DOCSLIB.ORG

WHATLEY-THESIS-2014.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WHATLEY-THESIS-2014.Pdf ABSTRACT A Singer’s Guide to the Songs of Ildebrando Pizzetti by Mark Whatley Ildebrando Pizzetti (1880–1968) composed approximately forty songs for voice and piano, thirty-three of which were published during his lifetime. Although many of his songs are of high quality, they have not become a part of the standard repertory. This guide is designed to make Pizzetti’s songs more accessible to singers. Toward this end it is organized in the following manner. The paper begins with an introduction that reviews the need for a guide to Pizzetti’s songs; it also details the methodology followed in creating the main part of the document, entries on each song. Chapter two briefly discusses Pizzetti’s life and provides information on the songs in general. The next three chapters contain detailed descriptions of each of the songs (they are organized according to publication dates). Each song entry contains: (1) a section that lists facts about the song, such as the name of and dates for the author of the text, the composition date, publication information, and other useful information specific to the music of the song, such as range, key, meter, tempo, etc.; (2) a section that contains the text of the song, a word-for-word translation of the song, and an IPA transcription of the song; and (3) a brief discussion of the song that includes information about its inception and first performance (if known), its music and text, and its musical and vocal difficulties. In some cases, suggestions for performers are included. The remainder of the paper includes a complete listing of Pizzetti’s songs (Appendix A), an annotated bibliography of resources in English that deal with Pizzetti’s songs (Appendix B), and a new idiomatic translation of Pizzetti’s Due poesie di Giuseppe Ungaretti (Appendix C). ACKNOWLEDGMENTS Much appreciation is due to my doctoral committee at the Shepherd School of Music at Rice University: Dr. Karim Al-Zand, Dr. Julie Fette, Dr. Stephen King, and especially to Dr. Walter Bailey, who supervised this project as thesis director. I owe a debt of gratitude to many other faculty members at Rice for their various contributions, particularly Dr. Edward Anderson, Dr. Nancy Bailey, Mary Du Mont Brower, Dr. Richard Lavenda, and Grant Loehnig. Special thanks to Mary Jane Lee and Megan Gale, who allowed me access to a recording of their performance of Pizzetti’s Tre canti Greci. Numerous faculty members at Belmont University also helped make this document a reality. First, I would like to thank Dr. Cynthia Curtis, Dean of the College of Visual and Performing Arts, for her support and encouragement during the completion of this document. Other Belmont faculty members who offered assistance include Dr. Richard Shadinger, who read several chapters and offered feedback; Elena Bennett, pianist, who played for two performances of Pizzetti songs with me and read through the many other Pizzetti songs I learned for this project; and Dr. Margaret Howell, retired Professor of Italian at Belmont, who proofread the translations and phonetic transcriptions of the song texts. Thanks also to Dr. Bonnie Pomfret, who allowed me to make a reference copy of her excellent dissertation, and to Glendower Jones of Classical Vocal Reprints, who was invaluable in finding some of the more obscure songs of Pizzetti. Finally, thank you to my wife, Amanda, and our two sons, Andrew and Matthew, who have generously given me their love and support throughout this process and in doing so have enabled me to succeed in this important achievement. v CONTENTS Chapter page 1. INTRODUCTION ..........................................................................................1 Purpose of this paper ......................................................................................1 Format for the song entries ............................................................................2 About the translations ....................................................................................4 About the IPA transcriptions .........................................................................6 Format for texts, translations, and IPA transcriptions ...................................18 Inclusions and exclusions ..............................................................................18 How to use this guide .....................................................................................19 2. THE SONGS OF ILDEBRANDO PIZZETTI ...............................................21 About Pizzetti.................................................................................................21 General information about Pizzetti’s songs ...................................................27 3. SONGS, 1908–1922 .......................................................................................40 Tre liriche...........................................................................................40 “Vigilia nuziale” ..........................................................................40 “Remember” ................................................................................45 “Incontro di Marzo” .....................................................................51 “Antifona Amatoria di Basiliola” ......................................................58 “Sera d’inverno” ................................................................................60 “Épitaphe” ..........................................................................................65 “L’annuncio”......................................................................................68 vi Cinque liriche.....................................................................................72 “I pastori” .....................................................................................72 “La madre al figlio lontano” ........................................................78 “San Basilio” ................................................................................84 “Il clefta prigione” .......................................................................87 “Passeggiata” ...............................................................................92 “Erotica” ............................................................................................98 4. SONGS, 1923–1933 .......................................................................................103 