Some Biographical Notes on Mauro Corticelli and a Previously Unpublished Letter to Him from Verdi Martin Chusid New York University
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Libretto Nabucco.Indd
Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane. -
VIVA VERDI a Small Tribute to a Great Man, Composer, Italian
VIVA VERDI A small tribute to a great man, composer, Italian. Giuseppe Verdi • What do you know about Giuseppe Verdi? What does modern Western society offer everyday about him and his works? Plenty more than you would think. • Commercials with his most famous arias, such as “La donna e` nobile”, from Rigoletto, are invading the air time of television… • Movies and cartoons have also plenty of his arias… What about stamps from all over the world carrying his image? • There are hundreds of them…. and coins and medals… …and banknotes? Well, those only in Italy, that I know of…. Statues of him are all over the world… ….and we have Verdi Squares and Verdi Streets And let’s not forget the many theaters with his name… His operas even became comic books… • Well, he was a famous composer… but it’s that the only reason? Let’s look into that… Giuseppe Fortunino Francesco Verdi Born Joseph Fortunin François Verdi on October 10, 1813 in a village near Busseto, in Emilia Romagna, at the time part of the First French Empire. He was therefore born French! Giuseppe Verdi He was refused admission by the Conservatory of Milan because he did not have enough talent… …that Conservatory now carries his name. In Busseto, Verdi met Antonio Barezzi, a local merchant and music lover, who became his patron, financed some of his studies and helped him throughout the dark years… Thanks to Barezzi, Verdi went to Milano to take private lessons. He then returned to his town, where he became the town music master. -
TUTTO VERDI 2013 TV P Rogram
TV P ROGRAM 2013 CELebrating VERDI'S 200TH birthday ctober O O ctober 2013 ROGRAM TUTTO VERDI TV P Tutto Verdi – one of the most ambitious opera projects ever – is UNITEL CLASSICA’s exclusive highlight this October, celebrating Verdi’s 200th birthday on October 10. Enjoy as a world TV premiere Giuseppe Verdi‘s complete operatic works and his Requiem in High Definition and with Surround Sound. All 26 operas, which were produced in coproduction with the Verdi Festival, the Teatro Regio di Parma and the Teatro Verdi di Busseto are presented in chronological order, giving the viewer the unique chance to discover the grand composers musical development as well as the musical and historical influences he was under. On the birthday itself the great composer is honored with the broadcast of his Requiem in a special open air concert starring D’Arcangelo, Grigolo, De Young and Di Giacomo. The L.A. Philharmonic are conducted by no less than Gustavo Dudamel. Richard Wagner is born Giuseppe Verdi is born as Giuseppe Fortunino Francesco on 10 October 1813 in Le Roncole, a village near Busseto on 23 May in Leipzig 1813 (Parma), as son of the merchant Carlo Giuseppe Verdi and his wife Luigia Uttini. Congress of Vienna 1815 Premiere of Beethoven’s First engagement as organist in Le Roncole at the age of nine 1824 1822 Symphony No.9 Verdi moves to Busseto to Antonio Barezzi, a local merchant and president of the Philharmonic Society and supporter Wagner composes 1831 of Verdi’s musical ambitions. He gets engaged with Barezzi’s daughter Margherita. -
Omaggio a 2013
1813 OMAGGIO A 2013 un italiano dell’ottocento che ha ancora molto da raccontare Pantone warm red: C0. M75. Y90. K0. Black 70% Busto di Giuseppe Verdi, Viterbo. Scultura eseguita agli inizi del Novecento da Silvio Stricoli Da un idea di Paolo Pelliccia COMMISSARIO STRAIRDINARIO BIBLIOTECA CONSORZIALE DI VITERBO Editing Gianlorenzo Rocchetti Immagini Utet Cultura Progetto Grafico Simone Iocco MAJAKOVSKIJ COMUNICAZIONE Daniele Capo Stampa Primaprint Viterbo Con il patrocinio di PROPOSTA DI RESTYLING Logotipo Primaprint PROVINCIA DI VITERBO sponsor tecnici partner Associazione Incontri mediterranei Laboratorio di restauro della Provincia di Viterbo modulo x area di rispetto © Copyright Biblioteca Consorziale di Viterbo Tutti i diritti di proprietà artistica e