliano in (1792-1868), Paris : Pacini nell'Aureliano in Palmira. (1792-1868), Paris : Pacini Palmira. [Chant et piano] , [s.d.] Composto dal maestro , [s.d.] Rossini. [Chant et accompagnement de piano] Aureliano in Palmira, opéra , Gioachino Rossini Cavatina nell'Aureliano in , Gioachino Rossini in due atti, musica di (1792-1868), Paris : Palmira, musica del (1792-1868), Paris : Pacini Rossini [Partition chant et Schonenberger , [s.d.] maestro Rossini. [Chant et , [s.d.] piano] piano] Terzettino nel Aureliano in , Gioachino Rossini Cavatina nell'Aureliano in , Gioachino Rossini Palmira del maestro (1792-1868), Paris : Pacini Palmira del maestro (1792-1868), Paris : Pacini Rossini. [Chant et piano] , [s.d.] Rossini. [Chant et piano] , [s.d.] Aureliano in Palmira. Mille sospiri e lagrimé. - [7] Aureliano in Palmira , Felice Romani (2019) (1788-1865), Gioachino Rossini (1792-1868), Pesaro : Fondazione Rossini data.bnf.fr 2/3 Data Aureliano in Palmira, opera , Felice Romani Mille sospiri e Lagrime. Air , Gioachino Rossini in 2 atti (1788-1865), Gioachino à 2 v. tiré d'Aureliano in (1792-1868), Paris : [s.n.] , (1855) Rossini (1792-1868), Paris Palmira 1823 : Schonenberger , [1855] (1823) Ecco mi, ingiustinumi. -
Le Opere Europee, 1750-1814
Le opere europee, 1750-1814 Michele Girardi (in fieri, 18 ottobre 2010) 1751 (1) data luogo titolo librettista compositore Artaserse, Pietro Metastasio Baldassarre opera in tre atti Galuppi 1754 (1) data luogo titolo librettista compositore 26.X Venezia, Teatro Il filosofo di campagna, Carlo Goldoni Baldassarre Grimani di S. dramma giocoso per Galuppi Samuele musica in tre atti 1757 (1) data luogo titolo librettista compositore autunno Venezia, Teatro L’isola disabitata, Carlo Goldoni Giuseppe Grimani di S. dramma giocoso per Scarlatti Samuele musica in tre atti 1760 (2) data luogo titolo librettista compositore 6.II Roma Teatro delle La Cecchina, ossia La Carlo Goldoni Nicola Piccinni Dame buona figliola, opera in tre atti OUIS NSEAUME IV Wien, Burgtheater L’ivrogne corrigée, da L A e Cristoph JEAN-BAPTISTE opéra-comique in due atti LOURDET DE SANTERRE, Willibald Gluck L’ivrogne corrigée, ou le mariage du diable 1761 (2) data luogo titolo librettista compositore 10.VI Bologna La buona figliola Carlo Goldoni Nicola Piccinni maritata, opera in tre atti Armida, opera da TASSO, Tommaso Gerusalemme Liberata Traetta 1765 (2) data luogo titolo librettista compositore 26.I London, King’s Adriano in Siria, dramma Pietro Metastasio Johann Christian Theater per musica in tre atti Bach 2.II London, Covent Artaxerxes, Arne ? Thomas Augustin Garden opera seria in tre atti (da METASTASIO) Arne Artaserse, Pietro Metastasio Giovanni dramma per musica in tre Paisiello atti 1766 (2) data luogo titolo librettista compositore Artaserse, Pietro Metastasio Nicola Piccinni opera in tre atti Venezia La buona figliola Bianchi Latilla supposta, opera 1767 (2) data luogo titolo librettista compositore 13.V Salzburg Apollo et Hyacinthus, Rufinus Widl Wolfgang seu Hyacinthi Amadeus Mozart metamorphosis, commedia in latino 26.XII Wien Alceste, opera in tre atti Ranieri Christoph de’Calzabigi Willibald Gluck (da EURIPIDE, Alceste) 1768 (2) data luogo titolo librettista compositore XI Wien, teatro-giardino Bastien und Bastienne, Friedrich W. -
Gioachino Rossini (1792–1868)
