Bergamo, 09/12/2016 Eg/Msb - Prot
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
THE HERO and HIS MOTHERS in SENECA's Hercules Furens
SYMBOLAE PHILOLOGORUM POSNANIENSIUM GRAECAE ET LATINAE XXIII/1 • 2013 pp. 103–128. ISBN 978-83-7654-209-6. ISSN 0302-7384 Mateusz Stróżyński Instytut Filologii Klasycznej Uniwersytetu im. Adama Mickiewicza ul. Fredry 10, 61-701 Poznań Polska – Poland The Hero and His Mothers in Seneca’S Hercules FUreNs abstraCt. Stróżyński Mateusz, The hero and his mothers in Seneca’s Hercules Furens. The article deals with an image of the heroic self in Seneca’s Hercules as well as with maternal images (Alcmena, Juno and Megara), using psychoanalytic methodology involving identification of complementary self-object relationships. Hercules’ self seems to be construed mainly in an omnipotent, narcissistic fashion, whereas the three images of mothers reflect show the interaction between love and aggression in the play. Keywords: Seneca, Hercules, mother, psychoanalysis. Introduction Recently, Thalia Papadopoulou have observed that the critics writing about Seneca’s Hercules Furens are divided into two groups and that the division is quite similar to what can be seen in the scholarly reactions to Euripides’ Her- akles.1 However, the reader of Hercules Furens probably will not find much 1 See: T. Papadopoulou, Herakles and Hercules: The Hero’s ambivalence in euripides and seneca, “Mnemosyne” 57:3, 2004, pp. 257–283. The author reviews shortly the literature about the play and in the first group of critics, of those who are convinced that Hercules is “mad” from the beginning, but his madness gradually develops, she enumerates Galinsky (G.K. Galinsky, The Herakles Theme: The adaptations of the Hero in literature from Homer to the Twentieth Century, Oxford 1972), Zintzen (C. -
Opera De Lille Saison 2013--2014
OPERA DE L ILLE SAISON 2013-- 2014 Dix ans ! Fin 2003, l’Opéra de Lille ouvrait ses portes après trois années de rénovation et se donnait une nouvelle ambition : offrir au plus grand nombre la chance de découvrir de grandes œuvres lyriques, chorégraphiques et musicales, interprétées par des artistes qui marquent notre temps. Au cœur de son action : la production d’opéras qui trois ou quatre fois par saison convie chanteurs et équipes de mise en scène venus du monde entier. Ils s’associent aux forces artistiques qui épousent l’exigence et le désir de partage de l’Opéra : l’Orchestre national de Lille et son directeur Jean-Claude Casadesus, fidèle partenaire grâce à qui les grands chefs-d’œuvre tels que Faust , La Traviata ou Carmen ont été présentés ; l’Orchestre de Picardie, toujours prêt à relever les défis artistiques, de Madama Butterfly en 2004 au Rake’s Progress récemment ; et enfin les ensembles en résidence, Ictus, et le Concert d’Astrée dirigé par Emmanuelle Haïm, qui depuis dix ans donnent le ton de ce projet atypique. Dès leurs premiers concerts, une atmosphère à la fois de grande exigence artistique et de plaisir communicatif a permis aux amateurs comme aux néophytes d’apprécier des pièces du répertoire, contemporain pour l’un, baroque pour l’autre. De grandes œuvres contemporaines ont aussi vu le jour grâce au soutien de l’Opéra de Lille. Compositeurs et chorégraphes ont trouvé ici une scène pour créer de nouvelles formes artistiques et de nouveaux langages, notamment Georges Aperghis et Michaël Levinas pour leurs opéras, et Christian Rizzo puis Daniel Linehan dans le cadre de leurs résidences. -
Opera by Corinne E
Opera by Corinne E. Blackmer ; Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2004, glbtq, inc. Reprinted from http://www.glbtq.com Opera, an eclectic synthesis of voice, drama, music, costume, visual arts and spectacle, has played an integral role in queer culture since its development in seventeenth-century Venice. As opera intermingles the sublime and the absurd, and has embraced unabashedly high artifice, unfettered emotion, melodrama and improbable, convoluted plots, it Scenes from two operas shares many of the qualities that define queer sensibility, through a combination of that featured roles for idealistic romantic identification and camp travesty. women playing men: Top: The Marriage of Figaro (1786) by Holding up an allegorical and larger-than-life mirror to the incongruous experience of Amadeus Mozart. many gay men and lesbians, opera revels in cross-dressing, illicit romance, intrigue, Anonymous watercolor. gender-bending, despair and triumph, passion and death, and