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COPPÉLIA.Pdf
ALBO DEI FONDATORI CONSIGLIO DI AMMINISTRAZIONE Giorgio Orsoni presidente Stato Italiano Luigino Rossi vicepresidente Fabio Cerchiai SOCI SOSTENITORI Jas Gawronski Achille Rosario Grasso Luciano Pomoni Giampaolo Vianello Francesca Zaccariotto Gigliola Zecchi Balsamo consiglieri SOCI BENEMERITI sovrintendente Giampaolo Vianello direttore artistico Fortunato Ortombina COLLEGIO DEI REVISORI DEI CONTI Giancarlo Giordano, presidente Giampietro Brunello Adriano Olivetti Andreina Zelli, supplente SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. ALBO DEI FONDATORI COPPÉLIA SOCI ORDINARI ballet pantomime in due atti soggetto di Charles Jude da Arthur Saint-Léon e Charles Nuitter coreografia di Charles Jude musica di Léo Delibes Teatro La Fenice mercoledì 21 luglio 2010 ore 19.00 turno A giovedì 22 luglio 2010 ore 19.00 turno E venerdì 23 luglio 2010 ore 19.00 turno D sabato 24 luglio 2010 ore 15.30 turno C domenica 25 luglio 2010 ore 15.30 turno B Stagione 2010 Lirica e Balletto Stagione 2010 Lirica e Balletto Sommario 4 La locandina 9 Un balletto boulevardier di Silvia Poletti 15 Coppélia in breve 17 Argomento - Argument - Synopsis - Handlung 23 Dall’archivio storico del Teatro La Fenice Le bambole meccaniche di E.T.A. Hoffmann al Teatro La Fenice 29 Biografie Léo Delibes, autore della musica di Coppélia, in un disegno (c. 1880) di Louise Abbéma (1853-1927). Clément Philibert Léo Delibes (1836-1891) studiò composizione al Conservatorio di Parigi con Adolphe Adam. Scrisse varie operette, i balletti La source, Coppélia e Sylvie e le opere Jean -
Portland Daily Press Stock Dial Athertou, York
ESTABLISHED JUNE 23, 1862.—VOL. 15. PORTLAND. THURSDAY MORNING. DECEMBER 20. 1877. TERMS $8.00 PER ANNUM, IN ADVANCE ENTERTA INMENTS. ENTERTAINMENTS. MISCELLANEOUS. EDUCATIONAL. MISCELLANEOUS. THE PRESS. Cap and Bells. Marsh’s Theati e, The Ladies of “Willislon Circle” XlJDWIO TRllsrT THURSDAY HORNING. DEC. SO. Whenever yon have ten minutes to spare go Fanny an! bother Articles some one who hasn't. PORTLAND, will have a tale of Useful and Fancy at Of Interest to all Mankind! PROFESSOR OF LANGUAGES, HOLIDAY GOODS Wa do not read anonymous etters and common] Graduate of the of Highest University Germany. cations. The One Week Only 1 WILLISTON CHHIIRCH The name and address of the writer are in frost on the milkman's moustache chills Positively Emin and Greek. Gcrinas, French, all cases indispeusable, not necessarily for publication the hired to the on Thursday Afternoon and girl core. Commencing Monday. Dec. 17Hi. Grand Few People thoroughly understand the correct meaning ot German and French Classes. but as a guaranty of good faith. Dec. 20th. t. p. McGowan Matinee Saturday, Dec. 22d. Evening, We cannot undertake to return or preserve com- UNITED STATES HOTEL. The snow at Erzeroum is three feet Refreshments will lie for sale. del8dt3* munications that are not used. deep, nol 1 d Jm desires to Inform tho public that he makes a Extraordinary, specialty and the inhabitants are all out slaying. Engagement nadqueradk prize at RED FIGURES ! and Hall, THURSDAY EVE- And first appearance in 10 years ol tho GrandArmy Navy Instruction in English and Class- Evert regular attache of the Pbess is furnished NING, Dec. -
Ernest Guiraud: a Biography and Catalogue of Works
