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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Wolfgang Amadeus Mozart (Geb. Salzburg, 27. January 1756 - Gest
Wolfgang Amadeus Mozart (geb. Salzburg, 27. January 1756 - gest. Vienna, 5 December 1791) Arien, Duette, Terzette und Quartette mit Begleitung des Orchesters Band 2 Als Wolfgang Amadeus Mozart im Jahre 1777 Mannheim besuchte, verliebte er sich in die Sopranistin Aloysia Weber. Welche Liebesaffäre auch immer sie gehabt haben mochten, sie brach entzwei, und der Komponist heiratete schliesslich deren Schwester Constanze. Trotz ihrer Differenzen schrieb Mozart einige Stücke für Aloysia. 1783 präsentierte er sie mit dem Rondo Ah non sai qual pena sia il doverti (K416), das gedacht war, in Pasquale Anfossis Oper Zemira verwendet zu werden. Als sie ein zweites Mal in einer Anfossi - Oper auftrat, nämlich Il curioso indiscreto, gab ihr Mozart wiederum zwei neue Stücke zu singen: Vorrei spiegarvi (K418), das grosse Tonsprünge von mehr als einer Oktave enthielt, und No, no, che non sei (K419), das der Musik für die Königin der Nacht in seiner Zauberflöte ähnelt. Schenkt man zeitgenössischen Berichten Glauben, so hielt Mozart Anfossis Oper für misslungen - ausser der Musik, die er selbst dazu beitrug. Einige Jahre später schrieb er eine weitere Arie für Aloysia, Ah sei in ciel benigne stelle (K538), zu einem Text aus Pietro Metastasios opera L'eroe Cinese. Nancy Storace war die englische Sopranistin italienischer Herkunft, die die Rolle der Susanna in Die Hochzeit des Figaro schuf. Höchstwahrscheinlich verfügte sie über einen enormen Tonumfang mit starken Tönen in der Höhe und Tiefe, denn genau das war es, was die Rolle erforderte. Nehme hier und da einige Schnitte vor, so ist sie so lang wie die von Wagners Isolde. So musste Storace auch über eine beachtliche Kondition verfügen. -
Mois Vie De Mozart Œuvres Novembre [18] Mozart Dirige La Cantate Maçonnique Laut Verkunde Unsre Freude (K.623) Pour L’Inaugura- Tion Du Nouveau Temple De Sa Loge
Mois Vie de Mozart Œuvres Novembre [18] Mozart dirige la cantate maçonnique Laut verkunde unsre Freude (K.623) pour l’inaugura- tion du nouveau temple de sa loge. [20] Mozart doit s’aliter. [28] Ses médecins, Thomas Franz Closset et Matthia von Sallaba, s’interrogent sur l’état réel de leur pa- tient – l’avenir le leur dira assez clairement –. Décembre [4] Lecture des parties Requiem en ré mineur, déjà achevées du Requiem, K.626 (inachevé) alors qu’il ne lui reste qu’une quinzaine d’heures à vivre. C’est lui-même qui chante la partie d’alto, puis il donne à Süssmayr des indications pour termi- ner l’ouvrage. Se savait-il mourant ou voulait-il, plus simplement, que la commande soit honorée dans les temps, le lecteur choisira. Il reste lucide toute la soirée. [5] Mozart s’éteint à 0h55. [6] Après une bénédiction devant la Chapelle du Crucifix de Saint-Etienne, Mozart est enterré dans la fosse commune du cime- tière St. Marx. 1792 Mois Vie de Mozart Œuvres Janvier [27] Mozart aurait eu trente-six ans… 240 1 Mois Vie de Mozart Œuvres Mai [9] …décrète géné- [4] Andante en fa majeur reusement que Mozart pour un petit orgue mécani- sera adjoint (bénévole que, K.616 non-rémunéré) du célèbre Kapellmeister Hofmann [23] Adagio et Rondo pour de la cathédrale et qu’il Glassharmonika, flûte, pourra occuper le poste de hautbois, alto et violoncelle, titulaire dès que celui-ci « K.617 sera libéré » à la mort ou la retraite de Hofmann. Juin [4] Constance, accompa- [17] Motet en ré majeur gnée de son fils Karl, se «Ave verum Corpus», K.618 rend à nouveau en cure à Baden. -
