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Puccini Il Tabarro
Puccini Il Tabarro MELODY MOORE · BRIAN JAGDE · LESTER LYNCH MDR LEIPZIG RADIO CHOIR · DRESDNER PHILHARMONIE MAREK JANOWSKI Giacomo Puccini (1858-1924) Giorgetta Melody Moore, Soprano Il Tabarro (1918) Michele Lester Lynch, Baritone Opera in one act Luigi Brian Jagde, Tenor Libretto: Giuseppe Adami Un venditore di canzonette Khanyiso Gwenxane, Tenor Frugola Roxana Constantinescu, Mezzo-soprano 1 Introduzione 2. 02 Tinca Simeon Esper, Tenor 2 O Michele? (Giorgetta, Michele, Scaricatori) 2. 07 Talpa Martin-Jan Nijhof, Bass 3 Si soffoca, padrona! (Luigi, Giorgetta, Tinca, Talpa) 2. 11 Voce di Sopranino & 4 Ballo con la padrona!(Tinca, Luigi, Giorgetta, Talpa, Michele) 1. 35 Un’amante Joanne Marie D’Mello, Soprano 5 Perché? (Giorgetta, Un venditore di canzonette, Michele, Midinettes) 3. 21 Voce di Tenorino & 6 Conta ad ore le giornate (Midinettes, Frugola, Giorgetta) 3. 56 Un amante Yongkeun Kim, Tenor 7 To’! guarda la mia vecchia! (Talpa, Frugola, Michele, Luigi, Tinca) 1. 21 8 Hai ben raggione; meglio non pensare (Luigi) 2. 22 MDR Leipzig Radio Choir 9 Segui il mio esempio (Tinca, Talpa, Frugola, Giorgetta, Luigi) 2. 32 Chorus Master: Jörn Hinnerk Andresen 10 Belleville è il suolo e il nostro mondo! (Giorgetta, Luigi) 2. 29 11 Adesso ti capisco (Frugola, Talpa, Luigi, Voce di Sopranino, Voce di Tenorino) 2. 22 Dresdner Philharmonie 12 O Luigi! Luigi! (Giorgetta, Luigi) 1. 30 Concertmaster: Wolfgang Hentrich 13 Come? Non sei andato? (Michele, Luigi, Giorgetta) 1. 13 Assistant Conductor: Andreas Henning 14 Dimmi: perché gli hai chiesto di sbarcarti a Rouen? (Giorgetta, Luigi, Michele) 4. 36 15 Perché non vai a letto? (Michele, Giorgetta) 7. -
Sailing on Seas of Uncertainties: Late Style and Puccini's Struggle for Self
International Journal of Ageing and Later Life, 2008 3(1): 77Á95. # The Authors Sailing on seas of uncertainties: late style and Puccini’s struggle for self-renewal By AMIR COHEN-SHALEV Abstract The popularity of Puccini’s melodramatic operas, often derided by ‘‘serious’’ musicologists, has hindered a more rounded evaluation of his attempt at stylistic change. This paper offers a novel perspective of life- span creativedevelopment in order to move the discussion of Puccini beyond the dichotomy of popular versus high-brow culture. Tracing the aspects of gradual stylistic change that began in The Girl from the Golden West (1910) through the three operas of Il Trittico: Il Tabarro, Suor Angelica, and Gianni Schicchi (1918Á1919), the paper then focuses on Puccini’s last opera, Turandot (1926), as exemplifying a potential turn to a reflexive, philosophical style which is very different from the melodramatic, sentimentalist style generally associated with his work. In order to discuss this change as embodying a turn to late style, the paper identifies major stylistic shifts as well as underlying themes in the work of Puccini. The paper concludes by discussing the case of Puccini as a novel contribution to the discussion of lateness in art, until now reserved to a selected few ‘‘old Masters.’’ Keywords: Puccini, late style, life-span development, creativity. Amir Cohen-Shalev, Department of Gerontology, University of Haifa, Israel. 77 International Journal of Ageing and Later Life Beloved and popular, the operas of Giacomo Puccini have at the same time been derided by more ‘‘serious’’ musicologists as the product of a decadent, bourgeois society (Greenwald 1993). -
La Fanciulla Del West Recital