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Ernest Guiraud: A Biography and Catalogue of Works. Daniel O. Weilbaecher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Weilbaecher, Daniel O., "Ernest Guiraud: A Biography and Catalogue of Works." (1990). LSU Historical Dissertations and Theses. 4959. https://digitalcommons.lsu.edu/gradschool_disstheses/4959 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Vol. 4. Contents. No.2
Price, Its Cents. 53.76 Worth of MUSIC in This Number. Vol. 4. No.2. Contents. GENERAL ..........•......................... , ...• page 55 What Care I? (Poetry).-Comical Chords. EDITORIAL ...................................... page 56 Paragraphs.-The People's l\fusical Taste. l\fUSICAL ................ ........................ page 66 Piano Recitals at the St. Louis Fair. l\1ISCELLANEOUS ......... .. ..................... page 58 The Musician to His Love (Poetry) .-Major and Mmor. -Love and Sorrow (Poetry).-New York.-Pleyel. -Anecdote of Beethoven.-Donizetti's Piano -Forte. -l\fnsic and IUedicine.-Answers to Correspondents. -What the PTess Think of lt.-Smith and Jones. MUSIC IN THIS NUMBER. " Careless Elegance," Geo. Schleiffarth ......... page fi7 "Peep o' Day Waltz," Alfred von Rochow ...... page 70 " The Banjo," Claude Melnotte .........•........ page 72 " Greetings of Love" (Duet), Wm. Siebert ...... page 74 ~· 'l'hou'rt Like Unto a Flower," A. Rubinstein ... page 78 "Because 1 Do," J. L. Molloy .................... page 80 "Goldbeck's Harmony" .........................._ page Si KUNKEL BROS., Publishers, ST. LOUIS, MISSOURI. COPYRIGHT, KUNKEL BROS., 1S8l. 50 KUNKEL'S MUSICAL REVIEW, OCTOBER, 1881. "USED BY ALL THE GREAT ARTISTS" THE AJR'll'JI§'Jf§. AR'lfli§'Jf§, LIEBLING, HE~RY F. MILLE~ PI) NOS SHERWOOD, PERRY, PRESTON, ARE PRONOUNCED THE BEST HENRIETTA MAURER, BY '£HE MRS. SHERWOOD, HOFFMAN, Leadin Artists of the Present Time, PEASE, AND ARE USED Bl' THEM CHARLES R. ADAMS, P. BIUGNOLI, IN PUBLIC AND PRIVATE. CLARA LOUlSE KET"LOGG, ANNIE LOUISE CARY, EMMA TIIURSRY, These celebrated instruments arc the favorites, at1d are MARIE ROZE, used in the finest concerts in the principal cities of TOll! KARL, i\mericn. W. II. l<'ESSENDEN, The characteristir.s which have given these Pianos their l\1. -
122 a Century of Grand Opera in Philadelphia. Music Is As Old As The
122 A Century of Grand Opera in Philadelphia. A CENTURY OF GRAND OPERA IN PHILADELPHIA. A Historical Summary read before the Historical Society of Pennsylvania, Monday Evening, January 12, 1920. BY JOHN CURTIS. Music is as old as the world itself; the Drama dates from before the Christian era. Combined in the form of Grand Opera as we know it today they delighted the Florentines in the sixteenth century, when Peri gave "Dafne" to the world, although the ancient Greeks listened to great choruses as incidents of their comedies and tragedies. Started by Peri, opera gradually found its way to France, Germany, and through Europe. It was the last form of entertainment to cross the At- lantic to the new world, and while some works of the great old-time composers were heard in New York, Charleston and New Orleans in the eighteenth century, Philadelphia did not experience the pleasure until 1818 was drawing to a close, and so this city rounded out its first century of Grand Opera a little more than a year ago. But it was a century full of interest and incident. In those hundred years