Hidalgos, Duchesse E Mariti Curiosi. Peripezie Del Quijote Nell'opera
Hidalgos, duchesse e mariti curiosi. Peripezie del Quijote nell’opera italiana del Settecento Anna Laura BELLINA Università di Padova Riassunto Questa nota riguarda la fortuna del romanzo di Cervantes nell’opera in lingua italiana, a partire dal Don Chisciotte in Sierra Morena del 1719, promosso da Carlo VI d’Asburgo dopo la guerra di successione spagnola. La riflessione si conclude con gli anni ’90 del Settecento e con il crollo definitivo dell’Antico Regime. Tralasciando volutamente gli altri riferimenti musicali, vocali o strumentali, popolari o colti, per questo lasso di tempo sono state prese in considerazione le pièces collegate al Quijote nei diversi generi spettacolari, cantati a corte o nei teatri a pagamento: tragicommedia, intermezzo, divertimento, commedia napoletana, dramma serioridicolo o giocoso. Alcune tabelle allegate rendono conto delle riprese e del successo europeo di ciascun titolo dopo la prima rappresentazione. Parole chiave: Quijote, Chisciotte, Settecento, opera italiana, intermezzo, commedia napoletana per musica, dramma giocoso. Abstract This note is about the transmission of Cervantes’ novel in Italian language opera, from the Don Chisciotte in Sierra Morena of 1719, encouraged by Charles VI of Hapsburg after the Spanish war of succession. The study ends with the Nineties of the Eighteenth Century and with the final collapse of the Ancient Regime. Intentionally passing by other musical, vocal or instrumental references, popular as well as cultured, we have considered for this lapse of time the pièces linked to the Quijote in different genres, sung at court or in theatres for payment: tragicomedy, intermezzo, divertimento, Neapolitan comedy, drama serioridicolo or giocoso. Some appended tables show the reprises and the European success of each title after the première. -
A Programme of Mozart Concert Arias
Wednesday 4 June 2014, 7.30pm The Mozartists 'Moto di gioia' - a programme of Mozart Concert Arias “Un moto di gioia”, K.579 “Va, dal furor portata”, K.21 “O temerario Arbace... Per quel paterno amplesso”, K.79 “Clarice cara mia sposa”, K.256 “Basta vincesti... Ah, non lasciarmi, no”, K.486a “Alcandro, lo confesso... Non so d’onde vieni”, K.512 “Misera, dove son!... Ah! Non son’ io che parlo”, K.369 Interval “Vorrei spiegarvi, oh Dio!”, K.418 “Così dunque tradisci... Aspri rimorsi atroci”, K.432 “Misero! O sogno... Aura che intorno spiri”, K.431 “Bella mia fiamma... Resta, o cara”, K.528 “Un bacio di mano”, K.541 “Io ti lascio”, K.621a “Un moto di gioia”, K.579 Louise Alder (soprano) Eleanor Dennis (soprano) Stuart Jackson (tenor) David Shipley (bass) The Mozartists (leader, Matthew Truscott) Ian Page (conductor) Mozart Concert Arias (June 2014) 1 Notes © Ian Page, 2014 “Un moto di gioia”, K.579 Le nozze di Figaro, arguably the greatest opera ever written, was premièred at Vienna’s Burgtheater on 1 May 1786. It was actually received far better when it was presented in Prague later that year, and was not performed in Vienna at all in 1787 or 1788. When it was eventually revived there, in August 1789, the role of Susanna was sung by Adriana Gabrieli, who six months later was to create the role of Fiordiligi in Così fan tutte. In place of Susanna’s two original arias Mozart wrote Gabrieli two new ones: firstly the noble “Al desio, di chi t’adora” to replace “Deh vieni, non tardar” in the final act, and then this delightful little arietta in place of Susanna’s Act Two aria “Venite inginocchiatevi”. -
La Clemenza Di Tito a Reappraisal
