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Verdi Falstaff
Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
FALSTAFF Verdi's Last Masterpiece
FALSTAFF Verdi’s Last Masterpiece By Rosalba Pisaturo The Guild of Mercury Opera Rochester Guild Address P.O.Box 92245 Rochester NY 14692 Mercury Opera Website www.mercuryoperarochester Guild Website http//www.mercuryoperarochester.org/guild.htm Guild Contacts Dr. Agneta Borgstedt, President (585) 334-2323 Art Axelrod, Vice President (585) 377-6133 Helga Strasser, Trip Coordinator (585) 586-2274 Falstaff Commedia lirica in three acts Music by Giuseppe Verdi Libretto by Arrigo Boito After Shakespeare’s plays “The Merry Wives of Windsor” and “Henry IV” • Verdi’s operatic timing • Verdi and his librettist Arrigo Boito • Falstaff, the character • Opera Synopsis • Conclusion • Verdi’s operatic timing Giuseppe Verdi was born in 1813 and died in 1901. He composed his first opera, Oberto, when he was 26 years old and his last, Falstaff, when he was 80. In between he composed 28 other operas, but only two of these are comic works. • His second opera, Un giorno di Regno, in 1940 turned out to be a fiasco. • His last opera, Falstaff, premiered in 1893 at La Scala of Milano, was a big success. Why, when we think of Verdi, we immediately think of Aida, La Traviata, Rigoletto, Il Trovatore, Nabucco, and many more of his operas, but we do not think of Falstaff? Perhaps it is because this opera is so much different and so modern that it does not seem to be a work of Verdi. For over 50 years this composer had given the opera houses masterpiece which dealt with every aspect of death; death by natural forces, by disease, by fate, for vengeance, for jealousy, for mistaken identity, and so on. -
The Bible in Opera Trivia Quiz
The Bible in Opera Trivia Quiz With endless stories full of love, violence and drama, the Bible has often been a source of inspiration and subject matter for composers and librettists. Take our quiz to see how much you know about these Bible-inspired operas. Scroll down for the answer key. 1. Although Salome was a minor character in the Bible, Oscar Wilde found her character irresistible and greatly expanded on the original tale to craft his dramatic play, the basis for Strauss’ opera. In Salome , Jokanaan the prophet is based on which major biblical figure? a) St. Joseph b) St. John the Baptist c) St. John the Dwarf d) St. Julian 2. Samson and Delilah ( Samson et Dalila ) is a grand opera in three acts and four scenes by Camille Saint-Saëns to a French libretto by Ferdinand Lemaire. In this Biblical tale, what is the source of Samson’s strength? a) His hair b) His love c) His sword d) His purity 3. Like Salome , Herodiade , by Jules Massenet, is an opera about the tale of John the Baptist, Salome, Herod, and Herodias. Although it opened years before Salome , it is considered to be much less of a success and, in fact, the Paris Opera House refused to stage the work. In Massenet’s opera, how does Salome die? a) She kills herself b) Herodias, her mother, kills her c) She dies accidentally d) Like in Strauss’ opera, Herod orders her death 4. Moses in Egypt is a three-act opera by Gioachino Rossini that premiered in 1818. -
• Enjoy Verdi's Nabucco, Aida, a Gala Evening With
Enjoy Verdi’s Nabucco, Aida, a Gala Evening with Placido Domingo & a new production of Mascagni’s Cavalleria Rusticana at Verona’s amphitheatre Private visits to & lunches in several handsome villas, gardens & vineyards in Valpolicella Discover historic Verona on a gently paced morning walk 4* country hotel in quiet surroundings in Valpolicella wine country Grezzana, Verona, Villa Arvedi Can there be anything more exciting on a warm July evening than to sit in the great Roman Amphitheatre of Verona as the orchestra prepares to launch into one of Verdi’s or Mascagni’s marvellous operas? Equally stimulating are the summer delights of the country villas and gardens of the Valpolicella wine region. These sit tantalisingly close to the civic munificence of one of Northern Italy’s most delightful cities, Verona. Verona owes its origins to the Romans, an important stop on routes to the north and west. Much remains to be seen from this era such as the Amphitheatre (the venue for the Opera Festival) and the city’s urban plan. Today’s city is organised round two major medieval squares, the Piazza delle Erbe and the Piazza dei Signori, built on top of their Roman predecessors. These charming spaces, together with the surrounding streets and alleys, have palaces and monuments of outstanding beauty, testifying to the wealth of its native aristocracy. From Medieval times there are many churches to be seen, including the city’s cathedral and particularly San Zeno with its fine paintings, including Mantegna’s San Zeno Altarpiece. Further delights await us in the hills to the north of Verona, in the Valpolicella. -