the cult of the diva. Above: Der Rosenkavelier by The Origins of Opera Richard Strauss. This painting of a 1912 performance was Opera, or dramma per musica, developed in early seventeenth century Venice, where created by Ernst Edler. a combination of Renaissance humanism, anti-clericalism, and, perhaps most important, a large, mixed public audience willing to pay for entertainments that appealed to popular tastes sustained and informed this new genre. Hence, opera could exercise some autonomy from Church censorship and aristocratic patronage, resulting in plots that celebrated the human rather than the divine and that punctured caste hierarchies. Typically, these operatic plots, replete with intrigue, reversals of fortune, byzantine complication, and masquerade, valorized human passion and created an idealized form of romantic heroism. -
The Mythological Image of the Prince in the Comedia of the Spanish Golden Age
University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2014 STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE Whitaker R. Jordan University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jordan, Whitaker R., "STAGING THESEUS: THE MYTHOLOGICAL IMAGE OF THE PRINCE IN THE COMEDIA OF THE SPANISH GOLDEN AGE" (2014). Theses and Dissertations--Hispanic Studies. 15. https://uknowledge.uky.edu/hisp_etds/15 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Francesco Cavalli
V O L U M E I Arias, duets and ensembles from the operas of Francesco Cavalli Edited, and with translations by Oliver Doyle E D I T I O N M V S I C A A N T I C A 1 Edition Mvsica Antica, Rotherhithe, London. © 2021 by Musica Antica Rotherhithe. This book has been made freely available to facilitate the study and performance of Francesco Cavalli’s music. Parts are also available on request; please write to [email protected] for further information. The manuscript sources consulted in the production of this book can be viewed on internetculturale.it, made available in a digitised format by the Biblioteca Marciana, Venice. For more editions of rare music and their performance in London, please visit www.musicaantica.org.uk. 2 Contents (by opera) Editor’s note v La Didone (1641) Padre, ferma i passi (S) 10 L’alma fiacca svanì (S) 16 L’Ormindo (1644) Prologo (S) 1 Tu per me ben felice (A) 20 Volate fuggite – D’Amor non si quereli (S, S, A, T) 25 Giasone (1649) Delizie, e contenti (A) 40 La Rosinda (1651) Vieni, vieni in questo seno (S) 45 La Calisto (1651) Restino imbalsamate (S) 48 Il Ciro (1654) Mia vita, mio bene (S, S, A, T ) 55 L’Erismena (1655) Piante odorose (S) 60 La Statira (1655) Cresce il foco (S) 66 Menfi, mia patria a (S) a 72 Io vivo (S) 78 3 L’Artemisia (1657) Ardo, sospiro e piango (S) 80 Dammi morte (S) 92 L’Elena (1659) Ecco l’idolo mio (S, S) 97 Mia Speranza (S, S) 104 Ercole Amante (1662) Come si beff’ amore (B) 114 Figlio, figlio (S, T) 124 Pompeo Magno (1666) Coetaneo con gli’astri (T) 128 Sonno, placido nume (A) 132 L’Eliogabalo (1667) Misero così va (S) 137 Pur ti stringo (S, S, S, S) 146 Sources 150 4 unless found in the sources consulted. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Le Trachinie
le Trachinie Una tragedia in quattro episodi di Sofocle (~ 440 a.C.) Λόγος μέν ἐστ’ ἀρχαῖος ἀνθρώπων φανείς, ὡς οὐκ ἂν αἰῶν’ ἐκμ!θοις #ροτ ν, πρὶν ἂν θ!ν% τις, ο&τ’ εἰ χρ'στ(ς οὔτ’ εἴ τ* κακός+ V’è fra gli uomini un detto antico molto, che di nessuno tu potrai la vita conoscer mai, se fu felice o trista, prima che muoia. Contesto Considerata immatura (Dissen, Berg!), decrepita ( ernhardy), persino indegna di Sofocle e si spera di falsa attribu$ione (Schlegel). %a maggior parte degli studiosi accetta tutta&ia il 440 a.C. come data della prima assoluta, nel periodo centrale della produzione sofoclea. parte ' Deianira Prologo Deianira è alla reggia di Ceice, a Trachis, Tessaglia. Ripercorre la sua vita dal matrimonio ad +cheloo alla sua li#era$ione a opera del marito. Eracle ha ucciso -.to, servito schia&o presso la regina Onfale come punizione, e in.ne assediato Èurito di Ecal1a, Eu#ea. Un2ancella suggerisce di inviare Illo alla ricerca del padre. (arodo (reghiera al sole che indichi a Illo la posizione esatta del padre. Primo episodio Deianira rivela alla Corifea del testamento di Eracle. Un vecchio porta notizie del ritorno del re che ha udito da Lica, e la corte eleva un canto cele#rati&o. Torna Lica con Iole e le altre prigioniere e racconta le peripezie di Eracle nell’ultimo anno e tre mesi. Una volta che egli è uscito, il vecchio rivela a Deianira che il marito ha attaccato Ecalia perch3 Eurito gli rifiuta&a la mano di Iole. -
