DOCSLIB.ORG

VERDI Also Available Simon Boccanegra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

8.110119-20 bk Boccanegra_EU 12/12/08 1:42 PM Page 12 VERDI Also Available Simon Boccanegra O GOB TIT BI 8.111334-35 8.111240-41 1 g 957 Recordin Tito Gobbi • Boris Christoff Victoria de los Angeles • Giuseppe Campora 8.111284-85 8.111332-33 Rome Opera House Chorus and Orchestra Gabriele Santini 8.110119-20 12 8.110119-20 bk Boccanegra_EU 12/12/08 1:42 PM Page 2 Great Opera Recordings pleads for death and Amelia is moved by his great love, whom he had thought dead. Boccanegra forgives him, seeking to heal old enmities. £ He returns, as a ghost, to avenge outrage. The lights & Shouts are heard outside and calls to arms, the start of begin to go out in the piazza outside. Boccanegra, Giuseppe the rebellion against the Doge, who bids Gabriele join his however, is relieved at Fiesco’s appearance and can friends. The latter demurs, now loyal to Boccanegra and announce peace between them. He tells him that his own VERDI rewarded with the hand of Amelia. daughter and Fiesco’s grand-daughter is Amelia Grimaldi. (1813 - 1901) Act 3 ¢ Fiesco weeps at the revelation. He hears in Boccanegra’s words the voice of Heaven. Boccanegra * From the Doge’s palace Genoa can be seen, seeks to embrace him, the father of his beloved Maria. Simon Boccanegra illuminated as for a festival. The shouts of the crowd are Fiesco tells Boccanegra of the poison. The latter is Opera in a Prologue and Three Acts heard, praising the Doge. growing weaker and collapses onto a seat, as Amelia, Text by Franceso Maria Piave as modified by Arrigo Boito ( A captain of the bowmen gives Fiesco back his sword Gabriele, ladies, gentlemen, senators and pages with and tells him he is free. Asked about the rest of the torches come in. Guelph faction, he tells him that they have been defeated. – Amelia is surprised to see Fiesco, whom she has Simon Boccanegra . Tito Gobbi (baritone) Paolo is brought in, under guard, condemned to torture known as Andrea, but Boccanegra now reveals the latter Jacopo Fiesco / Andrea . Boris Christoff (bass) and death. He tells Fiesco that Boccanegra too will die, as the father of Amelia’s mother, Maria. Amelia rejoices Amelia Grimaldi / Maria Boccanegra . Victoria de los Angeles (soprano) poisoned by him, and to his horror hears the sound of at the end of old enmities, but Boccanegra tells her that Gabriele Adorno . Giuseppe Campora (tenor) wedding celebrations for Amelia and Gabriele. Paolo everything is coming to an end and that he is dying. With Paolo Albiani . Walter Monachesi (bass) further appals Fiesco by declaring his responsibility for Gabriele she kneels at his feet. He rises, lays his hands on Pietro . Paolo Dari (baritone) the abduction of Amelia. In anger Fiesco draws his their heads and raises his eyes to Heaven. Captain of the Crossbowmen . Paolo Caroli (tenor) sword, but then desists, as Paolo is destined for a worse § He calls for God’s blessing on them. Amelia pleads Amelia’s Maidservant . Silvia Bertona (mezzo-soprano) fate. The guards drag him away. Fiesco resolves that the with him not to die and Gabriele joins her in lamenting search for revenge is not ended yet and, as the Doge the swift passing of happiness. Boccanegra bids her approaches, hides himself in the shadows. embrace him, as he dies. Rome Opera House Chorus and Orchestra ) The captain enters, with a trumpeter, and announces to ¶ Turning to the senators, he commands them to make (Chorus Director: Giuseppe Conca) the people that, by command of the Doge, lights should Gabriele Adorno the next Doge. His voice fails and he Gabriele Santini be extinguished, in honour of the dead. can say no more, but stretches his hands out over Amelia ¡ Boccanegra enters, feverish and suffering the effects and Gabriele, as he dies. Fulfilling his final command, of poison, cooled by the sea breeze. The sea reminds him Fiesco calls on the people of Genoa to acclaim their new Recorded 25th – 30th September and 1st November, 1957 in the Opera House, Rome of his former life and there he would happily have died. Doge, Gabriele Adorno, and to pray for the one who has First issued on HMV ALP 1634 through 1636 Fiesco emerges, threatening a better death. Boccanegra died. calls for his guards, but no-one comes. ™ Fiesco reveals himself as the Doge’s old enemy, Keith Anderson Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn 8.110119-20 211 8.110119-20 8.110119-20 bk Boccanegra_EU 12/12/08 1:42 PM Page 10 2 Shouts are heard from outside. The disturbance is palace, mistress of Boccanegra. CD 1 62:12 ^ Vieni a me, ti benedico 2:18 watched from the window by Paolo and Pietro, and 9 Paolo hurries out, leaving Gabriele appalled at what (Andrea, Gabriele) Boccanegra too looks out to see that the crowd are he has heard: Boccanegra has killed his father, stolen his Prologue & Il Doge vien 2:09 pursuing Gabriele Adorno. Pietro, in an aside, tells beloved Amelia. He is inflamed by jealousy and calls on 1 Allegro moderato 1:18 (Gabriele, Andrea, Simon, Paolo, Amelia) Paolo to make his escape, since they are discovered. God to pity his suffering. He begs Heaven to give him (Orchestra) * Dinne, perché in quest’eremo 2:05 They are observed by Boccanegra, who orders none to Amelia again and that she remains his, in her purity. 