Mozart’s La clemenza di Tito A Reappraisal Magnus Tessing Schneider and Ruth Tatlow (eds.) Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © The Author(s) 2018 License CC-BY Supporting Agency (funding): Performing Premodernity, Stockholm University, The Swedish Foundation for Humanities and Social Sciences First published 2018 Cover Illustration: P. Travaglia, Sala ter[r]ena destinata per le pubbliche udienze, Pietro Travaglia’s Sketchbook, f. 11. Published with permission from the Collection of Theatre History at the Hungarian National Széchényi Library, Budapest. Access. Nr. 1955/9645 Cover Copyright: Collection of Theatre History at the Hungarian National Széchényi Library License: CC BY-NC-ND Cover designed by Karl Edqvist, SUP Stockholm Studies in Culture and Aesthetics ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-055-3 ISBN (PDF): 978-91-7635-052-2 ISBN (EPUB): 978-91-7635-053-9 ISBN (MOBI): 978-91-7635-054-6 DOI: https://doi.org/10.16993/ban This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This license allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated. Suggested citation: Tessing Schneider, M. and Tatlow, R. (eds.) 2018 Mozart’s La clemenza di Tito: A Reappraisal. Stockholm: Stockholm University Press. DOI: https://doi. org/10.16993/ban. License: CC-BY 4.0 To read the free, open access version of this book online, visit https://doi.org/10.16993/ban or scan this QR code with your mobile device. -
Rival Divas February 2020
Music of the Baroque Orchestra Jane Glover, Music Director Violin 1 Cello Bassoon Gina DiBello, Mark Brandfonbrener, William Buchman, Elliott Golub principal principal Honorary Judy Stone Cameron Keenan Concertmaster Chair Mara McClain Kathleen Brauer, co-assistant Horn concertmaster Bass Oto Carrillo, principal Kevin Case, Collins Trier, principal Greg Flint co-assistant Michael Hovnanian concertmaster Michael Shelton Trumpet Martin Davids Flute Barbara Butler, Kozue Funakoshi Mary Stolper, principal co-principal Janice MacDonald Charles Geyer, co-principal Violin 2 Sharon Polifrone, Oboe principal Jennet Ingle, principal Timpani Rika Seko Erica Anderson Douglas Waddell Helen Kim Paul Zafer Lori Ashikawa Clarinet Harpsichord Daniel Won, principal Mark Shuldiner Zachary Good Viola Elizabeth Hagen, Theorbo principal Daniel Swenberg Terri Van Valkinburgh Claudia Lasareff- Mironoff Supertitles Paul Vanderwerf Robert McConnell Rival Divas—Handel & Mozart Jane Glover, conductor Susanna Phillips, soprano Jane Archibald, soprano Klaus Georg, tenor Sunday, February 23, 2020, 7:30 PM North Shore Center for the Performing Arts, Skokie Monday, February 24, 2020, 7:30 PM Harris Theater for Music and Dance, Chicago Alessandro, HWV 21 George Frideric Handel (1685-1759) Overture Accompanied recitative, “Che miri? Che vidi?” (Rossane/Lisaura) Aria, “Quanto dolce amor saria” (Lisaura) Aria, “Brilla nell’alma” (Rossane) Duet, “Placa l’alma” (Rossane/Lisaura) Admeto, HWV 22 Handel Act 2 Sinfonia Aria, “Da tanti affanni oppressa” (Antigona) Riccardo Primo, HWV 23 Handel Aria, “L’aquila altera” (Pulcheria) Tolomeo, HWV 25 Handel Aria, “Ti pentirai crudel” (Elisa) Aria, “Torna omai la pace” (Seleuce) INTERMISSION Don Giovanni, K. 527 Wolfgang Amadeus Mozart (1756-1791) Overture Aria, “Mi tradi quell'alma ingrata” (Donna Elvira) Concert aria, “Vorrei spiegarvi, o Dio,” Mozart K. -
July 28 Program Notes
