DOCSLIB.ORG

Orlando Amore

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Orlando Amore Orlando amore. gelosia. follia. With the support of: Filippo Mineccia countertenor The New Baroque Times Instituto Cervantes Brussels resident ensemble and the generous contributions of : Diego Fernández Rodríguez, Juan Laguarda Vidal & Mercedes Sanjosé Palop, Pablo García Joaquín García Cebriá, Natividad Sanjosé Palop, Antonio Martinazzo, Bernard Schreuders, artistic director María del Castillo Campos, Gilles Thomas, Halit Halimani & Thomas Elskens, Adolfo Jiménez Reguillo, Susana Morales Olmos, Anita Bertoncini, Alessandro Gori, Emmanuel Resche (concertmaster & direction), Juan Gorraiz, Isabel Garzón Blanco, Antonio Alcaide Ocaña & Emilio José Gómez Rodríguez, Daniel Boothe, Katalin Hrivnák, Izana Soria violin I Javier Martín Fuentes, Habib Rahmé and Carlo Vistoli. Pablo García (leader), Rafael Núñez, Maia Silberstein, Jorlen Vega violin II Alaia Ferrán, Hilla Heller viola Elena Andreyev (solo), Michel Boulanger violoncello Pasquale Massaro double bass Recorded at Dada Studios (Brussels, Belgium), 27th & 28th November 2019 Carlota Ingrid García (solo), Matteo Gemolo traverso Sound engineer & artistic direction: Aude-Marie Piloz Dymphna Vandenabeele, Griet Cornelis oboe Editing: Marion Bénet Transcriptions & critical edition of the scores: Pablo García & Filippo Mineccia José Rodrigues bassoon Executive producer: Michael Sawall Jean-Pierre Dassonville, Pieter D’Hoe horn Booklet editor & layout: Joachim Berenbold Translations of the essay: note 1 music (Deutsch), Mark Wiggins (English) Giulio Quirici theorbo Cover photograph: Miguel Andrés Diego Fernández Rodríguez harpsichord Photos of the recording session: Naya Kuu Artist photo (The New Baroque Times): Andrea Zanovello & © 2020 note 1 music gmbh, Heidelberg, Germany Emmanuel Resche plays a 1670 violin by Francesco Ruggeri CD manufactured in The Netherlands kindly provided by the Jumpstart Jr. Foundation in Amsterdam Orlando amore. gelosia. follia. Agostino Steffani 1654-1728 George Frideric Handel Orlando Generoso Hanover 1691 Orlando London 1733 1 Sinfonia 2:27 11 Ah, Stigie larve! (Orlando) 7:34 2 Non ha’l mar calma sincera (Ruggiero) 1:59 3 Fa che cessi in questo petto (Ruggiero) 1:10 Giovanni Battista Mele 1693 or 1701 - after 1752 Angelica e Medoro Madrid 1747 Nicola Antonio Porpora 1686-1768 12 Non cerchi innamorarsi (Ergasto) 4:59 L’Angelica Naples 1720 4 Ombre amene (Licori) 4:47 Georg Christoph Wagenseil 1715-1777 5 Ove son ? Chi mi guida ? 7:11 Ariodante Venice 1745 Da me chè volete? – Ma qual astro benigno – 13 Ombra cara (Lurcanio) 3:23 Aurette leggiere – Da me chè volete? (Orlando) Giuseppe Millico? 1737–1802 Antonio Vivaldi 1678-1741 Angelica e Medoro Vienna? Naples? 1783 Orlando furioso Venice 1727 14 Sinfonia 3:46 6 Sol da te, mio dolce amore (Ruggiero) 9:08 15 Oh, dell’anima mia (Medoro) 4:56 7 Nel profondo cieco mondo (Orlando) 4:23 16 Giusti Numi (Medoro) 3:51 George Frideric Handel 1685-1759 Ariodante London 1735 8 Ouverture 3:02 9 Spero per voi (Polinesso) 4:02 10 Dover, giustizia, amor (Polinesso) 3:15 from Marco da Gagliano and Jacopo Peri (Lo Orlando amore, gelosia, follia Orlando amore. gelosia. follia. sposalizio di Medoro e Angelica, 1619), Francesca Caccini (La Liberazione di Ruggiero dall’isola di Al- Orlando generoso by Agostino Steffani (1654- cina, 1625), Sigismondo d’India (L’Isola di Alcina, 1728) received its first performance in 1691 at the 1626 – a lost tragedia), Luigi Rossi (Il Palazzo in- opera house in Hannover, to whose court the cantato, 1642), Jean-Baptiste Lully (Roland, 1685) composer had been appointed Hofkapellmeister Orlando furioso and music tures. The sense of vitality and wonderment and Alessandro Scarlatti (Olimpia, 1685). in 1688. Operas put on in this city also included pervading its 46 canti – recounting the amorous Starting in the 1620s, the characterization of the cream of the dramatic output of his contem- The immense and sweeping epic