Marina Serpagli – Biography
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Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
01 Programma-Di-Sala.Pdf
Progetto5_v 18/12/15 18:51 Pagina 1 the quintessence of the precious gems THEMERCHANTOFVENICE.COMTHEMERCHANTOFVENICE.COM VENEZIAMUSICA sommario e dintorni La locandina 7 Lirica e Balletto Rinaldo in breve 9 StagioneLirica e Balletto2020-2021 di Emilio Sala Stagione 2018-2019 Argomento 12 Opera inaugurale Il libretto 15 Rinaldo, ovvero la contesa dell'arte e dell'ideologia 35 di Reinhard Strohm MacbethRinaldo Pier Luigi Pizzi: «Una macchina teatrale umanizzata» 50 a cura di Leonardo Mello Federico Maria Sardelli: «Una festa dei colori strumentali» 53 Teatro La Fenice Dall’Archivio storico del Teatro La Fenice 56 a cura di Franco Rossi venerdì 23 novembre 2018 ore 19.00 turno A inTeatro diretta Lasu Fenice Biografie 67 domenicamartedì 25 novembre 31 agosto 2018 2021 ore ore 15.30 19.00 turno B martedìgiovedì 27 novembre 2 settembre 2018 2021 ore ore19.00 19.00 turno D giovedìsabato 29 novembre 4 settembre 2018 2021 ore ore 19.00 19.00 turno E sabato 1 dicembre 2018 ore 15.30 turno C Fondazione Teatro La Fenice Rinaldo opera seria in tre atti HVW 7 libretto di Giacomo Rossi su una sceneggiatura di Aaron Hill dalla Gerusalemme liberata di Torquato Tasso musica di Georg Friedrich Händel prima rappresentazione assoluta: Londra, Queen’s Theatre, 24 febbraio 1711 edizione a cura dell’Archivio Musicale del Maggio Musicale Fiorentino personaggi e interpreti Goffredo, generale dell’esercito cristiano Leonardo Cortellazzi Almirena, sua figlia, promessa sposa di Rinaldo Francesca Aspromonte Rinaldo, eroe Teresa Iervolino Argante, re di Gerusalemme, -
MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY.......................................................................................................... -
Marina Serpagli - Biography
Mezzo-Soprano Jack Price Founding Partner / Managing Director Marc Parella Partner / Director of Operations Mailing Address: 520 Geary Street Suite 605 San Francisco CA 94102 Telephone: Toll-Free 1-866-PRI-RUBI (774-7824) 310-254-7149 / Los Angeles 415-504-3654 / San Francisco Email: [email protected] [email protected] Website: Contents: http://www.pricerubin.com Biography Yahoo!Messenger Resume pricerubin Reviews Repertoire Complete artist information including video, audio and interviews are available at www.pricerubin.com Marina Serpagli - Biography Marina Serpagli was born in Pavia (Italy), in a family dealing with business and trade, totally outside of the Art World. Nevertheless, when she was offered the opportunity to get a musical education, she accepted with enthusiasm and dedication. As a child she studied piano and choir singing. Some years later her music teachers encouraged her to approach Lyrical Singing. Since then she’s been constantly improving and taking care of her vocal talent, that was also incentive for her personal growth. She deeply believes in the uniqueness and fulfillment of every artistic journey, beyond common sense and standard rules. She obtained her Lyrical Singing Diploma - mezzosoprano - at the Conservatory of Music “G.Nicolini” in Piacenza. She graduated in foreign languages from the University of Pavia and obtained one Deutsch Institute Diploma and two Cambridge Certificates (PET, FCE). She speaks English, French and German, in addition to her native Italian. At the beginning of her career she sang in important philharmonic choirs: Verdi Choir in Milan, Maghini Choir and RAI National Orchestra in Turin, having the opportunity to work with R. -
Homage to Two Glories of Italian Music: Arturo Toscanini and Magda Olivero