I DUE FOSCARI Musica Di GIUSEPPE VERDI
I DUE FOSCARI Musica di GIUSEPPE VERDI FESTIVAL VERDI 2019 2019 FONDAZIONE Socio fondatore Comune di Parma Soci benemeriti Fondazione Cariparma Fondazione Monte di Parma Presidente Sindaco di Parma Federico Pizzarotti Membri del Consiglio di Amministrazione Ilaria Dallatana Vittorio Gallese Antonio Giovati Alberto Nodolini Direttore generale Anna Maria Meo Direttore musicale del Festival Verdi Roberto Abbado Direttore scientifico del Festival Verdi Francesco Izzo Curatrice Verdi Off Barbara Minghetti Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Marco Pedretti Angelica Tanzi Il Festival Verdi è realizzato grazie al contributo di Major partner Main partners Media partner Main sponsor Sponsor Advisor Con il supporto di Con il contributo di Con il contributo di Partner istituzionali Partner artistici Partner istituzionali Partner artistici Festival Verdi è partner di Festival Verdi ha ottenuto il Festival Verdi è partner di Festival Verdi ha ottenuto il Con il contributo di Sostenitori Partner istituzionali Partner artistici Tour operator Radio ufficiale Sostenitori tecnici Festival Verdi è partner di Festival Verdi ha ottenuto il I due Foscari Tragedia lirica in tre atti su libretto di Francesco Maria Piave, da Byron Musica di GIUSEPPE VERDI L’opera in breve Scelto come soggetto per l’opera da rappresentare al Teatro Argentina di Roma nell’inverno 1844, sulla base del contratto con l’impresario Alessandro Lanari del 29 febbraio di quell’anno, il poema The two Foscari di George Gordon Byron (1821) ben si prestava agli occhi di Verdi per proseguire lungo quel percorso drammatico incentrato sui conflitti personali e intrapreso con Ernani a Venezia, che gli aveva permesso di dissociarsi dall’etichetta del dramma corale a cui l’aveva legato la popolarità di Nabucco e Lombardi. -
How Verdi's Operas Begin: an Introduction to the Introduzioni David Rosen Cornell University
Verdi Forum Number 16 Article 1 1-1-1988 How Verdi's Operas Begin: An Introduction to the Introduzioni David Rosen Cornell University Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons Recommended Citation Rosen, David (1988) "How Verdi's Operas Begin: An Introduction to the Introduzioni," Verdi Forum: No. 16, Article 1. Available at: http://scholarship.richmond.edu/vf/vol1/iss16/1 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]. How Verdi's Operas Begin: An Introduction to the Introduzioni Keywords Giuseppe Verdi This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss16/1 How Verdi's Operas Begin: an Int roduction to the "lntroduzioni" 1 David Rosen, Cornell University One of the most intriguing alterations denote anything from an opening chorus (e.g. made during Verdi's transformation of Ernani) to a complex organism making Stiffelio (1850) into Aro/do (1857) is his extensive use of the chorus, but not replacement of the elaborate introduzione of necessarily right at the opening (e.g., the the earlier opera with an off-stage chorus opening tableau of Rigoletto). That the term and the (newly-written) preghiera (prayer). is not used in l masnadieri and !/ corsaro- To be sure, there are problems specific to where the chorus is off stage and therefore this particular introduzione that may have at least visually subordinate -- might suggest led Verdi to make this drastic change, and I .the further requirement that the chorus be shall take them up in due course. -
900328-CD-Due Foscari Itunes.Indd
I DUE FOSCARI GIUSEPPE VERDI Leo Nucci | Guanqun Yu Ivan Magrì | Bernadett Fodor István Horváth | Miklós Sebestyén Chor des Bayerischen Rundfunks Münchner Rundfunkorchester IVAN REPUŠIC´ GIUSEPPE VERDI 1813–1901 I due Foscari Tragedia lirica in drei Akten / Tragedia lirica in three acts Libretto: Francesco Maria Piave CD 1 73:00 AKT 1 / ACT 1: 01 Nr. 1 Preludio / Vorspiel / Prelude 2:28 02 Nr. 2 Introduzione / Introduktion / Introduction 4:55 „Silenzio, mistero” (Szene 1–2) (Chor / Chorus) 03 Nr. 3 Scena e Cavatina / Szene und Kavatine / Scene and Cavatina 7:17 „Qui ti rimani alquanto” (Szene 3) „Dal più remoto esiglio” (Szene 4) „Del Consiglio alla presenza – Odio solo, ed odio atroce” (Szene 5) (Jacopo, Fante) 04 Nr. 4 Scena ed Aria / Szene und Arie / Scene and Aria 8:43 „No… mi lasciate – Resta: quel pianto accrescere – Tu al cui sguardo onnipos- sente” (Szene 6) „Che mi rechi?.. favella… – O patrizi, tremate (Szene 7) (Lucrezia, Pisana, Chor / Chorus) 05 Nr. 5 Coro / Chor / Chorus 2:12 „Tacque il reo” (Szene 8) 06 Nr. 6 Scena e Romanza / Szene und Romanze / Scene and Romance 4:03 „Eccomi solo alfi ne – O vecchio cor, che batti” (Szene 9) (Doge) 07 Nr. 7 Scena e Duetto – Finale I / Szene und Duett – Finale I / Scene and Duet – Finale I 8:34 „L’illustre dama Foscari – Tu pur lo sai che giudice – Di sua innocenza dubiti? – Se tu dunque potere non hai” (Szene 10) (Servo, Doge, Lucrezia) Giuseppe Verdi AKT 2 / ACT 2: LEO NUCCI Bariton / baritone (Francesco Foscari, Doge von Venedig / 08 Nr. 8 Preludio, Scena e Preghiera / Vorspiel, Szene und Gebet / Doge of Venice) Prelude, Scene and Prayer 5:31 GUANQUN YU Sopran / soprano (Lucrezia Contarini, Frau von Jacopo Foscari / „Notte!. -
