DOCSLIB.ORG

Adriana Lecouvreur Soci Fondatori Partner Privati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adriana Lecouvreur Soci Fondatori Partner Privati F RANCESCO C ILEA ADRIANA LECOUVREUR SOCI FONDATORI PARTNER PRIVATI REGIONE SICILIANA ASSESSORATO AL TURISMO SPORT E SPETTACOLI ALBO DEI DONATORI Fondazione ART BONUS Teatro Massimo Tasca d’Almerita Francesco Giambrone Sovrintendente Angelo Morettino srl CONSIGLIO DI INDIRIZZO Leoluca Orlando (sindaco di Palermo) Presidente Giovanni Alongi Leonardo Di Franco Vicepresidente Daniele Ficola Sais Autolinee Francesco Giambrone Sovrintendente Enrico Maccarone Agostino Randazzo Anna Sica Marco Di Marco COLLEGIO DEI REVISORI Maurizio Graffeo Presidente Filippone Assicurazione Marco Piepoli Gianpiero Tulelli Giuseppe Di Pasquale Alessandra Giurintano Di Marco TURNI ADRIANA LECOUVREUR opera in quattro atti Libretto di Arturo Colautti tratto dalla commedia-dramma omonima di Eugène Scribe e Ernest Legouvé Musica di Francesco Cilea Prima rappresentazione: Teatro Lirico, Milano, 6 novembre 1902 Data Turno Ora Venerdì 13 ottobre Prime 20.30 Domenica 15 ottobre Danza 17.30 Martedì 17 ottobre C 18.30 Giovedì 19 ottobre B 18.30 Sabato 21 ottobre S1 18.30 Domenica 22 ottobre D 17.30 La recita di domenica 22 ottobre sarà trasmessa in diretta su maxischermo in piazza Verdi. Allestimento del Teatro Sociale di Como - As. Li. Co. INDICE 1 ARGOMENTO 13 SYNOPSIS 17 ARGUMENT 21 HANDLUNG 25 2 IRENE SCALIA INTRODUZIONE ALL’OPERA 31 DARIO OLIVERI UNA TRAGEDIA DELLA BELLE ÉPOQUE RIFLESSIONI SU ADRIANA LECOUVREUR DI FRANCESCO CILEA 41 3 IL LIBRETTO 69 ATTO I 70 ATTO II 89 ATTO III 101 ATTO IV 110 4 IVAN STEFANUTTI NOTE DI REGIA 125 ADRIANA LECOUVREUR AL TEATRO MASSIMO 129 BIBLIOGRAFIA ESSENZIALE 139 NOTE BIOGRAFICHE 141 1 ARGOMENTO 13 SYNOPSIS 17 ARGUMENT 21 HANDLUNG 25 ARGOMENTO Atto I Il foyer della Comédie Française. Agitazione prima della rappresen- tazione. Il principe di Bouillon, protettore dell’attrice Duclos, entra con l’abate di Chazeuil. Adriana, già in costume, ripassa Bajazet (“Del sultano Amuratte… Io son l’umile ancella”). Michonnet, rimasto solo con Adriana della quale è innamorato, scopre che lei ama un ufficiale. Maurizio, conte di Sassonia, entra, impaziente di salutare Adriana (“La dolcissima effigie”). Lei lo crede un semplice ufficiale ed è pronta a parlare al conte in suo favore. Dandogli appuntamento dopo lo spetta- colo, Adriana gli offre in pegno un mazzetto di viole. L’abate consegna al principe un biglietto con il quale la Duclos dà un appuntamento a Maurizio «per ragioni politiche» quella sera nel villino che il principe le ha messo a disposizione. Il principe vuole coglierli sul fatto invitando a cena al villino gli attori, che indovinano che il biglietto viene in re- altà dalla principessa di Bouillon, d’accordo con la Duclos. Michon- net ascolta commosso il monologo di Adriana (“Ecco il monologo…”). Maurizio crede che la principessa abbia importanti notizie da comu- nicargli e avverte Adriana con un biglietto che le viene consegnato in scena. Al termine della rappresentazione Adriana, per incontrare il conte di Sassonia, accetta l’invito del Principe. 1 / ARGOMENTO ADRIANA LECOUVREUR Atto II braccialetto perduto: il principe, pur senza aver sentito il dialogo, rico- Salottino nel villino della Duclos. La principessa di Bouillon attende con nosce il gioiello della moglie. La principessa, sprezzante, invita Adriana impazienza (“Acerba voluttà”). Maurizio è costretto a donare alla prin- a recitare qualche verso dell’Arianna abbandonata. Adriana declama cipessa le viole di Adriana, ma fa capire che è innamorato di un’altra invece il monologo di Fedra (“Giusto Cielo! Che feci in tal giorno?”) e (“L’anima ho stanca”). Quando arriva il principe, la principessa si na- conclude additando la principessa che, furibonda, chiede a Maurizio di sconde in una stanza attigua. Giunge anche Adriana: Maurizio si diver- restare con lei mentre tutti si allontanano. te alla sorpresa della donna nello