HOMAGE TO TWO GLORIES OF ITALIAN MUSIC: ARTURO TOSCANINI AND MAGDA OLIVERO Emilio Spedicato University of Bergamo December 2007 [email protected] Dedicated to: Giuseppe Valdengo, baritone chosen by Toscanini, who returned to the Maestro October 2007 This paper produced for the magazine Liberal, here given with marginal changes. My thanks to Countess Emanuela Castelbarco, granddaughter of Toscanini, for checking the part about her grandfather and for suggestions, and to Signora della Lirica, Magda Olivero Busch, for checking the part relevant to her. 1 RECALLING TOSCANINI, ITALIAN GLORY IN THE TWENTIETH CENTURY As I have previously stated in my article on Andrea Luchesi and Mozart (the new book by Taboga on Mozart death is due soon, containing material discovered in the last ten years) I am no musicologist, just a person interested in classical music and, in more recent years, in opera and folk music. I have had the chance of meeting personally great people in music, such as the pianist Badura-Skoda, and opera stars such as Taddei, Valdengo, Di Stefano (or should I say his wife Monika, since Pippo has not yet recovered from a violent attack by robbers in Kenya; they hit him on the head when he tried to protect the medal Toscanini had given him; though no more in a coma, he is still paralyzed), Bergonzi, Prandelli, Anita Cerquetti and especially Magda Olivero. A I have read numerous books about these figures, eight about Toscanini alone, and I was also able to communicate with Harvey Sachs, widely considered the main biographer of Toscanini, telling him why Toscanini broke with Alberto Erede and informing him that, contrary to what he stated in his book on Toscanini’s letters, there exists one letter by one of his lovers, Rosina Storchio. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Adriana Lecouvreur
CILEA Adriana Lecouvreur • Mario Rossi, cond; Magda Olivero (Adriana Lecouvreur); Giulietta Simionato (La Principessa di Bouillon); Franco Corelli (Maurizio); Ettore Bastianini (Michonnet); Teatro San Carlo Naples Ch & O • IMMORTAL PERFORMANCES 1111/1–2 mono (2 CDs: 142:49) Live: Naples 11/28/1959 MASCAGNI Iris • Olivero de Fabritiis, cond; Magda Olivero (Iris); Salvatore Puma (Osaka); Saturno Meletti (Kyoto); Giulio Neri (Il Cieco); RAI Turin Ch & O • IMMORTAL PERFORMANCES 1111/3–4 mono (2 CDs: 156:05) Live: Turin 9/6/1956 & PUCCINI Manon Lescaut: In quelle trine morbide; Sola perdutto abbandonata (Fulvio Vernizzi, Netherlands RS, 10/31/1966). La rondine: Che il bel sogno (Anton Kerjes, unidentified O, 3/5/1972). ALFANO Risurrezione: Dio pietoso (Elio Boncompagni, RAI Turin O, 1/30/1973). CATALANI Loreley: Amor celeste ebbrezza (Arturo Basile, RAI Turin O, 5/6/1953) VERDI La traviata: Act I, É strano....Ah, fors’è lui....Sempre libera; Magda Olivero, Muzio Giovagnoli, tenor, Ugo Tansini, cond.; RAI Turin O, 1940. Act II, Scene 1: Magda Olivero; Aldo Protti, (Giorgio Germont). Live, Orchestra Radio Netherlands, Fulvio Vernizzi, cond., 6 May 1967. Act II – Amami Alfredo! Magda Olivero; Ugo Tansini cond., 6 May 1953 (Cetra AT 0320) Act III Complete • Fulvio Vernizzi, cond; Magda Olivero (Violetta); Doro Antonioli (Alfredo Germont); Aldo Protti (Giorgio Germont). Live, Orchestra Radio Netherlands, 6 May 1967. & PUCCINI Tosca: Vissi d’arte (Ugo Tansini, RAI Turin O, 1940). La bohème: Addio….Donde lieta usci (Fulvio Vernizzi, Netherlands RS, 3/2/1968). Madama Butterfly: Ancora un passo; Un bel di vedremo (Fulvio Vernizzi, Netherlands RS, 3/2/1968 and 12/14/1968) By James Altena March/April 2019 The remarkably long-lived Magda Olivero (1910–2014)—who, incredibly and like the magnificent Russian basso Mark Reizen, sang when in her 90s—is the rare singer for whom an adjective such as “fabled” never grows 1 stale. -
Don Giovanni
Don Giovanni La publicación de la partitura de Don Giovanni en De entre las más de doscientas grabaciones de 1953 la Neue Mozart Ausgabe en 1968 fue como un esta ópera completas y cantadas en italiano Giuseppe Taddei; Italo Tajo: Maria Curtis Verna; Carla relámpago para el mundo musical, y los truenos que están documentadas, en el siguiente Gavazzi; Cesare Valletti; Elda Ribetti; Vito Susca; se han seguido escuchando durante mucho listado ofrecemos las referencias de las que han tiempo después. Los responsables de esa edición, Antonio Zerbini; coro y orquesta de la RAI Torino; llamado la atención de los críticos en revistas Wolfgang Plath y Wolfgang Rehm, declaraban en dir. Max Rudolf. Cetra LPS 3253 (3LP); Cetra OLPC especializadas nacionales e internacionales con su comentario que sólo la versión que Mozart y Da 1253/1-3 (3LP); Cetra C-1253 (3LP) (USA); Everest ocasión de su primera publicación o posteriores Ponte habían preparado para el estreno en Praga en Cetra 403-3 (3LP) Balkanton BOA 1575-1527 (3LP); 1787 sería auténtica. En la publicación posterior del reediciones. Por razones de espacio, hasta el año Warner Fonit 0927 43561-2 (3CD) (2002); Warner aparato crítico correspondiente a esa edición, de 2000 constan sólo las grabaciones en estudio. 