Verona Nel Novecento
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17.2. Cylinders, Ed. Discs, Pathes. 7-26
CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction Edison orange box and printed top. All others in clean, used boxes. Any mold on wax cylinders is always described. All cylinders not described as in OB (original box with generic top) or OBT (original box and original top) are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual and refers to the cylinders rather than the boxes. Any major box problems are noted. CARLO ALBANI [t] 1039. Edison BA 28116. LA GIOCONDA: Cielo e mar (Ponchielli). Repro B/T. Just about 1-2. $30.00. MARIO ANCONA [b] 1001. Edison 2M Wax B-41. LES HUGUENOTS: Nobil dama (Meyerbeer). Announced by Ancona. OBT. Just about 1-2. $75.00. BLANCHE ARRAL [s] 1007. Edison Wax 4-M Amberol 35005. LE COEUR ET LA MAIN: Boléro (Lecocq). This and the following two cylinders are particularly spirited performances. OBT. Slight box wear. Just about 1-2. $50.00. 1014. Edison Wax 4-M Amberol 35006. LA VÉRITABLE MANOLA [Boléro Espagnole] (Bourgeois). OBT. Just about 1-2. $50.00. 1009. Edison Wax 4-M Amberol 35019. GIROLFÉ-GIROFLA: Brindisi (Lecocq). OBT. Just about 1-2. $50.00. PAUL AUMONIER [bs] 1013. Pathé Wax 2-M 1111. LES SAPINS (Dupont). OB. 2. $20.00. MARIA AVEZZA [s]. See FRANCESCO DADDI [t] ALESSANDRO BONCI [t] 1037. Edison BA 29004. LUCIA: Fra poco a me ricovero (Donizetti). -
Il Trittico Pucciniano
GIACOMO PUCCINI IL TRITTICO PUCCINIANO Il trittico viene rappresentato per la prima volta al Teatro Metropolitan di New York il 14 dicembre 1918. Il tabarro - Luigi Montesanto (Michele); Giulio Crimi (Luigi), Claudia Muzio (Giorgetta); Suor Angelica - Geraldine Farrar (Suor Angelica), Flora Perini (Zia Principessa); Gianni Schicchi - Giuseppe de Luca (Gianni Schicchi), Florence Easton (Lauretta), Giulio Crimi (Rinuccio); direttore d'orchestra Roberto Moranzoni. La prima italiana ha luogo, meno d'un mese dopo, al Teatro Costanzi (odierno Teatro dell'opera di Roma) l'undici gennaio 1919, sotto la prestigiosa direzione di Gino Marinuzzi, fra gli interpreti principali: Gilda dalla Rizza, Carlo Galeffi, Edoardo de Giovanni, Maria Labia, Matilde Bianca Sadun. L'idea d'un "Trittico" - inizialmente Puccini aveva pensato a tre soggetti tratti dalla Commedia dantesca, poi a tre racconti di autori diversi - si fa strada nella mente del Maestro almeno un decennio prima, già a partire dal 1905, subito a ridosso di Madama Butterfly. Tuttavia, sia questo progetto sia quello d'una "fantomatica" Maria Antonietta (che, come si sa, non fu mai realizzata) vengono per il momento accantonati in favore della Fanciulla del West (1910). La fantasia pucciniana è rivisitata dall'immagine d'un possibile "trittico" nel 1913, proprio mentre proseguono - gli incontri con Gabriele D'Annunzio per una possibile Crociata dei fanciulli...... Infatti, proprio nel febbraio di quello stesso anno Puccini è ripreso dall'urgenza del "trittico": immediatamente avvia il lavoro sul primo dei libretti che viene tratto da La Houppelande, un atto unico, piuttosto grandguignolesco, di Didier Gold, cui il compositore aveva assistito, pochi mesi prima, in un teatro parigino: sarà Il tabarro, abilmente ridotto a libretto da Giuseppe Adami. -
CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her native Italy and was on the roster of the Manhattan Opera, 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Manhattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career continued into the mid-1920s when she retired to Buenos Aires and taught. 9142. BA 28137. TOSCA: Vissi d’arte (Puccini). OBT and pamphlet. Just about 1-2. $50.00. CESARE ALESSANDRONI [b] 9127. U.S. Everlasting 33027. OTELLO: Credo (Verdi). In an Edison Orange repro- duction box. 2. $50.00. CORNELIUS BRONSGEEST [b] 9150. BA 26122. TANNHÄUSER: O du mein holder Abendstern (Wagner). Reproduction Edison orange box. Cons. ADELINA AGOSTINELLI 2. $50.00. JOHANNE BRUN [s]. 1874-1954. Her debut was at the Royal Danish Opera, 1896, as the Queen of the Night in The Magic Flute. -
Norbeck, Peters & Ford
Norbeck, Peters & Ford 59 Congress Street Saint Albans, VT 05478-1611 USA 1-802-524-7673; 1-800-654-5302 Fax: 1 888 819 4831 email: [email protected] website: www.norpete.com Auction Number 146 •- AUCTION Closing Date: Friday, 29 May, 2015 1001. AINO ACKTÉ: FAUST – Air des bijoux / LOHENGRIN – Einsam in trüben Tagen (in French). 10½” brown Parl. Odeon PO 93 (XPr 1-2/4-2), (w.Ackté’s signature embossed in shellac). M-A, superlative copy. MB 35 “It is difficult to realise that Ackté's sensational début at Covent Garden was as Salome in Richard Strauss' opera. Here she sings…with grace and excellent coloratura technique, and although she was Finnish, the style is typically French, and with immaculate diction. - John Freestone 1002. AGUSTARELLO AFFRE (The French Tamagno): ARMIDE – Plus j’observe ces lieux (Gluck) / MARCELLE DEMOUGEOT, AGUSTARELLO AFFRE, JUSTE NIVETTE: FAUST - Anges purs, anges radieux. 10½” brown & white French Odéon 97011/60895 (XP 4250/4267). A or better, choice copy has few faintest rubs, positively inaud. MB 15 1003. AGUSTARELLO AFFRE (The French Tamagno): SIGURD – Esprits, gardiens (Reyer) / L’ATTAQUE DU MOULIN – Adieux à la forêt (Bruneau). 10½” brown & gold / brown & white French Odéon 36682/36741 (XP 2460/2565). A to M-A, choice copy. MB 15 1004. AGUSTARELLO AFFRE (The French Tamagno): L’AFRICAINE – Pays merveilleux, 2s. 10½” brown & gold French Odéon 36695/72 (XP 2463/75). A to M-A, choice copy has, Sd.2 only, very few superficial pap.scuffs, barely visible & inaud. MB 15 1005. AGUSTARELLO AFFRE (The French Tamagno): GUILLAUME TELL – Asile héréditaire / LOHENGRIN – In fernem Land (in French). -
Excerpt from Navidad Nuestra [Nah-Vee-THAD Nooayss-Trah]; Music by Ariel Ramírez [Ah-Reeell Rah-MEE-Rehth] and Text by F
La anunciacion C La anunciación C lah ah-noon-theeah-theeAWN C (excerpt from Navidad nuestra [nah-vee-THAD nooAYSS-trah]; music by Ariel Ramírez [ah-reeELL rah-MEE-rehth] and text by F. Luna [(F.) LOO-nah]) La barca C lah BAR-kah C (The Boat) C (excerpt from the suite Impresiones intimas [eem- prayss-YO-nayss een-TEE-mahss] — Intimate Impressions — by Federico Mompou [feh- theh-REE-ko mawm-POOO]) La barcheta C lah bar-KAY-tah C (The Little Boat) C (composition by Hahn [HAHN]) La bas dans le limousin C Là-bas dans le Limousin C lah-bah dah6 luh lee-môô-zeh6 C (excerpt from Chants d'Auvergne [shah6 doh-vehrny’] — Songs of the Auvergne [o-vehrny’], French folk songs collected by Joseph Canteloube [zho-zeff kah6-t’lôôb]) La bas vers leglise C Là-bas, vers l'église C lah-bah, vehr lay-gleez C (excerpt from Cinq mélodies populaires grecques [seh6k may-law-dee paw-pü-lehr greck] — Five Popular Greek Melodies — by Maurice Ravel [mo-reess rah-vell]) La belle helene C La belle Hélène C lah bell ay-lenn C (The Fair Helen) C (an opera, with music by Jacques Offenbach [ZHACK AWF-funn-bahk]; libretto by Henri Meilhac [ah6-ree meh-yack] and Ludovic Halévy [lü-daw-veek ah-lay-vee]) La belle isabeau conte pendant lorage C La belle Isabeau (Conte pendant l’orage) C lah bell ee- zah-bo (kaw6t pah6-dah6 law-rahzh) C (The Lovely Isabeau (Tale During a Storm)) C (poem by Alexandre Dumas [ah-leck-sah6-dr’ dü-mah] set to music by Hector Berlioz [eck-tawr behr-leeawz]) La belle se sied au pied de la tour C lah bell s’-seeeh o peeeh duh lah tôôr C (The Fair Maid -
