3. Opera Demofoonte
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Le Cinesi. Revised Libretto by PIETRO METASTASIO, First Set by Nicola Conforto (1751 Aranjuez)
Le cinesi. Revised libretto by PIETRO METASTASIO, first set by Nicola Conforto (1751 Aranjuez). The scene represents a room in the house of Lisinga, decorated in the Chinese manner, with a table and four chairs. Lisinga, Sivene, and Tangia sit together drinking tea in an attitude of total preoccupation. Silango, listens unseen from the partly open door. Lisinga, after observing each of her companions for some time, finally breaks the silence. Bored, three young Chinese women ponder how they might amuse themselves in a manner that would be enjoyable, innocent, and different. Tangia has fleeting thoughts on the matter but they come to nothing. Much to their chagrin, Silango enters to offer his opinion, but since this is a room strictly off-limits to men, reputations are at stake and he must leave – but best to delay until darkness offers its cover. Meanwhile, in spite of his recent travels in Europe, he must realize that he is no longer in France or Italy and must readjust to the customs of his native China. Lisinga suggests that as a group, they perform a dramatic piece. All three agree, but in turning to such a European pastime, each one favours a different genre. Lisinga opts for an heroic drama, while Sivene would have a pastoral and Tangia a comedy. Thus Silango proposes that each one perform a scene in her preferred style and they will adopt the one they consider to be the best. Since her companions hesitate, Lisinga takes the lead and as Andromache, widow of Hector, plays out a scene in which the life of their child, Astyanax, is threatened by Pyrrhus, unless she agree to marry him. -
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. -
METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M. -
Operatic Reform in Turin
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter tece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, If unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS This reproduction is the best copy available. UMI OPERATIC REFORM IN TURIN: ASPECTS OF PRODUCTION AND STYLISTIC CHANGE INTHEI760S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Margaret Ruth Butler, MA. -
Don Giovanni Opera Box Lesson Plan Title Page with Related Academic Standards
Opera Box 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. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes. In addition, you are encouraged to include any original lesson plans. The Teacher’s Guide is intended to be a living reference book that will provide inspiration for other teachers. If you feel comfortable, include a name and number for future contact from teachers who might have questions regarding your lessons and to give credit for your original ideas. You may leave lesson plans in the Opera Box or mail them in separately. Before returning, please double check that everything has been assembled. The deposit money will be held until I personally check that everything has been returned (i.e. CDs having been put back in the cases). -
Gluck's London Operas
GLUCK'S LONDON OPERAS By WILLIAM BARCLAY SQUIRE Downloaded from ITH the conspicuous exception of Horace Walpole's letters, we are singularly deficient in social chronicles W of the later years of the reign of George II. For con- temporary accounts of the invasion of England by Prince Charles Edward in 1745, of his surprising inarch to Derby and the http://mq.oxfordjournals.org/ consternation it created in London—when the news arrived on a day long remembered as 'Black Friday*—Walpole's letters, which are our chief authority, have to be supplemented by reference to the newspapers of the day. Although London in 1745 did not, as at the present day, suffer from the plethora of papers—each anxious to go one better than the others in purveying 'news' of doubtful authenticity—enough can be gathered from the collection made by Dr. Burney and now preserved in the British Museum to show that at University of California, Santa Barbara on June 27, 2015 the alarm in the South of England was very real. Stories of spies and of poisoned wells were rife then, just as they have been in our own time, but the chief scare raised successfully by the Hanoverians was that the return of the House of Stuart would mean the spread, if not actually the establishment, of the Roman Catholic religion. It seems impossible to realize that London should have believed that the English Catholics, after a century and a hah* of cruel suppression, were sufficiently numerous or powerful to be a real source of danger, but the metropolis—as in the time of the Civil War—was the head- quarters of the bitterest form of Puritanism, and though it may not have been specially devoted to the House of Hanover, nor remarkably zealous in attending the churches of the Establishment, at least it was unfaltering and sincere in its hatred of Papacy. -
The Roles of “Mothers” N Opera As Exemplified by Fides (Meyerbeer’S, Le Prophete); Kostelnika (Janaek’S, Jenufa); Mrs
