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A History of Slavery in Virginia
The Basic Afro-American Reprint Library IMKIllfN LIBRARY UNIVERSITY Of CALIFORNIA^/ A HISTORY OF SLAVERY IN VIRGINIA BY JAMES CURTIS BALLAGH Associate in History, Johns Hopkins University BALTIMORE THE JOHNS HOPKINS PRESS 1902 JOHNSON REPRINT CORPORATION JOHNSON REPRINT COMPANY LTD. 1 1 1 Fifth Avenue, New York, N.Y. 10003 Berkeley Square House, London, W. 1 #31 ]/, J y THE BASIC AFRO-AMERICAN REPRINT LIBRARY Books on the history, culture, and social environment of Afro-Americans Selected by Clarence L. Holte COPYRIGHT, 1902, BY THE JOHNS HOPKINS PRESS. First reprinting, 1968, Johnson Reprint Corporation Printed in the United States of America //* TO THE MEMORY OF MY AUNTS SUSAN CATHERINE WITHROW AND PHOEBE CAROLINE PATTERSON CONTENTS. PAGE PREFACE vii CHAPTER I. SLAVE TRADE AND SLAVE POPULATION. - Slavery as a Stage in Social Progress 1 Origin and Progress of the Modern Slave Trade 3 Importation of the Subjects of Slavery 6 Restrictive Duties and Petitions to the Crown 11 Prohibition Attempted and Realized 19 -Slave Population and the Domestic Slave Trade 24 CHAPTER II. DEVELOPMENT OF SLAVERY. Legal Status of the Slave. Origin of Status , 27 Status of the Early Negroes and Indians 28 Relation of Servitude to Slavery 31 Subjects and Principles of Enslavement 45 Mulattoes, Mestizos and Persons of Color 56 Incidents of Slavery; Rights and Duties , 62 Penal Legislation concerning Slaves 82 Social Status of the Slave. Regulation by Custom 96 Personality of the Slave and Customary Rights 97 Maintenance, Guardianship, Education and Liberty 102 Negro Preachers 110 CHAPTER III. MANUMISSION, EMANCIPATION AND THE FREE MAN. Withdrawal of Restrictions to Liberty 116 Public and Private Manumission 119 Suits for Freedom 123 - Transportation of Freedmen 125 Anti-Slavery Sentiment 127 Plans for Emancipation < 130 Slavery Polemics and Apologetics 142 Status of the Free Negro 145 BIBLIOGRAPHY 149 V PREFACE. -
Sancia Di Castiglia
GAETANO DONIZETTI SANCIA DI CASTIGLIA Tragedia lirica in due atti Prima rappresentazione: Napoli, Teatro San Carlo, 4 XI 1832 Donizetti Aveva lasciato Napoli con il grande successo di Fausta (San Carlo, 12 gennaio 1832) e vi ritornò dopo l'esito ancora più felice dell'Elisir d'amore (12 maggio 1832). Un contratto per il San Carlo lo impegnava ad una nuova opera, che doveva essere pronta in ottobre. Inutilmente sperò in un nuovo libretto da Romani, e nel frattempo si dedicò alla composizione del Furioso all'isola di San Domingo per il Teatro Valle di Roma. Alla metà di settembre si era allora rivolto ad un nuovo librettista, il giovane palermitano Pietro Salatino, ed il soggetto era stato deciso: "Sancia di Castiglia..... figli avvelenati..... morte di mamma" (a Jacopo Ferretti, 16 settembre 1832). Il compositore si avvicinava per la sesta volta ai melodrammi di ambientazione spagnolesca, ma senza il vincolo di lieto fine come per i precedenti. Donizetti scrisse la parte di Sancia per il soprano Giuseppina Ronzi De Begnis, cui già aveva riservato il complesso ruolo di Fausta e che si rivelò un interprete dì fondamentale importanza per la diffusione delle sue opere. Introdotto dalle danzanti e spensierate movenze di un coro femminile ("Piangendo va l'aurora") Sancia si presenta con una vocalità inquieta già nel recitativo ("Come è avverso il destin al mio contento"). La sua aria di sortita ("Io talor più non rammento") snervata e flebile, è adeguata ad un carattere dolce, ma sfiancato ed oppresso. Nella brillante effervescenza della cabaletta Donizetti persegue un tono da favola, che caratterizza più in generale tutta l'ambientazione spagnolesca. -
Wuthering Heights Artist Biographies Jesse Blumberg (Mr