La Traviata March 5 – 13, 2011
O p e r a B o x Teacher’s Guide TABLE OF CONTENTS Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
Social Studies: the Life and Times of Giuseppe Verdi
Social Studies: The Life and Times of Giuseppe Verdi Students Will Read for information Complete timelines Choose an event to study in-depth Present their findings to the class Copies for Each Student “The Composer” Social Studies Activity Worksheet Copies for the Teacher “The Composer” Social Studies Activity Worksheet SAMPLE Social Studies Activity Worksheet Parts I & II Getting Ready Arrange for time in the library and/or prepare internet access for research, guided practice, or group work if needed. Gather pens, pencils, and additional writing paper as needed for your group. Introduction Depending on your grade level and the ability of your students, you may choose to conduct this lesson or portions of this lesson as a whole class, small group, or partner activity. Remind students to ask for clarification of any unknown words or concepts. Tell students that they will be reading about the composer of La Traviata, Giuseppe Verdi, and studying an abbreviated a timeline of his life. Guided/Independent Practice Part I Instruct your students to read, “The Composer.” Then, provide your students with the “Social Studies Activity Worksheet.” Read the directions and explain to students that by studying events that happened during the composer’s lifetime, one can gain a broader picture and more understanding of the times in which he lived. Allow students time to complete the worksheet. Student answers will vary based on the events they choose to complete the timeline. Part II Instruct students to choose one event within the timeline to study further. Have them present their findings about that event to the class. -
12Th December, 2002
Verdi Festival in Parma - Aida, Nabucco, I Due Foscari 16 – 21 October 2019 £1950 per person sharing a twin or double room £2250 for sole use of a double room Includes: return flights from the UK, five nights 4* hotel on bed & breakfast basis, 3 performances, 3 dinners, 1 supper and 1 lunch plus a full programme of sightseeing. The province of Emilia-Romagna stradles the Po Valley and is fondly referred to as the 'bread basket' of Italy. Whilst the capital is Bologna, the food & music epicentre is Parma and each October this elegant city plays host to the Verdi Festival. Parma is just a short distance from the small town of Busseto where Giuseppe Verdi was born (and where Carlo Bergonzi lived and had a restaurant for many years after retiring from the operatic stage) and within an hour or so of the historic cities of Mantua & Cremona. Each year the city holds a festival dedicated to the music of Verdi with performances taking place in the classic Teatro Regio di Parma as well as the ‘piccolo’ 300 seat opera house Teatro Verdi in Busseto. The city is also home to the beautifully restored 17th century wooden baroque masterpiece Teatro Farnese. Ticket allocations - We have received a ticket allocation of 30 seats for each of the performances. For the I Due Foscari and Nabucco (both at the beautiful Teatro Regio in Parma) we have top price stall seats. For the performance of Aida in Busseto we have secured 15 stalls tickets and currently a further 15 centre box seats. -
Tonality and Drama in Verdi's "La Traviata" David Bradley Easley Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 Tonality and drama in Verdi's "La Traviata" David Bradley Easley Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Easley, David Bradley, "Tonality and drama in Verdi's "La Traviata"" (2005). LSU Master's Theses. 952. https://digitalcommons.lsu.edu/gradschool_theses/952 This Thesis 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 Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. TONALITY AND DRAMA IN VERDI’S LA TRAVIATA A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by David Bradley Easley B.M., Southern Illinois University at Edwardsville, 2003 B.A., Southern Illinois University at Edwardsville, 2003 August 2005 ACKNOWLEDGMENTS There are many people who have helped me with this project, and I would like to thank each in turn. First, my thesis committee has shown extreme patience and a willingness to help at every point: Dr. Robert Peck, Dr. David Smyth, and Dr. Andreas Giger. I have acquired much wisdom from these individuals in our discussions as well as our casual conversations. A project such as this could not be completed without their total support and encouragement.