THE ROLES OF “MOTHERS” N OPERA AS EXEMPLIFIED BY FIDES (MEYERBEER’S, LE PROPHETE); KOSTELNIKA (JANAEK’S, JENUFA); MRS. PATRICK DE ROCHER (HEGGIE’S, DEAD MAN WALKING) by CAROLINE HILDA HARDER B. Mus., Western Washington University, 1989 M. Mus., Western Washington University, 1991 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES (Voice Performance) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2009 © Caroline Hilda Harder, 2009 ABSTRACT Mothers in operatic piots are mostly absent; when present, they are generally sung by a mezzo-soprano and are considered “supporting” roles. This dissertation attempts to eluci date what led to the scarcity of mothers as important characters in opera, and to the apparent stereotyping of the role with the mezzo-soprano voice type. Chapter 1 introduces the topic, while chapter 2 explores the aesthetics of the singing voice throughout various periods during which the “preferred vocal ideal” changed, as vocal ranges were equated with the personifi cation and stereotyping of certain character types. Influences which affected the evolution of plot paradigms are also investigated. A summary of opera libretti from the seventeenth to the twentieth century supports historical evidence drawn from the above context and identifies the mother characters in these operas (see Appendix A). Chapters 3, 4, and 5 offer three case studies of the treatment of operatic “mothers” who are central to the plot of the operas in which they, respectively, appear: Fids from Giacomo Meyerbeer’s Le Prophète, Kostelniëka from Janáek’s Jenufa, and Mrs. -
Costumes Within Opera Seria Hierarchies: a Case Study from Dresden
CHRISTINE FISCHER COSTUMES WITHIN OPERA SERIA HIERARCHIES: A CASE STUDY FROM DRESDEN One of the most difficult aspects about historic opera performances is their interdisciplinarity: indeed, a broad-ranging expertise is necessary in order to approach historical settings and staging procedures, including costumes and their manifold meaning within a performance. To look at costumes ‘only’ as historical dresses for singers, e.g. from the viewpoint of an art historian, though necessary, does not take into account the network of other artistic codes in which the representation of a costume on an opera stage is interwoven. In this study I attempt, as a musicologist, to contextualize costumes within the performance beyond their own realm, in a constant dialogue with the other art forms on stage.1 SOURCES My case study centers on the Dresden court at the height of its operatic cul- ture during the 1750s during the pivotal collaboration between Pietro Metasta- sio and Johann Adolf Hasse. Three volumes held in Kupferstichkabinett Dres- den, which include costume drawings, are among others by da Ponte held in Vienna (Albertina), the most valuable sources concerning costumes for this time: 1) Dresden Kupferstichkabinett, Ca 103 Attilio Regolo, Hasse / Metastasio, Dresden, 1750 2) Dresden Kupferstichkabinett, Ca 104 L’Ipermestra, Hasse / Metastasio, Dresden, 1751 3) Dresden Kupferstichkabinett, Ca 105 L’Olimpiade, Hasse / Metastasio, Dresden, 1756 They were drawn by Francesco Ponte, who was Kammerzahlmeister of the Polish Queen and Saxon Electress Maria Josepha. Supposedly Ponte created costumes for the operas performed at the Dresden court from 1744 to 1756. The art historian Kathrin Schlechte described and analyzed these sources in a chap- ter of an exhibition catalogue and in her unpublished Master’s thesis.2 The vol- 1 The work presented here is the result of an interdisciplinary project conducted at Schola Cantorum Basiliensis and funded by the Swiss National Foundation (for more details on this project see http://www.scb-basel.ch/index/114875). -
Italian Opera Performances in Bach's Leipzig
Understanding Bach, 6, 9-17 © Bach Network UK 2011 Italian Opera Performances in Bach’s Leipzig – New Sources and Perspectives on Research MANUEL BÄRWALD1 If it is to be comprehensive, Bach research must include constant reflection upon the people who surrounded Johann Sebastian Bach and his immediate family, and the circles in which he moved. However little is known about some of Bach’s closest Leipzig colleagues, such as Johann Gottlieb Görner, Johann Schneider and Carl Gotthelf Gerlach, and even less is known about the musicians who visited Leipzig (and possibly Bach himself). We know about the lutenists Silvius Leopold Weiss and Johann Kropfgans, who were Bach’s guests in 1739.2 We are also aware of Bach’s efforts to invite George Frederic Handel to Leipzig in 1729.3 But research is now needed into the musicians who may possibly have been in contact with Bach when they visited Leipzig, and this has led to a study of the Italian operisti. Johann Salomon Riemer’s town chronicle shows that, between 1744 and 1756, troupes of Italian operisti regularly visited Leipzig during the fairs, when they presented music from brand-new Italian operas.4 Although the reception of Italian opera north of the Alps in the eighteenth century has been well researched, relatively little is known about the performances in Leipzig in Bach’s lifetime.5 Italian musicians, the Italian style of music, and especially Italian opera became an important part of court culture in the second part of the seventeenth century, originally at the courts in Dresden and Vienna. -