Wuthering Heights Artist Biographies Jesse Blumberg (Mr. Lockwood) Baritone Jesse Blumberg is an artist equally at home on opera, concert, and recital stages. Last season, he performed the role of the Celebrant in Bernstein's Mass at London's Royal Festival Hall under the baton of Marin Alsop, debuted with Boston Lyric Opera as Harlekin in Ariadne auf Naxos, and performed recitals in Paris with the Mirror Visions Ensemble. In 2007, he created the role of Connie Rivers in The Grapes of Wrath (recorded by P.S. Classics) at the Minnesota Opera, and later made his Utah and Pittsburgh Opera debuts in the same production. Other recent appearances include leading and featured roles with Annapolis Opera, Opera Delaware, Opera Vivente and the Boston Early Music Festival. In concert, Jesse has been a featured soloist with American Bach Soloists, Los Angeles Master Chorale, Sacred Music in a Sacred Space and the Berkshire Choral Festival. He has also given the world premieres of two important chamber works: Ricky Ian Gordon's Green Sneakers (recorded by Blue Griffin Recording) and Lisa Bielawa's The Lay of the Love and Death, the former at the Vail Valley Music Festival, and the latter at Alice Tully Hall. He has toured with the Mark Morris Dance Group and the Waverly Consort, and given recitals for the Marilyn Horne Foundation. Last season, he and pianist Martin Katz performed Schubert's two monumental song cycles, Die schöne Müllerin and Winterreise, over one weekend in Ann Arbor, and will soon repeat this pairing in New York City. Jesse has been recognized in many song and opera competitions, and in 2008 was awarded Third Prize at the International Robert Schumann Competition in Zwickau, becoming its first American prizewinner in over thirty years. -
Roberto Devereux
GAETANO DONIZETTI roberto devereux conductor Opera in three acts Maurizio Benini Libretto by Salvadore Cammarano, production Sir David McVicar after François Ancelot’s tragedy Elisabeth d’Angleterre set designer Sir David McVicar Saturday, April 16, 2016 costume designer 1:00–3:50 PM Moritz Junge lighting designer New Production Paule Constable choreographer Leah Hausman The production of Roberto Devereux was made possible by a generous gift from The Sybil B. Harrington Endowment Fund The presentation of Donizetti’s three Tudor queen operas this season is made possible through a generous grant from Daisy Soros, general manager in memory of Paul Soros and Beverly Sills Peter Gelb music director James Levine Co-production of the Metropolitan Opera principal conductor Fabio Luisi and Théâtre des Champs-Élysées 2015–16 SEASON The seventh Metropolitan Opera performance of GAETANO DONIZETTI’S This performance roberto is being broadcast live over The Toll Brothers– devereux Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury Maurizio Benini homebuilder®, with generous long-term in order of vocal appearance support from sar ah (sar a), duchess of not tingham The Annenberg Elīna Garanča Foundation, The Neubauer Family queen eliz abeth (elisabet ta) Foundation, the Sondra Radvanovsky* Vincent A. Stabile Endowment for lord cecil Broadcast Media, Brian Downen and contributions from listeners a page worldwide. Yohan Yi There is no sir walter (gualtiero) r aleigh Toll Brothers– Christopher Job Metropolitan Opera Quiz in List Hall robert (roberto) devereux, e arl of esse x today. Matthew Polenzani This performance is duke of not tingham also being broadcast Mariusz Kwiecien* live on Metropolitan Opera Radio on a servant of not tingham SiriusXM channel 74. -
Montserrat Caballé En El Teatro De La Zarzuela
