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Biography of Gaetano Donizetti
Biography of Gaetano Donizetti Born on November 29, 1797 in Bergamo, Italy; wife bore him three children, none of whom survived and Died on April 8, 1848 in Bergamo. after the loss of his parents, his wife died of cholera. These personal tragedies, coupled with his disillusionment Italian composer Domenico Gaetano Maria Donizetti was with the operatic world of Naples, prompted Donizetti to born into a large impoverished family in Bergamo, Italy on move to Paris. November 29, 1797. He revealed his musical talent at a young age, and, at the age of nine, gained free admission In rehearsal for his last opera, Dom Sébastien, Donizetti’s to Simon Mayr’s school for choirboys. behaviour became erratic and obsessive. Always high- strung, his extreme behaviour began to worry his friends. Mayr became a major influence in the composer’s life. His nephew Andrea Donizetti was sent from Italy to In 1814 he provided Donizetti with the financial and persuade his uncle to visit a doctor. The visit revealed moral support he needed to move to Bologna to study that the composer was suffering from cerebro-spinal counterpoint*. Three years later, when Donizetti returned degeneration caused by syphilis, a venereal disease. to Bergamo, having decided he would be a composer of Just three days later he was sent to a sanatorium near opera, Mayr secured a contract for him with a company Paris where he stayed for more than a year. Andrea finally in Venice — for which Donizetti wrote four operas. At the received permission to bring his uncle home to Bergamo young age of 20, the composer had already demonstrated in October of 1847, by which time Donizetti was paralyzed his skill for writing complete instrumental and choral pieces and unable to speak in more than monosyllables. -
CHAN 3160 Gioachino Rossini (1792 –1868 ) The
CHAN 3160 Gioachino Rossini (1792 –1868 ) THE © Lebrecht Music & Arts Photo Library Photo & Arts Music © Lebrecht ItaliaN GIRL IN AlgiERS Highlights Dramma giocoso in two acts to a libretto substantially derived from Angelo Anelli’s libretto for Luigi Mosca’s L’italiana in Algeri English translation by David Parry Mustafà, Bey of Algiers Alastair Miles bass Elvira, Mustafà’s wife Sarah Tynan soprano Zulma, slave, and Elvira’s confidante Anne Marie Gibbons mezzo-soprano Haly, Captain of the Algerian Corsairs David Soar bass Lindoro, Mustafà’s favourite slave Barry Banks tenor Isabella, Italian lady Jennifer Larmore mezzo-soprano Taddeo, Isabella’s companion Alan Opie baritone Geoffrey Mitchell Choir Philharmonia Orchestra Martin Fitzpatrick assistant conductor Brad Cohen Gioachino Rossini 3 Time Page Time Page 1 Overture 8:13 [p. 32] 9 ‘Please tell me where my niece is’ – 2:08 [p. 36] Taddeo, Haly, Mustafà, Isabella Act I 10 from ‘Though we must part from you’ – 3:47 [p. 37] 2 No 2, Cavatina: ‘In dreams of endless pleasure’ 7:16 [p. 32] Elvira, Zulma, Lindoro, Isabella, Haly, Taddeo Lindoro 11 ‘Tell me, who is this woman?’ 5:27 [p. 38] 3 No 3, Duet: ‘When I choose a girl to marry’ 4:13 [p. 32] Isabella, Mustafà, Elvira, Zulma, Lindoro, Taddeo, Haly, Chorus Lindoro, Mustafà 4 from No 4, Cavatina: ‘Fate is cruel!’ 4:46 [p. 33] from Act II Isabella, Chorus 12 No 10, Aria: ‘All this shouting makes my head ache’ 3:45 [p. 39] 5 No 5, Duet: ‘From the buffets of misfortune’ 7:34 [p. 34] Taddeo, Chorus Isabella, Taddeo 13 No 11a, Cavatina: ‘Sweetest treasure, dearest pleasure’ 7:27 [p. -
POLIUTO Salvadore Cammarano Adolphe Nourrit Gaetano Donizetti
