DOCSLIB.ORG

The Substance of Sicilian Puppet Theater Past and Present

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Substance of Sicilian Puppet Theater Past and Present The Substance of Sicilian Puppet Theater Past and Present Jo Ann Cavallo Professor of Italian Columbia University n franCiS ford CoPPoLa’S medieval and Renaissance poems that had The Godfather: Part II, a Mafia boss driven my research since my graduate walking through New York City’s Little student days. Twenty years and several trips IItaly stops in front of an outdoor puppet to Sicily later, you could say I’m a bona fide theater performance to watch two knights opera dei pupi enthusiast. In addition to wielding swords, then quickly turns away, bringing puppet theater into my scholarly remarking that the action is too violent for studies and teaching, I created a website him. While his response is meant to be ironic (eboiardo) to make the chivalric matter for the viewer—the notorious mafioso, in fact, staged in puppet plays (as well as in other is about to be assassinated—I’ll admit that performance and artistic traditions) more until a couple of decades ago I might have widely available to students and the general had the same reaction if I had chanced upon public.1 Although Sicilian puppetry is often one of the fierce swordfights that are the advertised as “folklore,” puppeteers are hallmark of the genre. But in the late 1990s, actively engaged in nothing less than a friend presented me with Catanese dramatizing in a meaningful way souvenir puppets named Orlando, Rinaldo, masterpieces of medieval and Renaissance and Angelica, and told me that Sicilian Italian (and European) literature. This essay puppeteers were staging the same epic first outlines the principal chivalric narratives narratives that I was teaching at Columbia that found their way into traditional University. Although I hadn’t previously given Sicilian puppet theater, and then turns to any thought to this performance tradition, how today’s puppeteers are refashioning the those three two-foot-tall puppets dangling in stories for contemporary audiences. my living room proceeded to stare at me daily until I decided to go see for myself how 1 The website eBOIARDO (Epics of Boiardo and Other Italian Authors: a Research Database Online) can be Sicilian puppet theater brought to life the found at edblogs.columbia.edu/eboiardo. Objects of History 139 9.30_Athenaeum Review ISSUE 3_FINAL.indd 139 10/3/19 11:02 AM 140 9.30_Athenaeum Review ISSUE 3_FINAL.indd 140 10/3/19 11:02 AM Angelica. Stanley Marcus Sicilian Marionettes Collection. Luigi Pulci’s late fifteenth-century Morgante Harry Ransom Center, The University of Texas at Austin. acknowledges this nepotistic incentive when announcing Charlemagne’s plan to invade Spain. The emperor thus becomes doubly Locating the distant starting point of responsible for the ensuing tragedy, first by Sicilian puppet theater narratives takes us out his reckless decision to attack a foreign realm of Italy and into the Pyrenees where, in the for selfish reasons, and subsequently by his imaginary world of medieval Carolingian epic, choice of Gano (Ganelon) as his messenger. Charlemagne’s rearguard, led by the paladin Pulci also introduces the knight Rinaldo Roland, is ambushed by Spanish Saracens at (Renaud in the medieval French rebel baron the mountain pass of Roncevaux as a result cycle) into the battle as the hero who returns of betrayal by the emperor’s treacherous from the East and singlehandedly transforms brother-in-law Ganelon. It was of no matter a tragic defeat into an ultimate victory, that according to the historical record saving all of Christendom in the process Charlemagne’s rearguard was actually (Morgante 25.170). Having previously attacked by local Basques as his army returned recounted Charlemagne’s unjust persecution from fighting in Spain alongside Muslim and banishment of Rinaldo, Pulci’s depiction (Abbasid) allies in 778. In the ensuing literary of the paladin’s heroism at the battle of tradition, Christendom was locked in Roncevaux superimposes the themes of inexorable conflict with the Saracen enemy rebellion and vindicated rights onto a because, as Roland famously says in an early familiar story of religious warfare. twelfth-century version of the Chanson de Another fifteenth-century poet, Matteo Roland, “Pagans are wrong and Christians are Maria Boiardo, opens his Orlando Innamorato right” (Song of Roland l. 1015). Refusing early (1482-3) announcing a scandalous backstory on to call for reinforcements, the hero that he claims had been kept hidden to save eventually succumbs alongside his Orlando from embarassment: Charlemagne’s companions and is taken to heaven, leaving allegedly stalwart paladin had actually fallen his fiancée Aude to die of grief back home at hopelessly in love at first sight with Princess the news of his demise, and compelling Angelica of Cathay and had deserted both the Charlemagne to return with his troops to emperor