MONTSERRAT CABALLÉ EN EL Comedia musical en dos actos TEATRO DE LA ZARZUELA Victor Pagán Estrenada en el Teatro Bretón de los Herreros de Logroño, el 12 de junio de 1947, y en el Teatro Albéniz de Madrid, el 30 de septiembre de 1947 Teatro de la Zarzuela Con la colaboración de ontserrat Caballé M en el Teatro de la Zarzuela1 1964-1992 1964 1967 ANTOLOGÍA DE LA TONADILLA Y LA VIDA BREVE LA TRAVIATA primera temporada oficial de ballet y teatro lírico iv festival de la ópera de madrid 19, 20, 21, 22, 24 de noviembre de 1964 4 de mayo de 1967 Guión de Alfredo Mañas y versión musical de Cristóbal Halffter Música de Giuseppe Verdi Libreto de Francesco Maria Piave, basado en Alexandre Dumas, hijo compañía de género lírico Montserrat Caballé (Violetta Valery) La consulta y La maja limonera (selección) Aldo Bottion (Alfredo Germont), Manuel Ausensi (Giorgio Germont), Textos y música de Fernando Ferrandiere y Pedro Aranaz Ana María Eguizabal (Flora Bervoix), María Santi (Annina), Enrique Suárez (Gastone), Juan Rico (Douphol), Antonio Lagar (Marquese D’Obigny), Silvano Pagliuga (Dottore Grenvil) Mari Carmen Ramírez (soprano), María Trivó (soprano) Ballet de Aurora Pons Coro de la Radiotelevisión Española La vida breve Orquesta Sinfónica Municipal de Valencia Música de Manuel de Falla Dirección musical Carlo Felice Cillario, Alberto Leone Libreto de Carlos Fernández Shaw Dirección de escena José Osuna Alberto Lorca Escenografía Umberto Zimelli, Ercole Sormani Vestuario Cornejo Montserrat Caballé (Salud) Coreografía Aurora Pons Inés Rivadeneira (Abuela), -
Wexford Festival Opera 2010 Lorem Ipsum Dolor Sit Amet Back on a Winning Track
Opera con Brio, LLC November 2010 Opera con Brio Fall 2010 Richard B. Beams Wexford Festival Opera 2010 Lorem ipsum dolor sit amet Back on a Winning Track Wexford Festival Opera, now in its 59th year, is back on a winning track. Having moved into a grand new theatre two years ago, just as a crippling recession hit, survival, as for many companies, has been precarious indeed. But survive it has, glowingly, after a scaled-back season last year missing the very popular ShortWorks operas. However, this year’s expanded season not only brought these back but also offered three first-rate productions in the main house, as well as a full schedule of daytime concerts. Although I was unable to attend any orchestral and choral concerts, the varied performances I did attend attest not only to a revitalized Festival but also to its continued high standards of artistic achievement. During three sparkling, sunny days, October 19-21, these performances included: the three main stage operas, three ShortWorks operas, and three of the twelve daytime recitals. Three sparkling days indeed! The Main Stage Operas A triumphant Kiss The jewel of the Wexford season was Bedřich Smetana’s charming 1876 folk opera Hubička (The Kiss), which he himself dubbed a “simple national opera…a thoroughly dignified comedy,” full of natural and irresistible humor. And so it was in Wexford, in a simple yet captivating production. Unlike their 1974 performance in English, Wexford presented the opera in the original Czech. In 2012 Opera Theatre of St. Louis will perform this shared production, in English, as they always do. -
Roger Parker: Curriculum Vitae
1 Roger Parker Publications I Books 1. Giacomo Puccini: La bohème (Cambridge, 1986). With Arthur Groos 2. Studies in Early Verdi (1832-1844) (New York, 1989) 3. Leonora’s Last Act: Essays in Verdian Discourse (Princeton, 1997) 4. “Arpa d’or”: The Verdian Patriotic Chorus (Parma, 1997) 5. Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, 2006) 6. New Grove Guide to Verdi and his Operas (Oxford, 2007); revised entries from The New Grove Dictionaries (see VIII/2 and VIII/5 below) 7. Opera’s Last Four Hundred Years (in preparation, to be published by Penguin Books/Norton). With Carolyn Abbate II Books (edited/translated) 1. Gabriele Baldini, The Story of Giuseppe Verdi (Cambridge, 1980); trans. and ed. 2. Reading Opera (Princeton, 1988); ed. with Arthur Groos 3. Analyzing Opera: Verdi and Wagner (Berkeley, 1989); ed. with Carolyn Abbate 4. Pierluigi Petrobelli, Music in the Theater: Essays on Verdi and Other Composers (Princeton, 1994); trans. 5. The Oxford Illustrated History of Opera (Oxford, 1994); translated into German (Stuttgart. 1998), Italian (Milan, 1998), Spanish (Barcelona, 1998), Japanese (Tokyo, 1999); repr. (slightly revised) as The Oxford History of Opera (1996); repr. paperback (2001); ed. 6. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford, 2001); ed. with Mary Ann Smart 7. Verdi in Performance (Oxford, 2001); ed. with Alison Latham 8. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli (Turin, 2002); ed. with Stefano La Via 9. Puccini: Manon Lescaut, special issue of The Opera Quarterly, 24/1-2 (2008); ed. -