20181115092126 0001.Pdf
SOPHOKLES DIE MÁDCHEN VON TRACHIS (DAS STERBEN DES HERAKLES) (Bühnenfassung fur das AKG nach den Übertragungen von Gerhard Piens, Ernst Buschor und Heinrich Weinstock) Deianeira Ingrid Englitsch Eine Magd Antigone Katicic Hyllos Philipp Geiger Ein Bote Alexander Franz Lichas Rainer Mandl Iole Laura Gosch Herakles Peter Geiger Chor katharina Ertl katharina Galen Teresa Galen stefanie Graízeí Maria Handler valerie Leskovar Karin Poyer Marie-Therese Rameis Nicole Rychly sklavinnen Hephziba Druml Mariana Nowak Marija Pavlova Eva placheta Eva porstner Elisabeth Schagerl Kostüme Alexandra weisz Bühnenbild Harald Ruppert Licht Helmut Czasny Benedikt Leskovar Harald Ruppert Musik Rainer Mandl Ton Michael Zlabinger Technische Assistenz Anna Röthlisberger Choreographische Unterstützung Ulla Handerek-Saak Beratung fiir die griechische Sprache Günther Lackner Layout des Programmhefts Christoph Mittermeier patronanz Dr. Wolfgang Wolfring Regie Ingrid Englitsch Peter Geiger Produktions_und Gesamtleitung Ingrid Englitsch Wir danken allen Lehrerinnen und Lehrem, die durch ihre organisatorische Hilfe diese Produktion ermöglicht haben, insbesondere Prof. Lackner, ProfSchroeder und Frau Dir. Votava, íür ihre freundliche Unterstiitzung. Prof. Wolfgang Wolfring zur Tragödic DIE MÁDCHEN VON TRACHIS dcs Sophokles: Die Tragödie DIE MÁDCHEN VON TRACHIS des Sophokles gehört zu jenen antiken Dramen, die höchst selten gespielt und wahrscheinlich auch kaum gelesen werden. Das liegt vielleicht am Titel und wohl auch daran, daB Herakles, um den es in diesem Stück geht, fiir uns nicht mehr der berühmte Held ist, wie er es für die alten Griechen war. Das stück ist nach dem chor benannt und stellt die letzte Episode im Leben des Helden dar. Es zeigt fast nur negative Charakterzüge des Herakles, so daB man seinen furchtbaren Tod geradezu als Strafe fiir seine Untaten miBverstehen könnte. -
Hercules Abstracts
Hercules: A hero for all ages A Alison Adams (University of Glasgow) Panel 4a Hercules in Emblem Books: a survey Hercules is probably the heroic figure who appears most frequently in emblems. The didactic genre, in which word and image work together to convey meaning, flourished across Europe in the early modern period, with emblems published in Latin and a large range of vernacular languages, as well as in polyglot editions. Hercules was already present in the first emblem book printed, Alciato‟s Emblematum liber of 1531, and his popularity spreads through books published in France, Germany, the Low Countries, and Spain. Emblem writers exploit many elements from the wide range of his exploits and attributes: the twelve labours of Hercules, Hercules at the crossroads, Hercules the lover, Hercules the musician, the eloquence of Hercules, particularly in the Hercule gaulois tradition. This paper firstly offers examples illustrating all of these in order to provide background and a broader context for other conference papers relating to this period. The emblems‟ purpose is to show Hercules‟ relevance to different groups of potential readers, and of these groups political leaders are especially important. Thus, the paper will then focus on introducing a single and insufficiently known French text, in praise of Henri IV, André Valladier‟s Labyrinthe royal de Hercule gaulois triomphante (1601). ________ Arlene Allan (University of Otago) Panel 1a Apprehending Christ through Herakles: “Christ-curious” Greeks and Revelation 5-6 Primarily (but not exclusively) in the first half of the twentieth century, scholarly interest has focussed on the possible influence of the mythology of Herakles and the allegorizing of his trials amongst philosophers (especially the Stoics) on the shaping of the Gospel narratives of Jesus. -
Abstracts by Surname