Mitteilungen Der Internationalen Gluck-Gesellschaft Nr. 10 Juli 2014
Mitteilungen der Internationalen Gluck-Gesellschaft Nr. 10 Juli 2014 Mitteilungen der Internationalen Gluck-Gesellschaft Nr. 9 (Juli 2014) herausgeben im Auftrag der Internationalen Gluck-Gesellschaft von Irene Brandenburg Universität Salzburg, Abteilung Musik- und Tanzwissenschaft, Unipark – Erzabt-Klotz-Str. 1, A-5020 Salzburg, [email protected] http://www.gluck-gesellschaft.org/ 2 Inhalt IRENE BRANDENBURG Vorwort ………………………………………………………………... 4 GERHARD CROLL Theophil Antonicek (1937–2014) in memoriam ………………………. 6 CHRISTIAN BAIER Gluck 300. Die Internationalen Gluck Opern Festspiele zum 300. Geburtstag des großen Opernreformers ………………………….. 8 RUDOLF EINEDER »Glucksmomente« in der Gluckstadt Berching ……………………….. 12 DANIEL BRANDENBURG Glucks Orfeo ed Euridice bei der Salzburger Mozartwoche 2014 ……. 16 VERA GRUND Gluck in Salzburg im Zeichen des Jubiläums. Die Pilger von Mekka im Landestheater und die Gluck-Matinee 2014 …………………………... 18 TANJA GÖLZ Aktivitäten der »Gluck-Gesamtausgabe« im Jubiläumsjahr …………... 21 ELISABETH SCHÖNFELD Eine Kunstmedaille auf Christoph Willibald Gluck zum 300. Geburtstag ………………………………………………………... 24 THOMAS FREIVOGEL Glucks Auftritte in Zürich, worunter einer in einer »dicken Hecke von geschorenem Tannengrün«. Zum 300. Geburtstag des Ritters vom Goldenen Sporn ………………………………………………………... 27 JOSEF-HORST LEDERER »Autore ignoto. Soggetto dell’opera: Gluck Christoph Willibald«. Das angebliche Gluck-Porträt von Neapel …………………………………. 48 IRENE BRANDENBURG Gluck-Aufführungen 2014 …………………………………………… 62 3 Vorwort -
The Evolution of Jommelli's Operatic Style
The Evolution of Jommelli's Operatic Style BY MARITA P. McCLYMONDS T HAS LONG BEEN HELD that Jommelli's style changed radically dur- 1ing his sojourn in Stuttgart, and that the change was due to German influences. The origins of this thesis go back to the early 1770s. Jommelli had completed sixteen years (1753 to 1769) in the service of the Duke of Wiirttemberg, first in Stuttgart and later in Ludwigsburg. He had then returned to his native village of Aversa, and begun to write operas for Naples and Rome. Charles Burney, who was in Naples in 1770 and heard Demofoonte performed there, claimed that Jommelli had three stylistic periods: Before he went to Germany, the easy and graceful flow of Vinci and Per- golesi pervaded all his productions; but when he was in the service of the Duke of Wiirttemberg, finding the Germans were fond of learning and com- plication, he changed his style in compliance with the taste and expectations of his audience; and on his return to Italy, he tried to thin and simplify his dramatic Music, which, however, was still so much too operose for Italian ears. It is questionable how much of the music from Jommelli's Stutt- gart years either Burney or his Italian contemporaries actually knew. Judging from the scarcity of surviving copies of those operas as com- pared with the large number of extant manuscripts of his early and late works, the Stuttgart operas were probably not widely known out- side of Germany. More than likely, Burney was basing the above statements on hearsay rather than on actual knowledge. -
Texto Completo
D. TRADUCCIONES DE TRAGEDIAS ITALIANAS PATRIZIA GARELLI ABDALOMINO Véase El valor sin ambición. ACRISOLAR LA LEALTAD D.l Tragedia Acrisolar la lealtad, a la vista del rigor por fama, padre y amor: Cosdroas, y Siroe. Il Barcelona. En la Imprenta de Carlos Gibert y Tutò Impresor y Librero en la baxada de la Cárcel. 39 pp. 22 cm. - Viva el invencible Cosdroas BMM 4-1 Adaptación de Siroe (1726) de R Metastasio. ADELASIA D.2 Adelasia. Comedia en cinco actos del R Lector D. Francisco Ringhieri, traducida al castellano por Fermín del Rey. Ms. 51 hh. 21 cm. - ¡O Alerano infelice! Demasiado BN ms. 16250 Traducción de Adelasia in Italia (1780). ADRIANO EN SIRIA D.3 Adriano en Syria. Opera dramatica para representarse en el Real Coliseo del Buen Retiro festejándose el gloriosissimo dia natalicio de su Majestad Catholica el Rey Nuestro Señor D. Fernando VI. Por orden de su Magestad Catholica la Reyna Nuestra Señora. Año de MDCCLVIL En Madrid: En la oficina de Miguel Escrivano, en la calle Angosta de San Bernardo. 157 pp. 20cm. - Viva Augusto, y sea el primero BN T-23784 Traducción de Adriano en Siria (1732) de R Metastasio. «Musica de Niccolò Conforto Napolitano. Maestro de la Real Camara de S. M. C.». D.4 Adriano en Siria. Drama en musica del celebre Abate Pedro Metastasio. Para repre- sentarse En el Teatro de la mui Ilustre Ciudad de Barcelona en el año de 1763. Dedi- cado Al Ilustre Señor Don Luis Bernardino de Ardena, Aragón, Aybar, y de Montor- nés, Olim de Tabarnér.; y Codol, Conde de Darnius y de las Illas, Barón de Monroig, Señor de Lavayol, j /05 7or5, Alguazil Mayor de la Real Audiencia del presente Principado de Cataluña, &c.