POLIUTO Tragedia lirica. testi di Salvadore Cammarano Adolphe Nourrit musiche di Gaetano Donizetti Prima esecuzione: 30 novembre 1848, Napoli. www.librettidopera.it 1 / 32 Informazioni Poliuto Cara lettrice, caro lettore, il sito internet www.librettidopera.it è dedicato ai libretti d©opera in lingua italiana. Non c©è un intento filologico, troppo complesso per essere trattato con le mie risorse: vi è invece un intento divulgativo, la volontà di far conoscere i vari aspetti di una parte della nostra cultura. Motivazioni per scrivere note di ringraziamento non mancano. Contributi e suggerimenti sono giunti da ogni dove, vien da dire «dagli Appennini alle Ande». Tutto questo aiuto mi ha dato e mi sta dando entusiasmo per continuare a migliorare e ampliare gli orizzonti di quest©impresa. Ringrazio quindi: chi mi ha dato consigli su grafica e impostazione del sito, chi ha svolto le operazioni di aggiornamento sul portale, tutti coloro che mettono a disposizione testi e materiali che riguardano la lirica, chi ha donato tempo, chi mi ha prestato hardware, chi mette a disposizione software di qualità a prezzi più che contenuti. Infine ringrazio la mia famiglia, per il tempo rubatole e dedicato a questa attività. I titoli vengono scelti in base a una serie di criteri: disponibilità del materiale, data della prima rappresentazione, autori di testi e musiche, importanza del testo nella storia della lirica, difficoltà di reperimento. A questo punto viene ampliata la varietà del materiale, e la sua affidabilità, tramite acquisti, ricerche in biblioteca, su internet, donazione di materiali da parte di appassionati. Il materiale raccolto viene analizzato e messo a confronto: viene eseguita una trascrizione in formato elettronico. -
Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'. -
Donizetti's Don Pasquale in the Bockenheimer Depot
Premiere DON PASQUALE Opera buffa in three acts by Gaetano Donizetti Libretto by Giovanni Domenico Ruffini and Gaetano Donizetti Sung in Italian with German surtitles Conductor: James Hendry / Simone Di Felice (November 7th, 11th, 14th, 17th, 21st, 24th 2020) Director: Caterina Panti Liberovici Set Designer: Sergio Mariotti Costume Designer: Raphaela Rose Choreography: Tommaso Rotella Lighting Designer: Joachim Klein Dramaturge: Deborah Einspieler Don Pasquale: Donato Di Stefano / Simon Bailey (November 7th, 13th, 15th, 17th, 21st, 25th 2020) Doctor Malatesta: Mikołaj Trąbka / Danylo Matviienko (November 7th, 11th, 13th, 15th, 18th, 24th 2020) Ernesto: Francisco Brito / Michael Porter (November 7th, 11th, 13th, 15th, 18th, 24th 2020) Norina: Florina Ilie / Simone Osborne (November 7th, 11th, 14th, 17th, 21st, 24th 2020) A Notary: Pilgoo Kang Oper Frankfurt's Extras Frankfurt Opern- und Museumsorchester A little more than half a month after the premiere of Pergolesi's La serva padrona (The Maid-Mistress; 1733), scheduled by Oper Frankfurt at short notice because of the corona situation, the house on Willy-Brandt-Platz now presents Don Pasquale, an opera with some similarities in content to the earlier work. Gaetano Donizetti (1797-1848) was living in France when he was commissioned to write an opera for the Théâtre Italien in Paris. He finished it in a matter of weeks. The premiere on January 3rd 1843 was an enormous success, which the operas that followed, written by this Bergamo born composer, could not live up to. There are four protagonists, whose characterisations – as with Pergolesi or in Rossini's Il barbiere di Siviglia (1816) – are based on figures from Commedia dell’arte. -
What to Expect from Lucia Di Lammermoor
