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Verdi Falstaff
Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
FALSTAFF Verdi's Last Masterpiece
FALSTAFF Verdi’s Last Masterpiece By Rosalba Pisaturo The Guild of Mercury Opera Rochester Guild Address P.O.Box 92245 Rochester NY 14692 Mercury Opera Website www.mercuryoperarochester Guild Website http//www.mercuryoperarochester.org/guild.htm Guild Contacts Dr. Agneta Borgstedt, President (585) 334-2323 Art Axelrod, Vice President (585) 377-6133 Helga Strasser, Trip Coordinator (585) 586-2274 Falstaff Commedia lirica in three acts Music by Giuseppe Verdi Libretto by Arrigo Boito After Shakespeare’s plays “The Merry Wives of Windsor” and “Henry IV” • Verdi’s operatic timing • Verdi and his librettist Arrigo Boito • Falstaff, the character • Opera Synopsis • Conclusion • Verdi’s operatic timing Giuseppe Verdi was born in 1813 and died in 1901. He composed his first opera, Oberto, when he was 26 years old and his last, Falstaff, when he was 80. In between he composed 28 other operas, but only two of these are comic works. • His second opera, Un giorno di Regno, in 1940 turned out to be a fiasco. • His last opera, Falstaff, premiered in 1893 at La Scala of Milano, was a big success. Why, when we think of Verdi, we immediately think of Aida, La Traviata, Rigoletto, Il Trovatore, Nabucco, and many more of his operas, but we do not think of Falstaff? Perhaps it is because this opera is so much different and so modern that it does not seem to be a work of Verdi. For over 50 years this composer had given the opera houses masterpiece which dealt with every aspect of death; death by natural forces, by disease, by fate, for vengeance, for jealousy, for mistaken identity, and so on. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
La Traviata Synopsis 5 Guiding Questions 7
1 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of La Traviata Synopsis 5 Guiding Questions 7 The History of Verdi’s La Traviata 9 Guided Listening Prelude 12 Brindisi: Libiamo, ne’ lieti calici 14 “È strano! è strano!... Ah! fors’ è lui...” and “Follie!... Sempre libera” 16 “Lunge da lei...” and “De’ miei bollenti spiriti” 18 Pura siccome un angelo 20 Alfredo! Voi!...Or tutti a me...Ogni suo aver 22 Teneste la promessa...” E tardi... Addio del passato... 24 La Traviata Resources About the Composer 26 Online Resources 29 Additional Resources Reflections after the Opera 30 The Emergence of Opera 31 A Guide to Voice Parts and Families of the Orchestra 35 Glossary 36 References Works Consulted 40 2 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. Meet the Characters / The Story/ Resources Fostering familiarity with specific operas as well as the operatic art form, these sections describe characters and story, and provide historical context. Guiding questions are included to suggest connections to other subject areas, encourage higher-order thinking, and promote a broader understanding of the opera and its potential significance to other areas of learning. Guided Listening The Guided Listening section highlights key musical moments from the opera and provides areas of focus for listening to each musical excerpt. -
The Bible in Opera Trivia Quiz