letteraria riservati. Non è consentita la ristampa dei lavori pubblicati senza autorizzazione scritta dell'Editore. é vietata la pubblicazione di sunti di essi senza citarne la fonte PRESENTAZIONE Nell’ottobre 2012 il Senato della Repubblica Italiana ha affermato che “La Repubblica, nell’ambito delle finalità di salvaguardia e di promozione del proprio patrimonio culturale, storico, artistico e musicale, celebra la figura di Giuseppe Verdi nella ricorrenza del secondo centenario della sua nasci- ta e ne valorizza l’opera. L’anno 2013, ricorrenza del secondo centenario della nascita di Giuseppe Verdi, è dichiarato «anno verdiano»”. L’ anno verdiano, che stiamo vivendo, è quindi un’occasione imperdibile per far conoscere Giuseppe Verdi alle nuove generazioni. Non solo l’Italia, ma il mondo intero è impegnato a rendere omaggio al genio di Busseto, ad uno dei più illustri italiani. Il Rigoletto, la Traviata, il Trovatore, il Nabucco, il Macbeth, l’Aida, il Don Carlo, l’Otello sono opere che i teatri lirici di tutto il mondo ospitano ed anelano ad avere nelle loro programmazioni. -
Boston Symphony Orchestra Concert Programs, Season 42,1922
SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, April 12, at 8.00 PRoGRKttttE SSfflfflffl Steinway & Sons STEINERT JEWETT WOODBURY « PIANOS v Duo-Art REPRODUCING PIANOS AND PIANOLA PIANOS victroLas victor records M. STEINERT & SONS SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-SECOND SEASON 1922-1923 INC. PIERRE MONTEUX, Conductor SEASON 1922-1923 THURSDAY EVENING, APRIL 12, at 8.00 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE . Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager l 'CHE INSTRUMENT OF THE IMMORTALS Q OMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt and convenience a Steinway can at his Steinway be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years. 'Prices: $875 and up Convenient terms. -
Les Vêpres Siciliennes
1 Les Vêpres siciliennes napeste. Retenez bien ce mot. Cette cellule rythmique constituée de deux brèves et d’une longue – anapeste dans la métrique de la poésie antique – irrigue toute la partition des Vêpres siciliennes. Dès la première mesure, exposée aux cordes auxquelles répondent tambour, grosse caisse et timbales : les deux brèves très A serrées, la longue prolongée par un silence. Au caractère à la fois inquiet ET inquiétant – nous remarquerons que notre cellule rythmique marque indifféremment la honte et la rage des opprimés -, Verdi ajoute l’effet qui consiste à contenir ce qui est promesse d’explosions futures dans le sourd de la nuance piano. Comme pour confirmer cette menace de mort, s’élève en réponse à cette scansion inexorable, une sombre déploration aux clarinettes et bassons qui, à l’Acte IV portera les paroles « De profundis ». Verdi va exploiter cette dynamique dramatique et lancinante tout au long de l’œuvre. Le motif, cette fois aux cuivres et percussions pianissimo, soutient la phrase suivante : flûte, clarinette et bassons exposent l’air de la duchesse Hélène : chant d’espoir et promesse de salvation, sinistrement contredite par l’anapeste obsessionnelle. Le roulement du tambour dans un crescendo saisissant lance le tutti orchestral qui est celui du massacre qui conclut l’opéra. 2 La Sicile. Celle qui a vu passer Ulysse est d’abord grecque. Platon y est appelé par le tyran de Syracuse pour y organiser la république idéale. Partiellement carthaginoise, puis romaine, elle sera envahie par les Vandales, les Ostrogoths (491), par les Byzantins (535), puis par les Arabes (831), enfin par les Normands (1061-1091). -
L'opéra Comique