WHAT to EXpect From Lucia di Lammermoor The MetropoLitAN OperA’s production OF Lucia di Lammermoor unfurls a tight tapestry of family honor, forbidden love, heart- THE WORK LUCIA DI LAMMERMOOR break, madness, and death. Mary Zimmerman’s exploration of Sir Walter Composed by Gaetano Donizetti Scott’s shocking 1819 novel The Bride of Lammermoor led her down winding roads in Scotland, where her imagination was fed by the country’s untamed Libretto by Salvadore Cammarano vistas and abandoned castles. That journey shaped her ghost-story-inspired (based on The Bride of Lammermoor by Sir Walter Scott) vision for the production of Donizetti’s Lucia di Lammermoor. The char- First performed on September 26, 1835 acter of Lucia has become an icon in opera and beyond, an archetype of the in Naples, Italy constrained woman asserting herself in society. She reappears as a touchstone for such diverse later characters as Flaubert’s adulterous Madame Bovary THE MET PRODUCTION and the repressed Englishmen in the novels of E.M. Forster. The insanity Marco Armiliato, Conductor that overtakes and destroys Lucia, depicted in opera’s most celebrated mad scene, has especially captured the public imagination. Donizetti’s handling Mary Zimmerman, Production of this fragile woman’s state of mind remains seductively beautiful, thor- Daniel Ostling, Set Designer oughly compelling, and deeply disturbing. Madness as explored in this Mara Blumenfeld, Costume Designer opera is not merely something that happens as a plot function: it is at once a T.J. Gerckens, Lighting Designer personal tragedy, a political statement, and a healing ritual. Daniel Pelzig, Choreographer The tale is set in Scotland, which, to artists of the Romantic era, signi- STARRing fied a wild landscape on the fringe of Europe, with a culture burdened Anna Netrebko (Lucia) by a French-derived code of chivalry and an ancient tribal system. -
Gaetano Donizetti's Lucia Di Lammermoor
UGA OPERA THEatrE UGA SYMPHONY ORCHESTRA INDEX OF SELECTIONS UGA HODGSON SINGERS ACT I Gaetano Donizetti’s Lucia Di Lammermoor Preludio e coro d’introduzione: ....................Percorrete le spiagge vicine Normanno, Coro October 18, 2019 7:30 p.m. Scena e cavatina: ......................................Cruda, funesta smania October 20, 2019 3:00 p.m. Enrico, Raimondo, Normanno Hodgson Concert Hall Scena e cavatina: ......................................Regnava nel silenzio HHSOM Frederick Burchinal – Wyatt And Margaret Anderson Professor Lucia, Alisa in the Arts – Director of Opera Scena e duetto: Finale primo: ......................Sulla tomba che rinserra Mark Cedel – UGA Symphony Conductor Lucia, Edgardo Daniel Bara – John D. Boyd Professor of Choral Music – Director of Hodgson Singers ACT II Kathryn Wright – Principal Opera Coach/Music Preparation Scena: ......................................................Lucia, fra poco a te verrà Normanno, Enrico Sarah Frook Gallo – Chorus Master/Chorus Music Preparation Duetto: ......................................................Il pallor funesto, orrendo Seung Hyun Yoo – Rehearsal Pianist/Assistant Opera Coach Lucia, Enrico Cast: Scena ed aria: ...........................................Ah! Cedi, cedi Raimondo, Lucia Lucia Ashton: Jaime Marie Webb (October 18)* Diana Thompson (October 20)** Finale secondo: Lord Enrico Ashton, Lord of Lammermoor; Lucia’s Brother: Coro e cavatina: ........................................Per poco fra le tenebre Paul James Gamble, Jr.* Arturo Jacob Martin (Cover) -
Lucia Di Lammermoor