and his own wife to traverse the avenge the rout with a definitive victory over globe as a would-be Arthurian knight-errant the Spanish Saracens and their allies. seeking to win the damsel’s affection. The Frankish paladins’ spirit of sacrifice and Yet we are advised not to be shocked at the devotion to king, God, and country thus lent news of Orlando’s enamorment since moral support to military efforts against the No strong arm, no audacity, “infidel” in Spain and the Holy Land. No blade well-honed, no shield or mail, Yet the story of the battle of Roncevaux No other power can avail, underwent substantial changes before it first For in the end Love conquers all (Orlando Innamorato 1.1.2). appeared on the puppet theater stage. Some early Italian versions shifted the war’s motivation from the need to liberate Spain Indeed, Boiardo emphatically affirms the from Saracen rule, to Charlemagne’s desire to superiority of Arthurian over Carolingian bestow a Spanish kingdom upon his nephew themes due to the fact that King Arthur’s Orlando (Roland), with the paladin vowing knights not to consummate his marriage to Alda displayed their worth in many battles (Aude) until he could make her a queen. and sought adventure with their ladies Objects of History 141 9.30_Athenaeum Review ISSUE 3_FINAL.indd 141 10/3/19 11:02 AM whereas Charlemagne’s court Thanks to various prequels and sequels, some puppeteers extended the timeline closed its gates to Love and only followed holy wars even further, linking the cycle back to the (Orlando Innamorato 2.18.1-2). exploits of Alexander of Macedonia and forward to the Crusades. It would typically Ludovico Ariosto (1474-1533) brought a take a year or more of nightly performances conclusion to Boiardo’s unfinished poem for puppeteers to complete just the cycle of imagining that Orlando’s love and jealousy the paladins of France. For example, the had led him to a state of insanity—thus the Palermitan puppeteer Mimmo Cuticchio Orlando Furioso poem’s title —before the refers to a sequence of 371 plays in his knight eventually regained his epic stature family’s repertory, while the Catanese- thanks to the English prince Astolfo’s trip to American puppeteer Agrippino Manteo the moon to recover his wits. Although staged a cycle consisting of 394 consecutive Ariosto’s continuation did not take plays in his New York City theater in the Charlemagne’s army into Spain, it did imagine 1920s and 1930s.3 a decisive Christian victory over the Saracens In the mid-1950s, however, television in of North Africa culminating in a singular the home, the post-war economic boom, battle of three against three on the island of and an unprecedented indifference toward Lipadusa (the historical Lampedusa). local cultural traditions led audiences to Puppeteers were already dramatizing abandon this form of entertainment. episodes from Pulci’s Morgante, Boiardo’s Most companies sold their puppets to Orlando Innamorato, and Ariosto’s Orlando collectors and were forced to seek their Furioso, among other works, in the early livelihood through other means. The tradition nineteenth century. A transformative did not die out completely, however. Since moment for puppet theater occurred in the revival of the 1970s, a small number of 1858-60, however, when the Sicilian Giusto remaining, reactivated, or newly formed Lo Dico incorporated these epics into his puppet theater companies have offered a monumental prose compilation entitled much reduced repertory to accommodate La storia dei paladini di Francia cominciando audiences largely unfamiliar with the subject da Milone conte d’Anglante fino alla morte di matter. Contemporary puppeteers often Rinaldo (The History of the Paladins of France stage one of three episodes taken from the from Count Milone of Anglante to the Death medieval and Renaissance epics mentioned of Rinaldo).2 This interlaced chronological above: the first is the rivalry between Rinaldo succession of events, comprising almost 3000 and Orlando for Angelica, which condenses pages and stretching from the vicissitudes an extended narrative sequence from of Orlando’s father Milone to beyond the battle of Roncevaux, was so universally adopted by puppeteers that it has often 3 Although most extant scripts are jealously guarded by puppeteer families and their heirs, Agrippino Manteo’s been referred to as their “Bible.” In 1895-96 canovacci were donated to the Italian American Giuseppe Leggio published an expanded Museum of New York by his descendants and should soon be available online. For more information, see version with additional episodes, including edblogs.columbia.edu/eboiardo/sicilian-puppet- Charlemagne’s birth and youth taken from theater/puppet-scripts. an early fifteenth-century prose account by Andrea da Barberino (Reali di Francia). 2 For a complete list of Lo Dico’s sources, see Orlando. Stanley Marcus Sicilian Marionettes Collection. Pasqualino, L’opera dei pupi, 66-70. Harry Ransom Center, The University of Texas at Austin.