Catalogo 126 Copia.Pages
Lim Antiqua s.a.s - Studio bibliografico Via della Chiesa IX, 44 Loc. Monte San Quirico 55100 LUCCA Telefono e Fax +39 333 2551758 +39 0583 342218 www.limantiqua.com/it email: [email protected] P. IVA 01286300460 Dati per bonifico: C/C postale n. 11367554 IBAN: IT 67 Q 07601 13700 000011367554 BIC: BPPIITRRXXX Orario di apertura Lunedì – Venerdì ore 9.00/14.00 Gli ordini possono essere effettuati per telefono, email o via fax. Il pagamento può avvenire tramite contrassegno, bollettino postale, bonifico sul conto postale o PayPal. Le spese di spedizione sono a carico del destinatario. I prezzi indicati sono comprensivi di IVA. Gli ordini saranno ritenuti validi e quindi evasi anche in caso di disponibilità parziale dei pezzi richiesti. Opera 1920 - 1950 Toscanini, La Scala e altre rarità d’opera 1. Iris Adami Corradetti (Milano 1904 - Padova 1998) Due lunghe lettere autografe firmate, del rinomato soprano, figlia d'arte (la madre era il soprano Bice Adami e il padre il baritono Ferruccio Corradetti), grande interprete di Madama Butterfly (della quale fu per vari anni la protagonista ufficiale della Scala) e maestra di Katia Ricciarelli, su questioni La prima a Jenner Mataloni: Pesaro, 12 (senza ind. di anno ma 1942) "Mi risulta che vi sia spiaciuto ch'io abbia cantato la Butterfly al Lirico e non vi abbia telefonato almeno per chiedervi in merito a una eventualità scaligera. In fondo mi fa piacere perché vedo che non sono completamente dimenticata. Ma vi scordate che nel maggio scorso, mi avete detto che nella prossima stagione scaligera avreste dato Butterfly all'Albanese...". -
Edizione Digitale Del Libretto D'opera Il Tabarro Di Giacomo Puccini E
Université Grenoble Alpes - UFR de Langues Etrangères Università degli Studi di Padova – Dipartimento di Studi Linguistici e Letterari Edizione digitale del libretto d’opera Il Tabarro di Giacomo Puccini e Giuseppe Adami Master Langues, littératures et civilisations étrangères et régionales Parcours: Etudes françaises - Etudes italiennes Corso di Laurea Magistrale in Filologia Moderna Percorso binazionale, Curriculum in Francesistica e Italianistica Relatrici Candidata Prof.ssa Elena Pierazzo Clara Justel N°étudiant: 10383754 Prof.ssa Anna Laura Bellina N°matricola: 1133702 Anno Accademico 2016/2017 2 SOMMARIO Introduzione ...................................................................................................................... 5 PARTE 1: Il libretto d’opera del Tabarro: autori e contenuto ................................ 8 CAPITOLO 1: I due autori dell’opera: Giacomo Puccini e Giuseppe Adami .......... 9 I. Giacomo Puccini e Giuseppe Adami .................................................................... 9 1.1- Giacomo Puccini ............................................................................................ 9 1.2- Giuseppe Adami ............................................................................................. 13 1.3-L’importanza delle corrispondenze e dei carteggi: l’esempio dell’ Epistolario di Giacomo Puccini di Giuseppe Adami (1928) .......................... 15 II. Giuseppe Adami, librettista di Giacomo Puccini ................................................ 19 2.1 – La figura del librettista -