2003, los autores no habían cambiado de parecer, Los papeles se presentan en el orden siguiente: Fonit Cetra 2564698347 (download) (2002); Urania e incluso en el año 2007, uno de los dos editores, el Don Giovanni (baritono); Leporello (bajo); Donna URN22308 (download) (2006). Grabación en estudio. único vivo en ese momento, se mantenía firme en Anna (soprano); Donna Elvira (soprano); Don su opinión. -
Magda Olivero Last Updated Tuesday, 20 March 2012 07:10
Magda Olivero Last Updated Tuesday, 20 March 2012 07:10 Magda Olivero is March 25, 2010 100 years See the excerpt from the interview on March 20 at the bottom of this page "Given a choice between Callas and Olivero, I'd actually pick Olivero. She has greater warmth and depth and is more moving. -Stefan Zucker, Opera Fanatic magazine "....Bestaat er een Olivero-effect? Ik ga het wel geloven. In ieder geval blijft Magda Olivero een van de grootste opera-wonderen van de afgelopen eeuw. Na haar debuut in 1933 trok zij zich in 1941 terug van het toneel om 19 jaar later terug te keren op verzoek van de componist Cilea, die in haar de ideale Adriana Lecouvreur zag. -Paul Korenhof, Luister januari 1992. Deze opera, en wel met de aria "Del sultano Amuratte" was mijn eerste kennismaking met Magda Olivero. Een kennismaking met een stem die een onuitwisbare indruk op mij maakte. Een uiterst expressieve stem. Olivero is een wonder, een ander woord ken ik er niet voor. Zoals zij met die eigenlijk helemaal niet zo mooie stem een rol weet neer te zetten is ongelooflijk, daar is zij werkelijk uniek in. 1 / 6 Magda Olivero Last Updated Tuesday, 20 March 2012 07:10 Magda Olivero (born in Saluzzo, 25 March 1910), has had a very unique career. She made her debut for the Turin radio in 1932 with Nino Cattozzo's 'I Misteri Dolorosi'. In 1933 she sang Lauretta in Gianni Schicchi at the Teatro Vittorio Emanuele in the same city. Up until 1940, she sang in all the major Italian theatres and was often heard on the Italian national radio EIAR (now RAI). -
Barbara Frittoli Ha Cominciato a Studiare Pianoforte a Nove Anni Al Conservatorio Musicale "Giuseppe Verdi" Di Milano
Barbara Frittoli Ha cominciato a studiare pianoforte a nove anni al Conservatorio musicale "Giuseppe Verdi" di Milano. La sua intenzione era infatti quella di diventare pianista. Tuttavia, dopo qualche anno, su consiglio dei maestri Casoni e Bertola è passata al canto, svoltando dal registro di contralto, al quale era stata inizialmente indirizzata, a quello di soprano, arrivando al diploma sotto la guida di Giovanna Canetti.Frittoli ha debuttato come soprano nel 1989 al Teatro Comunale di Firenze nel ruolo di Ines in una produzione de Il trovatore diretta da Zubin Mehta con Luciano Pavarotti nei panni del protagonista.Per il Teatro alla Scala nel 1991 canta nel Teatro del Palazzo Litta musiche di Mozart, nel 1992 canta in concerto con il mezzosoprano Béatrice Uria-Monzon nel Teatro del Collegio di San Carlo, nel 1993 è Agnese del Maino in Beatrice di Tenda (dramma) con Vincenzo La Scola, nel 1994 tiene un recital ed è Maddalena ne La Resurrezione di Georg Friedrich Händel con Eva Mei, nel 1995 canta nel Requiem (Verdi) con Samuel Ramey all'Auditorium di Santa Cecilia diretta da Riccardo Muti, nel 1997 canta ne Petite messe solennelle con Juan Diego Flórez ed è La Contessa d'Almaviva nella prima rappresentazione di Le nozze di Figaro con BrynTerfel diretta da Muti, nel 1999 Donna Elvira nella prima di Don Giovanni (opera) con Ildebrando D'Arcangelo diretta da Muti, nel 2000 canta nel concerto inaugurale dell'Anno verdiano e della mostra dedicata a Verdi ripresa da Rai 3 ed è Leonora ne Il trovatore nella serata inaugurale della stagione d'opera con Leo Nucci, VioletaUrmana e Salvatore Licitra diretta da Muti ripresa dalla Rai, nel 2001 Mrs. -