La Stagione d’Opera è realizzata con il contributo di In collaborazione con Soci Fondatori Teatro Donizetti di Bergamo Teatro Grande di Brescia Teatro Sociale di Como Teatro Ponchielli di Cremona Teatro Fraschini di Pavia La Fanciulla Recital del West d’Opera G. PUCCINI La Fanciulla del West Recital d’opera di Guelfo Civinini e Carlo Zangarini tratto dal dramma The girl of the Golden West di David Belasco musica di GIACOMO PUCCINI con Rebeka Lokar, soprano Angelo Villari, tenore Devid Cecconi, baritono accompagnati al pianoforte dal Maestro Valerio Galli Progamma dall’Atto Primo Introduzione (pianoforte) Ti voglio bene, Minnie (Cecconi - Lokar) Mister Johnson, siete rimasto indietro (Lokar -Villari) dall’Atto Secondo Un bacio, un bacio almen (Lokar -Villari) Vieni fuori, vieni fuor! (Lokar- Villari- Cecconi) dall’Atto Terzo Risparmiate lo scherno. Ch’ella mi creda (Villari -Cecconi) Nell’ambito della Stagione Opera 2020 OperaLombardia vuole continuare a sostenere gli artisti e le maestranze dello spettacolo, oltre a mantenere forte e vivo il legame con il proprio pubblico anche attraverso i nuovi sistemi di comunicazione. Sarà un omaggio all’opera di Giacomo Puccini. Gli interpreti principali di quella che sarà una produzione 2021 al Teatro Grande di Brescia, presentano in forma di concerto i momenti più significativi dell’opera. Durata: un’ora senza intervallo La Fanciulla del West a prima della Fanciulla del West, settimo titolo nella produzione di Puccini, andò in scena il 10 dicembre del 1910 al Metropolitan Ldi New York: sul podio -
Il Trittico 301
Recondite Harmony: Il Trittico 301 Recondite Harmony: the Operas of Puccini Chapter 12: Il Trittico: amore, dolore—e buonumore “Love and suffering were born with the world.” [L’amore e il dolore sono nati col mondo] Giacomo Puccini, letter to Luigi Illica, 8 Oct 19121 Puccini’s operatic triptych, Il Trittico, is comprised of the three one-act operas: Il tabarro, a story of illicit love; Suor Angelica, a tale of a nun’s suffering at the loss of her illegitimate child; and Gianni Schicchi, a dark comedy in which both love and loss are given a morbidly humorous twist. The Trittico2 was always intended by the composer to be performed in a single evening, and it will be treated as a tripartite entity in this chapter. The first two editions, from 1918 and 1919, group all three works together, which was at Puccini’s insistence. In an unpublished letter to Carlo Clausetti, dated 3 July 1918, the composer reveals how he clashed with publisher Tito Ricordi over this issue: There remained the question of the editions—that is, [Tito Ricordi] spoke of them immediately and pacified me by saying that they will publish the works together and separately. But I think that he was not truthful because the separated ones will never see the light of day. And what will happen with the enumeration? There will certainly not be two types of clichets [printing plates], one with numbers progressing through the three operas, and the other with numbers for each score, starting from number one. So, he deceived me.3 1 Eugenio Gara. -
The Morgan to Display Original Manuscripts from Madama Butterfly and La Bohème in New Exhibition on Giacomo Puccini
Press Contacts Patrick Milliman 212.590.0310, [email protected] Sandra Ho 212.590.0311, [email protected] THE MORGAN TO DISPLAY ORIGINAL MANUSCRIPTS FROM MADAMA BUTTERFLY AND LA BOHÈME IN NEW EXHIBITION ON GIACOMO PUCCINI SHOW MARKS 150th ANNIVERSARY OF THE GREAT COMPOSER’S BIRTH Celebrating Puccini on View September 15, 2009, through January 10, 2010 New York, NY, July 24, 2009—The life and art of one of opera’s iconic figures, composer Giacomo Puccini, is the subject of a new exhibition opening September 15 at The Morgan Library & Museum. On view are approximately forty items related to Puccini’s career, including rarely seen original sketches for his acclaimed operas Madama Butterfly and La Bohème. The exhibition celebrates the 150th anniversary (2008– 09) of Puccini’s birth in Lucca, Italy, on December 22, 1858. The show runs through January 10, 2010. In addition to original manuscripts, the exhibition also includes a display of first-edition librettos, personal letters, a period poster and playbills, souvenir postcards, and rare material linked to Puccini’s relationship with such legends as Enrico Caruso and Arturo Toscanini. The exhibition is drawn almost exclusively from the Morgan’s extensive music holdings, including the Cary, Heineman, and Fuld collections, as well as the Robert Owen Lehman Collection, which is on deposit at the Morgan. “The Morgan is delighted to bring to life this major figure in operatic history,” said William M. Griswold, director of the Morgan. “So many of Giacomo Puccini , La Bohème, sketches for Act IV, 1895.The Dannie and Hettie Heineman Collection. Heineman MS 173B. -