poem of Lu- encounters sometimes reciprocated, at other anger and madness became the mainspring for porary Alessandro Scarlatti. From Hannover, dovico Ariosto (1474-1533), Orlando furioso, pub- times unshared, variously involving Orlando- drama which, thanks to the efforts particularly Steffani’s influence spread all across the German lished in 1516 (with further editions appearing in Angelica-Medoro, Alcina-Ruggiero-Bradaman- of Claudio Monteverdi, supplied music with musical world and his music dramas were to ex- 1521 and 1532) was conceived at the Ferrara court te, Ariodante-Ginevra (Guinevere)-Polinesso new expressive possibilities. The circumstances ert an important effect on the musical taste of – then, one of the most sophisticated European and Olympia and Bireno – amounts to an indis- surrounding Orlando’s anger – and the conse- the generation of Telemann and Handel. courts of its age. The saga by this defender of putable contribution to the evolution of Euro- quences of it – are superbly narrated by Ariosto, Over 1678 and 1679, Steffani was engaged in a poetic renewal appeared at the same time as In pean thought. in a way which serves to recall that wisdom period of study at the court of Louis XIV and praise of Folly by Erasmus, The Prince by Machi- The poem’s numerous episodes act out the con- only flows from experience: both poetical and the overture to his Orlando generoso bears clear avelli and Thomas More’s Utopia. flict between warrior spirit and amorous desire musical experiences are thus signs of this. Love evidence of his stay there and his familiarity The paladin Orlando, nephew of Charlemagne, and for thematic material make use of the un- conceived in this manner – the offspring of phi- with the style of Lully. falls in love with the beautiful Angelica, a Chi- foreseen, the marvellous, liberation, compas- losophy and of poetry – transforms into image In contrast, the expressive influence of Vene- nese (Cathayan) princess during the course of sion and the wildness of outbursts of anger. A everything that it touches. tian opera, from Cavalli to Legrenzi is visible in one of his journeys in the East. This is a love “récit en zigzags” (a rollercoaster of a poem, in The strength and power of the imagination of the aria, Non ha il mar calma sincera, sung by which drives him raging (mad) when he discov- modern parlance), in the words of the poet Yves this book lie behind its colossal success, with the valiant Ruggiero. Identifiable also is how the ers that she, however, loves the Saracen soldier Bonnefoy: a dramatic series of elements which that imagination continuing to inspire compos- perfectly regulated melodic line fits within the Medoro. Other canti from the poem relate the have provided composers with plentiful inspira- ers of the following century. Composers who contrapuntal frame. enchantment of Ruggiero (Orlando’s cousin) tion since their first appearance. succumbed to the lure of this great poem’s dra- Another, shorter, aria of Ruggiero, Fa che cessi, by the sorceress Alcina and his liberation from Early composers to be thus inspired to set ex- matico-musical dynamism included Domenico precedes the scene where he mounts a flying the island where she has had him incarcerated, tracts of this heroic epic number Bartolomeo Scarlatti (Orlando, ovvero La gelosa pazzia, 1711), steed in order to come to the aid of Angelica as well as the extravagant wedding celebrations Tromboncino (1517) and Orlando Lasso (1555). Johann Adolph Hasse (Il Ruggiero, 1771), Franz (Canto X). The dramatic nature of the sung of Ruggiero with the female Christian knight, By the time that fully-sung musical drama was Joseph Haydn (Orlando paladino, 1782), Christoph text is reinforced by the ritornelli played by two Bradamante. asserting itself across Europe in the seven- Willibald Gluck (Ruggiero nell’isola di Alcina, 1792) oboes and a bassoon accompanying the vocal And indeed, Orlando furioso consists of a tan- teenth century the most attractive sections