scoprire la sua identità e le conferma il suo amore (“Tu sei la mia vittoria”). Michonnet e l’abate interrompono Atto IV il colloquio: il primo vuol andar via per parlare con la Duclos, l’abate Salottino in casa di Adriana che, sofferente, ha abbandonato le scene. rivela che l’attrice è al villino. Quando Michonnet entra nella stanza Michonnet tenta di confortarla. Gli attori giungono con doni per festeg- dove pensa che sia nascosta la Duclos, Maurizio supplica Adriana di giarla. Adriana, sostenuta dall’affetto degli amici, promette di tornare aiutarlo a far fuggire la donna misteriosa. Adriana riesce a impedire a recitare. Ma giunge un cofanetto, con un biglietto da parte di Mauri- all’abate di entrare nella stanza e, nonostante i consigli di Michonnet, zio: all’interno il mazzo di viole, avvizzito. Adriana è sconvolta: odora decide di salvare la sconosciuta. Rimasta sola, Adriana spegne i lumi e a lungo i fiori e poi li getta nel fuoco (“Poveri fiori”). Giunge Maurizio, va a chiamare la Principessa (“Non risponde… Apritemi, signora”). La chiamato da Michonnet; chiede perdono ad Adriana e le chiede di spo- principessa vuol scoprire chi è la confidente di Maurizio, ma all’avvici- sarlo. Adriana è felice, ma improvvisamente impallidisce, avvelenata narsi del marito fugge da una porta segreta, perdendo un braccialetto. dai fiori mandati dalla principessa. Adriana delira, crede di essere nuo- vamente sulla scena (“Scostatevi, profani!”), poi muore tra lo sgomen- Atto III to di Maurizio e Michonnet. La sala del teatrino nel palazzo di Bouillon. La principessa è tormentata dalla gelosia per la sconosciuta. Adriana, accompagnata da Michon- net, è l’ospite d’onore; la principessa ne riconosce la voce e finge che il conte di Sassonia sia stato ferito in duello. Adriana sviene, confer- mando i sospetti. Ma giunge Maurizio, e in segreto prega la principes- sa di concedergli un colloquio. Vedendoli parlare insieme, Adriana si insospettisce. Maurizio racconta le sue imprese in battaglia. Ha poi inizio il balletto che rappresenta il giudizio di Paride. Nel corso dello spettacolo la Principessa attacca velatamente Adriana parlando del mazzolino di viole regalato al conte, l’attrice ribatte mostrando a tutti il 14 15 SYNOPSIS Act I Foyer of the Comédie Française. Agitation before the performance. Enters the prince of Bouillon, patron of the actress Duclos, with the ab- bot of Chazeuil. Adriana, already in costume, rehearses Bajazet (“Del sultano Amuratte… Io son l’umile ancella”). Michonnet, left alone with Adriana, whom he loves, discovers that she is in love with an officer. Maurizio, count of Saxony, enters, eager to greet Adriana (“La dolcissi- ma effigie”). She believes he is a simple officer and is ready to speak to the count in his favor. Adriana agrees to meet him after the show and offers him as pledge a bouquet of violets. The abbot gives the prince a letter in which Duclos gives an appointment to Maurizio “for politi- cal reasons” that same night in the villa that the prince has given to her disposition. Wanting to catch them in the act, the prince invites to dinner all the actors; but they guess that the letter is actually on behalf of the princess of Bouillon, in collaboration with Duclos. Michonnet, moved, listens to Adriana’s monologue (“Ecco il monologo…”). Maur- izio believes that the princess has important news to tell him and warns Adriana through a letter that’s given to her on stage. By the end of the performance Adriana accepts the prince’s invitation in order to meet the count of Saxony. 