Europa Riconosciuta
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Europa Riconosciuta Dramma Per Musica in Due Atti
Europa riconosciuta Dramma per musica in due atti Libretto di Mattia Verazi Musica di Antonio Salieri PERSONAGGI Europa, figlia d’Agenore monarca di Tiro Semele, nipote d’Agenore Asterio, re di Creta, consorte d’Europa Isséo, principe del regio sangue Fenicio; prima destinato sposo d’Europa; indi scelto per consorte da Semele Egisto, nobile d’una delle suddite provincie del regno di Fenicia Picciolo fanciullo, che non parla, figlio d’Asterio, e d’Europa Pafio, prigioniero di Cipro Mirra, prigioniera di Cipro, compagna di Pafio Lottatori, compagne dei lottatori, guerrieri prigionieri di Cipro, compagne dei guerrieri prigionieri di Cipro Proprietà del Teatro alla Scala 7 Da rappresentarsi nel Nuovo Regio Ducal Teatro di Milano, nella solenne occasione del suo primo aprimento nel mese d’Agosto dell’anno 1778. 8 ATTO PRIMO Europa Di Tiro, è vero, Tu nella reggia osasti Scena I All’immatura speme Deserta spiaggia di mare. Selva da un lato, D’un più gradito amante, rupi dall’altro, fra le quali sterpi, c e s p u g l i , e Ripugnante involarmi. A seguitarti serpeggianti edere adombran l’ingresso d’un’o - Mio malgrado costretta, io teco in Creta sc u r a , e profonda caverna. Giunsi. Del ratto quivi all’inquïeto [Te m p e s t a ] Mio severo pudor sacro imeneo Scusò l’ardir, la vïolenza. Tempesta con lampi, tuoni, pioggia, sibilo di v e n t i , e fragor di sconvolti flutti. S’apre la Asterio scena mentre incomincia la sinfonia, ch ’ è Occulta un’imitazione dell’orrenda procella, e che si Sempre al padre però, morendo, al trono va rallentando a proporzione, che questa si In Semele frattanto egli prescelse s c e m a , e che ritorna la calma. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
Antonio Salieri Stefanie Attinger, Krüger & Ko
Aufnahme / Recording: World Premiere Recordings 28./29.1.07; 29./30.9.07; 28./29.10.07 Gesellschaftshaus Heidelberg, Pfaffengrund Toningenieur und Schnitt / Sound engineer and editing: Eckhard Steiger, Tonstudio van Geest, Sandhausen Musikalischer Berater und Einführungstext / Music consultant and critical editions: Timo Jouko Herrmann English Translation: Für weitere Informationen / For further information: Dr. Miguel Carazo & Association Mannheimer Mozartorchester - Tourneebüro Foto / Photo: Classic arts gmbh · Bergstr. 31 · D-69120 Heidelberg Rosa-Frank.com Tel.: +49-(0) 6221-40 40 16 · Fax: +49-(0) 6221-40 40 17 Grafik / Coverdesign: [email protected] · www.mannheimer-mozartorchester.de Antonio Salieri Stefanie Attinger, Krüger & Ko. Vol. 1 & 2007 hänssler CLASSIC, D-71087 Holzgerlingen Ouvertüren & Ballettmusik Mit freundlicher Unterstützung von Prof. Dr. Dietrich Götze, Heidelberg Overtures & Ballet music Außerdem erschienen / Also available: Felix Mendelssohn Bartholdy Symphony No. 1 C Minor op. 11 / String Symphony No. 8 (Version with winds) / String Symphony No. 13 (Symphonic Movement) Heidelberger Sinfoniker / Thomas Fey CD-No. 98.275 Felix Mendelssohn Bartholdy Symphony No. 4 „Italian“ / String Symphonies Nos. 7 & 12 Heidelberger Sinfoniker / Thomas Fey CD-No. 98.281 Eine große Auswahl von über 700 Klassik-CDs und DVDs finden Sie bei hänssler CLASSIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Downloadmöglichkeiten und Künstlerinformationen. Gerne können Sie auch unseren Gesamtkatalog anfordern Mannheimer Mozartorchester unter der Bestellnummer 955.410. E-Mail-Kontakt: [email protected] Thomas Fey Enjoy a huge selection of more than 700 classical CDs and DVDs from hänssler CLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. You may as well order our printed catalogue, order no.: 955.410. -
LE MIE MEMORIE ARTISTICHE Giovanni Pacini