Tre sonetti di Petrarca .......................................................................103 “La vita fugge e non s’arresta un’ora” .........................................103 “Quel rosignuol che sì soave piagne” ..........................................108 “Levommi il mio pensier in parte ov’era” ...................................112 Tre canzone ........................................................................................117 “Donna lombarda” .......................................................................117 “La prigioniera” ...........................................................................125 “La pesca dell’anello” ..................................................................133 Due canti ............................................................................................139 “Adjuro vos, filiae Jerusalem” .....................................................141 “Oscuro è il ciel” ..........................................................................144 Tre canti Greci ...................................................................................149 “Augurio” .....................................................................................149 “Mirologio per un bambino” ........................................................156 “Canzone per ballo” .....................................................................161 vii 5. SONGS, 1937–1960 .......................................................................................167 Due poesie di Giuseppe Ungaretti .....................................................167 “La Pietà” .....................................................................................167 “Trasfigurazione” .........................................................................182 “e il mio dolore io canto” ...................................................................186 Tre liriche...........................................................................................192 “Bebro e il suo cavallo” ...............................................................192 “Vorrei voler, Signor, quel ch’io non voglio” .............................198 “In questa notte carica di stelle” ..................................................203 Tre canti d’amore ..............................................................................209 “Scuote amore il mio cuore” ........................................................209 “Bella lucente luna” .....................................................................214 “Surge, propera, amica mea” .......................................................221 6. CONCLUSION ...............................................................................................225 7. BIBLIOGRAPHY ...........................................................................................228 8. APPENDIXES ................................................................................................232 A. Complete list of Pizzetti’s works for solo voice ......................................232 B. Annotated bibliography of related sources in English .............................238 C. Idiomatic English
Load more

Recommended publications
  • La Generazione Dell'ottanta and the Italian Sound
    LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND A DISSERTATION IN Trumpet Performance Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by ALBERTO RACANATI M.M., Western Illinois University, 2016 B.A., Conservatorio Piccinni, 2010 Kansas City, Missouri 2021 LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND Alberto Racanati, Candidate for the Doctor of Musical Arts Degree University of Missouri-Kansas City, 2021 ABSTRACT . La Generazione dell’Ottanta (The Generation of the Eighties) is a generation of Italian composers born in the 1880s, all of whom reached their artistic maturity between the two World Wars and who made it a point to part ways musically from the preceding generations that were rooted in operatic music, especially in the Verismo tradition. The names commonly associated with the Generazione are Alfredo Casella (1883-1947), Gian Francesco Malipiero (1882-1973), Ildebrando Pizzetti (1880-1968), and Ottorino Respighi (1879- 1936). In their efforts to create a new music that sounded unmistakingly Italian and fueled by the musical nationalism rampant throughout Europe at the time, the four composers took inspiration from the pre-Romantic music of their country. Individually and collectively, they embarked on a journey to bring back what they considered the golden age of Italian music, with each one yielding a different result. iii Through the creation of artistic associations facilitated by the fascist government, the musicians from the Generazione established themselves on the international scene and were involved with performances of their works around the world.
    [Show full text]
  • Karaokê Factory: Lista Músicas
    THE X FACTORY: LISTA DE MÚSICAS 1 Kilo - Deixe-me ir 3 Doors Down - Here Without You 3 Doors Down - Let Me Go 3OH3 - Starstrukk 4 Non Blondes - Whats Up A Flock Of Seagulls - I Ran A-ha - Take on Me ABBA - Dancing Queen ABBA - Mamma Mia ABBA - Super Trouper AC DC - Back in Black AC DC - Highway to Hell AC DC - T.N.T. AC DC - Thunderstruck AC DC - You Shook All Night Long Ace of Base - The Sign Adele - All I Ask Adele - Hello Adele - Rolling in the deep Adele - Send My Love Adele - Set fire to the rain Adele - When We Were Young Aerosmith - Crazy Aerosmith - I Don't Want To Miss A Thing Aladdin - A Whole New World Alan Walker - Faded Alanis Morissette - Hand in my Pocket Alanis Morissette - Ironic Alanis Morissette - You Learn Alanis Morissette - You Oughta Know Alesso feat. Tove Lo - Heroes Alexandra Burke - Hallelujah Alice Cooper - Poison Alice In Chains - Man In The Box Alicia Keys - Fallin Alicia Keys - Girl On Fire Alicia Keys - No One Alphaville - Forever Young American Authors - Best Day Of My Life Amy Winehouse - Back to Black Amy Winehouse - Rehab Amy Winehouse - Tears Dry On Their Own Amy Winehouse - Valerie Amy Winehouse - You Know I'm No Good Ana Vilela - Trem-Bala Ananda, Joker Beats - Quero Que Tu Vá Anitta - Bang Anitta - Girl From Rio Anitta - Medicina Anitta - Não Perco Meu Tempo Anitta - Paradinha Anitta - Proposta Anitta - Vai Malandra Anitta - Veneno Anitta & Kevinho - Terremoto Anitta & Léo Santana - Contatinho Anitta & Marilia Mendonça - Some Que Ele Vem Atrás Anitta feat. Alesso - Is That For Me Anitta feat.