Tuesday Evening, July 28, 2015, at 8:00 m a Opening-Night Program r g Mostly Mozart Festival Orchestra Louis Langrée, Conductor o r Emanuel Ax, Piano M|M P Erin Morley, Soprano e AL L-MOZART PROGRAM h T Overture to Der Schauspieldirektor (“The Impresario”) (1786) Piano Concerto No. 14 in E-flat major, K.449 (1784) Allegro vivace Andantino Allegro ma non troppo Mr. Ax will perform Mozart’s cadenza. Intermission Vorrei spiegarvi, oh Dio! (1783) No, che non sei capace (1783) Symphony No. 34 in C major, K.338 (1780) Allegro vivace Andante di molto (più tosto Allegretto) Menuetto (fragment) Finale: Allegro vivace M|M Mostly Mozart debut Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Avery Fisher Hall Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center UPCOMING MOSTLY MOZART FESTIVAL EVENTS: Wednesday Night, July 29, at 10:00 in the Stanley H. -
Program Notes by Dr. William Runyan
Program Notes by Dr. William Runyan Masterpiece Concert 2, October 24, 2015 Brandenburg Concerto No. 2 in F Major BWV 1047—J.S. Bach One of the signal achievements of the music of the Baroque era was inauguration of the concerto. The fundamental principle of the genre is the contrasting of a soloist, a group of soloists, or even two or more groups of musicians with each other during the course of a composition. Almost every significant composer of the time composed them, but none reached the zenith of achievement in the genre as did J. S. Bach in his six Brandenburg Concertos late in the style period. From 1717 until 1723 he was in the employ of Prince Leopold of Cöthen, a small court in eastern Germany. The Brandenburg Concertos stem from this time: the full score in Bach’s hand bears the date of 24 March 1721, but it is probable that simply marks the completion of the set; he certainly had been working on them over a period of time. They bear the title “Brandenburg Concertos” owing to their dedication to the Margrave of Brandenburg, Christian Ludwig. Bach had played before him earlier in Berlin and the concertos were the result of an invitation to provide some works for the Margrave. Nothing came of it—no money, no thanks, not even a by your leave. But the Margrave’s loss is posterity’s gain. Bach’s soaring imagination comes to the fore in the Brandenburg Concertos in many ways, not the least of which is his striking use of a variety of instruments in various combinations. -
827949088568.Pdf
Wolfgang Amadeus Mozart (1756-1791) 7 Voi avete un cor fedele, KV 217 6. 59 Ombra Compagna – Concert Arias Aria (Possibly an insertion aria for the opera Le nozze di Dorina by Baldassare 1 A Berenice – Sol nascente, KV 70 12. 05 Galuppi, libretto after Carlo Goldoni) Recitative and Aria (Licenza) 8 Ah, lo previdi, KV 272 13. 16 (Composed to celebrate the birthday of Archbishop Sigismund von Scene Schrattenbach, probably performed directly after the opera Vologeso by (Scene from Andromeda, a libretto by Vittorio Amadeo Cigna-Santi, Giuseppe Sarti) previously set to music by several composers including Giovanni Paisiello) 2 Alcandro, lo confesso – Non so d’onde viene, KV 294 9. 44 9 Vado ma dove? oh Dei!, KV 583 4. 11 Recitative and Aria Aria (Text from Pietro Metastasio’s L’olimpiade) (Insertion aria for the opera Il burbero di buon cuore by Vicente Martín y Soler, 3 Bella mia fiamma – Resta, oh cara, KV 528 9. 49 text by Lorenzo Da Ponte) Recitative and Aria 10 Ah se in ciel, benigne stelle, KV 538 7. 38 (Text from Cerere placata, festa teatrale by Niccolò Jommelli, Aria libretto by Michele Sarcone) (Text from Pietro Metastasio’s L’eroe cinese) 4 Vorrei spiegarvi, oh Dio!, KV 418 7. 00 Aria (Insertion aria for the opera Il curioso indiscreto by Pasquale Anfossi) Total playing time: 81. 30 5 Chi sà, chi sà, qual sia, KV 582 3. 15 Aria Lisette Oropesa, Soprano (Insertion aria for the opera Il burbero di buon cuore by Vicente Martín y Soler, text by Lorenzo Da Ponte) il pomo d’oro 6 Misera, dove son!, KV 369 7.