2 Che dicesti? 4:01 (Simon, Amelia) leave. There is discord in the council chamber, as the 0 Amelia comes into the room, surprised to find plebeians call for the death of the nobles, who draw their Gabriele there. (Paolo, Pietro, Simon) ( Orfanella il tetto umile 4:40 swords, and the plebeians then do likewise, before there ! He is anxious to learn the reason for her presence, 3 All’alba tutti qui verrete? 1:56 (Amelia, Simon) are shouts against the Doge himself, who orders the accusing her of faithlessness. She rejects his charges but (Pietro, Chorus, Paolo) ) Dinne, alcun là non vedesti? 1:22 doors of the palace to be opened to the people. The cannot give a fuller explanation. 4 L’altra magion vedere? 3:48 (Simon, Amelia) herald’s trumpet quietens the mob, who have dragged in @ The Doge is heard approaching and she tells Gabriele (Paolo, Chorus, Pietro) ¡ Figlia! a tal nome palpito 3:44 Gabriele and Andrea. Gabriele has killed Lorenzino, to hide, begging him with increasing urgency, while he 5 A te l’estremo addio, palagio altero 2:15 (Simon, Amelia) Pietro’s accomplice in the abduction of Amelia, and as still vows death on Boccanegra. Eventually he hides on (Fiesco) ™ Che rispose? 1:31 he died he had implicated Boccanegra, whom Gabriele the balcony. 6 Il lacerato spirito 4:12 now accuses and would kill, but for the intervention of # The Doge enters, reading a paper, and addressing her (Paolo, Simon, Pietro) Amelia, who now enters. The Doge asks Amelia what as daughter, and she him as father. She tells him the (Fiesco, Chorus) happened. name of her lover, Adorno, his enemy, his name written 7 Suona ogni labbro il mio nome 3:58 CD 2 78:09 3 She tells him how she was abducted by Lorenzino’s on the paper he holds, listing those conspiring against (Simon, Fiesco) men. Before she can reveal the name of the instigator of him. He cannot pardon Gabriele, in spite of Amelia’s 8 Del mar sul lido fra gente ostile 2:53 Act 1 the plot, the factions break out in recrimination, one of pleas. Boccanegra is in despair, having found his (Simon, Fiesco) Scene 2 the other. daughter only to have her stolen by his enemy. He tells 9 Oh de’ Fieschi implacata, orrida razza! 4:18 1 Messeri, il re di Tartaria voi porge 2:59 4 The tumult is quelled again by Boccanegra. her to go, although she wants to watch by his side. (Simon, Fiesco, Chorus, Paolo, Pietro) (Simon, Chorus, Paolo) 5 Gabriele surrenders his sword to Boccanegra, who $ He must exercise clemency, unless it is weakness that tells him he will be detained, until the matter is cleared motivates him. He pours the water Paolo has poisoned 2 Oh! … Qual clamor! 5:48 up. The Doge turns to Paolo, whose guilt he well knows, into a cup and drinks, ironically finding water Act 1 (Chorus, Pietro, Paolo, Simon, Gabriele, Amelia) and forces him to join in cursing the villain behind the sometimes bitter to the lips of one who rules. He sits Scene 1 3 Nell’ora soave che all’estasi invita 2:40 plot, a curse in which all join. down and in a moment is overtaken by sleep, calling on 0 Lento assai 2:54 (Amelia, Chorus, Simon, Gabriele) the name of Amelia. (Orchestra) 4 Plebe! Patrizi! Popolo! 5:26 Act 2 % Gabriele steals in from the balcony, held back from ! Come in quest’ora bruna 4:15 (Simon, Chorus, Amelia, Pietro, Paolo, murdering the Doge either by respect or fear. He draws (Amelia) Gabriele, Fiesco) 6 Paolo and Pietro are together in a room in the Doge’s his dagger and is about to strike the sleeping man, when @ Cielo di stelle orbato 2:06 5 palace. Paolo sees himself rejected by all, cursed, but Amelia intervenes. The Doge wakens and sees Gabriele Ecco la spada 4:11 determines to take revenge on Boccanegra, through about to murder him, a defenceless victim. He asks who (Gabriele, Amelia) (Gabriele, Simon, Paolo, All) poison and the dagger, as he empties a vial of poison opened the palace doors to him and threatens Gabriele # Vieni a mirar la cerula marina tremolante 2:57 into a jug of water on the table.
Recommended publications
  • Verdi Week on Operavore Program Details