JOS-075-1-2018-007 Child Prodigy
From the Bel Canto Stage to Reality TV: A Musicological View of Opera’s Child Prodigy Problem Peter Mondelli very few months, a young singer, usually a young woman, takes the stage in front of network TV cameras and sings. Sometimes she sings Puccini, sometimes Rossini, rarely Verdi or Wagner. She receives praise from some well meaning but uninformed adult Ejudge, and then the social media frenzy begins. Aunts and uncles start sharing videos, leaving comments about how talented this young woman is. A torrent of blog posts and articles follow shortly thereafter. The most optimistic say that we in the opera world should use this publicity as a means to an end, to show the world at large what real opera is—without ever explaining how. Peter Mondelli The sentiment that seems to prevail, though, is that this performance does not count. This is not real opera. Opera was never meant to be sung by such a voice, at such an age, and under such conditions. Two years ago, Laura Bretan’s performance of Puccini’s “Nessun dorma” on America’s Got Talent evoked the usual responses.1 Claudia Friedlander responded admirably, explaining that there are basic physiological facts that keep operatic child prodigies at a distance from vocally mature singers.2 More common, however, are poorly researched posts like the one on the “Prosporo” blog run by The Economist.3 Dubious claims abound—Jenny Lind, for exam- ple, hardly retired from singing as the post claims at age twenty-nine, the year before P. T. Barnum invited her to tour North America. -
ROBERTO DEVEREUX Composer Biography: Gaetano Donizetti
ROBERTO DEVEREUX Composer Biography: Gaetano Donizetti With nearly 70 operas to his credit, Gaetano Donizetti (November 29, 1719 – April 8, 1848) was a leading Italian composer of the 19th century. He was born in the northern Italian city of Bergamo in 1797 to a poor family. After showing some musical talent, he was enrolled in the townʼs music school where he received free lessons. Donizetti continued his education at the Philharmonic Academy in Bologna. He received his first commission in 1818 from the Teatro San Luce in Venice. Soon he moved to Rome, where in 1822 he would have his first major success, Zoraide di Grenata. His career was just getting started. Later that year Donizetti settled in Naples and used it as a base from the next 16 years. He was able to work at the increasingly rapid pace demanded by the Italian theater industry and produced three to four operas a year for most of his life. In fact, he wrote The Elixir of Love in just eight days! During this period Donizetti successfully wrote both comic and tragic operas such as The Daughter of the Regiment (1840) and Lucia de Lammermoor (1835). Donizettiʼs success in dealing with both comic and tragic settings was due in part to his own manic-depressive personality. Well-acquainted with personal misfortune, he lost in the span of eight years his mother, his father, two infant sons, an infant daughter and Virginia Vasselli, his wife of seven years. The composer never truly recuperated after her death, refusing to utter her name ever again. -
Lucia Di Lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012