VOCAL CYLINDERS 2M WA = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
VOCAL CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction orange box and printed top. All others in clean, used box. Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. “Direct recording” means recorded directly to cylinder, rather than dubbed from a Diamond-Disc master. This is used for cylinders in the lower 28200 series where there might be a question. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her native Italy and was on the roster of the Hammerstein Manhattan Opera, 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Man- hattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career contin- ued into the mid-1920s, when she retired to Buenos Aires and taught. 9269. 4M Edison BA 28137. TOSCA: Vissi d’arte (Puccini). Repro B/T. Cons. 2. $25.00. BLANCHE ARRAL [s]. 9270. 4M Edison BA 28116. MIGNON: Je suis Titania (Thomas). -
Talking-Machine-1912-12.Pdf
SINGLE COPIES, 10 CENTS VOL. VIII.No. 12. PER YEAR, ONE DOLLAR Published Each Month by Edward Lyman Bill at 373 Fourth Avenue, New York, December 15, 1912 Vic tor-Victrola XVI, $200 Mahogany or quartered oak The instrument by which the value of all musical instruments is measured Entered as second class matter May 2, 1905, at the post office at New York, N. Y., under the act of Congress of March 3,1672. 2 THE TALKING MACHINE WORLD. The Vitaphone Reproducing Device Showing the Vitaphone Solid Wood Vibratory Arm A glance is sufficient to appreciate the novel construction of the Vitaphone reproducing device, but its pure round musical tone must be heard to realize the big step forward in the art of reproduction, introduced by the use of wood, the most resonant vibratory material known. Vitaphone dealers enjoy the advantage of : Tone without comparison, Splendidly built instruments, Novel, interesting and simple construction, Assured profits of a maintained selling price, and The protection of absolutely unassailable basic patents. Plainfield, N. J. The Talking Machine World Vol. 8.No. 12. New York, December 15, 1912. Price Ten Cents that would prove mosteffectiveon thestage. Though now I have a fairly extensive repertoire, THE TALKING MACHINE SCORES IN VAUDEVILLE. I only use three songs and the dialogue at each Ihave recorded a neat Miss Adelaide Francis, a Clever Singing Comedienne, Has Utilized the Graphophone in show. For the encore in Which Tuneful Musical Numbers and Humorous littlespeechforreproduction onthe machine, a Very Excellent "Sister" Act, which, when assisted by a few .side remarks of Dialogue Are Indulgedin Between Miss Francis and Her Voice in the Machine-An "Act" That Wins Much Praise Wherever Heard for Originality and Finish. -
Composing Symbolism's Musicality of Language in Fin-De-Siècle France
COMPOSING SYMBOLISM’S MUSICALITY OF LANGUAGE IN FIN-DE-SIÈCLE FRANCE Megan Elizabeth Varvir Coe, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2016 APPROVED: Peter Mondelli, Major Professor Hendrik Schulze, Committee Member Steven Friedson, Committee Member Frank Heidlberger, Chair of the Division of Music History, Theory, and Ethnomusicology Benjamin Brand, Director of Graduate Studies, College of Music John Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Varvir Coe, Megan Elizabeth. Composing Symbolism’s Musicality of Language in fin- de-siècle France. Doctor of Philosophy (Musicology), August 2016, 364 pp., 9 tables, 15 figures, 31 musical examples, bibliography, 520 titles. In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic “sound,” I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde’s one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte’s Salomé, Richard Strauss’s Salomé, Aleksandr Glazunov’s Introduction et La Danse de Salomée, and Florent Schmitt’s La Tragédie de Salomé. -