Manon Lescaut Composer Biography: Giacomo Puccini
Manon Lescaut Composer Biography: Giacomo Puccini Born 22nd December 1858 in Lucca, Italy, music was in Puccini's blood, but he was not a wunderkind. Except for a handful of compositions, he was an opera composer, full stop, he never even conducted a single piece that he wrote. Puccini's father, among other duties, was director of the local conservatoire and church organist. When he died in 1864, Puccini's uncle succeeded him in those posts, although the six-year-old Giacomo was to take over as organist as soon as he was "able to discharge such duties," according to the official decree. Puccini never did take over, despite playing the organ and composing a few small pieces as a young man. He saw his first opera, Verdi's Aida, at fifteen and "felt that a musical window had opened." He started composing larger works with an eye toward attending the Milan conservatoire, where he matriculated in 1880. His first taste of success came in 1884 with the one-act opera and ballet Le willis (later renamed Le villi and changed to two acts). One month later his mother died and Puccini almost immediately eloped with Elvira Gemignani, a married woman with whom he would have a stormy relationship for the rest of his life. (They eventually married in 1904.) Puccini never worked quickly, always searching for the right subject matter, the one that would "make people weep, therein lies everything." Edgar, his first full-length opera, premiered at La Scala in 1889, five years after Le villi. It failed, receiving just three performances, and has never entered the repertory (the last Met staging was in 1909 while its Vienna premiere was 2005). -
Vincerò! Piotr Beczala
Vincerò! Piotr Beczala ORQUESTRA DE LA COMUNITAT VALENCIANA MARCO BOEMI VINCERÒ! Ruggero Leoncavallo (1857-1919): Pagliacci (1892) 13 Recitar … Vesti la giubba 3. 29 Giacomo Puccini (1858-1924): Tosca (1900) 1 Recondita armonia 2. 47 Giacomo Puccini: La Fanciulla del West (1910) 2 E lucevan le stelle 4. 15 14 Ch’ella mi creda libero e lontano 1. 49 Francesco Cilea (1866-1950): Adriana Lecouvreur (1902) Giacomo Puccini: Edgar (1888) 3 La dolcissima effigie 2. 03 15 Orgia, chimera dall’occhio vitreo 4. 54 4 L’anima ho stanca 1. 54 5 Il russo Mèncikoff ** 1. 55 Giacomo Puccini: Gianni Schicchi (1918) 16 Avete torto … Firenzo è come un albero fiorito 3. 11 Pietro Mascagni (1863-1945): Cavalleria rusticana (1890) 6 Intanto amici … Viva il vino spumeggiante * & ** 3. 01 Giacomo Puccini: Madama Butterfly (1904/1907) 7 Mamma, quel vino è generoso (Addio alla madre) * 3. 43 17 Addio fiorito asil 1. 59 Giacomo Puccini: Manon Lescaut (1893) Giacomo Puccini: Turandot (1926) 8 Donna non vidi mai 2. 24 18 Nessun dorma ** 3. 22 9 Tra voi, belle ** 1. 30 Total playing time: 52.56 Umberto Giordano (1867-1948): Andrea Chénier (1896) Piotr Beczala, tenor 10 Come un bel dì di maggio 2. 50 11 Un dì all’azzuro spazio (Improvviso) 5. 00 * Evgeniya Khomutova, mezzo-soprano (Centre de Perfeccionament Plácido Domingo) ** Cor de la Generalitat Valenciana Umberto Giordano: Fedora (1898) 12 Amor ti vieta 1. 41 Orquestra de la Comunitat Valenciana Conducted by Marco Boemi My new exciting project for 2020 is my recording of Verismo arias, ‘Vincerò!’, for my partners and friends at the ‘Label of the Year’ PENTATONE. -
“LET AMERICA BE AMERICA AGAIN” a Sung Tribute to Langston Hughes & Friends