    [Show full text]
  • 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;
    [Show full text]
  • A Experiencia Jornalística De Paulo Barreto
    ELIETEMAROCHI A EXPERIENCIA JORNALÍSTICA DE PAULO BARRETO Dissertação de mestrado apresentada ao curso de Pós-Graduação em Letras Teoria Literária/ Literatura Brasileira da Universidade Federal, como requisito parcial para a obtenção do grau de mestre em Teoria Literária. Orientador Prof. Dr. Carlos Eduardo Scmidt Capela Florianópolis, junho de 2000. “A experiência jornalística de Paulo Barreto” Eliete Marochi Esta dissertação foi julgada adequada para a obtenção do título MESTRE EM LITERATURA Área de concentração em Teoria Üterária e aprovada na sua forma final pelo Curso de Pós-Graduação em Literatura da Universidade Federal de Santa Catarina. BANCA EXAMINADORA: Profa. Dra. Oma. Messer Levin (UNICAMP) Profa. Dra. Gilka Girardello (UFSC) Prof. Dr. Marco Antonío Casteli (UFSC) SUPLENTE Dedico este trabalho à minha mãe, D. Nilza que me apoiou em todos os momentos. E à minha filha. Flora, que me impulsionou à terminá-lo. AGRADECIMENTOS — Ao mestre, orientador e amigo Carlos Eduardo Capela, por sua paciência, compreensão e porque acreditou em mim mais do que eu pude acreditar. — À amiga e professora Tereza Virginia de Almeida por sua compreensão e pela porta que me abriu, aceitando minhas decisões. — À minha irmã e “ouvido”, Elizabete, que escutou com paciência e compreensão todas minhas queixas e lamentações. — À minha amiga Chirley, que me emprestou livros e compartilhou comigo suas dúvidas e conhecimentos à respeito de João do Rio. — Aos amigos Róbison e Luisa pelo apoio dado desde o início do curso. — Ao Professor Raúl Antelo por sua atenção, dicas e pelo empréstimo de livros raros. — À Dedé e Vera e aos Orixás pela ajuda espiritual.
    [Show full text]
  • Universidade Regional Do Noroeste Do Estado Do Rio Grande Do Sul Departamento De Ciências Administrativas, Contábeis, Econômicas E Da Comunicação Mba Em Marketing
    UNIVERSIDADE REGIONAL DO NOROESTE DO ESTADO DO RIO GRANDE DO SUL DEPARTAMENTO DE CIÊNCIAS ADMINISTRATIVAS, CONTÁBEIS, ECONÔMICAS E DA COMUNICAÇÃO MBA EM MARKETING O PAPEL DO MARKETING NA CONSTRUÇÃO DE CARREIRA MUSICAL: O CASO DA CANTORA ANITTA LUCIENE FERRARI Orientador: Professor Luciano Zamberlan RESUMO Com apenas nove anos de carreira, a cantora brasileira Anitta é um dos maiores nomes da música nacional e gradativamente vem também alcançando o mercado internacional. O objetivo do presente artigo é analisar a carreira da cantora sob o viés do marketing, identificando em sua trajetória as principais estratégias que ajudaram a construir o fenômeno Anitta. O estudo inicia com uma pesquisa bibliográfica de ordem exploratória; após, foi realizada uma pesquisa documental, utilizando entre outras fontes as notícias e matérias em sites, em revistas impressas e em programas de TV, que resultaram em um estudo de caso da trajetória de Anitta, com maior atenção para o período entre 2016 a 2018. Os resultados demonstram que a utilização de estratégias como benchmarking e o personal branding proporcionaram um aprimoramento da imagem e da marca pessoal da cantora; o marketing de conteúdo e o crossmedia contribuíram na criação de conteúdo relevante para o público e na escolha do mix de meios para a disseminação das informações; e o co-branding, que se configurou em parcerias musicais de Anitta com outros artistas, foi determinante para impulsionar a carreira da cantora para outros mercados, em especial o latino. Com um plano de marketing bem estruturado, a brasileira alcançou números inéditos nas plataformas de streaming e tem chances reais de em breve se firmar no mercado internacional da música.