The Bible in Opera Trivia Quiz With endless stories full of love, violence and drama, the Bible has often been a source of inspiration and subject matter for composers and librettists. Take our quiz to see how much you know about these Bible-inspired operas. Scroll down for the answer key. 1. Although Salome was a minor character in the Bible, Oscar Wilde found her character irresistible and greatly expanded on the original tale to craft his dramatic play, the basis for Strauss’ opera. In Salome , Jokanaan the prophet is based on which major biblical figure? a) St. Joseph b) St. John the Baptist c) St. John the Dwarf d) St. Julian 2. Samson and Delilah ( Samson et Dalila ) is a grand opera in three acts and four scenes by Camille Saint-Saëns to a French libretto by Ferdinand Lemaire. In this Biblical tale, what is the source of Samson’s strength? a) His hair b) His love c) His sword d) His purity 3. Like Salome , Herodiade , by Jules Massenet, is an opera about the tale of John the Baptist, Salome, Herod, and Herodias. Although it opened years before Salome , it is considered to be much less of a success and, in fact, the Paris Opera House refused to stage the work. In Massenet’s opera, how does Salome die? a) She kills herself b) Herodias, her mother, kills her c) She dies accidentally d) Like in Strauss’ opera, Herod orders her death 4. Moses in Egypt is a three-act opera by Gioachino Rossini that premiered in 1818. -
• See Spectacular Productions of Verdi's Aida & Nabucco, Together
See spectacular productions of Verdi’s Aida & Nabucco, together with Bizet’s Carmen at the Verona amphitheatre Private visits & lunches at two handsome villas & gardens An exploration of historic Verona Private visit to Isola del Garda on Lake Garda 4* country hotel in Valpolicella wine country Villa Arvedi near Verona Can there be anything more exciting on a warm July evening than to sit in the great Roman Amphitheatre of Verona as the orchestra prepares to launch into one of Verdi’s or Bizet’s marvellous operas? Equally stimulating are the summer delights of the country villas and gardens of the Valpolicella wine region. These sit tantalisingly close to the civic munificence of one of Northern Italy’s most delightful cities, Verona. Verona owes its origins to the Romans, for whom it was an important stop on routes to the north and west. Much remains to be seen from this era such as the Amphitheatre (the venue for the Opera Festival) and the layout of the city’s urban plan. Today’s city is organised round two major medieval squares, the Piazza delle Erbe and the Piazza dei Signori, built on top of their Roman predecessors. These charming spaces, together with the surrounding streets and alleys, have palaces and monuments of outstanding beauty, testifying to the wealth of its native aristocracy. From Medieval times there are many churches to be seen, including the city’s cathedral and particularly San Zeno with its fine paintings, including Mantegna’s San Zeno Altarpiece. For those with a secular or romantic agenda, there is also, of course, the supposed house of Juliet. -
I DUE FOSCARI Musica Di GIUSEPPE VERDI
I DUE FOSCARI Musica di GIUSEPPE VERDI FESTIVAL VERDI 2019 2019 FONDAZIONE Socio fondatore Comune di Parma Soci benemeriti Fondazione Cariparma Fondazione Monte di Parma Presidente Sindaco di Parma Federico Pizzarotti Membri del Consiglio di Amministrazione Ilaria Dallatana Vittorio Gallese Antonio Giovati Alberto Nodolini Direttore generale Anna Maria Meo Direttore musicale del Festival Verdi Roberto Abbado Direttore scientifico del Festival Verdi Francesco Izzo Curatrice Verdi Off Barbara Minghetti Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Marco Pedretti Angelica Tanzi Il Festival Verdi è realizzato grazie al contributo di Major partner Main partners Media partner Main sponsor Sponsor Advisor Con il supporto di Con il contributo di Con il contributo di Partner istituzionali Partner artistici Partner istituzionali Partner artistici Festival Verdi è partner di Festival Verdi ha ottenuto il Festival Verdi è partner di Festival Verdi ha ottenuto il Con il contributo di Sostenitori Partner istituzionali Partner artistici Tour operator Radio ufficiale Sostenitori tecnici Festival Verdi è partner di Festival Verdi ha ottenuto il I due Foscari