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Choral Union Concert Series HILL AUDITORIUM ANN ARBOR, MICHIGAN BENIAMINO GIGLI, Tenor ASSISTED by Edith Browning, Dramatic Soprano Vito Carnevali, Accompanist
UNIVERSITY SCHOOL OF MUSIC CHARLES A. SINK. PRESIDENT EARL V. MOORE, MUSICAL DIRECTOR First Concert 1927-1928 Complete Series 1616 FORTY-NINTH ANNUAL Choral Union Concert Series HILL AUDITORIUM ANN ARBOR, MICHIGAN BENIAMINO GIGLI, Tenor ASSISTED BY Edith Browning, Dramatic Soprano Vito Carnevali, Accompanist Friday Evening, October 7, 1927, at 8:00 PROGRAMME ARIA ((0 PARADISO" from "L'AFRICAINE" Meyerbeer BENIAMINO GIGU O BEI NIDI D'AMOR Donaudy TRE GIORNI SON CHE NINA Pergolesi O DEL MIO DOLCE ARDOR— Ghtck BtfNIAMINO GlGU ARIA "PLEUREX, PLEUREX MES YEUX" from "LE CID" Massenet CHANSON TRISTE Duparc CHERE NUIT Bachclct EDYTHS BROWNING ARIA "M'APPARI" from "MARTHA" Flotow BKNIAMINO GIGLI INTBRMISSION COME LOVE WITH ME (English) Carhevali LIFE (English) Curran TES YEUX (French) Rabey UN REVE (French) Grieg BfiNIAMINO GlGLI A FEAST OF LANTERNS Granville Bantock MY LOVE 0"ER THE WATER BENDS DREAMING Vito Moscato ARIA, "PEACE, PEACE" from "LA FORZA DEL DESTINO" Verdi EDYTHE BROWNING ARIA "VESTI LA GIUBBA" from "I PAGLIACCI" Leoncavallo BENIAMINO GIGLI Mr. Gigli uses the Hardman Piano Exclusively. Furnished by courtesy of the University Music House. Management, R. B. Johnston, New York City. (Over) J ARS LONGA VITA BREVIS L NINTH ANNUAL EXTRA CONCERT SERIES HILL AUDITORIUM 5-All Star Concerts-5 OCT. 28, ROSA RAISA and GIACOMO RIMINI Leading Dramatic Soprano and Baritone of The Chicago Civic Opera Nov. 21, FLONZALEY STRING QUARTET Adolfo Betti, First Violin Alfred Pochon, Second Violin Nicholas Moldovan, Viola Iwan D'Archambeau, Violoncello Dec. 12, DETROIT SYMPHONY ORCHESTRA Ossip Gabrilowitsch, Conductor Jan. 26, ST. OLAF LUTHERAN CHOIR F. Melius Christiansen' Conductor Feb. -
8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time. -
North Shore Music Festival
JANUARY 20, 1923 AND /AMERICAN ENDEAVOR. IN GRAND OPERA, SYMPHONY' ^ND CHAMBER. MUSIC AND CLASSIC DANCING By IZETTA MAY McHENRY BEETHOVEN ASSOCIATION NORTH SHORE MUSIC FESTIVAL American Operatic and Oratorio Sing Offer* Brilliant Program at Third Con er, Dies After Illness of Several cert of Series Months Thr third ronrrrt (iTro thla tpaion bj tfa* Plans Announced for Fifteenth Season—Several BoctboTPn A.wxiatlon pruTpd on* of thr moit At bis home In New York City, Oeorite J. PBjoyablp pTpDt, of the year In New York. American Artists To Be Soloists Hamlin, one of this country's beat-known The aMlatioit artUta were: Ilarold Bauer, tenors, parsed away on the afternoon of Janu¬ Pablo Caeala. Jaoquea Tfaibaud, Mme. C'barlea ary 11 after an lllnerr eitendinc over aereral Cahier and Albert Htoesael, and thla impo«lsK The datee for the fifteenth Music PeatWal Gates, eoprano; Mabel Garrison, soprano; months. Mr. Hamlin was tbe flrrt artist to array of aoloiata aenrpd to attract an audirore have beep announced by tbe Chicago North Giuseppe Danise, baritone; Beniamino Gigli, present a procram of the ronca of Rl(4iard which completely niled Aeotlan Hall on the Shore FestiTsl Aatociation as May 24 to May tenor; Margaret Matzenauer, merzo-«oprano; Btrauas In America, and be created aereral evenins of January 8. BertboTen'a Trio In 30. The feat'Tal will be held at Erankton, Edith Mason, soprano; Tito Srhipa. tenor; oratorio parts and ten oyiera rolet. Hla alnc- H Flat, Op. TO, No. 2. played by Meaara. Bauer, III., In tbe Patten tlymnaalum of Nortbweatern Bose Lutiger Gannon, contralto, and Theo. -
Gianni Schicchi Puccini Il Trittico 2000-2001