1 / SYNOPSIS ADRIANA LECOUVREUR Act II exposing to everyone the lost bracelet: the prince, not having heard Living room in the Villa of Duclos. The princess of Bouillon awaits im- the dialogue, recognizes the wife’s jewelry. The princess, contemptu- patiently (“Acerba voluttà”). Maurizio is obligated to give Adriana’s vi- ous, invites Adriana to recite a piece of Arianna abbandonata. Adriana olets to the princess, but assures that he is in love with someone else performs instead the monologue of Fedra (“Giusto Cielo! Che feci in tal (“L’anima ho stanca”). When the prince arrives, the princess hides in giorno?”) and concludes pointing directly to the princess that furious, a nearby room. Adriana also appears: Maurizio is delighted to see the asks Maurizio to stay with her while everyone is leaving. woman discover his true identity and confirms his love for her (“Tu sei la mia vittoria”). Michonnet and the abbot interrupt the conversation: Act IV the first one wants to leave to speak with Duclos, the abbot reveals Small room in Adriana’s house. She is suffering and has retired from that the actress is in the villa. When Michonnet enters the room where the stage. Michonnet tries to comfort her. The actors come in with gifts he thought Duclos was hiding, Maurizio begs Adriana to help the mys- to celebrate her. Moved by her friends’ affections, Adriana promises terious woman escape. Adriana manages to prevent the abbot’s en- to go back to performing. But then arrives a small box with a card trance into the room. Despite Michonnet’s advice, Adriana decides to from Maurizio, inside is the faded bouquet of violets. Adriana is over- save the stranger. Left alone, Adriana turns off the lights and calls for whelmed, deeply inhales the scent of the flowers and then throws them the princess (“Non risponde… Apritemi, signora”). The princess wants into the fire (“Poveri fiori”). In comes Maurizio, summoned by Michon- to discover who is Maurizio’s confidant, but her husband is approach- net. He apologizes to Adriana and asks her to marry him. Adriana is ing and she escapes through a secret door, losing a bracelet. joyful but suddenly turns pale, poisoned by the flowers sent by the princess. Adriana hallucinates and believes she is back on the stage, Act III then dies to Maurizio and Michonnet’s dismay. A small theater in Bouillon’s palace. The princess is tormented with jealousy because of the female stranger.
Load more

Recommended publications
  • Activities Overview 2018,2019 Success of Rohm Music Friends
    Activities overview 2019 1 Nishinakamizu-cho, Saiin, Ukyo-ku, Kyoto 615-0044, Japan +81-75-331-7710 +81-75-331-0089 https://micro.rohm.com/en/rmf/ INDEX Objective, Detail of Operation, and Outline of the Foundation ………… 1 Directors, Trustees, Advisors and Members of Selection Committee … 2 Activities 2018 …………………………………………………………………………… 3 2019 …………………………………………………………………………… 9 Success of ROHM Music Friends …………………………………………… 15 (In chronological or alphabetical order.) 2019.9 Objective Directors Our foundation aims to contribute to the dissemination and development of the Japanese musical Chairman Ken Sato Chairman Emeritus ROHM CO., LTD. culture through the implementation of and financial support for music activities, and the provision of Managing Director Akitaka Idei Former Director, Member of the Board ROHM CO., LTD. scholarships for music students. Director Nobuhiro Doi President, Chairman of the Board The Bank of Kyoto, Ltd. Tadanobu Fujiwara President, Detail of Operation Chief Executive Officer ROHM CO., LTD. Yukitoshi Kimura Former Commissioner of the National Tax Agency Board Chairman, Zaikyo 1. Organizing music concerts and providing financial support for music activities Koichi Nishioka Journalist Director, Member of the Board ROHM CO., LTD. 2. Providing scholarships for both Japanese music students studying in Japan or abroad and overseas Seiji Ozawa Conductor music students studying in Japan Yasuhito Tamaki Lawyer Midosuji Legal Profession Corporation 3. Collecting, investigating and analyzing material related to music Mazumi Tanamura Guest Professor Tokyo College of Music Specially Appointed Principal Violist Tokyo Metropolitan Symphony Orchestra 4. Supporting overseas music research Shunichi Uchida Former Commissioner of the Consumer Affairs Agency President Kyoto International Conference Center Yasunori Yamauchi President and Editor in Chief The Kyoto Shimbun Newspaper Co., Ltd.