July 30, 2020 – Gaetano Donizetti’s Lucia di Lammermoor “Lammermoor lass goes mad, stabs fiancée to death” is the headline that might have appeared in The Scotsman following the premiere of Gaetano Donizetti’s Lucia di Lammermoor, which is featured on this week’s Thursday Night Opera House. Loosely based on Sir Walter Scott’s historical novel The Bride of Lammermoor, the opera benefitted greatly from a European interest in the history and culture of Scotland: the perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued nineteenth-century readers and audiences. Lucia premiered on September 26, 1835 at the Teatro San Carlo in Naples. It has always been the best-known of Donizetti's tragic operas and has never fallen out of the standard repertory. In seventeenth-century Scotland, Lucia (soprano Andrea Rost) loves Edgardo (tenor Bruce Ford), the dispossessed master of Ravenswood and an enemy of her family. The couple exchange rings and vows before Edgardo leaves the country on a mission, and Lucia’s brother Enrico (baritone Anthony Michaels-Moore), learning of this, is outraged. He wants his sister to make a politically advantageous marriage to Lord Arturo Bucklaw (tenor Paul Charles Clark) and shows her a forged letter supposedly written by Edgardo that “proves” his infidelity. In the light of this and persuaded by the chaplain Raimondo (bass Alastair Miles), Lucia reluctantly agrees to the marriage. Months later Edgardo returns, interrupts the wedding celebration, curses Lucia and flings her ring at her, provoking Enrico to challenge him to a duel in the Ravenswood cemetery. -
Roger Parker: Curriculum Vitae
1 Roger Parker Publications I Books 1. Giacomo Puccini: La bohème (Cambridge, 1986). With Arthur Groos 2. Studies in Early Verdi (1832-1844) (New York, 1989) 3. Leonora’s Last Act: Essays in Verdian Discourse (Princeton, 1997) 4. “Arpa d’or”: The Verdian Patriotic Chorus (Parma, 1997) 5. Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, 2006) 6. New Grove Guide to Verdi and his Operas (Oxford, 2007); revised entries from The New Grove Dictionaries (see VIII/2 and VIII/5 below) 7. Opera’s Last Four Hundred Years (in preparation, to be published by Penguin Books/Norton). With Carolyn Abbate II Books (edited/translated) 1. Gabriele Baldini, The Story of Giuseppe Verdi (Cambridge, 1980); trans. and ed. 2. Reading Opera (Princeton, 1988); ed. with Arthur Groos 3. Analyzing Opera: Verdi and Wagner (Berkeley, 1989); ed. with Carolyn Abbate 4. Pierluigi Petrobelli, Music in the Theater: Essays on Verdi and Other Composers (Princeton, 1994); trans. 5. The Oxford Illustrated History of Opera (Oxford, 1994); translated into German (Stuttgart. 1998), Italian (Milan, 1998), Spanish (Barcelona, 1998), Japanese (Tokyo, 1999); repr. (slightly revised) as The Oxford History of Opera (1996); repr. paperback (2001); ed. 6. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford, 2001); ed. with Mary Ann Smart 7. Verdi in Performance (Oxford, 2001); ed. with Alison Latham 8. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli (Turin, 2002); ed. with Stefano La Via 9. Puccini: Manon Lescaut, special issue of The Opera Quarterly, 24/1-2 (2008); ed. -
Don Pasquale
Gaetano Donizetti Don Pasquale CONDUCTOR Dramma buffo in three acts James Levine Libretto by Giovanni Ruffini and the composer PRODUCTION Otto Schenk Saturday, November 13, 2010, 1:00–3:45 pm SET & COSTUME DESIGNER Rolf Langenfass LIGHTING DESIGNER Duane Schuler This production of Don Pasquale was made possible by a generous gift from The Sybil B. Harrington Endowment Fund. The revival of this production was made possible by a gift from The Dr. M. Lee Pearce Foundation. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2010–11 Season The 129th Metropolitan Opera performance of Gaetano Donizetti’s Don Pasquale Conductor James Levine in o r d e r o f v o c a l a p p e a r a n c e Don Pasquale, an elderly bachelor John Del Carlo Dr. Malatesta, his physician Mariusz Kwiecien* Ernesto, Pasquale’s nephew Matthew Polenzani Norina, a youthful widow, beloved of Ernesto Anna Netrebko A Notary, Malatesta’s cousin Carlino Bernard Fitch Saturday, November 13, 2010, 1:00–3:45 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. Bloomberg is the global