LE MIE MEMORIE ARTISTICHE Giovanni Pacini English translation: Adriaan van der Tang, October 2011 1 2 GIOVANNI PACINI: LE MIE MEMORIE ARTISTICHE PREFACE Pacini’s autobiography Le mie memorie artistiche has been published in several editions. For the present translation the original text has been used, consisting of 148 pages and published in 1865 by G.G. Guidi. In 1872 E. Sinimberghi in Rome published Le mie memorie artistiche di Giovanni Pacini, continuate dall’avvocato Filippo Cicconetti. The edition usually referred to was published in 1875 by Le Monnier in Florence under the title Le mie memorie artistiche: edite ed inedite, edited by Ferdinando Magnani. The first 127 pages contain the complete text of the original edition of 1865 – albeit with a different page numbering – extended with the section ‘inedite’ of 96 pages, containing notes Pacini made after publication of the 1865-edition, beginning with three ‘omissioni’. This 1875- edition covers the years as from 1864 and describes Pacini’s involvement with performances of some of his operas in several minor Italian theatres. His intensive supervision at the first performances in 1867 of Don Diego di Mendoza and Berta di Varnol was described as well, as were the executions of several of his cantatas, among which the cantata Pacini wrote for the unveiling of the Rossini- monument in Pesaro, his oratorios, masses and instrumental works. Furthermore he wrote about the countless initiatives he developed, such as the repatriation of Bellini’s remains to Catania and the erection of a monument in Arezzo in honour of the great poet Guido Monaco, much adored by him. -
Antonio Salieri Armida Lenneke Ruiten · Florie Valiquette · Teresa Iervolino · Ashley Riches Chœur De Chambre De Namur Les Talens Lyriques Christophe Rousset
1 2 ANTONIO SALIERI ARMIDA LENNEKE RUITEN · FLORIE VALIQUETTE · TERESA IERVOLINO · ASHLEY RICHES CHŒUR DE CHAMBRE DE NAMUR LES TALENS LYRIQUES CHRISTOPHE ROUSSET 3 Enregistré par Little Tribeca du 10 au 13 juillet 2020 à la Philharmonie de Paris Cet enregistrement a été réalisé avec le généreux soutien de Madame Aline Foriel-Destezet. Direction artistique, prise de son : Nicolas Bartholomée et Franck Jaffrès assistés de Hugo Scremin Montage, mixage et mastering : Franck Jaffrès Enregistré en 24-bit/96kHZ English translation by Mary Pardoe · Übersetzungen ins Deutsche: Hilla Maria Heintz Traduzione italiana a cura di Francesca Martino · Traduction française par Laurent Cantagrel et Simone Casaldi Édition musicale réalisée par Nicolas Sceaux pour Les Talens Lyriques. Coach italien : Rita de Letteriis Les Talens Lyriques sont soutenus par le ministère de la Culture-DRAC Île-de-France, la Ville de Paris et le Cercle des Mécènes. L’ensemble remercie ses Grands Mécènes : la Fondation Annenberg / GRoW – Gregory et Regina Annenberg Weingarten, Madame Aline Foriel-Destezet et Mécénat Musical Société Générale. Les Talens Lyriques sont depuis 2011 artistes associés, en résidence à la Fondation Singer-Polignac. [LC] 83780 · AP244 ℗ 2021 Little Tribeca · Les Talens Lyriques © 2021 Little Tribeca · Les Talens Lyriques 1 rue Paul Bert, 93500 Pantin apartemusic.com lestalenslyriques.com 4 ARMIDA Dramma per musica in three acts by Antonio Salieri (1750-1825) On a libretto by Marco Coltellini (1724-1777) First performed at the Burgtheater in Vienna, on 2 June 1771 WORLD PREMIERE RECORDING 5 6 ATTO PRIMO 1. Sinfonia 5’10 2. Scena 1. Coro: Sparso di pure brine 2’57 3. -
Antonio Salieri 18