MARIO DEL MONACO Mario Del Monaco Belongs
MARIO DEL MONACONACO – A CRITICAL APPROACH BY DANIELE GODOR, XII 2009 INTRODUCTION Mario del Monaco belongselongs to a group of singers whoho aare sacrosanct to many opera listeners.listene Too impressive are the existingexisti documents of his interpretationsations of Otello (no other tenor hasas momore recordings of the role of Otello than Del Monaco who claimed to haveha sung to role 427 times1), Radamdames, Cavaradossi, Samson, Don Josésé and so on. His technique is seenn as the non-plus-ultra by many singersgers aand fans: almost indefatigable – comparable to Lauritz Melchiorlchior in this regard –, with a solid twoo octaveocta register and capable of produciroducing beautiful, virile and ringing sound of great volume. His most importmportant teacher, Arturo Melocchi,, finallyfina became famous throughh DDel Monaco’s fame, and a new schoolscho was born: the so-called Melocchialocchians worked with the techniqueique of Melocchi and the bonus of the mostm well-established exponent of his technique – Mario del Monaco.naco. Del Monaco, the “Otello of the century”” and “the Verdi tenor” (Giancarlo del Monaco)2 is – as tthese attributes suggest – a singer almost above reproach and those critics, who pointed out someme of his shortcomings, were few. In the New York Times, the famous critic Olin Downes dubbed del MonacoM “the tenor of tenors” after del Monacoonaco’s debut as Andrea Chenier in New York.3 Forr manmany tenors, del Monaco was the great idoll and founder of a new tradition: On his CD issued by the Legato label, Lando Bartolini claims to bee a sinsinger “in the tradition of del Monaco”, and even Fabioabio ArmilA iato, who has a totally different type of voice,voi enjoys when his singing is put down to the “tradititradition of del Monaco”.4 Rodolfo Celletti however,wever, and in spite of his praise for Del Monaco’s “oddodd elelectrifying bit of phrasing”, recognized in DelDel MMonaco one of the 1 Chronologies suggest a much lower amount of performances. -
Laservapadrona
Giovedì 8 settembre ore 17.00 Gallerie d'Italia – Palazzo Leoni Montanari Guida all'ascolto dell'opera “La serva padrona” di G. B. Pergolesi a cura di Alessandro Cammarano Giovedì 8 settembre ore 18.00 Gallerie d'Italia – Palazzo Leoni Montanari “La serva padrona” di G. B. Pergolesi Il noto intermezzo “La serva padrona” di G. B. Pergolesi gode da sempre di grande fortuna di pubblico per quel suo porsi a metà tra le composizioni a lei precedenti di tipo brillante e la cosiddetta 'opera buffa' in cui i caratteri vengono maggiormente sviluppati con connotazioni di maggior espressiva teatralità. Composta in occasione delle celebrazioni per il compleanno di Elisabetta Cristina di Brunswick-Wolfenbüttel, la partitura ebbe la sua prima rappresentazione al Teatro di San Bartolomeo a Napoli il 28 agosto del 1733 quale Intermezzo dell'opera “Il prigionier superbo”, dello stesso autore e, già dal suo esordio, il suo successo superò di gran lunga il dramma serio e la sua fortuna giunse intatta fino ad oggi. La 'liaison' vissuta, a suon di battibecchi e sfuriate, tra Serpina ed il suo padrone Uberto sotto gli occhi attoniti del servo Vespone (che non dice una sillaba ma che è teatralmente fondamentale) ricalca, negli schemi tradizionali, l'opera di genere approfondendone però gli aspetti più marcatamente psicologici. Non esistono schemi fissi nella 'piece' ma il tutto si apre ad una dimensione in cui il ruolo comincia ad avere il sopravvento ed a prendere corpo man mano. Con Pergolesi i caratteri cominciano ad avere sempre meno le sembianze di marionette dai tratti scolpiti nel legno ed i movimenti guidati da fili (in questo caso musicali) ma cominciano ad avere una maggior mobilità espressiva, che li avvicina a burattini e che la partitura guida ed umanizza.