    [Show full text]
  • Album Booklet
    Sera d’inverno 1. Sera d’inverno [3:42] Songs by Ildebrando Pizzetti (1880–1968) 2. L’annuncio [2:06] Cinque Liriche 3. I pastori [5:15] 4. La madre al figlio lontano [4:13] 5. San Basilio [1:59] 6. Il clefta prigione [2:42] Hanna Hipp mezzo-soprano 7. Passeggiata [6:16] Emma Abbate piano 8. Épitaphe [1:48] 9. Antifona amatoria di Basiliola [1:19] 10. E il mio dolore io canto [2:34] 11. Incontro di Marzo [6:00] (from Tre Liriche) Due Canti d’amore 12. Adjuro vos, filiae Jerusalem [2:42] 13. Oscuro è il ciel [2:28] 14. Scuote amore il mio cuore [1:45] (from Tre Canti d’amore) About Hanna Hipp & Emma Abbate: Tre Canti Greci ‘Hanna Hipp [...] is excellent, with a knowing, 15. Augurio [2:58] competent demeanour and a glowing mezzo timbre’ 16. Mirologio per un bambino [3:17] The Guardian 17. Canzone per ballo [4:04] ‘[...] sensitively accompanied by Emma Abbate’ International Record Review Total playing time [55:20] Sera d’inverno: The Songs of An important question to consider regarding Ildebrando Pizzetti Pizzetti is whether to view him as a revolutionary or a conservative. His Ildebrando Pizzetti (1880–1968) belonged complicated history makes answering this to a group of Italian composers who were question less straightforward than it might born around the year 1880, referred to as at first appear. Two manifestos, both signed the generazione dell’ottanta (‘generation by Pizzetti, reveal this dichotomy. The first – of eighty’). Far from being unified by a signed by such forward-thinking composers singular style, this group included other as Vincenzo Tommasini (1878–1950), important composers such as Franco Francesco Malipiero, and Alfredo Casella, Alfano (1876–1954), Ottorino Respighi in addition to Pizzetti and three others – was (1879–1936), Gian Francesco Malipiero included as a kind of preface to a printed (1882–1973), and Alfredo Casella programme for a concert of compositions by (1883–1947).
    [Show full text]
  • Ildebrando Pizzetti: Assassinio Nella Cattedrale
    LA GIOVANE SCUOLA: PROTAGONISTS & ANTAGONISTS FIFTH EPISODE Ildebrando Pizzetti: Assassinio nella Cattedrale ENRICO REGGIANI Enrico Reggiani is full professor of English literature in the Faculty of Linguistic Sciences and Foreign Literatures, at Università Cattolica del Sacro Cuore – Milano. He has published widely on William Butler Yeats and other Irish writers, on writers of Catholic origin, culture and background (especially the English and Irish ones from 1789 to 1918), and on interdisciplinary relationships between literature and economy. He also teaches musical languages in a historical perspective thanks to his specific advanced competence and appreciated research in the musicological field. After graduating in piano in 1980, he taught music education at Secondary School for Singers and Dancers of Teatro alla Scala, and music analysis at the Civica Scuola di Musica “Claudio Abbado”, Milan. After being a member of the scientific committee at the musico-literary festival Le Corde dell’Anima (Cremona, 2010-2014), since 2011 he has been the director of the Studium Musicale di Ateneo “Note d’InChiostro”, at Università Cattolica del Sacro Cuore – Milano. He is a regular music lecturer at “Iniziative Culturali” of “laVerdi – Orchestra Sinfonica e Coro Sinfonico di Milano Giuseppe Verdi” and at Casa della Cultura (Milan). He is a member of the association Il Saggiatore Musicale and of the International Association for Word and Music Studies (WMA). At present, the interdisciplinary relationships and bidirectional crossings between literature and music are his main research area. He has recently been defined as a scholar “with a high profile in the relevant field”. He is completing a monograph on A tone-deaf poet in the Land of Song.