corporate sponsor of The Met: Live in HD. Marty Sohl/Metropolitan Opera Mariusz Kwiecien as Chorus Master Donald Palumbo Dr. Malatesta and Musical Preparation Denise Massé, Joseph Colaneri, Anna Netrebko as Carrie-Ann Matheson, Carol Isaac, and Hemdi Kfir Norina in a scene Assistant Stage Directors J. Knighten Smit and from Donizetti’s Don Pasquale Kathleen Smith Belcher Prompter Carrie-Ann Matheson Met Titles Sonya Friedman Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs by Metropolitan Opera Wig Department Assistant to the costume designer Philip Heckman This performance is made possible in part by public funds from the New York State Council on the Arts. -
Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke
SECTION 2 STAGE WORKS OPERAS BALLETS TEIL 2 BÜHNENWERKE BALLETTE 267 268 Bergh d’Albert, Eugen (1864–1932) Amram, David (b. 1930) Mister Wu The Final Ingredient Oper in drei Akten. Text von M. Karlev nach dem gleichnamigen Drama Opera in One Act, adapted from the play by Reginald Rose. Libretto by von Harry M. Vernon und Harald Owen. (Deutsch) Arnold Weinstein. (English) Opera in Three Acts. Text by M. Karlev based on the play of the same 12 Solo Voices—SATB Chorus—2.2.2.2—4.2.3.0—Timp—2Perc—Str / name by Harry M. Vernon and Harald Owen. (German) 57' Voices—3.3(III=Ca).2(II=ClEb).B-cl(Cl).3—4.3.3.1—Timp—Perc— C F Peters Corporation Hp/Cel—Str—Off-stage: 1.0.Ca.0.1—0.0.0.0—Perc(Tamb)—2Gtr—Vc / 150' Twelfth Night Heinrichshofen Opera. Text adapted from Shakespeare’s play by Joseph Papp. (English) _________________________________________________________ 13 Solo Voices—SATB Chorus—1.1.1.1—2.1.1.0—Timp—2Perc—Str C F Peters Corporation [Vocal Score/Klavierauszug EP 6691] Alberga, Eleanor (b. 1949) _________________________________________________________ Roald Dahl’s Snow White and the Seven Dwarfs Text by Roald Dahl (English) Becker, John (1886–1961) Narrator(s)—2(II=Picc).2.2(II=B-cl).1.Cbsn—4.2.2.B-tbn.1—5Perc— A Marriage with Space (Stagework No. 3) Hp—Pf—Str / 37' A Drama in colour, light and sound for solo and mass dramatisation, Peters Edition/Hinrichsen [Score/Partitur EP 7566] solo and dance group and orchestra. -
JOS-075-1-2018-007 Child Prodigy
From the Bel Canto Stage to Reality TV: A Musicological View of Opera’s Child Prodigy Problem Peter Mondelli very few months, a young singer, usually a young woman, takes the stage in front of network TV cameras and sings. Sometimes she sings Puccini, sometimes Rossini, rarely Verdi or Wagner. She receives praise from some well meaning but uninformed adult Ejudge, and then the social media frenzy begins. Aunts and uncles start sharing videos, leaving comments about how talented this young woman is. A torrent of blog posts and articles follow shortly thereafter. The most optimistic say that we in the opera world should use this publicity as a means to an end, to show the world at large what real opera is—without ever explaining how. Peter Mondelli The sentiment that seems to prevail, though, is that this performance does not count. This is not real opera. Opera was never meant to be sung by such a voice, at such an age, and under such conditions. Two years ago, Laura Bretan’s performance of Puccini’s “Nessun dorma” on America’s Got Talent evoked the usual responses.1 Claudia Friedlander responded admirably, explaining that there are basic physiological facts that keep operatic child prodigies at a distance from vocally mature singers.2 More common, however, are poorly researched posts like the one on the “Prosporo” blog run by The Economist.3 Dubious claims abound—Jenny Lind, for exam- ple, hardly retired from singing as the post claims at age twenty-nine, the year before P. T. Barnum invited her to tour North America.