and Étienne Nicolas Méhul (Ariodant, 1799). melody and by expressive instrumental chro- gled succession of interrelated heroic adven- from Ariosto’s saga were receiving attention maticisms as well. 6 7 The serenata L’Angelica by the Neapolitan com- natural and the tragedic) which, at the begin- The ouverture “à la française” (of the Adagio- European music dominated by opera seria. The poser Nicola Porpora (1686-1768) was first ning of the eighteenth century, had led to mem- Allegro-Adagio variety) of this dramma per mu- dramaturgic model of Metastasio – the writer given in Naples in 1720. It was in this dramatic bers of the Academy of Arcadia developing new sica not only displays the mastery of the French of the libretto set to music by Porpora in 1720 piece that one of the most able of Porpora’s pu- structures for opera seria. Vivaldi was addition- style by the Halle-born composer, but also dem- – established the structure of this musical gen- pils made his debut: the singer Carlo Broschi, ally endeavouring to come up with a Venetian onstrates the manner in which national styles eral as a succession of codified “passions” which better known by the name of Farinelli, then all counter-proposition to the Neapolitan opera were circulating and being transformed across excluded comic elements and progressed in a of fifteen years of age. The text of this work was model – geared entirely towards vocal display – Europe during the Enlightenment. systematic alternation of aria and recitative. written by Pietro Metastasio in his first libretto which had become established in Venice in the In two of the arias allocated to the evil schemer destined for the stage, as well as being his initial 1720s; his was one in which music and theatre Polinesso, Spero per voi and Dover, giustizia, The première of Ariodante by the Viennese collaboration with this composer. were combined through more varied musical amor, their vocal line, their prideful nature as composer Georg Christoph Wagenseil (1715- The gentleness of dotted rhythms from the vio- means and in which dramatic expression took well as the rhythmic forces of the orchestral 1777) took place in Venice in 1745, making use lins accompanying a touching vocal line charac- precedence.
Load more

Recommended publications
  • Závěrečné Práce
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Zpěv J. A. Hasse – La Clemenza di Tito Diplomová práce Autor práce: BcA. Pavel Valenta Vedoucí práce: doc. Mgr. MgA. Monika Holá Ph.D. Oponent práce: PhDr. Alena Borková Brno 2013 Bibliografický záznam VALENTA, Pavel. J. A. Hasse – La Clemenza di Tito. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, rok 2013. 49 s. Vedoucí diplomové práce odb. as. Mgr. MgA. Monika Holá, Ph.D. Anotace Diplomová práce „J. A. Hasse – La Clemenza di Tito“ pojednává o Hasseho opeře s původním názvem „Tito Vespasiano, ovvero La Clemenza di Tito“ z roku 1735. Obsahuje životopisy jejích tvůrců Johanna Adolfa Hasseho (hudba) a Pietra Metastasia (libreto) a historické okolnosti vzniku opery. Součástí je pojednání o novodobé světové premiéře opery v roce 2010 v zámeckém divadle v Českém Krumlově a dramaturgický rozbor titulní role císaře Tita Vespasiana. Annotation Diploma thesis „J. A. Hasse – La Clemenza di Tito” deals with Hasse’s opera with original title “Tito Vespasiano, ovvero La Clemenza di Tito“ from 1735. Thesis include biographies of composer J. A. Hasse and librettist P. Metastasio and historical circumstances of the genesis of the opera. Also included information about its modern world premiere in castle theatre in Cesky Krumlov in 2010 and dramatical analysis of the role of Tito Vespasiano. Klíčová slova Tito Vespasiano, La Clemenza di Tito, opera, Johann Adolf Hasse, Pietro Metastasio, barokní divadlo, Český Krumlov, analýza role Keywords Tito Vespasiano, La Clemenza di Tito, Opera, Johann Adolf Hasse, Pietro Metastasio, Baroque Theatre, Český Krumlov, analysis of the role Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu.