    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.
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
  • MICHAEL FINNISSY at 70 the PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’S College, London

    MICHAEL FINNISSY at 70 the PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’S College, London

    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2016). Michael Finnissy at 70: The piano music (9). This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17520/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] MICHAEL FINNISSY AT 70 THE PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’s College, London Thursday December 1st, 2016, 6:00 pm The event will begin with a discussion between Michael Finnissy and Ian Pace on the Verdi Transcriptions. MICHAEL FINNISSY Verdi Transcriptions Books 1-4 (1972-2005) 6:15 pm Books 1 and 2: Book 1 I. Aria: ‘Sciagurata! a questo lido ricercai l’amante infido!’, Oberto (Act 2) II. Trio: ‘Bella speranza in vero’, Un giorno di regno (Act 1) III. Chorus: ‘Il maledetto non ha fratelli’, Nabucco (Part 2) IV.
  • Tempesta a Montecitorio Mentre Il Compagno To­ Manza Immediata Dell'ag­ Strada

    Tempesta a Montecitorio Mentre Il Compagno To­ Manza Immediata Dell'ag­ Strada

    ••)'. i, e ' ., ,,' J* é * r • > 'Vi DlRLZlONfc t AMMiNlSlKAZlONfc. - KOMA >•' r Via IV Nottua., 14» |«| «7|2| «3.521 «144* «7J4S InTERURBANE: AauuaiiiraziaM «M7H gaéasiaM ft.«js Viva i lavoratori romani ^ PES3E2I D'ABBONAMENTO Anno gim lYlm. UNITA ,a»o f.VOO che hanno dato una fiera (con «4lilon« «MI lun*dl) T.3J0 1JW> RINASCITA ... ' 1400 no VIE NUOVE 1,«00 tOOtaOo «00 risposta ai nemici della Siamone tu ***t9*aunu> potute. Vnmto emr—tr 140«untal0 a news* PUBBLICITÀ': min colonna . Commercial*: CtiMtu i» 1S0 • Donavi- Costituzione e del Parla­ cale u 300. Echi rpetUcoU L 1M • Cronaca L l«o • N«eroio«t« C 130 - Finanziaria, Batch* u. soo . unti L. JBO • Rivolger* (SPI), via ,1 del Parlamento » . Roma . Tei CUT» . «S.sM e «urcurwH »n Italia ORGANO DEL PARTITO COMUNISTA ITALIANO mento repubblicano! ^^—^^—^^- • . .- . ANNO XXX (Nuova Som) - N. 21 MERCOLEDÌ* 21 GENNAIO 1953 Una copisi L. 25 - Arretrate L. 30 j IL POPOLO UNISCE LA SUA VOCE POTENTE A QUELLA DEI DEPUTATI D'OPPOSIZIONE alla provocazione di scema e al ladri ti l seggi 11 centro della Capitale e Montecitorio in stato d'assedio mentre continua nell'aula la battaglia contro i nemici della Costituzione - L'ener­ gica dichiarazione di voto di Togliatti - Compatta riuscita dello sciopero