Tragedia lirica in tre atti su libretto di Francesco Maria Piave, da Byron Musica di GIUSEPPE VERDI L’opera in breve Scelto come soggetto per l’opera da rappresentare al Teatro Argentina di Roma nell’inverno 1844, sulla base del contratto con l’impresario Alessandro Lanari del 29 febbraio di quell’anno, il poema The two Foscari di George Gordon Byron (1821) ben si prestava agli occhi di Verdi per proseguire lungo quel percorso drammatico incentrato sui conflitti personali e intrapreso con Ernani a Venezia, che gli aveva permesso di dissociarsi dall’etichetta del dramma corale a cui l’aveva legato la popolarità di Nabucco e Lombardi. -
How Verdi's Operas Begin: an Introduction to the Introduzioni David Rosen Cornell University
Verdi Forum Number 16 Article 1 1-1-1988 How Verdi's Operas Begin: An Introduction to the Introduzioni David Rosen Cornell University Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons Recommended Citation Rosen, David (1988) "How Verdi's Operas Begin: An Introduction to the Introduzioni," Verdi Forum: No. 16, Article 1. Available at: http://scholarship.richmond.edu/vf/vol1/iss16/1 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. How Verdi's Operas Begin: An Introduction to the Introduzioni Keywords Giuseppe Verdi This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss16/1 How Verdi's Operas Begin: an Int roduction to the "lntroduzioni" 1 David Rosen, Cornell University One of the most intriguing alterations denote anything from an opening chorus (e.g. made during Verdi's transformation of Ernani) to a complex organism making Stiffelio (1850) into Aro/do (1857) is his extensive use of the chorus, but not replacement of the elaborate introduzione of necessarily right at the opening (e.g., the the earlier opera with an off-stage chorus opening tableau of Rigoletto). That the term and the (newly-written) preghiera (prayer). is not used in l masnadieri and !/ corsaro- To be sure, there are problems specific to where the chorus is off stage and therefore this particular introduzione that may have at least visually subordinate -- might suggest led Verdi to make this drastic change, and I .the further requirement that the chorus be shall take them up in due course. -
One of Opera's Greatest Hits! Teacher's Guide and Resource Book
One of opera’s greatest hits! Teacher’s Guide and Resource Book 1 Dear Educator, Welcome to Arizona Opera! We are thrilled that you and your students are joining us for Rigoletto, Verdi’s timeless, classic opera. At Arizona Opera, we strive to help students find and explore their voices. We believe that providing opportunities to explore the performing arts allows students to explore the world around them. Rigoletto is a great opera to introduce students to the world of opera. By preparing them for this opera, you are setting them up to get the most out of their experience of this important, thrilling work. This study guide is designed to efficiently provide the information you need to prepare your students for the opera. At the end of this guide, there are a few suggestions for classroom activities that connect your students’ experience at the opera to Arizona College and Career Ready Standards. These activities are designed for many different grade levels, so please feel free to customize and adapt these activities to meet the needs of your individual classrooms. Parking for buses and vans is provided outside Symphony Hall. Buses may begin to arrive at 5:30pm and there will be a preshow lecture at 6:00pm. The performance begins at 7:00pm. Again, we look forward to having you at the opera and please contact me at [email protected] or at (602)218-7325 with any questions. Best, Joshua Borths Education Manager Arizona Opera 2 Table of Contents About the Production Audience Etiquette: Attending the Opera……………………………………………………………Pg. -