Giacomo Puccini, Il Tabarro. Gaetano Donizetti, Il Campanello
LIRICA 2002-3 2 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI Teatro di Tradizione LIRICA 2002-3 Giacomo Puccini IL TABARRO Gaetano Donizetti IL CAMPANELLO IL TABARRO - IL CAMPANELLO IL TABARRO Comune di Lucca Centro studi Giacomo Puccini Comune di Bergamo Fondazione Gaetano Donizetti Progetto Puccini nel Novecento TEATRO DEL GIGLIO STAGIONE LIRICA 2002-3 In collaborazione con Ministero per i Beni e le Attività Culturali Regione Toscana Amministrazione Provinciale di Lucca COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI COMUNE DI BERGAMO FONDAZIONE GAETANO DONIZETTI DI BERGAMO Giacomo Puccini IL TABARRO Gaetano Donizetti IL CAMPANELLO Progetto Puccini nel Novecento TEATRO DEL GIGLIO Luigi Della Santa Presidente Anna Filomena Mennucci vicepresidente Gabriella Biagi Ravenni Ilaria Del Bianco Bertelli Claudio Nucci Consiglio d’Amministrazione Riccardo Sarti presidente Roberto Giorgi Paolo Scacchiotti Collegio dei Revisori Aldo Tarabella Direttore artistico Luigi Angelini Direttore generale TEATRO DEL GIGLIO - Teatro di Tradizione Stagione Lirica 2002-3: 21 settembre 2002 - 26 gennaio 2003 Pubblicazione del Teatro del Giglio novembre 2002 A cura del TEATRO DEL GIGLIO e CENTRO STUDI GIACOMO PUCCINI Progetto grafico Marco Riccucci Stampa Nuova Grafica Lucchese - Lucca - ottobre 2002 Sommario 7Introduzione del Sindaco di Lucca 9Premessa del Presidente del Teatro del Giglio 13 Virgilio Bernardoni Declinazioni del realismo musicale nel Tabarro 27 Il tabarro facsimile del libretto Ricordi 60 Francesco Bellotto Il diamante di -
Endversion Vom 10.05.2010
Dissertation Titel der Dissertation Hans Gregor - Die Ära des letzten Hofoperndirektors in Wien Verfasserin Mag. Liselotte Regler angestrebter akademischer Grad Doktor der Philosophie (Dr.phil.) Wien, 2010 Studienkenzahl lt. Studienblatt: A 092 317 Dissertationsgebiet lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof. Dr. Brigitte Marschall 1 Diese Arbeit widme ich meinen Kindern Barbara, Martina, Cornelia und Bernhard 2 3 4 Inhaltsverzeichnis Seite 1 Einleitung 8 2 Lebenslauf 14 2.1. Geburt und Berufsausbildungen 14 2.2. Bühnenlaufbahn und Erfahrungen 16 2.3. Ein neuer Abschnitt: Theaterleiter 18 3 Hans Gregors Reformansätze der Opernszene 26 4 Hans Gregor als Opernregisseur und seine Komische Oper 32 Berlin 4.1. Errichtung der Komischen Oper und Direktion 32 4.2. Gregors Inszenierungen 45 5 Die Vorgänger Gregors in Wien 58 6 Hofoperndirektor Hans Gregor 66 6.1. Gregors Engagement 66 6.2. Opernalltag, Organisation, erste Schwierigkeiten 79 (1911 – 1914 Friedenszeit) 6.3. Opernalltag und Organisation (1914 -1918 Kriegszeit) 123 7 Die wichtigsten KünstlerInnen seiner Ära 192 7.1. Dirigenten 192 7.2. Sängerinnen 210 7.2.1. Bahr-Mildenburg, Anna 210 7.2.2. Gutheil-Schoder, Marie 216 7.2.3. Kiurina, Berta 218 7.2.4. Halban-Kurz, Selma 221 7.2.5. Lehmann, Lotte 227 7.2.6. Jeritza, Maria 231 7.2.7. Weidt, Lucie 238 7.3. Sänger 243 7.3.1. Baklanoff, Georges 243 7.3.2. Burrian, Karl 246 7.3.3. Mayr, Richard 249 7.3.4. Piccaver, Alfred 251 7.3.5. Schmedes, Erik 254 7.3.6. Slezak, Leo 257 7.3.7. Miller, William 260 7.3.8.