    [Show full text]
  • The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
    The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet
    [Show full text]
  • Sixteenth-Century Spain Was a Propitious Site to Carry out Discovery
    BODIES OF DISCOVERY: VESALIAN ANATOMY AND LUIS BARAHONA DE SOTO'S LAS LAGRIMAS DE ANGELICA Charles Ganelin Purdue University ixteenth-century Spain was a propitious site to carry out discovery. But I do not refer to so many outward voyages and both the de­ Sstruction and "civilizing" that took place in distant lands; rather, my focus is inward to other fantastic voyages of uncovering—literally— new terrain of the human body. The revitalized practice of anatomy and anatomical dissection in Spain, beginning almost mid-sixteenth century, placed the country for a brief time in the forefront of the new knowledge that has been called the "Vesalian revolution." Andreas Vesalius (1514- 1564), a physician and anatomist who trained at the Sorbonne in Paris, taught in Padua, became personal physician to Philip II, and published in 1543 his De humani corporis fabrica} This renewal of learning, a founda­ tion with profound implications for how knowledge is transmitted, af­ fected as well the literary representation of the body. In every age science discovers new wonders about the human organism, a constant reinvigo- rarion that fuels ever-expanding horizons about the textual capacity of the body, whether inscribed as a sign within a text, inscribed on itself or even cut in to. Growing out of a post-structuralist concern with inside/ outside dichotomies, seeking to resolve the tensions implicit in the act of dissection (cutting in to) and what it entails, and addressing the notion of "otherness" imbued in what we cannot or dare not see,2 recent studies
    [Show full text]
  • Commodification and the Figure of the Castrato in Smollettâ•Žs Humphry
    Digital Kenyon: Research, Scholarship, and Creative Exchange Faculty Publications English Spring 1992 Commodification and the Figure of the Castrato in Smollett’s Humphry Clinker James P. Carson Kenyon College, [email protected] Follow this and additional works at: https://digital.kenyon.edu/english_publications Part of the English Language and Literature Commons Recommended Citation Carson, James P., "Commodification and the Figure of the Castrato in Smollett’s Humphry Clinker" (1992). The Eighteenth Century 33(1): 24-46. Faculty Publications. Paper 14. https://digital.kenyon.edu/english_publications/14 This Article is brought to you for free and open access by the English at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. COMMODIFICATION AND THE FIGURE OF THE CASTRATO IN SMOLLETT'S "HUMPHRY CLINKER" Author(s): James P. Carson Source: The Eighteenth Century, Vol. 33, No. 1 (SPRING 1992), pp. 24-46 Published by: University of Pennsylvania Press Stable URL: http://www.jstor.org/stable/41467764 . Accessed: 05/11/2014 15:18 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
    [Show full text]
  • THE HISTORY of ORLANDO FURIOSO
    ElizabethanDrama.org presents the Annotated Popular Edition of THE HISTORY of ORLANDO FURIOSO By Robert Greene Written c. 1590 Earliest Extant Edition: 1594 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed. THE HISTORY OF ORLANDO FURIOSO BY ROBERT GREENE Written c. 1590 Earliest Extant Edition: 1594 DRAMATIS PERSONÆ. INTRODUCTION to the PLAY Marsilius, Emperor of Africa Robert Greene's Orlando Furioso is a brisk play that Angelica, Daughter to Marsilius. is very loosely based on the great Italian epic poem of the Soldan of Egypt. same name. The storyline makes little logical sense, but Rodomont, King of Cuba. lovers of Elizabethan language will find the play to be enter- Mandricard, King of Mexico. taining, if insubstantial, reading. The highlights of Orlando Brandimart, King of the Isles. Furioso are comprised primarily of the comic scenes of Sacripant, a Count. the hero and knight Orlando, who has gone mad after losing Sacripant's Man. his love, the princess Angelica, interacting with local rustics, Orlando, a French Peer. who in the fashion of the age are, though ostensibly inter- Orgalio, Page to Orlando. national, thoroughly English. Though never to be confused Medor, Friend to Angelica. with the greatest works of the age, Greene's Orlando de- serves to be read, and perhaps even occasionally staged. French Peers: Ogier. OUR PLAY'S SOURCE Namus. Oliver. The text of this play was originally adapted from the Turpin. 1876 edition of Greene's plays edited by Alexander Dyce, Several other of the Twelve Peers of France, whose but was then carefully compared to the original 1594 quarto.