AAllpphhoonnssee LLEEVVEEAAUUXX ALPHONSE LEVEAUX documentation - Théâtre 1 NN ooss TThhééââttrree ddee 11880000 àà 11888800 NOS THÉÂTRES DE 1800 À 1880 Alphonse LEVEAUX 1810-1893 © Théâtre-documentation - Pézenas - 2018 2 ALPHONSE LEVEAUX Nos Théâtres de 1800 à 1880 3 NOS THÉÂTRES DE 1800 À 1880 Nos théâtres de 1800 à 1880 : la Tragédie, le Drame, la Comédie, l’Opéra français, l’Opéra Italien, l’Opéra Comique, le Vaudeville, les Ballets, l’Opérette, la Féerie, les Revues, la Parodie, la Pantomime. Tresse et Stock éditeurs, Paris. 1881-1886. 4 ALPHONSE LEVEAUX La France est le pays où le goût du théâtre est le plus répandu. Elle possède les meilleurs auteurs dont les productions, après s’être fait connaître à Paris, alimentent les scènes de province et sont, en assez grand nombre, traduites pour l’étranger, quand elles n’y sont pas représentées en langue française, comme en Russie, par exemple. Le théâtre entre pour beaucoup dans les causeries du monde. On pourrait même lui savoir gré de lutter souvent sans désavantage avec la politique qui tend à tout absorber. Que de bonnes soirées passées au spectacle et quelle agréable distraction nous donne une pièce bien jouée par des acteurs de talent ! Il est peu de personnes qui restent insensibles à ce genre de divertissement. On peut encore remarquer qu’il laisse un souvenir plus durable que bien d’autres incidents de la vie. Après dix et vingt ans, quand on a oublié une foule de choses, on se souvient parfaitement d’une comédie qui a fait plaisir et l’on en cite volontiers quelques traits heureux. -
Traces Mary Jane Phillips-Matz
Verdi Forum Number 6 Article 2 3-1-1979 Traces Mary Jane Phillips-Matz Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons Recommended Citation Phillips-Matz, Mary Jane (1979) "Traces," Verdi Newsletter: No. 6, Article 2. This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Traces Keywords Giuseppina Strepponi Verdi, Giuseppe Verdi, biography This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss6/2 Traces by Mary Jane Phillips Matz In the issue of Opera News dated.27 January Needing someone in Milan to give him 1979, two phrases in an article about Giusep the support and counsel which he regularly pina Strepponi refer to her as 'once the mis was fed by his partisans in Busseto, Verdi tress of one of the Bonapartes' and to her son became friendly with Donna Giuseppina Ap Camillo as having died 'while training to be piani and Donna Emilia Zeltner Morosini; come a doctor'. Behind those two throw but these women did not actually work in the away lines lie nearly sixteen years of re theatre, while Strepponi did. Thus she be search in several dozen archives. came essential to Verdi, and so vocal in her The first reference is to Princess Elisa advocacy of him that by early March 1842, Bonaparte's son-in-law, Count Filippo Cam when Nabucco got onstage, Donizetti was erata dei Passionei, whose support of opera driven by jealousy or anger to refer to the in Senigallia and Ancona gave the impresario composer as 'her Verdi'. -
L'art Musical (1860-70; 1872-94), Prototype Ripm Catalogue and Keyword-Author Index: an Assay of Ripm Methodology and Introductory Study of the Journal
L'ART MUSICAL (1860-70; 1872-94), PROTOTYPE RIPM CATALOGUE AND KEYWORD-AUTHOR INDEX: AN ASSAY OF RIPM METHODOLOGY AND INTRODUCTORY STUDY OF THE JOURNAL By DIANA CHRISTINA SOPHIA SNIGUROWICZ t B.Mus., The University of British Columbia, 1983 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1988 (c) Diana Christina Sophia Snigurowicz, 1988 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of °\X\Axt)JuC^ The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date ]2. ABSTRACT The musicological community has long recognized the need for restrospective peri• odical indexing. Previous attempts to develop a system to allow access to this monumental documentary resource, however, have not been successful. Realizing the importance of international cooperation and concensus in this effort, the Inter• national Association of Music Libraries (IAML) and the International Musicologi• cal Society (IMS) approved the creation of the Repertoire international de la presse musicale (RIPM) in 1981 and 1982, respectively. -
Schriftenreihe Des Sophie Drinker Instituts Band 4