Load more

Recommended publications
  • The Voyage of Columbus As a “Non Pensato Male”: the Search for Boundaries, Grammar, and Authority in the Aftermath of the New World Discoveries
    THE VOYAGE OF COLUMBUS AS A “non PENSATO male”: THE SEARCH FOR BOUNDARIES, GRAMMAR, AND AUTHORITY IN THE AFTERMATH OF THE NEW WORLD DISCOVERIES Erin McCarthy-King Ma volgendosi gli anni, io veggio uscire da l’estreme contrade di ponente nuovi Argonauti e nuovi Tifi, e aprire la strada ignota infin al dì presente: altri volteggiar l’Africa, e seguire tanto la costa de la negra gente, che passino quel segno onde ritorno fa il sole a noi, lasciando il Capricorno; e ritrovar del lungo tratto il fine, che questo fa parer dui mar diversi; e scorrer tutti i liti e le vicine isole d’Indi, d’Arabi e di Persi: altri lasciar le destre e le mancine rive che due per opra Erculea fêrsi; e del sole imitando il camin tondo, ritrovar nuove terre e nuovo mondo. (Orlando Furioso 15.21–22)1 Canto 15 of the Orlando Furioso glorifies the exploratory enterprises of fif- teenth- and sixteenth-century navigators. While the English duke Astolfo journeys westward from India toward Europe, he asks his guide Andron- ica about the possibility of reaching the same destination by going in the opposite direction: “s’andar può senza toccar mai terra,/ chi d’India scioglia, in Francia o in Inghilterra” (“was it possible to set sail from India 1 Ludovico Ariosto, Orlando furioso (Milan: Rizzoli, 1997). “But with the passage of time I see new Argonauts, new Tiphyses hailing from the lands which lie furthest to the West, who shall open routes unknown to this day. Some of them shall round Africa, following the shores of the black peoples right on past the limits whence the sun returns to us after leaving Capricorn;/ they shall discover the limit of the long stretch of land which makes us imagine two separate seas.
    [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]
  • Opera Dei Pupi
    Filozofická fakulta Univerzity Karlovy v Praze Ústav románských studií Italianistika Diplomová práce Bc. Karolína Jarošková Opera dei Pupi Opera dei Pupi 2015 Vedoucí práce: PhDr. Mgr. Alice Flemrová, Ph.D Tímto chci poděkovat paní PhDr. Alici Flemrové, Ph.D. za užitečné rady a za čas, který mi věnovala během psaní této diplomové práce. Prohlašuji, že jsem diplomovou práci vypracovala samostatně, že jsem řádně citovala všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného nebo stejného titulu. V Praze dne 28. července 2015 Abstrakt Cílem této diplomové práce je představit čtenáři lidové loutkové divadlo opera dei pupi, které se rozvinulo zejména na Sicílii ve druhé polovině 19. století. V úvodní části popíšu literární vlivy, které živily tuto tradici, ze které pak loutkáři čerpali látku pro svůj repertoár, kterým byly v první řadě příběhy o francouzském králi Karlu Velikém a jeho rytířích, tzv. paladinech. Zmapuji způsob zpracování této látky pro potřeby opery dei pupi a způsob, jakým byla propojena s orální tradicí. Dále představím vedlejší repertoár tohoto divadla, kterým byly například frašky. V následující kapitole se zaměřím spíše na formální stránku opery dei pupi, která zahrnuje osobnost loutkáře, jeho činnost, strukturu samotného divadla, charakteristiku loutek a jejich ovládání. V této části rovněž popíšu specifický koncept každodenních představení na pokračování, a jak v praxi tato představení probíhala. V analytické části se zaměřím na proces uvedení děje na scénu, který zahrnuje jak improvizaci, tak i pevně daná pravidla. Stěžejním tématem této části je pak tzv. copione, což jsou loutkářovy vlastnoručně psané poznámky, o které se opíral při uvedení představení.