Philadelphia heard 276 different Grand Operas. Thirty of these were first heard in America on a Philadelphia stage, and fourteen had their first presentation on any stage in this city. There were times when half a dozen travelling companies bid for our patronage each season; now we have one. One year Mr. Hinrichs gave us seven solid months of opera, with seven performances weekly; now we are permitted to attend sixteen performances a year, unless some wandering organization cares to take a chance with us. -
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia by Arthur E. Lafex Submitted To
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia By Copyright 2013 Arthur E. Lafex Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. ________________________________ Chairperson Alicia Levin ________________________________ Paul R. Laird ________________________________ David Alan Street Date Defended: April 15, 2013 The Thesis Committee for Author (Arthur E. Lafex) certifies that this is the approved version of the following thesis: Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia ________________________________ Chairperson Alicia Levin Date approved: April 15, 2013 ii Abstract Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes’s music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes’s ballets can be considered. -
Boston Symphony Orchestra Concert Programs, Season 28,1908-1909, Trip
MECHANICS HALL . WORCESTER Twenty-eighth Season, I908-J909 Ionian ^ptpfjmuj GDrdf^fra MAX FIEDLER, Conductor ffrogramm? of a?* Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, APRIL 20 AT 8. J 5 PRECISELY COPYRIGHT, 1908, BY C. A. ELLIS MANAGER PUBLISHED BY C. A. ELLIS, Mme. CECILE CHAMINADE The World's Greatest Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE ^^ Piano. THE JOHN CHURCH CO., 37 West 3*d Street New York City REPRESENTED BY THE JOHN CHURCH CO., 37 West 32d Street, New York City Boston Symphony Orchestra PERSONNEL TWENTY-EIOHTH SEASON, 1908-1909 MAX 1FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J, Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noach, S. Mahn, F. Eichheim, H, Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, K Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. -
September 15,1881
15 ESTABLISHED JUNE 23, 1862—VOL. 19. PORTLAND, THURSDAY MORNING, SEPTEMBER 1881. Memories of His Birthplace. THE PORTLAND DAILY PRESS, EDUCATIONAL MISCELLANEOUS MISCELLANEOUS MISCELLANEOUS. THE PRESS. Published every day (Sundays sxcepted,) by the SEPT. 15. A Letter From Secretary Blaine, Read at PORTLAND PTBLISH1N6 CO., THURSDAY MORSIMfl. ]?Iiss Sewall'i School, the Centennial Celebration of Washing- At 109 exchange Portland. St., *67 1-9 Street. ton Co-, Penn., Last Thursday. Congress Every regular attach* of the Prbus ia furuiahed Teems: Eight Dollars a Tear. To mall subserib The 15, 1881. with a Card oeriiflcate Pullen. ers Seven Dollars a Tear, If paid In advanee. fifth year begin* *ept. signed by Stanley All steamboat and hotel manager* Careful instruction trill be given in English Studies, Editor, railway, Washington, Sept 5. THE MAINE STATE PRESS Latin Greek French and German plac- will confer a favor upon us demanding credentials Boarding by Pa.: es for from out of town John T. McKennan, Washington, Thnbshay Moening at *2.60 a provided pupilr of every person claiming to represent our journal. U published everv For circulars, or admission, apply to the Princi- had If tu advanee at 92.00 a year. Dbab Sib.—I anticipated great pleasure yew, paid pal, 78 Winter St. jy23-eodtf in at the centennial celebration One lnob of *5.00 being present Eatbs «» Advtcbtisino: spaoe, the Wo do not read letters and communl but the national sorrow englh of column, eoastitntes a "square.” anonymous of Washington county, of writer are In 91.90 per square, daily first week; 75 cents per cations. -