Schriftenreihe des Sophie Drinker Instituts Herausgegeben von Freia Hoffmann Band 4 Marion Gerards, Freia Hoffmann (Hrsg.) Musik – Frauen – Gender Bücherverzeichnis 1780–2004 BIS-Verlag der Carl von Ossietzky Universität Oldenburg 2006 Das Werk ist einschließlich aller seiner Teile urheberrechtlich ge- schützt. Jede Verwertung außerhalb der Grenzen des Urheberrechts bedarf der Zustimmung der Autorinnen. Dies gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Medien. © BIS-Verlag, Oldenburg 2006 Umschlaggestaltung: Marta Daul Layout und Satz: BIS-Verlag Verlag / Druck / BIS-Verlag Vertrieb: der Carl von Ossietzky Universität Oldenburg Postfach 25 41, 26015 Oldenburg Tel.: 0441/798 2261, Telefax: 0441/798 4040 e-mail: [email protected] Internet: www.bis.uni-oldenburg.de ISBN 3-8142-0966-4 Inhaltsverzeichnis Vorwort 3 Hinweise zur Benutzung 5 1 Nachschlagewerke 9 1.1 Lexika und biographische Nachschlagewerke 9 1.2 Bibliographien 14 1.3 Notenverzeichnisse 17 1.4 Diskographien 22 2 Einführende Literatur 24 2.1 Kunstmusik 24 2.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 42 2.3 Stilübergreifend und Sonstige 50 3 Personenbezogene Darstellungen 54 3.1 Kunstmusik 54 3.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 320 3.3 Stilübergreifend und Sonstige 433 4 Spezielle Literatur 446 4.1 Kunstmusik 446 4.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 462 4.3 Stilübergreifend -
Verdi String Quartet Program Notes
Verdi, Giuseppe (1813-1901) String Quartet in E minor Allegro Andantino Prestissimo Scherzo Fuga. Allegro assai mosso Giuseppe Verdi was not a composer readily associated with chamber music—or instrumental music of any kind. He is most famous for transforming Italian opera from a vehicle that displayed vocal technique into an epic and dramatic art form rivalling the innovations of his German contemporary, Richard Wagner. Born in what was then French-controlled northern Italy, Verdi studied music in Milan, and first ventured into opera in 1839 with the moderately successful Oberto. Even greater fame came with his third opera, Nabucco, which led to an impressive string of triumphs. By the early 1870s, Verdi was at the height of his career, producing his newest operas Don Carlos and Aida. The latter work had received its world premiere in Cairo in late 1871, and was subsequently working its way through the major Italian opera houses under Verdi’s supervision. In March of 1873, Aida was scheduled to be performed in Naples, and Verdi was on hand working to adapt this large-scale work for the Teatro di San Carlo. But just before the première, the soprano Teresa Stolz, who had sung the part of Aida in every Italian performance thus far, became ill. As there was no understudy for the challenging new role, the Naples première had to be postponed for some weeks. With free time on his hands, Verdi decided to occupy himself by composing a string quartet, a genre he had never before attempted. The work received its première in a surprise performance for Verdi’s friends in his Naples hotel suite on April 1. -
From the Glicibarifono to the Bass Clarinet.Pdf
From the Glicibarifono to the Bass Clarinet: A Chapter in the History of Orchestration in Italy* Fabrizio Della Seta From the very beginnings of opera, the work of the theatre composer was carried out in close contact with, if not founded upon, the performer. At least until half-way through the nineteenth century, a composer would be judged in large part on his ability to make best use of the vocal resources of the singers for whom he was writing in a given season, to model his music on their individual qualities in the same way as (in terms of an often- repeated image) a tailor models the suit to the contours of his client's body, or (to use a more noble comparison) as a sculptor exploits the particular material characteristics of a block of marble. Even Verdi at the time of his greatest prestige, when he was in a position to impose his dramatic ideas in an almost dictatorial manner, drew inspiration from the abilities of respected performers, e.g. from Teresa Stolz for Aida or Giuseppina Pasqua for Falstaff. To a less decisive extent, but according to a concept similar in every respect, the same principle had been applied to the instrumental aspect of opera since the early decades of the eighteenth century, when the orchestra began to assume growing importance in the structure of a work. Often the presence in the theatre orchestra of a gifted instrumentalist would lead the composer to assign to him a prominent solo, almost always as if competing with voice as an obbligato part, and there were cases in which instrumentalist and composer coincided, as happened in certain operas by Handel.