3 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI Teatro di Tradizione in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA PUCCINI IL TRITTICO 2000-2001 GIANNI SCHICCHI PUCCINI IL TRITTICO 2000-2001 direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Progetto Puccini nel Novecento 1999-2002 Progetto Puccini nel Novecento 1999-2002 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA IL TRITTICO 2000-2001 Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto opera in un atto di Giovacchino Forzano musica di GIACOMO PUCCINI Edizioni Casa Ricordi, Milano personaggi e interpreti Gianni Schicchi Bruno De Simone Lauretta Anna Carnovali Zita Adele Cossi Rinuccio Roberto Iuliano Gherardo Carlo Bosi Nella Daniela Schillaci Gherardino Matteo Ciccone Betto di Signa Giovanni Mele Simone Marco Spotti Marco Arturo Cauli La Ciesca Dionisia Di Vico Maestro Spinelloccio Armando Gabba Ser Amantio di Nicolao Fabio Bonavita Pinellino Marco Pauluzzo Guccio Daniele Tonini Direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Mise en space di GILBERTO TOFANO in collaborazione con ROSANNA MONTI - luci UGO BENEDETTI Fin dalla mia elezione a Sindaco della città di Lucca, ho manifestato il mio impegno personale e quello dell’Amministrazione a porre al centro del programma culturale la figura e l’opera di Giacomo Puccini. -
ARSC Journal
THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued. -
Arriva Un Bastimento Carico Di Artisti. Sulle Tracce Della Cultura Italiana Nella Buenos Aires Del Centenario
RiMe Rivista dell’Istituto di Storia dell’Europa Mediterranea ISSN 2035-794X numero 6, giugno 2011 Arriva un bastimento carico di artisti. Sulle tracce della cultura italiana nella Buenos Aires del Centenario Irina Bajini Istituto di Storia dell’Europa Mediterranea Consiglio Nazionale delle Ricerche http://rime.to.cnr.it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
Boston Symphony Orchestra Concert Programs, Season 35,1915-1916, Trip
SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY ^\^><i Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor ITTr WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 23 AT 8.00 COPYRIGHT, 1916, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 1 €$ Yes, It's a Steinway ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to I you. and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." pw=a I»3 ^a STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, O. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet. H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Sulzen, H. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini. -
Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
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. -
Rigoletto En La Biblioteca Pública “Azorín” Octubre 2012
Rigoletto en la Biblioteca Pública “Azorín” Octubre 2012 ■ INTRODUCCIÓN Rigoletto es un melodrama en tres actos con música de Giuseppe Verdi y libreto en italiano de Francesco Maria Piave, basado en la obra teatral Le Roi s'amuse, de Víctor Hugo. Fue estrenada el 11 de marzo de 1851 en el teatro La Fenice de Venecia. Está considerada por muchos una de las primeras obras maestras operísticas de mediados de la carrera de Verdi. Se trata de un drama de pasión, engaño, amor filial y venganza que tiene como protagonista a Rigoletto, el bufón jorobado de la corte del Ducado de Mantua. Historia Composición A principios de 1851, el teatro de La Fenice de Venecia invitó a Verdi a componer una nueva ópera para ser estrenada allí, en una época en que ya era un compositor bien conocido con un grado de libertad a la hora de elegir las obras que prefería musicar. Pidió entonces a Piave (con quien ya había trabajado en Ernani, I due Foscari, Macbeth, Il corsaro y Stiffelio) que examinara la obra Kean de Alejandro Dumas, padre, pero sentía que necesitaba un tema más enérgico con el que trabajar. Verdi pronto dio con el drama francés Le roi s’amuse (El rey se divierte), del escritor Víctor Hugo. Más tarde explicó que "Contiene posiciones extremadamente poderosas... El tema es grande, inmenso, y tiene un personaje que es una de las más importantes creaciones del teatro de todos los países y todas las épocas". Era un tema muy controvertido y el propio Hugo había tenido problemas con la censura en Francia, que había prohibido producciones de esta obra después de su primera representación casi veinte años antes (y continuaría prohibida durante otros treinta años).