    [Show full text]
  • The Art of Music :A Comprehensive Ilbrar
    1wmm H?mi BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT or Hetirg W, Sage 1891 A36:66^a, ' ?>/m7^7 9306 Cornell University Library ML 100.M39 V.9 The art of music :a comprehensive ilbrar 3 1924 022 385 342 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022385342 THE ART OF MUSIC The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians Editor-in-Chief DANIEL GREGORY MASON Columbia UniveTsity Associate Editors EDWARD B. HILL LELAND HALL Harvard University Past Professor, Univ. of Wisconsin Managing Editor CESAR SAERCHINGER Modem Music Society of New Yoric In Fourteen Volumes Profusely Illustrated NEW YORK THE NATIONAL SOCIETY OF MUSIC Lillian Nordica as Briinnhilde After a pholo from life THE ART OF MUSIC: VOLUME NINE The Opera Department Editor: CESAR SAERCHINGER Secretary Modern Music Society of New York Author, 'The Opera Since Wagner,' etc. Introduction by ALFRED HERTZ Conductor San Francisco Symphony Orchestra Formerly Conductor Metropolitan Opera House, New York NEW YORK THE NASTIONAL SOCIETY OF MUSIC i\.3(ft(fliji Copyright, 1918. by THE NATIONAL SOCIETY OF MUSIC, Inc. [All Bights Reserved] THE OPERA INTRODUCTION The opera is a problem—a problem to the composer • and to the audience. The composer's problem has been in the course of solution for over three centuries and the problem of the audience is fresh with every per- formance.
    [Show full text]
  • Repatriating Romance: Politics of Textual Transmission in Early Modern France
    Repatriating Romance: Politics of Textual Transmission in Early Modern France By Linda Danielle Louie A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Romance Languages and Literatures and the Designated Emphasis in Renaissance and Early Modern Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Timothy Hampton, Chair Professor Mairi McLaughlin Professor Victoria Kahn Fall 2017 Repatriating Romance: Politics of Textual Transmission in Early Modern France © 2018 by Linda Danielle Louie Abstract Repatriating Romance: Politics of Textual Transmission in Early Modern France by Linda Danielle Louie Doctor of Philosophy in Romance Languages and Literatures Designated Emphasis in Renaissance and Early Modern Studies University of California, Berkeley Professor Timothy Hampton, Chair This dissertation reveals the central role that transcultural literary exchange plays in the imagining of a continuous French literary history. The traditional narrative of French literary history describes the vernacular canon as built on the imitation of the ancients. However, this dissertation demonstrates that Early Modern French canon formation also depends, to a startling extent, on claims of inter-vernacular literary theft. Throughout the sixteenth and seventeenth centuries, a central preoccupation of French authors, translators, and literary theorists was the repatriation of the romance genre. Romance was portrayed as a cornerstone of French literary patrimony that Italian and Spanish authors had stolen. The repatriation of individual romance texts entailed a skillful co-opting of the language of humanist philology, alongside practices of translation and continuation usually associated with the medieval period. By looking at romance translation as part of a project of national canon formation, this dissertation sheds new light on the role that chivalric romance plays in national and international politics.