ANTONIO SALIERI 18. 8. 1750 – 7. 5. 1825 „Promluvím za všechny pr ůměrné na sv ětě, já jsem jejich šampión, jejich svatý patron.“ Nezapomenutelná scéna na konci Formanova filmu Amadeus ! V ěta, kterou říká „génius pr ůměrnosti“, Antonio Salieri, protihrá č Wolfganga Amadea Mozarta, shrnuje um ělecké poselství filmu, konfrontaci geniality a pr ůměrnosti. Byl Salieri zamindrákovaný intrikán, který trp ěl božským nadáním svého vrstevníka a který byl k jeho zni čení schopen použít všechny dostupné prost ředky a neštítil se ani vraždy? Jaký byl ve skute čnosti jeho život a p ředevším jeho tvorba? Hudební skladatel, dirigent a pedagog Antonio Salieri se narodil 18. srpna 1750 v italském Legnanu u Verony jako osmé dít ě v rodin ě obchodníka. Základy hudebního vzd ělání získal u svého o t řináct let staršího bratra Francesca, který jej vyu čoval h ře na housle, cembalo i zp ěvu, pozd ěji bral lekce klavíru u dómského varhaníka. V 15 letech osi řel. Do opatrovnictví jej p řijala významná a bohatá rodina v Benátkách a poskytla mu velkou podporu v dalším hudebním vzd ělání. Studoval zp ěv a harmonii u G. Pescettiho. Při návšt ěvě Benátek v roce 1766 rozpoznal jeho slibný talent víde ňský skladatel Florian Leopold Gassmann a odvedl šestnáctiletého Salieriho do Vídn ě. Postaral se o jeho další vzd ělávání a uvedl jej do spole čnosti. Salieri poznal významného operního reformátora Ch. W. Glucka, který se stal jeho mecenášem a p řítelem. První Salieriho opera Le donne letterate (Vzd ělané dámy, 1770) se do čkala nadšeného p řijetí. Po smrti Gassmanna v roce 1774 získal Salieri ve 24 letech titul dvorního skladatele a zárove ň byl jmenován kapelníkem italské opery ve Vídni. -
Salieri & Beethoven
hänssler SALIERI & CLA SSIC BEETHOVEN in Dialogue DIANA TOMSCHE JOSHUA WHITENER KAI PREUßKER HEIDELBERGER SINFONIKER TIMO JOUKO HERRMANN „Der Schüler Beethoven war da!” sonaten op. 12 sowie mit der Komposition eines SALIERI & BEETHOVEN im Dialog „Der Schüler Beethoven war da!“ – diesen in Lapi- Variationszyklus‘ über ein Duettino aus Salieris darschrift geschriebenen Satz las der junge Kla- Oper Falstaff ossia Le tre burle. viervirtuose Ignaz Moscheles auf einem Zettel im Da um 1800 an der Wiener Hofoper noch im- Antonio Salieri (1750-1825) Diana Tomsche, Sopran-Solo (2, 4, 6) Haus seines Lehrers, des Wiener Hofkapellmeisters mer die italienische Sprache dominierte, stand (1) Ouvertüre zu Habsburg (1805)* . 5'33 Joshua Whitener, Tenor-Solo (2, 4, 6) Antonio Salieri. „Ein Beethoven kann noch von in Beethovens Unterricht bei Salieri zunächst Kai Preußker, Bass-Solo (2, 4, 6) einem Salieri lernen? Um wieviel mehr ich“, dachte der Umgang mit der italienischen Prosodie im Ludwig van Beethoven (1770-1827) Thomas Jakobs, Tenor-Solo (2) und Chor-Tenor (6) sich der damals vierzehnjährige Kunstjünger und Fokus. Beethovens Übungen mit Korrekturen (2) Introduktion zu Vestas Feuer (1803) .....10'23 Thomas Dorn, Chor-Tenor (6) glühende Beethoven-Verehrer.1 In der Tat lässt es Salieris haben sich ebenso erhalten wie von ihm Antonio Salieri Matthias Eschli, Chor-Bass (6) aufhorchen, dass sich der 1808 bereits weithin angefertigte Singstimmenauszüge von Nummern (3) Ouvertüre zu Cesare in Farmacusa Stefan Müller-Ruppert, Chor-Bass (6) anerkannte Genius Beethoven immer noch von aus Salieris französischem Sensationsstück Les Da- Salieri beraten ließ. Die beiden Musiker traten naïdes. In den Lehrstunden dürften neben den (1800) ...................................4'06 Heidelberger Sinfoniker vermutlich Mitte der 1790er-Jahre in persön- eher trockenen Deklamationsübungen jedoch Timo Jouko Herrmann, Leitung Ludwig van Beethoven lichen Kontakt, im März 1795 präsentierte sich auch ganz praktische musikdramaturgische und (4) Terzett op. -
CHAN 9613 Book Cover.Qxd 17/10/07 1:19 Pm Page 1