    [Show full text]
  • [Collection Title]
    1 New Orleans Opera Association Archives 99 boxes/68 linear ft Special Collections & Archives J. Edgar & Louise S. Monroe Library Loyola University New Orleans Collection 74 2 Contents Collection Summary ....................................................................................................................... 3 Series Description .......................................................................................................................... 7 Container List ................................................................................................................................. 8 Series I: Administrative Files ..................................................................................................... 8 Subseries I-A: Artist Fees ...................................................................................................... 8 Subseries I-B: Awards and Grants ......................................................................................... 8 Subseries I-C: Board of Directors 1943-1999 ........................................................................ 9 Subseries I-D: Budgets ........................................................................................................ 10 Subseries I-E: Clubs and Guilds .......................................................................................... 10 Subseries I-F: Correspondence ............................................................................................ 10 Subseries I-G: Facilities and Sets ........................................................................................
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • Romana Cilea 1..1
    CESARE ORSELLI Francesco Cilea Un artista dall’anima solitaria Indice sommario Ritorno a Cilea ........................................................................... 1 La vita La formazione. Gli studi al Conservatorio di Napoli....................... 8 Le prime composizioni e il debutto teatrale.................................. 12 Nuove creazioni: La Tilda........................................................ 15 Difficolta`deL’Arlesiana.......................................................... 18 Firenze: verso Adriana Lecouvreur ............................................. 22 Gli anni della gloria ............................................................... 26 Pause di silenzio.................................................................... 32 Breve rinascita e tramonto ....................................................... 36 Le opere teatrali Gina: esordio fra Napoli e la Francia.......................................... 42 Il debutto nazionale: La Tilda aFirenze....................................... 55 L’Arlesiana, momento di maturazione.......................................... 66 Il trionfo:AdrianaLecouvreur.................................................. 79 Crepuscolo di Gloria ............................................................... 97 Vocalita` fuori dal palcoscenico La lirica da camera ................................................................ 108 La musica sacra .................................................................... 122 La musica strumentale ..................................................................
    [Show full text]
  • Diane Kalinowski, Soprano
    DIANE KALINOWSKI, SOPRANO Diane Kalinowski is an artist that “stands out, possessing an enormous voice of fine quality” (Patrick C. Byrne; Belgian Opera Guide). She recently performed the title role of Tosca with Opera Connecticut to enthusiastic acclaim including a review from Larry Kellum of Town Times applauding “…her voice is gorgeous, her high Bs and Cs (she has many) were gigantic bullseyes, her acting was sensitive, and her beautiful long pianissimo ending “Vissi d’arte” instantly showed this critic that she is a major talent in the making!” Ms. Kalinowski has performed the roles of Marguerite in an adaptation of Faust, Lady Billows in Albert Herring, the New Prioress in Dialogues of the Carmelites, the title role in Suor Angelica, Gretel in Hansel and Gretel, Frasquita in Carmen, and Yum Yum in The Mikado. In addition to Opera Connecticut, she has been seen on the stages of the Lyric Opera of Kansas City, Annapolis Opera, New Jersey State Opera, and Rochester Lyric Opera. No stranger to the concert stage, Ms. Kalinowski has performed numerous scenes and arias from Madama Butterfly, Norma, La Forza del Destino, Aida, Boito’s Mefistofele, Der Rosenkavalier, and Così fan tutte. She has been the soprano soloist in Handel’s Messiah, the Poulenc Gloria, the Mozart Requiem, and the Vivaldi Gloria and also sang Strauss’s Vier letzte Lieder with the University of Kansas Symphony Orchestra at the beautiful Lied Center. Ms. Kalinowski is the recipient of numerous awards including the Top 3 of 9 possible awards at the Annapolis Opera Voice Competition; Top Prize in the American Opera Idol Competition at Opera Connecticut; and Grand Prize in the LaDue Professional Recital Competition at Rochester Lyric Opera.