    [Show full text]
  • Il Palazzo Incantato
    GIULIO ROSPIGLIOSI IL PALAZZO INCANTATO a cura di Danilo Romei Banca Dati “Nuovo Rinascimento” http://www.nuovorinascimento.org immesso in rete il 24 gennaio 1996 nuovo formato del 25 aprile 2009 revisione del 23 luglio 2012 2 [528] [529] INTERLOCUTORI GIGANTE, che è il medesimo, che Atlante in diversa figura ANGELICA, innamorata di [...] ORLANDO, innamorato di Angelica 1 ATLANTE, padrone del palazzo incantato DAMIGELLE BRADAMANTE, innamorata di Ruggero 2 MARFISA maga FERRAÙ SACRIPANTE RUGGERO, innamorato di Angelica ALCESTE FIORDILIGI, moglie di Brandimarte 3 PRASILDO MANDRICARDO, innamorato di Doralice 4 [BRANDIMARTE] GRADASSO OLIMPIA CORO DI OTTO NINFE CORO DI FANTASME DORALICE, innamorata di Mandricardo IROLDO ASTOLFO UN CACCIATORE NANO [PITTURA] [POESIA] [MUSICA] 1 padrone] Padrona 2 <maga>] [la definizione, del tutto ingiustificata nel testo, è evidentemente da espungere] 3 Prasildo] Brasildo 4 [Brandimarte] [non compare mai nel testo] 3 [MAGIA] [RIVI] [ECO] [FINARDO] 4 [530] [531] PROLOGO Pittura, Poesia, Musica, Magia. PITTURA Vaghi Rivi, Perché andate fuggitivi Senz’aver posa un momento? [RIVI] Noi fuggiamo in grembo ai mari, Per sospetto degl[i] avari, Perché abbiam l’onde d’argento. PITTURA Con sollecita cura Siate, o miei fidi, al mio disegno intenti. Là si devon le mura Finger d’antica torre omai cadenti E d’ogni intorno poi su l’altra scena Folta verdeggi una campagna amena. Sù, miei seguaci, alla fatica illustre Non sia lenta la mano, Ferva l’opera industre, E non s’attenda il valor vostro invano. POESIA Pur ch’abbia la Pittura Terminata la scena, altro non manca. MUSICA Ella, ch’in ben oprar non è mai stanca, Col suo destro pensier nulla trascura.
    [Show full text]
  • Ce Théâtre De L'opéra-Comique, Vous Savez À Quel État
    REVUE DES DEUX MONDES , 15th July 1882, pp. 453-466. Ce théâtre de l’Opéra-Comique, vous savez à quel état d’abaissement nous le vîmes réduit il y a quelques années. Eh bien! allez maintenant vous y promener par un beau soir des Noces de Figaro [Le Nozze di Figaro ] ou de Joseph et vous m’en direz des nouvelles. Ce que peuvent pourtant l’initiative et la volonté d’un chef habile! Où les autres n’ont connu que la ruine il crée la vie et l’abondance, taille en plein dans le neuf et dans le vieux, évoque, suscite, se recueille et se disperse, en un mot, travaille si bien que la veine qu’on croyait perdue à jamais se retrouve. Les malveillans s’écrient : « C’est un faiseur! » Oui, faiseur de troupes, aptitude singulière d’un homme que tous s’entêtent à n’envisager que par le côté de la chance et de la fortune quand c’est, au contraire, sur sa capacité qu’il faudrait insister. A cette heure que les directions de théâtre jusqu’alors les mieux pourvues voient leurs ensembles se désagréger, il réussit, lui, à se procurer une troupe excellente ; que dis-je? une troupe, il en a deux : la troupe d’opéra comique proprement dit, M. Taskin, M. Fugère, M. Bertin, M. Nicod, Mlle Ducasse, pour jouer le répertoire courant, et la troupe lyrique pour chanter Mozart et Méhul : M. Talazac, M me Carvalho, M me Vauchelet, M lle Van Zandt, M lle Isaac, une âme et une voix, la première aujourd’hui parmi les jeunes et qui déjà serait à l’Opéra si M.