Sunday, April 18, 2021 | 8 PM “LET AMERICA BE AMERICA AGAIN” A Sung Tribute to Langston Hughes & Friends Catherine Malfitano, Artistic and Video Conception and Direction Chun-Wei Kang, Music Direction and Pianist Simon Yu, Director of Photography and Video Editor Tazewell Thompson, Recitation of “Let America Be America Again” by Langston Hughes Director of Opera Studies Catherine Malfitano Welcome and Introduction Part One: Prologue RICKY IAN GORDON/ “To Be Somebody” LANGSTON HUGHES “Harlem Night Song” Kevin Lee, tenor “Demand” Elizabeth Anderson, soprano “Border Line” Nikkole Dittler, soprano “In Time of Silver Rain” Lexi Brown, soprano ROBERT OWENS/ “Genius Child” LANGSTON HUGHES Benjamin Sokol, bass-baritone FLORENCE PRICE/ “Bewilderment” LANGSTON HUGHES Abigail Dutler, soprano ROBERT OWENS/ “Faithful One” LANGSTON HUGHES Simon Staples, baritone RICKY IAN GORDON/ “Strange Hurt” LANGSTON HUGHES Alexandra Cirile, mezzo soprano H. LESLIE ADAMS/ “The Heart of a Woman” GEORGIA DOUGLAS Ricardo Javier Rodriguez, tenor JOHNSON JOHN MUSTO/ “Could Be” LANGSTON HUGHES Mathieu Levan, tenor RICKY IAN GORDON/ “Late Last Night” LANGSTON HUGHES Sarah Marguerite Lassiter, soprano RICKY IAN GORDON/ “Troubled Woman” LANGSTON HUGHES Seolbin Oh, soprano RICKY IAN GORDON/ “Daybreak in Alabama” LANGSTON HUGHES Rose Iannuzzi, soprano H. LESLIE ADAMS/ “Prayer” LANGSTON HUGHES Anna Maria Vacca, mezzo soprano Entr’acte/Five Minute Pause MAURICE RAVEL Berceuse sur le nom de Gabriel Fauré Joseph Malfitano, violin Paul Kueter, piano Part Two: The Movie JOHN MUSTO/ “Island” LANGSTON HUGHES Hina Zhang, mezzo soprano MARGARET BONDS/ “The Negro Speaks of Rivers” LANGSTON HUGHES Adja Thomas, mezzo soprano FLORENCE B. PRICE/ “We Have Tomorrow” LANGSTON HUGHES Ariel Wei, mezzo soprano RICKY IAN GORDON/ “Dream” LANGSTON HUGHES Georgina Wu, mezzo soprano FLORENCE B. -
PROGRAM NOTES for a GRADUATE RECITAL Yehun Kim [email protected]
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 5-2011 PROGRAM NOTES FOR A GRADUATE RECITAL Yehun Kim [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Kim, Yehun, "PROGRAM NOTES FOR A GRADUATE RECITAL" (2011). Research Papers. Paper 79. http://opensiuc.lib.siu.edu/gs_rp/79 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. PROGRAM NOTES FOR A GRADUATE RECITAL by Yehun Kim B.M., Kyungwon University, Korea, 2000 A.D. in Chamber Music, Versailles National Conservatory, France, 2004 A.D. in Orchestral Conducting, Dijon National Conservatory, France, 2005 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale May 2011 RESEARCH PAPER APPROVAL PROGRAM NOTES FOR A GRADUATE RECITAL By Yehun Kim A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Orchestral Conducting Approved by: Edward M. Benyas, Chair Michael Barta Douglas Worthen Graduate School Southern Illinois University Carbondale February 7, 2011 1 Program Notes ‘Gianni Schicchi ’ Gianni Schicchi is a one-act comic opera by the Italian composer, Giacomo Puccini (1858-1924), set to an Italian libretto by Giovacchino Forzano (1884-1970). The opera plot is derived from an episode in Dante’s Divine Comedy . -
Verismo Opera: How Bel Canto Technique Protected the Voices of Its Singers BY
Verismo opera: how bel canto technique protected the voices of its singers BY Zeyu Chen An exegesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Musical Arts Victoria University of Wellington 2020 Year of Submission 1 ABSTRACT Verismo is a style of opera composition that was influenced by a significant movement in Italian literature from the end of the nineteenth century to the beginning of the twentieth century. It is characterised by the true-to-life portrayal of rural or urban poverty, often showing a robust regional lifestyle as well as serving as the introduction to the region's representative songs and dances.1 Historically, the singing of verismo opera posed some problems for singers in regards to their stamina and the longevity of their career. As a student, I attempted to sing this type of music, but I felt unable to sing it well; my difficulties and the problems associated with the performance of verismo, therefore, fascinated me. Rationalising that proper vocal technique was the answer to these problems, I then concentrated on long-term systematic bel canto training in China and New Zealand. In most cases, the study of bel canto technique is a fundamental part of the process of learning vocal music for classical singers. In addition to laying out the background of verismo and bel canto, my exegesis demonstrates how singers can learn to sing verismo opera well without damaging their voices, which will help them extend their stamina and the length of their career. -