    [Show full text]
  • Alfredo Casella's Serenata, Op. 46, a Performance Guide for The
    ALFREDO CASELLA’S SERENATA, OP. 46, A PERFORMANCE GUIDE FOR THE ENSEMBLE AND TRUMPET PART Brian Matthew Walker, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2011 APPROVED: John Holt, Major Professor and Chair of the Division of Instrumental Studies Clay Couturiaux, Minor Professor Keith Johnson, Committee Member Lynn Eustis, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Walker, Brian Matthew. Alfredo Casella’s Serenata, op. 46, A Performance Guide for the Ensemble and Trumpet Part. Doctor of Musical Arts (Performance), May 2011, 37 pp., 28 examples, 1 table, references, 43 titles. Alfredo Casella’s Serenata, op. 46 for clarinet, bassoon, trumpet, violin and cello is a composition that received great acclaim at the time of its conception, it is all but unknown to modern audiences and performers. The Serenata has several historical influences from the French and Italian Baroque and Classical periods. At present, there is limited scholarship regarding the Serenata op. 46. The first section of this study presents a survey of historical information, current literature and methods of examination. The second section compares movements of the Serenata op. 46 to other historical forms of similar design. The third section provides a performance guide for the trumpeter and ensemble. Implications and suggestions for performance of the composition are provided for the trumpeter. This performance guide provides the trumpeter and ensemble with performance information to help facilitate an informed performance.
    [Show full text]
  • The Church of Jesus Christ of Latter-Day Saints/Mormon Children’S Music: Its History, Transmission, and Place in Children’S Cognitive Development
    ABSTRACT Title of Dissertation: THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS/MORMON CHILDREN’S MUSIC: ITS HISTORY, TRANSMISSION, AND PLACE IN CHILDREN’S COGNITIVE DEVELOPMENT Colleen Jillian Karnas-Haines, Doctor of Philosophy, 2005. Dissertation Directed by: Professor Robert C. Provine Division of Musicology and Ethnomusicology School of Music The Church of Jesus Christ of Latter-day Saints has a children’s auxiliary program for ages three to eleven that meets weekly before or after their Sunday worship service. This auxiliary, called Primary, devotes much of its time to singing. Music is not a childish diversion, but an essential activity in the children’s religious education. This study examines the history of the songbooks published for Primary use, revealing the many religious and cultural factors that influence the compilations. The study then looks at the modern methods of transmission as the author observes the music education aspects of Primary. Lastly, the study investigates the children’s use of and beliefs about Primary music through the lens of cognitive development. The study reveals that Primary music is an ever-evolving reflection of the theology, cultural trends, and practical needs of The Church of Jesus Christ of Latter-day Saints. Unaware of such implications, the children use Primary music to express their religious musicality at cognitive developmentally appropriate levels. THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS/MORMON CHILDREN’S MUSIC: ITS HISTORY, TRANSMISSION, AND PLACE IN CHILDREN’S COGNITIVE DEVELOPMENT By Colleen Jillian Karnas-Haines Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2005 Advisory Committee: Professor Robert C.
    [Show full text]
  • WOP SONG: TUNE & ECHO a Stage Play with Music Written by Vian Andrews Italian Translation by Claudio Ginocchietti Fourth
    WOP SONG: TUNE & ECHO A Stage Play with Music Written by Vian Andrews Italian translation by Claudio Ginocchietti Fourth Revision completed 10 Feb '17 Based on an original idea Copyright October 2016 Vian Andrews 4583 Neville Street Burnaby, BC V5J 3G9 778-378-7954 WOPSONG: TUNE & ECHO ACT 1 A sunny piazza in the dilapidated, dun-colored village of Calabro in the mountains of southern Italy, 2016. On the left, the main door to the village church, on the right a cafe whose sign is badly in need of repainting, with two tables with chairs. In between the church and the cafe there is a row of three drab houses. On the first house and third house a shutter or two is open, but the shutters of the center house are closed and one or two are hanging askew. A small riser stands in front of the center house. Two older men play cards at one of the cafe tables. An old woman, dressed in black, sits on the stoop of the first house, taking in the scene while absentmindedly gnashing her teeth. Suddenly the blast of a horn from an arriving bus is heard off left, making the old woman and the men jump. Father Sarducci, the town priest opens the door of the church and steps out at the same time, Gaetano, the owner of the cafe and his wife, Giuseppina, step out of the cafe to find out what is going on. The voices of three men singing Bon Jovi’s This House is Not for Sale is heard coming from the direction of the bus.