    [Show full text]
  • The Great Duel Between Orlando and Rinaldo for the Beautiful Angelica's Sake
    PRESENT The Great Duel between Orlando and Rinaldo for the Beautiful Angelica’s Sake OPERA DEI PUPI, SICILIAN PUPPET THEATER Italian Puppet Master Mimmo Cuticchio Theater Company Associazione Figli d’Arte Cuticchio PROGRAM OF EVENTS A captivating entertainment for all ages, The Great Duel between Orlando and Rinaldo for the Beautiful Angelica’s Sake by the Italian theatre company Associazione Figli d’Arte Cuticchio. This is a rare opportunity to see a performance of the Sicilian Opera dei Pupi, led by master puppeteer Mimmo Cuticchio, one of the last heirs of this theater form, outside of Italy. An understanding of the Italian language is not required to enjoy this enthralling and unique show. Matinée for the schools with recorded music Illusion Theater Wednesday and Thursday, October 24 and 25 @ 10:00 am. Free for schools. Also open to the general public. Donations will benefit the Italian Cultural Center of Minneapolis / St. Paul and the Illusion Theater. Reservations online at www.illusiontheater.org or by phone at 612-339-4944 beginning September. Evening performance with live music Illusion Theater Saturday, October 27 @ 7:30 pm. Free performance. Donations will benefit the Italian Cultural Center of Minneapolis / St. Paul and the Illusion Theater. Reservations online at www.illusiontheater.org or by phone at 612-339- 4944 beginning September. Talk I Figli d’Arte Cuticchio, Tradition and Innovation in Contemporary Sicilian Puppet Theater by Michael Wyatt (Stanford University) Center for Early Modern History, University of Minnesota Friday, October 26 @ 12:15 pm. Free event. Michael Wyatt, leading specialist of Italian early modern literature at Stanford, will introduce the audience to the discovery of the magical world of Opera dei Pupi and the uniqueness of Cuticchio’s theater.
    [Show full text]
  • In Sي Gran Martire… a Tonal Experiment in Luigi Rossi's Il
    Musica Iagellonica 2018 eISSN 2545-0360 Zygmunt M. Szweykowski ( Jagiellonian University, Cracow) In sí gran martire… A tonal experiment in Luigi Rossi’s Il Palazzo incantato d’Atlante* The subject of my article is Scene 6 from Act III of Luigi Rossi’s musical drama Il Palazzo incantato d’Atlante (1642) to a libretto by Giulio Rospigliosi. This particular scene is worthy of attention, because the composer has given it a thoroughly unique musical setting as compared to early Italian drammi per mu- sica. It not only features more than one key signature sign — two sharps appear at the clefs — but also five sharps as accidentals in the music itself, thus using rare pitch material for late sixteenth and early seventeenth century output. Giulio Rospigliosi quite often drew the themes of his dramas from Re- naissance epic poetry. Here, the source is Ludovico Ariosto’s poem Orlando furioso 1. The presented action is practically based on octaves 4–32 of Song XII from Ariosto’s poem. Rospigliosi does not keep strictly to the epic’s sequence of events, instead arranging them according to his own plan. Rospigliosi’s work was originally titled Lealtà con valore (Loyalty and valor), but he quickly adopted the title featuring the word “Palazzo”, which nevertheless had several differing versions, such as Il Palazzo incantato ovvero la guerriera amante [The enchanted * This article is an abbreviated version of the chapter from the book Dramma per musica, vol. II/2, ed. Zygmunt M. Szweykowski (in preparation). 1 The author published it in the final version in 1532.
    [Show full text]
  • Iphigénie En Tauride
    Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
    [Show full text]