Giacomo Puccini's Gianni Schicchi BACKGROUND
Giacomo Puccini’s Gianni Schicchi BACKGROUND There is some debate over whether Giacomo Puccini or librettist Giovacchino Forzano had the idea of basing an opera on the brief passage of Dante’s Inferno describing the wily rogue who cheated the poet’s own relatives out of a considerable fortune. Forzano completed the libretto in June 1917, and Puccini began working on it immediately before setting it aside to finish Suor Angelica , which would become the second part of Il trittico. Il trittico , the trio of short operas encompassing Il tabarro, Suor Angelica, and Gianni Schicchi , premiered at the Metropolitan Opera in 1918 to mixed reviews, with Gianni Schicchi the most well-received. Though usually present at all his premieres, Puccini did not attend. (The lingering presence of mines made the transatlantic journey dangerous so soon after the conclusion of World War I.) Thus, the Met’s General Manager Giulio Gatti-Casazza sent him a telegram following the performance: “Most happy to announce the complete authentic success of the Trittico . At the end of each opera long very sincere demonstrations more than forty warm curtain calls altogether. In spite of public notice forbidding encores by insistence Lauretta’s aria [“O mio babbino caro”] was repeated. Principal strength Moranzoni magnificent. Farrar Muzio Easton De Luca Montesanto Didur incomparable singers and actors. Daily press confirms success expressing itself very favourably on worth of the operas enthusiastically for Schicchi .” Though Il trittico was performed in its entirety a few times, Suor Angelica and Il tabarro gradually faded into the background, while the more popular Gianni Schicchi , with memorable arias like “O mio babbino caro,” was billed with short operas by other composers, such as Cavalleria Rusticana or Pagliacci. -
Giacomo Puccini from Wikipedia, the Free Encyclopedia
Giacomo Puccini From Wikipedia, the free encyclopedia Giacomo Puccini Giacomo Antonio Domenico Michele Secondo Maria Puccini ( 22 December 1858 – 29 November 1924) was an Italian composer whose operas are among the important operas played as standards. Puccini has been called "the greatest composer of Italian opera after Verdi". While his early work was rooted in traditional late-19th-century romantic Italian opera, he successfully developed his work in the realistic verismo style, of which he became one of the leading exponents. Family and education Puccini was born Giacomo Antonio Domenico Michele Secondo Maria Puccini in Lucca in Tuscany, in 1858. He was one of nine children of Michele Puccini and Albina Magi. The Puccini family was established in Lucca as a local musical dynasty by Puccini's great-great grandfather – also named Giacomo (1712–1781).This first Giacomo Puccini was maestro di cappella of the Cattedrale di San Martino in Lucca. He was succeeded in this position by his son, Antonio Puccini, and then by Antonio's son Domenico, and Domenico's son Michele (father of the subject of this article). Each of these men studied music at Bologna, and some took additional musical studies elsewhere. Domenico Puccini studied for a time under Giovanni Paisiello. Each composed music for the church. In addition, Domenico composed several operas, and Michele composed one opera. Puccini's father Michele enjoyed a reputation throughout northern Italy, and his funeral was an occasion of public mourning, at which the then-famed composer Giovanni Pacini conducted a Requiem. With the Puccini family having occupied the position of maestro di cappella for 124 years (1740–1864) by the time of Michele's death, it was anticipated that Michele's son Giacomo would occupy that position as well when he was old enough.