4 CDs 4 Christian Benda Christian Prague Sinfonia Orchestra Sinfonia Prague COMPLETE OVERTURES COMPLETE ROSSINI GIOACHINO COMPLETE OVERTURES ROSSINI GIOACHINO 4 CDs 4 GIOACHINO ROSSINI (1792–1868) COMPLETE OVERTURES Prague Sinfonia Orchestra Christian Benda Rossini’s musical wit and zest for comic characterisation have enriched the operatic repertoire immeasurably, and his overtures distil these qualities into works of colourful orchestration, bravura and charm. From his most popular, such as La scala di seta (The Silken Ladder) and La gazza ladra (The Thieving Magpie), to the rarity Matilde of Shabran, the full force of Rossini’s dramatic power is revealed in these masterpieces of invention. Each of the four discs in this set has received outstanding international acclaim, with Volume 2 described as “an unalloyed winner” by ClassicsToday, and the Prague Sinfonia Orchestra’s playing described as “stunning” by American Record Guide (Volume 3). COMPLETE OVERTURES • 1 (8.570933) La gazza ladra • Semiramide • Elisabetta, Regina d’Inghilterra (Il barbiere di Siviglia) • Otello • Le siège de Corinthe • Sinfonia in D ‘al Conventello’ • Ermione COMPLETE OVERTURES • 2 (8.570934) Guillaume Tell • Eduardo e Cristina • L’inganno felice • La scala di seta • Demetrio e Polibio • Il Signor Bruschino • Sinfonia di Bologna • Sigismondo COMPLETE OVERTURES • 3 (8.570935) Maometto II (1822 Venice version) • L’Italiana in Algeri • La Cenerentola • Grand’overtura ‘obbligata a contrabbasso’ • Matilde di Shabran, ossia Bellezza, e cuor di ferro • La cambiale di matrimonio • Tancredi CD 4 COMPLETE OVERTURES • 4 (8.572735) Il barbiere di Siviglia • Il Turco in Italia • Sinfonia in E flat major • Ricciardo e Zoraide • Torvaldo e Dorliska • Armida • Le Comte Ory • Bianca e Falliero 8.504048 Booklet Notes in English • Made in Germany ℗ 2013, 2014, 2015 © 2017 Naxos Rights US, Inc. -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
572032 Bk Penderecki
ROSSINI Complete Overtures • 4 Il barbiere di Siviglia Il Turco in Italia • Armida Prague Sinfonia Orchestra • Christian Benda Complete Overtures • 4 Gioachino Rossini (1792-1868): matrimonio, for which it was adapted, to be used again, poem. Coming to his senses, he leaves Armida, who is Gioachino Antonio Rossini, one of the most successful Useless Precaution), to avoid confusion with Paisiello’s after further revision, as an overture for Adelaide di now torn between love and desire for revenge. The and popular operatic composers of his time, was born in work, Rossini’s opera deals with the plan by Count Borgogna in 1817. opening Sinfonia contrasts two elements, the steady Pesaro in 1792. His father, a brass-player, had a modest Almaviva to woo Rosina and win her hand in marriage. Ricciardo e Zoraide was first staged at the Teatro march of the crusaders and a rapid Vivace, the march career, disturbed by the political changes of the period as With the help of the barber and general factotum Figaro, San Carlo in Naples in 1818. Agorante, angry at the unexpectedly returning to interrupt the livelier section. the French replaced the Austrians in Northern Italy. he carries out his plan to outwit her guardian, Dr Bartolo, refusal of Ircano to give him his daughter Zoraide in Le Comte Ory, Rossini’s fourth opera for Paris, was Rossini’s mother was a singer and as a boy Rossini who has his eye on his ward’s fortune. The overture was marriage, ousts Ircano from his kingdom of Nubia and first staged at the Paris Opéra in August 1828. -