    [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]
  • April 1 & 3, 2021 Walt Disney Theater
    April 1 & 3, 2021 Walt Disney Theater FAIRWINDS GROWS MY MONEY SO I CAN GROW MY BUSINESS. Get the freedom to go further. Insured by NCUA. OPERA-2646-02/092719 Opera Orlando’s Carmen On the MainStage at Dr. Phillips Center | April 2021 Dear friends, Carmen is finally here! Although many plans have changed over the course of the past year, we have always had our sights set on Carmen, not just because of its incredible music and compelling story but more because of the unique setting and concept of this production in particular - 1960s Haiti. So why transport Carmen and her friends from 1820s Seville to 1960s Haiti? Well, it all just seemed to make sense, for Orando, that is. We have a vibrant and growing Haitian-American community in Central Florida, and Creole is actually the third most commonly spoken language in the state of Florida. Given that Creole derives from French, and given the African- Carribean influences already present in Carmen, setting Carmen in Haiti was a natural fit and a great way for us to celebrate Haitian culture and influence in our own community. We were excited to partner with the Greater Haitian American Chamber of Commerce for this production and connect with Haitian-American artists, choreographers, and academics. Since Carmen is a tale of survival against all odds, we wanted to find a particularly tumultuous time in Haiti’s history to make things extra difficult for our heroine, and setting the work in the 1960s under the despotic rule of Francois Duvalier (aka Papa Doc) certainly raised the stakes.
    [Show full text]
  • 14 Pierrepont at a Crossroads of Literatures
    14 Pierrepont at a crossroads of literatures An instructive parallel between the first branch of the Karlamagnús Saga, the Dutch Renout and the Dutch Flovent Abstract: In the French original of the first branch of the Karlamagnús Saga [= fKMSI], in the Dutch Renout and in the Dutch Flovent – three early 13th century texts from present-day Bel- gium – a toponym Pierrepont plays a conspicous part (absent, however, from the French models of Renout and Flovent); fKMSI and Renout even have in common a triangle ‘Aimon, vassal of Charlemagne – Aie, his wife – Pierrepont, their residence’. The toponym is shown to mean Pierrepont (Aisne) near Laon in all three texts. In fKMSI, it is due almost certainly to the intervention of one of two Bishops of Liège (1200−1238) from the Pierrepont family, and in the other two texts to a similar cause. Consequently, for fKMSI a date ‘before 1240’ is proposed. According to van den Berg,1 the Middle Dutch Flovent, of which only two frag- ments are preserved,2 was probably written by a Fleming (through copied by a Brabantian) and can very roughly be dated ‘around 1200’ on the basis of its verse technique and syntax. In this text, Pierrepont plays a conspicuous part without appearing in the French original.3 In the first fragment, we learn that King Clovis is being besieged in Laon by a huge pagan army (vv. 190 ss.). To protect their rear, the pagans build a castle at a distance of four [presumably French] miles [~18 km] from Laon. Its name will be Pierlepont (vv.
    [Show full text]
  • Willard Ron Hess
    de Vere Society April 2020 newsletter 02Apro 0 A TIRADE ABOUT A JOUST IN TREBIZOND: HOW WAS EDWARD DE VERE INVOLVED IN THIS EXAMPLE OF COMMEDIA ERUDITA IN 1575? By Jan Scheffer This article provides background to the characters, places and political context of a presentation by the author [JS] at the DVS Autumn meeting in 2019, A Wedding Joust in Tribizond: Commedia Erudita and Sinister Politics in 1575, and an article (with the same title) by W. Ron Hess (assisted by JS, A. Colin Wright and Concetta Thibideaux), which is now published on the public page of the DVS website: https://deveresociety.co.uk/public/recommended-reading/dvs-articles-and- papers/ Hess’ presentation at the Shakespeare Oxford Fellowship Oakland Conference in 2018 may be seen on the SOF YouTube channel. The Tirata dell Giostro (tirade about a joust) is a six-page section of Andrea Petrucci’s book Dell’ Arte rappresentativa, premeditata ed all’ improviso. The key points of the article of Hess et al. are: i) Tirata dell Giostro includes a major character, Elmond Milord of Oxford; ii) Tirata is an example of Commedia Erudita (not dell’arte, which came later), which was written by noted authors and poets and contained a hidden subtext; iii) this particular Tirata referred to an actual event: a challenge by Oxford to the world to engage in a ‘joust’ in 1575; iv) the hidden subtexts are reflected by those frequently used later by Oxford in the works of Shakespeare. Furthermore, if Oxford was often travelling incognito and acting as a spy it is hardly surprising that evidence is hard to find after 400 years.