generale a Roma - Possenti manifestazioni nelle strade della città Il compagno Ingrao ferito alla testa dalla polizia di Sceiba - Drammatico tumulto alla Camera La dichiarazione del compagno Togliatti Tempesta a Montecitorio Mentre il compagno To­ manza immediata dell'ag­ strada. La Capitale è in stato gliatti pronuncia le ultime gressione subita: egli aveva d'assedio! Solo perchè passa' - PRESIDENTE: E' iscritto di incostituzionalità, che fan­ parole della sua dichiarazio­ una larga ferita alla testa vo per il Tritone sono stato a parlare l'onorevc'e Togliat­ no riflettere chiunque abbia ne, il compagno Giolitti en­ che cercava di tamponare aggredito e bastonato dalla ti.
  • Bellini's Norma

    Bellini's Norma

    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
  • Umberto Giordano Andre Chenier Mp3, Flac, Wma

    Umberto Giordano Andre Chenier Mp3, Flac, Wma

    Umberto Giordano Andre Chenier mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Andre Chenier Country: Netherlands Released: 1987 Style: Opera MP3 version RAR size: 1125 mb FLAC version RAR size: 1458 mb WMA version RAR size: 1180 mb Rating: 4.5 Votes: 684 Other Formats: MP1 MOD AU MPC DTS MP4 AAC Tracklist A1 Akt I 29:08 A2 Akt II 27:19 B1 Akt III Beginning 28:58 B2 Akt III Conclusion 10:58 Notes Booklet in 4 language's 211 Pages Barcode and Other Identifiers Barcode: 5099704236919 Other versions Category Artist Title (Format) Label Category Country Year Giordano* - José Giordano* - José Carreras, Éva Carreras, Éva Marton, Giorgio Marton, Giorgio CBS Zancanaro, 54DC5007-8 Zancanaro, Masterworks, 54DC5007-8 Japan 1987 Hungarian State Hungarian State CBS/Sony Orchestra, Giuseppe Orchestra, Patanè - Andrea Giuseppe Patanè Chénier (2xCD) Giordano* - José Giordano* - José Carreras, Eva Carreras, Eva Marton*, Giorgio Marton*, Giorgio Zancanaro, CBS M2 42369 Zancanaro, M2 42369 Germany 1987 Hungarian State Masterworks Hungarian State Orchestra, Giuseppe Orchestra, Patanè - Andrea Giuseppe Patanè Chenier (3xLP + Box) Umberto Giordano, Umberto Giordano, José Carreras, Eva José Carreras, Eva Marton*, Hungarian Marton*, State Orchestra, Hungarian State Hungarian State M2K 42369 Orchestra, CBS M2K 42369 Europe 1987 Radio And Television Hungarian State Chorus*, Giuseppe Radio And Patanè - Andrea Television Chorus*, Chénier (2xCD, Giuseppe Patanè Album, Box) Related Music albums to Andre Chenier by Umberto Giordano José Carreras -
  • Puccini Madama Butterfly - Highlights - Extraits - Auszüge Mp3, Flac, Wma