CHAN 9613 Book Cover.qxd 17/10/07 1:19 pm Page 1 CHANDOS Chan 9613(2) S ALIERI Falstaff Alberto Veronesi The Madrigalists of Milan Orchestra Guido Cantelli of Milan Alberto Veronesi CHAN 9613 BOOK.qxd 17/10/07 1:21 pm Page 2 Antonio Salieri (1750–1825) Falstaff or The Three Tricks Comic opera in three acts Libretto by Carlo Prospers Defranceschi Sir John Falstaff ..............................................................................................Romano Franceschetto baritone AKG Mistress Alice Ford ....................................................................................................Lee Myeounghee soprano Mr Ford ....................................................................................................................Giuliano de Filippo tenor Mistress Slender, a friend of Mistress Ford ....................................................................Chiara Chialli soprano Mr Slender ..............................................................................................................Fernando Luis Ciuffo bass Bardolf, servant to Falstaff ..............................................................................................Filippo Bettoschi bass Betty, lady-in-waiting to Mistress Ford..............................................................................Natalia Valli soprano Chorus: Guests, Friends and Spirits The Madrigalists of Milan Orchestra Guido Cantelli of Milan Alberto Veronesi Antonio Salieri 3 CHAN 9613 BOOK.qxd 17/10/07 1:21 pm Page 4 COMPACT DISC ONE 13 Mistress Slender -
Newslet T Er
6767 7 6 s s 6 s CIETY . O s 7 Ss F 7 . O s Cs R I 6 S . 6 s E U s I 7 G M s 7 s H . SECM 6 T Y s s 6 R E 7 E U s s N T 7 T N NEWSLETTER E s H s - C s s 6 6 7 7 6 6 7 ISSUE NO. 10 APRIL 2007 Snowy Bookends to the Mozart Year Mozart in the Twenty-First Century”), which included several fine talks, among them a cultural analysis of Mozart by Harry White Cliff Eisen and a discussion by Simon Keefe of Mozart’s scoring in the “Paris” For me, the Mozart year was framed by snow. Perhaps this symphony. Three conferences in London and Dublin within the seems trivial. But Salzburg is always attractive in winter—so is space of a week—and this was only the start of a deluge that con- Vienna—and it was winter when Mozart was born and when he tinued throughout the year—constituted more conferences than a died (even if the traditional accounts of stormy weather on the day single person could ever consider attending (or even hear about). Mozart was buried have since proven false). So winter was a sig- No doubt the following list is incomplete, but it is at least rep- nificant part of Mozart’s environment and everyday life: it is easy resentative of the Mozart year conference calendar: “Rethinking to imagine him in Salzburg, reluctantly trudging through the snow, Mozart” (a conference sponsored by the Dutch-Flemish Society across the Domplatz, to attend to his court duties; or to picture him for Music Theory) in Brussels in February; “Mozart aujourd’hui” in Vienna, transporting his piano across town for various public in Louvain-la-Neuve in March, and a conference at Scripps Col- and private engagements. -
Bibliografia Essenziale Su Antonio Salieri Ed Europa Riconosciuta
BIBLIOGRAFIA ESSENZIALE SU ANTONIO SALIERI ED EUROPA RICONOSCIUTA a cura di Francesco Degrada A. Monografie, studi sulla vita e sul teatro W. B o l l e r t , Antonio Salieri und die italieni - di A. Salieri sche Oper, in id., Aufsätze zur Musikgeschich - L . Da Po n t e, M e m o r i e, New Yo r k , 1 8 2 3 - 2 7 ; te, Bottrop, 1938, pp. 43-128. 1 8 2 9 - 3 02 [tra le numerose edd. m o d e r n e : L . M . J. E . B r o w n , S chubert and Salieri, i n Da Po n t e, M e m o r i e. Libretti mozartiani, M i- «Monthly Musical Record», L X X X V I I I lano, Garzanti, 1976]. (1958), pp. 211-219. F. Ro c h l i t z , Antonio Salieri, Ne k r o l o g , in «All- K.M. Pisarowitz, Salieriana: eine streiflichten - gemeine Theaterzeitung und Unterhalt u n g s- de Dokumentarstudie, in «Mitteilungen der blatt für Freunde der Ku n s t , Literatur und Internationalen Stiftung Mozarteum», IX/3-4 des geseligen Lebens», XVIII/99 (1825), (1960), pp. 11-14. pp. 405-407. A .B o n o c c o r s i , Antonio Salieri e il suo Fal s t a f f , M. Kelly, Reminiscences of the King’s Theatre, in A . Damerini (a cura di), Volti musicali di L o n d o n , 1826 [ed. m o d . a cura di R. -