Celebrating Hercules in the Modern World Abstracts by Speaker Surname Contents (click to jump to the relevant session/paper) A ...................................................................................................................................................... 3 Jean Alvares and Patricia Salzman-Mitchell (Montclair)ː Hercules’ self-fashioning on screenː Millennial concerns and political dimensions ............................................................ 3 Elena d’Amelio (San Marino)ː The myth of Hercules in 1950s and 1960s peplum films (virtual paper available online after the conference) ............................................................... 3 Eva Anagnostou-Laoutides (Monash University): Heracles in Byzantium ............................ 4 B ...................................................................................................................................................... 5 Alix Beaumont (York)ː Through a Glass Partly: Reflections of Hercules in Cinema, Television and Video Games ..................................................................................................... 5 C ...................................................................................................................................................... 5 Ivana Čapeta Rakić (University of Split): The Constellation of Hercules and his struggle with the Nemean lion on two romanesque reliefs from Split Cathedral ................................ 5 Deborah Chatr Aryamontri (Montclair): Hercules and the tragicomic -
Society for Seventeenthcentury Music
Society for SeventeenthCentury Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF SEVENTEENTH-CENTURY MUSIC TENTH ANNUAL CONFERENCE Princeton University Princeton New Jersey April 4-7, 2002 *Index of Abstracts *Abstracts of Presentations *Program Committee Index of Abstracts *Gregory Barnett, “In Search of a Stile accademico: The Earliest Esperimenti d’esame of the Bolognese Accademia Filarmonica” *Jennifer Williams Brown, “Out of the Dark Ages: Editing Cavalli’s Operas in the Post-Modern World” *Michael Burden, “‘Sharpers, beaus, the very Cits’: The Wits’ Expectations of the Players in Purcell’s Fairy Queen” *Mauro Calcagno, “Word and Image in Seventeenth-Century Venetian Librettos: The Frontispiece as Operatic Emblem” *Stewart Carter, “An Italianate Oratorio latino for the Electoral Court of Mainz: Daniel Bollius’s Repraesentatio on the Nativity of John the Baptist” *Tim Carter, “Constructing a Stemma of Monteverdi’s Combattimento di Tancredi e Clorinda” *Lisa Chensvold, “From Ercole amante to L’Hercule amoureux: Translating Cavalli” *Roger Freitas, “A Virtuoso Performance: A Castrato in the French Court” *Rebecca Harris-Warrick, “Staging Venice” *Wendy Heller, panel moderator: A Feast for Eye and Ear: Sound, Space, and Image in Seventeenth-Century Europe *Jeffrey Kurtzman, “Civic Identity and Civic Glue: Venetian Processions and Ceremonies of the Sixteenth and Seventeenth Centuries” *Carol G. Marsh, “Dancing Venice: The Forlana in France” *Giulio Ongaro, “'E pur io torno qui’: Sixteenth-Century Literary Debates, the Audience’s View, and the Interpretation of Poppea” *Susan Shrimp, Andromache, Dido, and the Mother of Euryalis: Seneca’s Legacy in Domenico Mazzocchi’s Virgilian Laments *Barbara Sparti, “Hercules Dancing in Thebes, in Pictures and Music” *Arne Spohr, “The Hamburg Ratsmusik and its Repertoire: Johann Schop’s Erster Theil Newer Paduanen (1633/1640)” *Louise K. -
Hercules Abstracts
Hercules: A hero for all ages Hover the mouse over the panel title, hold the Ctrl key and right click to jump to the panel. 1a) Hercules and the Christians ................................... 1 1b) The Tragic Hero ..................................................... 3 2a) Late Mediaeval Florence and Beyond .................... 5 2b) The Comic Hero ..................................................... 7 3a) The Victorian Age ................................................... 8 3b) Modern Popular Culture ....................................... 10 4a) Herculean Emblems ............................................. 11 4b) Hercules at the Crossroads .................................. 12 5a) Hercules in France ............................................... 13 5b) A Hero for Children? ............................................ 15 6a) C18th Political Imagery ......................................... 17 6b) C19th-C21st Literature ........................................... 19 7) Vice or Virtue (plenary panel) ............................... 20 8) Antipodean Hercules (plenary panel) ................... 22 1a) Hercules and the Christians Arlene Allan (University of Otago) Apprehending Christ through Herakles: “Christ-curious” Greeks and Revelation 5-6 Primarily (but not exclusively) in the first half of the twentieth century, scholarly interest has focussed on the possible influence of the mythology of Herakles and the allegorizing of his trials amongst philosophers (especially the Stoics) on the shaping of the Gospel narratives of Jesus. This