900328-CD-Due Foscari Itunes.Indd
I DUE FOSCARI GIUSEPPE VERDI Leo Nucci | Guanqun Yu Ivan Magrì | Bernadett Fodor István Horváth | Miklós Sebestyén Chor des Bayerischen Rundfunks Münchner Rundfunkorchester IVAN REPUŠIC´ GIUSEPPE VERDI 1813–1901 I due Foscari Tragedia lirica in drei Akten / Tragedia lirica in three acts Libretto: Francesco Maria Piave CD 1 73:00 AKT 1 / ACT 1: 01 Nr. 1 Preludio / Vorspiel / Prelude 2:28 02 Nr. 2 Introduzione / Introduktion / Introduction 4:55 „Silenzio, mistero” (Szene 1–2) (Chor / Chorus) 03 Nr. 3 Scena e Cavatina / Szene und Kavatine / Scene and Cavatina 7:17 „Qui ti rimani alquanto” (Szene 3) „Dal più remoto esiglio” (Szene 4) „Del Consiglio alla presenza – Odio solo, ed odio atroce” (Szene 5) (Jacopo, Fante) 04 Nr. 4 Scena ed Aria / Szene und Arie / Scene and Aria 8:43 „No… mi lasciate – Resta: quel pianto accrescere – Tu al cui sguardo onnipos- sente” (Szene 6) „Che mi rechi?.. favella… – O patrizi, tremate (Szene 7) (Lucrezia, Pisana, Chor / Chorus) 05 Nr. 5 Coro / Chor / Chorus 2:12 „Tacque il reo” (Szene 8) 06 Nr. 6 Scena e Romanza / Szene und Romanze / Scene and Romance 4:03 „Eccomi solo alfi ne – O vecchio cor, che batti” (Szene 9) (Doge) 07 Nr. 7 Scena e Duetto – Finale I / Szene und Duett – Finale I / Scene and Duet – Finale I 8:34 „L’illustre dama Foscari – Tu pur lo sai che giudice – Di sua innocenza dubiti? – Se tu dunque potere non hai” (Szene 10) (Servo, Doge, Lucrezia) Giuseppe Verdi AKT 2 / ACT 2: LEO NUCCI Bariton / baritone (Francesco Foscari, Doge von Venedig / 08 Nr. 8 Preludio, Scena e Preghiera / Vorspiel, Szene und Gebet / Doge of Venice) Prelude, Scene and Prayer 5:31 GUANQUN YU Sopran / soprano (Lucrezia Contarini, Frau von Jacopo Foscari / „Notte!. -
DISCOGRAPHY Classic Highlights
DISCOGRAPHY Classic Highlights The London Wind Orchestra conducted by Marc Reift 1 11 Highlights from Carmen 7’28 777 Overture in D minor 5’06 Georges Bizet (1838 - 1875) Georg F. Händel (1685 - 1759) 2 22 Nessun Dorma 3’00 888 Elsa’s Procession to the 6’11 Giacomo Puccini (1858 - 1924) Cathedral Richard Wagner (1813 - 1883) 3 33 Tuneful Tchaikovsky 5’49 Piotr I. Tchaikovsky (1840 - 1893) 9 99 The Great Gate of Kiev 5’02 Modest Moussorgsky (1839 - 1881) 4 44 Tosca - Final Act 1 3’54 Giacomo Puccini (1858 - 1924) 101010 Siegfrieds Trauermarsch 6’14 Richard Wagner (1813 - 1883) 5 55 Viva Verdi 7’53 Giuseppe Verdi (1813 - 1901) 111111 Overture «1812» 11’10 Piotr I. Tchaikovsky (1840 - 1893) 6 66 Back to Bach 4’31 John Glenesk Mortimer (*1951) All compositions published by Editions Marc Reift Route du Golf • 3963 Crans-Montana (Switzerland) Tel.: 027/483 12 00 • Fax: 027/483 42 43 • E-Mail : [email protected] All arrangements by J.G. Mortimer (except Overture in D minor: Nicolas Wüthrich) MARC • PHON LC 1374 Warning : all rights reserved. O Unauthorized duplication is a violation of applicable laws. C & P by Marcophon / Editions Marc Reift CD 70117011CD Zu bestellen bei • A commander chez • To be ordered from: Editions Marc Reift • Case Postale 308 • CH-3963 Crans-Montana (Switzerland) • Tel. +41 (0) 27 483 12 00 • Fax +41 (0) 27 483 42 43 • E-Mail: [email protected] EMR 10498 Panis Angelicus FRANCK (Naulais) WIND BAND – HARMONIE – BLASORCHESTER EMR 10385 Panis Angelicus (Chorus SATB) FRANCK (Naulais) EMR 10497 Panis Angelicus (Solo Voice) FRANCK (Naulais) ARRANGEMENT OF THE CLASSIC EMR 10351 Plaisir d'amour MARTINI (Richards) EMR 1634 Adagietto From Symphony N° 5 MAHLER (Mortimer) EMR 10352 Plaisir d'amour (Chorus SATB) MARTINI (Richards) EMR 1978 Adagio For Strings (Platoon) BARBER (Mortimer) EMR 10353 Plaisir d'amour (Solo Voice) MARTINI (Richards) EMR 1858 Adagio in C minor Op.