June 30, 1877
PORTLAND PRESS. ESTABLISHED JUNE 23, 1862.—VOL. 15. PORTLAND, SATURDAY MORNING, JUNE 30, 1877. TERMS $8.00 PER ANNUM, IN ADVANCE. THE PORTLAND DAILY PRESS. ENTERTAINMENTS. MISCELLANEOUS. TlFTFl PRESS. Past, Present and Future of Portland. _MISCELLANEOUS._= To the Editor of the Press: Published every day (Sundays excepted) by the The announcement in your issue State St. Parish and Sunday School SATURDAY SORRIER. JURE JO. morning's PORTLAND PUBLISHING CO.# relative to the Portland and Ogdensburg Kail- THE SEASON Portland. FOOD FOR REFLECTION. FOR road “that the Vermont division will be com- At 109 Exchange St.» We do not EXCURSION, read anonymous letters and communi pleted to the junction with the and a Year in advance. Burlington Terms: Eight Dollars Tc cations. Xbe name and address of the writer are In Lamoille m iil subscribers Seven Dollars a Year it paid in ad- Railroadjat Cambridge on Saturday, 3, 1877. OUR GREAT all cases indispensable, not necessarily for publication ▼a ace. Tuesday July PRICES and to Swanton on Tuesday, and that _ FOR COMPETITION, ^EMI-ANNUAL but as a guaranty of good faith. through train will leave Eastern Railroad Special trains will run to and at 9 o’clock A. HI., for We cannot undertake to return or reserve commu- Burlington Ogdensburg THE MAINE STATE PRESS Repot AND the nications that are not used. coming month, and on and after Modnay. Is published every THURSDAY MORNING at $2.50 a MARK DOWN if In advance at a SALE! next, three trains will enter the year, paid $2.00 year. city daily LAKE MOTIVES FOR THE WE PURSUE over this SEBAGO. -
Maine Guide to Museums and Historic Homes (4Th Edition)
Maine Guide to Museums and Historic Homes FOURTH EDITION INDEX—1983-84 MAINE GUIDE TO MUSEUMS & HISTORIC HOMES Page Page Page Allagash 37 Gorham 3 Phillips 13 Aina 20 Greenville 34 Phippsburg 4-5 Ashland 37 Hampden 31 Pittston 18 Auburn 16 Harpswell 3 Poland Spring 18 Augusta 16-17 Head Tide 22 Porter 13 Bangor 28 Hinckley 17 Portland 5-6 Bar Harbor 28-29 Houlton 38 Prospect 24 Bath 20 Islesboro 22 Rangeley 13-14 Belfast 20 Islesford 31 Richmond 18-19 Bethel 10 Jay 11-12 Rockland 24-25 Biddeford 2 Katahdin Iron Works 34 Rumford Center 14 Blue Hill 29 Kennebunk 3 Saco 7 Boothbay 21 Kennebunkport 3-4 Scarborough 7 Boothbay Harbor 21 Kezar Falls 12 Searsport 25 Bridgton 10 Kittery 4 Sebago 14 Brooksville 29 Kittery Point 4 Sedgwick 32 Brunswick 2-3 Lee 31 Skowhegan 19 Buckfield 10 Liberty 22-23 Somesville 32 Bucksport 29 Lincoln 31-32 South Berwick 7 Burlington 29 Litchfield 17 South Bristol 25 Buxton 10 Livermore 12 South Casco 14 Calais 35 Lubec 35 South Solon 19 Camden 21 Machias 35 South Windham 14 Campobello, NB 36 Machiasport 36 Southwest Harbor 33 Canton 10 Madawaska 38 Standish 14-15 Caribou 37 Monhegan Island 23 Stockholm 38 Casco 10-11 Monmouth 17-18 Strong 15 Castine 29-30 Monson 34 Sullivan 33 Cherryfield 35 Morrill 23 Thomaston 