    Puccini Madama Butterfly - Highlights - Extraits - Auszüge Mp3, Flac, Wma

    Puccini Madama Butterfly - Highlights - Extraits - Auszüge mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Madama Butterfly - Highlights - Extraits - Auszüge Country: France Released: 1987 Style: Opera MP3 version RAR size: 1891 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1118 mb Rating: 4.4 Votes: 353 Other Formats: AA AHX MP2 MP1 MP3 XM AUD Tracklist 1 Dovunque Al Mondo 2 Viene La Sera 3 Bimba Dagli Occhi Pieni di Malia 4 Un Bel di Vedremo 5 Una Nave Da Guerra... Scuoti Quella Fronda 6 Io So Che Alle Sue Pene 7 Con Onor Muore... Tu ? Tu ? Piccolo Iddio ! Notes Renata Tebaldi_ Carlo Bergonzi - Enzo Sordello - Florenza Cossotto - Angelo Mercuriali Orchestra e Coro Dell'Academia Di Santa Cecilia, Roma Chorus Master : Bonaventura Somma Tullio Serafin Barcode and Other Identifiers Barcode: 2894177332 Other versions Category Artist Title (Format) Label Category Country Year Puccini* - Puccini* - Tebaldi* · LXT 5575, Tebaldi* · Bergonzi* · Serafin* - Decca, LXT 5575, UK 1960 LXT.5575 Bergonzi* · Madama Butterfly Decca LXT.5575 Serafin* Highlights (LP, Mono) Giacomo Giacomo Puccini, Renata Puccini, Renata Tebaldi As Butterfly Tebaldi As London OS 25084 Carlo Bergonzi ; Tullio OS 25084 US Unknown Butterfly Carlo Records Serafin - Madama Bergonzi ; Tullio Butterfly Highlights (LP) Serafin Puccini* - Puccini* - Tebaldi* · Tebaldi* · Bergonzi* · Serafin* - SXC 2202 Decca SXC 2202 Spain 1969 Bergonzi* · Madame Butterfly Serafin* (Selecciones) (Cass, RE) Puccini* - Puccini* - Tebaldi* · Tebaldi* · Bergonzi* · Serafin* - SXL 2202 Decca SXL 2202 Spain 1981 Bergonzi* · Madame Butterfly Serafin* (Selección) (LP, RE) Giacomo Puccini Giacomo Puccini / / Renata Tebaldi Renata Tebaldi ‧ Carlo ‧ Carlo Bergonzi Bergonzi ‧ Tullio ‧ Tullio Serafin, Serafin, Enzo Sordello . NUX 390 NUX 390 Enzo Sordello .
  • Il Trittico Pucciniano

    Il Trittico Pucciniano

    GIACOMO PUCCINI IL TRITTICO PUCCINIANO Il trittico viene rappresentato per la prima volta al Teatro Metropolitan di New York il 14 dicembre 1918. Il tabarro - Luigi Montesanto (Michele); Giulio Crimi (Luigi), Claudia Muzio (Giorgetta); Suor Angelica - Geraldine Farrar (Suor Angelica), Flora Perini (Zia Principessa); Gianni Schicchi - Giuseppe de Luca (Gianni Schicchi), Florence Easton (Lauretta), Giulio Crimi (Rinuccio); direttore d'orchestra Roberto Moranzoni. La prima italiana ha luogo, meno d'un mese dopo, al Teatro Costanzi (odierno Teatro dell'opera di Roma) l'undici gennaio 1919, sotto la prestigiosa direzione di Gino Marinuzzi, fra gli interpreti principali: Gilda dalla Rizza, Carlo Galeffi, Edoardo de Giovanni, Maria Labia, Matilde Bianca Sadun. L'idea d'un "Trittico" - inizialmente Puccini aveva pensato a tre soggetti tratti dalla Commedia dantesca, poi a tre racconti di autori diversi - si fa strada nella mente del Maestro almeno un decennio prima, già a partire dal 1905, subito a ridosso di Madama Butterfly. Tuttavia, sia questo progetto sia quello d'una "fantomatica" Maria Antonietta (che, come si sa, non fu mai realizzata) vengono per il momento accantonati in favore della Fanciulla del West (1910). La fantasia pucciniana è rivisitata dall'immagine d'un possibile "trittico" nel 1913, proprio mentre proseguono - gli incontri con Gabriele D'Annunzio per una possibile Crociata dei fanciulli...... Infatti, proprio nel febbraio di quello stesso anno Puccini è ripreso dall'urgenza del "trittico": immediatamente avvia il lavoro sul primo dei libretti che viene tratto da La Houppelande, un atto unico, piuttosto grandguignolesco, di Didier Gold, cui il compositore aveva assistito, pochi mesi prima, in un teatro parigino: sarà Il tabarro, abilmente ridotto a libretto da Giuseppe Adami.
  • 25301 Cmp.Pdf