    [Show full text]
  • Adriana Lecouvreur
    FRANCESCO CILEA adriana lecouvreur conductor Opera in four acts Gianandrea Noseda Libretto by Arturo Colautti, based production Sir David McVicar on the play Adrienne Lecouvreur by Eugène Scribe and Ernest Legouvé set designer Charles Edwards Friday, January 4, 2019 costume designer 7:30–11:05 PM Brigitte Reiffenstuel lighting designer New Production Adam Silverman choreographer Andrew George The production of Adriana Lecouvreur associate director Justin Way was made possible by a generous gift from The Sybil B. Harrington Endowment Fund Co-Production of the Royal Opera House, Covent Garden, London; Gran Teatre del Liceu, Barcelona; Wiener Staatsoper; San Francisco Opera; and general manager L’Opéra National de Paris Peter Gelb jeanette lerman-neubauer This production was first seen at the Royal Opera music director Yannick Nézet-Séguin House, London, on November 18, 2010. 2018–19 SEASON The 75th Metropolitan Opera performance of FRANCESCO CILEA’S adriana lecouvreur conductor Gianandrea Noseda in order of vocal appearance mlle. jouvenot Sarah Joy Miller michonnet Ambrogio Maestri poisson Tony Stevenson* mlle. dangeville Samantha Hankey quinault Patrick Carfizzi the abbé of cha zeuil Carlo Bosi the prince of bouillon Maurizio Muraro adriana lecouvreur Anna Netrebko Friday, January 4, 2019, 7:30–11:05PM maurizio Piotr Beczała the princess of bouillon Anita Rachvelishvili major- domo Christian Rozakis chambermaid Anne Dyas mlle. duclos Snezhana Chernova pantalone Bill Corry judgment of paris ballet paris Kfir Danieli shepherdesses Jennifer
    [Show full text]
  • DANIEL GRICE Bass-Baritone Daniel Grice Trained and Worked As a Nurse and a Chef Before Studying Music at the Guildhall School O
    DANIEL GRICE bass-baritone Daniel Grice trained and worked as a nurse and a chef before studying music at the Guildhall School of Music and Drama and with bass Robert Lloyd. He made his operatic debut as Nick Shadow in The Rake’s Progress opening the 2006 Aldeburgh Festival with the Philharmonia Orchestra under Martyn Brabbins directed by Neil Bartlett. This season he has performed Idraote/Astarotte Armida and Haly L’Italiana in Algeri for Opéra Orchestre National Montpellier, Sam Un Ballo in Maschera and Wagner Faust for Dorset Opera and the previous season Papageno Die Zauberflöte and Zoroastro Orlando for Welsh National Opera also understudying Peter Hansel und Gretel, Dulcamara L’elisir D’amore, Sam, Leuthold Guillaume Tell for the Royal Opera House. Other performances include Schaunard La Boheme and Flemish Deputy Don Carlo for the Royal Opera House, Ein Mann/Ephramite Moses und Aron, Schaunard, Angelotti Tosca, Lord Rochfort Anna Bolena and Roderick Usher (cover) La Chute de la Maison Usher for Welsh National Opera. He also performed Pastore/Spirito Orfeo for Opera National de Lorraine and Les Talents Lyriques with Christophe Rousset also in concert at Salle Playel and Escamillo Carmen at the Royal Albert Hall. During 2010-2012 as a Jette Parker Young Artist at the Royal Opera House, Daniel sang Wolfram Tannhäuser, Fiorello in Il Barbiere di Siviglia, Commissario in Madama Butterfly as well as the role of Enrico in Haydn’s L’isola disabilitata with the Young Artists in the Lindbury Studio Theatre, Wagner in Gounod’s Faust, Pinellino Gianni Schicchi, Marquis d’Obigny La Traviata, Hunter Rusalka, Soldier and Mercure Les Troyens, Antonio Il Viaggio a Riems and covered the roles of Guglielmo Cosi Fan Tutte, il Principe de bouillion Adriana Lecouvreur, Papageno and Schaunard.