Antonio Salieri, Liszt Ferenc Tanára
Hamza Gábor Antonio Salieri, Liszt Ferenc tanára Antonio Salieri, Teacher of Ferenc Liszt Összefoglalás A magyar zenei élet és Antonio Salieri kapcsolata vonatkozásában kiemelést érdemel, hogy tanítványa volt Liszt Ferenc, olyan kimagasló, világhírű zeneszerzők mellett, mint Ludwig van Beethoven és Franz Schubert. A tanulmány szerzője szerint Salieri és Liszt kapcsolatának feltárása a Liszt Ferenc zenei életművéről alkotott képet tehetné ár- nyaltabbá. Summary The author points out in this study that among the disciples of Antonio Salieri we can find also Ferenc Liszt along with those outstanding composers as Ludwig van Beethoven and Franz Schubert. In the view of the author the research regarding the relationship between Salieri and Liszt could contribute to a more adequate idea on the musical oeuvre of Ferenc Liszt. Ebben a rövid, inkább gondolatébresztő munkánkban áttekintjük Antonio Salieri életpályájának főbb állomásait és rendkívül gazdag zenei életművének legjelentősebb alkotásait. Rámutatunk továbbá Salieri oktatói munkásságának jelentőségére. A zene- pedagógus olasz zeneszerzőnek ugyanis olyan jeles tanítványai voltak, mint Ludwig van Beethoven, Franz Schubert és Liszt Ferenc. Dr. Hamza Gábor egyetemi tanár, Eötvös Loránd Tudományegyetem Állam- és Jogtudományi Kar, a Magyar Tudományos Akadémia rendes tagja ([email protected]). 369 PSZ 2016. 4-6.szam_v13_beliv.indd 369 08/02/17 15:28 Hamza Gábor – Antonio Salieri, Liszt Ferenc tanára Az észak-itáliai Legnanóban 1750. augusztus 19-én született Antonio Salieri első – sajnos elveszett – operája a La Vestale című mű, melyet a fiatal, még huszadik élet- évét sem betöltő fiatal zeneszerző 1768-ban komponált. Az opera szövegkönyvének, librettójának szerzője Mattia Verazi, a maga korában Európa-szerte jól ismert és nagy tekintélynek örvendő mannheimi udvari költő (poeta di corte). -
Mozart's Operas
Topics in Operatic Literature: Mozart’s Operas MUHL-M407 (2 credits) / MUHL-M807 (3 credits) Spring semester 2021 Class meetings Tuesdays and Thursdays, 9:30-10:20 Note that this is a synchronous online course. In other words, we will meet on Zoom during the official class period. See below for more details. Prerequisites MUTH M203 (Theory IV) and MUHL M307 (Music History II), or permission of instructor Brief course overview This is a seminar-style study of a single topic in the history of opera. Course may be repeated for credit, as long as topic is different. (University Bulletin) This semester we will be focusing on the operas of Wolfgang Amadeus Mozart. His mature works (especially the three on which he collaborated with Lorenzo da Ponte) are the first operas to be continually in the performing repertory. We will examine these works in terms of the musical and dramatic conventions of their own time and their reception history. Course objectives By the end of the semester, students should be able (among other things) to: • explain the basic generic and stylistic features of classical opera seria, opera buffa, and Singspiel • explain how Mozart’s seven mature operas both use and play with the conventions of their genres • consider the cultural issues may arise in performing those operas today, given the different values and expectations of audiences in Mozart’s time and ours Students should also become more comfortable reading scholarly literature in music and using basic tools of scholarly research (such as Grove Music Online and RILM), developing skills they can use in other settings.