Maria Teresa Grassi
M.T. Grassi, Zenobia, un mito assente, “LANX” 7 (2010), pp. 299-314 Maria Teresa Grassi Zenobia, un mito assente Tra i grandi personaggi femminili della storia romana vanno senza dubbio annoverate due regine straniere, l’egiziana Cleopatra e la siriana Zenobia: entrambe hanno avuto un ruolo di primo piano nelle vicende politiche della loro epoca, ma la fama della prima - una vera star dell’immaginario collettivo - non è neppure paragonabile a quella della seconda.1 La vicenda di Zenobia si svolge nel III secolo d.C., in soli cinque anni, tra il 267 e il 272 d.C., nel settore orientale dell’Impero Romano, ed ha come epicentro la Siria e Palmira, importante città carovaniera posta in un’oasi del deserto siriano, a mezza strada tra l’Eufrate e il Mediterraneo. Di Zenobia abbiamo solo poche immagini, “sfuocate”, dalle monete coniate a suo nome (monete peraltro di grande importanza per ricostruire l’ascesa politica della regina) e nella stessa Palmira ben poco si può ricondurre a Zenobia (qualche grande complesso è stato talora definito come il “palazzo di Zenobia”, ma si tratta di attribuzioni di fantasia2) e scarse sono anche le fonti letterarie ed epigrafiche da cui ricavare qualche dato. Dal punto di vista romanzesco, Zenobia è indubbiamente poco attraente: al contrario di Cleopatra non se ne conoscono gli amori e neppure le circostanze della morte, non ha avuto intorno a sé personaggi di primo piano come Giulio Cesare, Marco Antonio e Augusto. Il suo antagonista, l’imperatore Aureliano, non ha la stessa fama: malgrado le indubbie qualità politiche e militari, è uno dei tanti imperatori del turbolento III secolo d.C. -
"Il Barbiere Di Siviglia" De Rossini
SAVERIO LAMACCHIA Universitá di Udine Reflexiones para una nueva interpretación de Il barbiere di Siviglia de Rossini (y de Manuel García)1 Se dice que Il barbiere di Siviglia de Rossini es una obra en la que un astuto barbero (Figaro), consigue que se casen el Conde de Almaviva y Rosina, para vergüenza del viejo Bartolo.Aquí sos- tenemos que, con toda probabilidad, Rossini y su libretista, Cesare Sterbini, en el carnaval de 1816, habían pensado en otra historia, aquella en la que el barbero chapucero intenta en el primer acto ayudar al Conde, pero provoca grandes problemas que hacen que el poderoso Conde deba tomar las riendas de la intriga en el segundo acto y a conducir él mismo el desenlace. Para argumentar esta tesis se subrayan las importantes diferencias entre el libreto y su fuente principal, Le barbier de Séville de Beaumarchais, y por primera vez, se señala como fuente Il Califfo di Bagdad de Manuel García (1813). Sostenemos que Il barbiere di Siviglia fue escrito por mediación de García, no sólo desde el punto de vista vocal sino también actoral: éste elegía personajes iracundos, poderosos y con deter- minación. Figaro no obstante, se toma su revancha desde el punto de vista musical: desde siempre, los espectadores acaban por hacer suya la parte de más éxito y divertida; y a fin de cuentas, es eso lo que más importa en una ópera cómica. Palabras clave: Rossini, Manuel García, Il barbiere di Siviglia, Il Califfo di Bagdad, Beaumarchais, ópera s. XIX. Rossini’s The Barber of Seville is said to be a work in which an astute barber -
Eröffnungsvortrag: Haydns Opern in Ihrer Zeit Und Heute
ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Wissenschaftliche Arbeiten aus dem Burgenland Jahr/Year: 1992 Band/Volume: 090 Autor(en)/Author(s): Feder Georg Artikel/Article: Haydns Opern in ihrer Zeit und heute. 9-20 Eröffnungsvortrag:© Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at Haydns Opern in ihrer Zeit und heute Georg FEDER, Köln “Joseph Haydn und die Oper seiner Zeit” so lautet das Thema unseres Symposions. Haydns Opern in ihrer Zeit und heute sind das Thema dieses ersten Vortrages. Mit ihm möchte ich versuchen, einen kurzen Überblick über Haydns Opernschaffen zu geben, einerseits in historischer Hinsicht, andererseits in Betrachtung der neueren Entwicklungen. Haydns Opernschaffen ist nach den Forschungen und Veröffentlichungen der letzten Jahrzehnte gut überschaubar; Umfang, Gliederung und zeitlicher Verlauf dieses Schaffens lassen sich mit klaren Linien skizzieren. (Vgl. die Tabelle.) Es erstreckte sich über einen Zeitraum von vier Jahrzehnten: von 1751/52 bis 1791. Schauplätze der Uraufführungen waren zuerst Wien, dann Eisenstadt und Esz terhäza. Die letzte Oper entstand in London. Den Werkgattungen nach gliedert sich Haydns Opernschaffen in die Gruppe der deutschen Singspiele, mit gespro chenen Dialogen, meist in der Sonderform der Marionettenoper, wobei unter lauter heiteren Singspielen ein ernstes vorkommt, und in die Gruppe der italie nischen Opern. Zu letzteren gehört zunächst die bei Haydn bald als Opera seria, bald als Dramma eroico oder Dramma per musica bezeichnete ernste Oper, die in kleinerer Form Festa teatrale oder Azione teatrale heißt. Daneben steht die heitere Oper, als Commedia, als Intermezzo, Opera buffa oder Burletta, einmal auch als Dramma giocoso per musica bezeichnet. -
Musik in Venedig Und Mailand Im Zeichen Napoleons
Musik in Venedig und Mailand im Zeichen Napoleons Kompositionen von und um Giovanni Simone Mayr Musik- und Kulturleben im Spannungsfeld politischer Macht Habilitationsschrift zur Erlangung der Venia Legendi für das Fach Musikwissenschaft der Katholischen Universität Eichstätt-Ingolstadt vorgelegt von Iris Winkler aus Bochum Prof. Dr. Wolfgang Schönig Dekan der Philosophisch-Pädagogische Fakultät Katholische Universität Eichstätt-Ingolstadt Mitglieder des Fachmentorats: Prof. Dr. Peter Brünger, Vors. Musikpädagogik und Musikdidaktik Philosophisch-Pädagogische Fakultät Katholische Universität Eichstätt-Ingolstadt Prof. Dr. Heinz Hürten Geschichtswissenschaft Geschichts- und Gesellschaftswissenschaftliche Fakultät Katholische Universität Eichstätt-Ingolstadt Prof. Dr. Christoph Louven Musikwissenschaft Fachgebiet Musik und Musikwissenschaften Universität Osnabrück Prof. Dr. Reinhard Wiesend Musikwissenschaft Universität Mainz Prof. Dr. Michael Zimmermann Kunstgeschichte Sprach- und Literaturwissenschaftliche Fakultät Katholische Universität Eichstätt-Ingolstadt 2 In memoriam John Stewart Allitt 3 Inhalt Einleitung 6 I. Einführung in die Thematik 13 Napoleon-Rezeption und Napoleons Musikrezeption: Die Basis der Bewertung 13 Napoleon und die Kunst der Repräsentation 18 Napoleon und die Gewalt der Musik – Chantons du nouvel Alexandre 19 II. Facetten des kulturellen Lebens im „napoleonischen“Venedig 30 Politische Verhältnisse 38 Huldigungen, Huldigungsmusiken, Huldigungsprogramme 43 Huldigungskantaten in Venedig vor, nach und um Napoleon 48