    [Show full text]
  • Cilea Francesco
    CILEA FRANCESCO Compositore italiano (Palmi, RC 23 VI 1866 – Varazze, Savona 20 XI 1950) RRIITTRRAATTTTOO DDEELL CCOOMMPPOOSSIITTOORREE 310 Figlio dell'avvocato Giuseppe e di F. Grillo, venne avviato agli studi classici in un convitto di Napoli; ma le precoci doti musicali, rivelate nello studio del pianoforte, indussero i familiari - per il determinante intervento di F. Florimo - ad iscriverlo al conservatorio di San Pietro a Maiella: vi entrò nel 1878, e vi ebbe ad insegnanti P. Serrao per la composizione, B. Cesi e G. Martucci per il pianoforte. Ancora durante gli studi, si segnalò con una Suite (1887) premiata dal ministero della pubblica istruzione; nell'ultimo anno di corso (1889), scrisse, su incarico della direzione del conservatorio, la sua prima opera, Gina, da lui stesso diretta nel teatrino dell'istituto. Conseguito il diploma, fu nominato supplente di armonia e di pianoforte complementare a San Pietro a Maiella fino al 1892. La seconda opera Tilda, venne rappresentata con buon successo al Paglino di Firenze (1892), e, successivamente, a Vienna in una tournée dedicata alla "giovane scuola italiana". Per l'opera, ebbe parole di caldo elogio il critico E. Hanslick. Nel 1896 Cilea vinse il concorso per la cattedra di armonia all'istituto musicale in Firenze, e nella città toscana compose l'Arlesiana, andata in scena nel 1897 al Lirico di Milano con il concorso del giovane tenore Enrico Caruso. Sempre il pubblico milanese applaudì al Lirico nel 1902, Adriana Lecouvreur, e il vibrante successo si ripetè immediato in numerosi altri teatri italiani e stranieri. Ripetuti colloqui con Gabriele D'Annunzio, nella prospettiva di trasferire sulla scena lirica Francesca da Rimini, non giunsero a conclusione, sembra per le eccessive richieste economiche del poeta.
    [Show full text]
  • Homage to Two Glories of Italian Music: Arturo Toscanini and Magda Olivero
    HOMAGE TO TWO GLORIES OF ITALIAN MUSIC: ARTURO TOSCANINI AND MAGDA OLIVERO Emilio Spedicato University of Bergamo December 2007 [email protected] Dedicated to: Giuseppe Valdengo, baritone chosen by Toscanini, who returned to the Maestro October 2007 This paper produced for the magazine Liberal, here given with marginal changes. My thanks to Countess Emanuela Castelbarco, granddaughter of Toscanini, for checking the part about her grandfather and for suggestions, and to Signora della Lirica, Magda Olivero Busch, for checking the part relevant to her. 1 RECALLING TOSCANINI, ITALIAN GLORY IN THE TWENTIETH CENTURY As I have previously stated in my article on Andrea Luchesi and Mozart (the new book by Taboga on Mozart death is due soon, containing material discovered in the last ten years) I am no musicologist, just a person interested in classical music and, in more recent years, in opera and folk music. I have had the chance of meeting personally great people in music, such as the pianist Badura-Skoda, and opera stars such as Taddei, Valdengo, Di Stefano (or should I say his wife Monika, since Pippo has not yet recovered from a violent attack by robbers in Kenya; they hit him on the head when he tried to protect the medal Toscanini had given him; though no more in a coma, he is still paralyzed), Bergonzi, Prandelli, Anita Cerquetti and especially Magda Olivero. A I have read numerous books about these figures, eight about Toscanini alone, and I was also able to communicate with Harvey Sachs, widely considered the main biographer of Toscanini, telling him why Toscanini broke with Alberto Erede and informing him that, contrary to what he stated in his book on Toscanini’s letters, there exists one letter by one of his lovers, Rosina Storchio.
    [Show full text]
  • NEW YORK CRITICS REVIEW MARIA CALLAS and RENATA TEBALDI: a Study in Critical Approaches to the Inter-Relationship of Singing
    NEW YORK CRITICS REVIEW MARIA CALLAS AND RENATA TEBALDI: A Study in Critical Approaches to the Inter-relationship of Singing and Acting in Opera by MarikolVan Campen B. A., University orBritish Columbia, 1968 A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts in The Faculty of Graduate Studies Department of Theatre, Faculty of Arts, University of British Columbia We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1977 1977 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of THEATRE The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date Oct. 5, 1977 i ABSTRACT The following study is an analysis of New York reviews of performances of Maria Callas and Renata Tebaldi which attempts to discover what opera critics feel to be the most effective artistic balance between singing and acting in opera. Callas and Tebaldi have been chosen as the subjects of the reviews because of their renown as singers, the closely coinciding cir• cumstances of their careers and the polarities which they represented in the issue of acting versus singing in operatic performance.