    [Show full text]
  • Orlando Furioso: Pt. 2 Free Download
    ORLANDO FURIOSO: PT. 2 FREE DOWNLOAD Ludovico Ariosto,Barbara Reynolds | 800 pages | 08 Dec 1977 | Penguin Books Ltd | 9780140443103 | English | London, United Kingdom Follow the author Save on Fiction Books Trending price is based on prices over last 90 days. Matter of FranceMatter of Britain. Ludovico Orlando Furioso: Pt. 2. Alex Ilushik rated it it was ok Mar 07, To render it as something else is to lose its structure, its purpose and its very nature. Rating Average: 4. Orlando is the Christian knight known in French and subsequently English as Roland. Translated Into English Verse from the Italian. Vivaldi crater Vivaldi Glacier. Error rating book. Mar 18, Jamie rated Orlando Furioso: Pt. 2 really liked it Shelves: because-lentfanfic-positivefantasticallife-and- deathhistorical-contextmyths-and-folklore Orlando Furioso: Pt. 2, poetry-and-artOrlando Furioso: Pt. 2viva-espanaviva-italia. Hearts and Armour Paperback Magazines. Essentially he was a writer; his lifetime's service as a courtier was a burden imposed on him by economic difficulties. A comparison the original text of Book 1, Canto 1 with various English translations is given in the following table. Published by Penguin Classics. Great Britain's Great War. In a delightful garden in which two springs are seen, Medoro escapes from a shipwreck into the arms of his beloved Angelica. NOT SO!! They come off as actual characters now in a way they didn't before. Sort by title original date published date published avg rating num ratings format. Tasso tried to combine Ariosto's freedom of invention with a more unified plot structure. Customer Orlando Furioso: Pt.
    [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]
  • Handel Arias
    ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry.
    [Show full text]
  • Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
    Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote.
    [Show full text]
  • Fortune and Romance : Boiardo in America / Edited by Jo Ann Cavallo & Charles S
    Fortune and Romance: Boiardo in America xexTS & STuOies Volume 183 Fortune and Romance Boiardo in America edited b)' Jo Ann Cavallo & Charles Ross cr)eC>iev2iL & ReMAissAMce tgxts & STuDies Tempe, Arizona 1998 The three plates that appear following page 60 are reproduced by permission of the Folger Shakespeare Library. The map of Georgia that appears on page 95 is reprinted from David Braund's Georgia in Antiquity (Oxford University Press, 1994), by permission of Oxford University Press. Figures 8, 10 and 11 are reprinted courtesy of Alinari/Art Resource, New York. Figure 9 is reprinted courtesy of Scala, Art Resource, New York. ©Copyright 1998 The Italian Academy for Advanced Studies in America at Columbia University Library of Congress Cataloging'in'Publication Data Fortune and romance : Boiardo in America / edited by Jo Ann Cavallo & Charles S. Ross p. cm. — (Medieval & Renaissance texts & studies ; 183) Most of the essays in this volume stem from the American Boiardo Quincentennial Conference, "Boiardo 1994 in America," held in Butler Library, Columbia University, Oct. 7-9, 1994, sponsored by the Italian Academy for Advanced Studies in America. Includes bibliographical references and index. ISBN 0-86698-225-6 (alk. paper) 1. Boiardo, Matteo Maria, 1440 or 41-1494 — Criticism and interpreta- tion — Congresses. 1. Cavallo, Jo Ann. II. Ross, Charles Stanley. III. American Boiardo Quincentennial Conference "Boairdo 1994 in America" (1994 : Butler Library, Columbia University) IV. Italian Academy for Advanced Studies in America. V. Series. PQ4614.F67 1998 85r.2— dc21 98-11569 CIP @ This book is made to last. It is set in Goudy, smyth-sewn, and printed on acid-free paper to library specifications.
    [Show full text]