25-26 China 17 Naples 12 Thorndike 26 Columbia Falls 35 New Gloucester 12 Topsham 8 Corinna 30 New Sweden 38 Union 26 Cushing 21 Newburgh 32 Unity 26 Damariscotta 21 Newcastle 23 Van Buren 38 Deer Isle 30 Newfield 12 Vinalhaven 26 Dexter 30-31 North Berwick 4 Waldoboro 26-27 Dover-Foxcroft 34 North Bridgton 13 Waterville 19 Dresden 22 North Edgecomb 23 Wayne 19 Ellsworth 31 North Vassalboro 18 Wells 8 Fairfield 17 Old Orchard Beach 4 West Paris 15 Farmington 11 Old Town 32 Wilton 15 Farmington Falls 11 Orland 32 Winslow 19 Fort Fairfield 37 Orono 32 Winter Harbor 33 Fort Kent 37-38 Owls Head 23 Wiscasset 27 Franklin 31 Palermo 18 Yarmouth 8 Freeport 3 Paris 13 York 8-9 Friendship 22 Patten 34 York Harbor 9 Fryeburg 11 Pemaquid 23-24 Gilead 11 Pemaquid Point 24 Maine Guide to Museums and Historic Homes FOURTH EDITION Peter D. -
Casts for the Verdi Premieres in the US (1847-1976)
Verdi Forum Number 2 Article 5 12-1-1976 Casts for the Verdi Premieres in the U.S. (1847-1976) (Part 1) Martin Chusid New York University Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Chusid, Martin (1976) "Casts for the Verdi Premieres in the U.S. (1847-1976)" (Part 1), AIVS Newsletter: No. 2, Article 5 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Casts for the Verdi Premieres in the U.S. (1847-1976) (Part 1) Keywords Giuseppe Verdi, opera, United States This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss2/5 Casts for the Verdi Premieres in the U.S. (1847-1976), Part 1 by Martin Chusid 1. March 3, 1847, I lombardi alla prima tioni (London, 1862). See also U.S. pre croclata (Mi~, 1843). New York, Palmo's mieres of Due Foscari, Attila, Macbeth and Opera House fn. 6 6 Salvatore Patti2 (Arvino) conducted w.p. Aida (Cairo, 1871). See Giuseppe Federico de! Bosco Beneventano 3 also U.S. premieres in note S. Max Maret (Pagano) zek, Crochets and Quavers (l8SS), claims Boulard (Viclinda) that Arditi was Bottesini's assistant. Clotilda Barili (Giselda) The most popular of all Verdi's early operas A. Sanquirico3 (Pirro) in the U.S. (1847-1976) Benetti Riese (Prior) 3. -
Singing Syllabus 2014
Singing GRADE 8 from 2009 PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite. FOUR ACCOMPANIED SONGS: from memory, one chosen by the candidate from each of the four Lists, A, B, C and D (listed below). See also pp. 5, 6 and 10. ONE UNACCOMPANIED TRADITIONAL SONG: from memory, of the candidate’s own choice. See also p. 7. SIGHT-SINGING*: see pp. 8–9 AURAL TESTS FOR THE GRADE*: see pp. 82 and 87 ACCOMPANIED SONG LISTS LIST A All Voices 1 T. A. Arne O come, o come, my dearest: from The Fall of Phaeton. G (dЈ–gЉ): Arne 12 Songs for High Voice, Book 1 (Stainer & Bell B461) G or Eb: English Songs: Renaissance to Baroque (high or low) (Hal Leonard HL40018 or HL40019– Music Sales) 2 T. A. Arne O peace, thou fairest child of heaven: from Alfred. G min (dЈ–abЉ): arr. Warrack. The First Book of Soprano Solos (G. Schirmer GS81173) 3 Bassani Recit: Mà se tu dormi ancora and Aria: Posate, dormite: from Consigliera de’ Cori. # # # (eЈ–f Љ) or (c Ј–d Љ): A Selection of Italian Arias 1600–1800, Vol. 1 (high or low) (ABRSM) (Ital/Eng) 4 Bononcini Un’ombra di pace: from Calfurnia. Bb (dЈ–gЉ), G or F: No. 14 from Italian Arias of the Baroque and Classical Eras (high, medium or low) (Alfred 4976, 4977 or 4978) (Ital) 5 Boyce Rail no more, ye learned asses. (M) A min (g–dЉ): publ.