    [Show full text]
  • Programa XVIII Homenaje a Alfredo Kraus
    XVIII HOMENAJE A ALFREDO KRAUS Ismael JORDI, tenor Rubén FERNÁNDEZ AGUIRRE, piano Obras de Donizetti, von Flotow, Gounod, Massenet, Tosti, Cilea, Barrera & Calleja, Vives, Soutullo & Vert, Poulenc, Lopez e Imaz — M 24 NOV 2020 / 20:00 H PATROCINA: COLABORA: El Teatro Pérez Galdós acoge el XVIII Homenaje a Alfredo Kraus con un Comencé a estudiar con el maestro Kraus en octubre de 1998. Trabajába- Francesco Paolo TOSTI recital lírico a cargo del tenor Ismael Jordi, que estará acompañado por el mos el canto sul ato, apoyado en el aire, algo que parece simple, pero que Tres melodías pianista Rubén Fernández Aguirre. Como cada 24 de noviembre, la Funda- resulta dicilísimo. La teoría era maravillosa y con Kraus parecía todo muy L’ultima canzone (1905) - Non t’amo piú! (1884) - Marechiare (1886). ción Auditorio y Teatro de Las Palmas de Gran Canaria rinde un merecido fácil. Pero luego hay que hacerlo, y es allí donde empiezan los problemas. tributo al tenor grancanario Alfredo Kraus, celebrando un concierto en el Todavía hoy la sigo estudiando pues, cuando trabajas bien esta técnica, Francesco CILEA aniversario de su nacimiento. tienes mucho terreno conquistado. L’Arlesiana (1897) “È la solita storia del pastore…” - Preludio al acto I. Las Palmas de Gran Canaria, 24 de noviembre de 2020 El maestro Kraus, aparentemente serio, nos sorprendía a veces con sus chis- tes y su socarronería canaria. Además, cada vez que se dirigía a mí, lo hacía Friedrich von FLOTOW con acento andaluz, lo que resultaba muy divertido. A veces me pedía que Martha (1847) me arrancara con un fandanguillo en mitad de la clase.
    [Show full text]
  • Prudhomme Gabrielle 2018 M
    Université de Montréal Faculté des études supérieures et postdoctorales Ce mémoire intitulé : COMMÉMORER VERDI SOUS LE FASCISME : LES CÉLÉBRATIONS DE 1941 Présenté par : Gabrielle Prud’homme A été évalué par un jury composé des personnes suivantes : Sylvain Caron, Président-rapporteur Marie-Hélène Benoit-Otis, Directrice de recherche François de Médicis, Codirecteur Michel Duchesneau, Membre du jury Université de Montréal COMMÉMORER VERDI SOUS LE FASCISME : LES CÉLÉBRATIONS DE 1941 par Gabrielle Prud’homme Faculté des études supérieures et postdoctorales Mémoire présenté en vue de l’obtention du grade de maîtrise en musique option musicologie Septembre 2018 © Gabrielle Prud’homme, 2018 RÉSUMÉ Ce mémoire porte sur la récupération politique de la figure et des œuvres du compositeur Giuseppe Verdi (1813-1901) pendant la période fasciste en Italie (1922-1943), et plus précisément à l’occasion des manifestations relatives aux célébrations du quarantième anniversaire de sa mort en 1941, alors que l’Italie est en guerre contre la France et l’Angleterre. Le premier chapitre explore le développement du mythe de Verdi, et montre comment le compositeur est graduellement transformé en héros national pour devenir une icône de l’art lyrique italien, s’inscrivant dans un effort de glorification du passé pour la promotion d’un esprit nationaliste italien pour, ultimement, attester de la suprématie du pouvoir fasciste. Le deuxième chapitre propose une étude de l’organisation des festivités de 1941; il se penche aussi bien sur les événements musicaux que sur les discours et les publications, pour ensuite présenter une analyse plus approfondie des célébrations organisées à Parme. Il y est question de la riche réception des manifestations, qui assurent l’entretien et la fortification du mythe verdien.
    [Show full text]