    [Show full text]
  • Alfredo KRAUS
    Alfredo KRAUS Encore une grande voix ! Une voix reconnaissable entre toutes, comme toutes les grandes voix ! Un ténor exceptionnel, d’une grande élégance physique, morale et vestimentaire ! Une élégance artistique, faite de retenue, de discrétion personnelle (cet homme célèbre n’était pas un « people » ! Enfin, c’était une grande voix espagnole », parmi une grande école de voix, les Miguel FLETA, Plácido DOMINGO, Victoria de LOS ANGELES, José CARRERAS, Montserrat CABALLE, Giacomo ARAGALL, Pilar LORENGAR, Teresa BERGANZA, et j’en oublie, qu’ils me le pardonnent, je les aime tous ! Mais j’aime particulièrement les discrets et les réservés ! Comme son nom l’indique, notre héros était à la fois espagnol et d’origine germanique (autrichienne) (Alfredo Kraus Trujillo, nom des deux parents, comme d’usage en Espagne. Alfredo KRAUS est ne le 24 novembre 1927 à Las Palmas de Gran Canarias (capitale des Iles Canaries), où sur la grand Place figure sa statue, et il est mort le 10 septembre 1999 à Madrid. C’était d’abord un artiste de « bel canto » (Donizetti, Bellini), qui s’était voué au répertoire italien et français. Mais d’abord et depuis l’âge de 4 ans, leçons de piano, puis à partir de 8 ans, il chanta dans des chœurs, à commencer par celui de son école, puis dans d’autres choeurs comme adolescent. Il n’était pas le seul de la famille à chanter puisque son frère Francisco chantait aussi comme baryton et étudia avec lui la musique et l’Opéra. Après ses études de chant, d’abord à Barcelone, puis à Valence puis à Milan avec Mercedes Llopart, professeur de chant, notamment des grandes cantatrices Renata Scotto, Fiorenza Cossotto et de l’américaine Anna MOFFO, ce fut le temps des concours et il remporta le Concours de chant de Genève.
    [Show full text]
  • Cantanti D'opera E Direttori D'orchestra
    Lim Antiqua s.a.s - Studio bibliografico Via della Chiesa IX, 44 Loc. Monte San Quirico 55100 LUCCA Telefono e Fax +39 0583 34 2218 (dalle 9 alle 13) +39 333 2551758 www.limantiqua.com/it email: [email protected] P. IVA 01286300460 Dati per bonifico: C/C postale n. 11367554 IBAN: IT 67 Q 07601 13700 000011367554 BIC: BPPIITRRXXX Orario di apertura Lunedì – Venerdì ore 9.00/14.00 Gli ordini possono essere effettuati per telefono, email o via fax. Il pagamento può avvenire tramite contrassegno, bollettino postale, bonifico sul conto postale o PayPal. Le spese di spedizione sono a carico del destinatario. I prezzi indicati sono comprensivi di IVA. Gli ordini saranno ritenuti validi e quindi evasi anche in caso di disponibilità parziale dei pezzi richiesti. Lettere, fotografie e documenti musicali p. 2 Cantanti d’opera e direttori d’orchestra p. 28 1 Lettere, fotografie e documenti musicali 1. Marcello Abbado (n. Milano 1926) Lettera autografa firmata, su cart. post. dat Capodanno 1988 del rinomato pianista e compositore, fratello di Claudio, direttore del Conservatorio G. Verdi di Milano dal 1972 al 1996 e direttore artistico dell'Orchestra sinfonica di Milano Giuseppe Verdi dal 1993 al 1996, diretta all'attrice Loredana Martinez. "Grazie per il pensiero molto gentile e per gli auguri...". Una p. in-8 obl. Acclusa busta con ind. aut. € 50 1. Marcello Abbado 2. Luis Alva (n. Lima 1927) Dedica autografa firmata su fotografia raffigurante il rinomato tenore peruviano al pianoforte. € 70 2. Luis Alva 3. Olga Amati (Milano 1924 - Roma 1982) Dedica autografa firmata su cartolina fotografica raffigurante la prima ballerina del Teatro alla Scala assieme a Dino Cavallo.
    [Show full text]