    25301 Cmp.Pdf

    GRAN TEATRE DEL LICEU Temporada 1988-1989 ., . Generalitat de Catalunya Ajuntament de Barcelona JOIERS Ministerio de Cultura Diputació de Barcelona i Passe� de Gròckl, 41 EL REGULADOR BAGUÉS SanI Pau, 6 - Te�fons 216 0173 216 01 74 Rambla de les Flors, 105/Carrne, 1 Te�fons 317 32 46 - 318 57 37 Societat del Gran Teatre del Liceu 08IYJ7 Barcelona Te�fon 31719 74 08IYJ1 Barcelona 08IYJ2 Barcelona ® Lucia di Lammermoor Drama líric en 4 actes Llibret de Salvatore Cammarano (segons la novel-la de Walter Scott) Música de Gaetano Donizetti Funció de Gala Dilluns, 21 de novembre, a les 21 h., funció núm. 32, torn C Dijous, 24 de novembre, a les 21 h., funció núm. 33, torn B Diumenge, 27 de novembre, a les 17 h., funció núm. 34, torn T Dimecres, 30 de novembre, a les 21 h., funció núm. 35, torn A Un s o f]i o di Lucia di Lammermoor eternità Lord Enrico Ashton Vicenç Sardinero Lucia Joan Sutherland Sir Edgardo de Ravenswood Alfredo Kraus Lord Arturo Bucklaw Josep Ruiz Raimondo Bidebent Harry Dworchak Alisa Ma. Àngels Sarroca Normanna Alfredo Heilbron Director d'Orquestra Richard Bonynge Director d'Escena Vittorio Patané Directors del Cor Romano Gandolfi Vittorio Sicuri Adjunt a la Direcció del Cor Miquel Ortega Decorats Pier Luigi Piantanida (realitzats per la «Bottega Veneziana») Vestuari Pier Luciano Cavalloti (realitzat per Arrigo-Milà) Viall' concertino Josep M. Alpiste Producció Gran Teatre del Liceu ORQUESTRA SIMFÒNICA I COR DEL GRAN TEATRE DEL LICEU Laura Biagiotti ROMA Par/ums ® AZZARO Contingut argumental Lloc de l'acció: Escòcia p o u R H o MM E Època: als voltants de l'any 1700 Acte I Quadre I: En el pare del castell de Ravenswood Normanno, cap dels escuders de Ravenswood, ordena als caçadors l'individu miste­ que explorin els voltants per poder descobrir qui és riós que hom ha vist rodejant el castell.
  • Enrico Caruso

    Enrico Caruso

    NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’.
  • ARSC Journal

    ARSC Journal

    HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote-­ Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be­ zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner­ baron--0 habet acht.
  • La-Traviata-Extract.Pdf

    La-Traviata-Extract.Pdf

    OVERTURE OPERA GUIDES in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago with the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with the repertory being staged by the company. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the libretto and the nuances of the score, readers’ understanding and appreciation of the opera and the art form in general will be enhanced. Daniel Kramer Artistic Director, ENO The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in association with English National Opera in 1980. It ran until 1994 and eventually included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, revised and newly commissioned articles, updated reference sections and a literal translation of the libretto that will enable the reader to get closer to the meaning of the original.