O p e r a B o x Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .9 Reference/Tracking Guide . .10 Lesson Plans . .12 Synopsis and Musical Excerpts . .44 Flow Charts . .49 Gaetano Donizetti – a biography .............................56 Catalogue of Donizetti’s Operas . .58 Background Notes . .64 Salvadore Cammarano and the Romantic Libretto . .67 World Events in 1835 ....................................73 2011–2012 SEASON History of Opera ........................................76 History of Minnesota Opera, Repertoire . .87 così fan tutte WOLFGANG AMADEUS MOZART The Standard Repertory ...................................91 SEPTEMBER 25 –OCTOBER 2, 2011 Elements of Opera .......................................92 Glossary of Opera Terms ..................................96 silent night KEVIN PUTS Glossary of Musical Terms . .101 NOVEMBER 12 – 20, 2011 Bibliography, Discography, Videography . .105 werther Evaluation . .108 JULES MASSENET JANUARY 28 –FEBRUARY 5, 2012 Acknowledgements . .109 lucia di lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012 madame butterfly mnopera.org GIACOMO PUCCINI APRIL 14 – 22, 2012 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
U.S. Sheet Music Collection
U.S. SHEET MUSIC COLLECTION SUB-GROUP I, SERIES 3, SUB-SERIES A (INSTRUMENTAL) Consists of instrumental sheet music published between 1826 and 1860. Titles are arranged in alphabetical order by surname of known composer or arranger; anonymous compositions are inserted in alphabetical order by title. ______________________________________________________________________________ Box 12 Abbot, John M. La Coralie polka schottisch. Composed for and respectfully dedicated to Miss Kate E. Stoutenburg. For solo piano. New York: J. E. Gould and Co., 1851. Abbot, John M. La reve d’amour. For solo piano. New York: William Hall & Son, 1858. 3 copies. L’Aboyar. La coquetterie polka facile. For solo piano. Boston: Oliver Ditson, 1853. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. New York: James L. Hewitt & Co., [s.d.]. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. Boston: C. Bradlee, [s.d.].. Adam, A. Hungarian flag dance. Danced by forty-eight Danseuses Viennoises at the principal theatres in Europe and the United States. For solo piano. Arranged by Edward L. White. Boston: Stephen W. Marsh, 1847. Adams, A.M. La petite surprise! For solo piano. New York: W. Dubois, [s.d.]. Adams, G. Molly put the kettle on. For solo piano. Boston: Oliver Ditson, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss. R. Brown on the harp at the Boston Concerts. For solo piano or harp. New York: William Hall & Son, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss R. Brown on the harp at the Boston Concerts. For solo piano or harp. -
Repertoire and Performance History Virginia Opera Repertoire 1974-2020
Repertoire and Performance History Virginia Opera Repertoire 1974-2020 1974–1975 Initial Projects LA BOHÈME – January 1975 N LA TRAVIATA – June 1975 N 1975–1976 Inaugural Subscription Season TOSCA – October/November 1975 N LUCIA DI LAMMERMOOR – January 1976 N THE BARBER OF SEVILLE – March/April 1976 N 1976–1977 RIGOLETTO – October/November 1976 N IL TROVATORE – January 1977 N THE IMPRESARIO/I PAGLIACCI – March/April 1977 N 1977–1978 MADAMA BUTTERFLY – October/November 1977 N COSÌ FAN TUTTE – January/February 1978 N MARY, QUEEN OF SCOTS – American Premiere– April 1978 N 1978–1979 CARMEN – October/November 1978 N THE DAUGHTER OF THE REGIMENT – January 1979 N DON GIOVANNI – March/April 1979 N 1979–1980 LA BOHÈME – October/November 1979 N A CHRISTMAS CAROL – World Premiere – December 1979 N DON PASQUALE – January/February 1980 N THE TALES OF HOFFMAN – March 1980 N 1980–1981 PORGY AND BESS – October/November 1980 N, R HANSEL AND GRETEL – December 1980 N WERTHER – January/February 1981 N I CAPULETI E I MONTECCHI – March/April 1981 N 1981–1982 FAUST – October/November 1981 N CINDERELLA – December 1981 N LA TRAVIATA – January 1982 N THE MAGIC FLUTE – March 1982 N 1982–1983 DIE FLEDERMAUS – October/November 1982 N, R AMAHAL AND THE NIGHT VISITORS – December 1982 N MACBETH – January 1983 N THE ELIXIR OF LOVE – March 1983 N 1983–1984–Inaugural Subscription Season Richmond NORMA – October 1983 R GIANNI SCHICCHI/SUOR ANGELICA – December 1983 R RIGOLETTO – January 1984 N, R THE GIRL OF THE GOLDEN WEST – February/March 1984 N 1984–1985 THE MARRIAGE