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A Midsummer Night's Dream
Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears -
Children in Opera
Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls ................................................................................. -
Guillaume Tell Guillaume
1 TEATRO MASSIMO TEATRO GIOACHINO ROSSINI GIOACHINO | GUILLAUME TELL GUILLAUME Gioachino Rossini GUILLAUME TELL Membro di seguici su: STAGIONE teatromassimo.it Piazza Verdi - 90138 Palermo OPERE E BALLETTI ISBN: 978-88-98389-66-7 euro 10,00 STAGIONE OPERE E BALLETTI 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 Oscar Pizzo Direttore artistico ANGELO MORETTINO SRL Gabriele Ferro Direttore musicale SAIS AUTOLINEE CONSIGLIO DI INDIRIZZO Leoluca Orlando (sindaco di Palermo) AGOSTINO RANDAZZO Presidente Leonardo Di Franco Vicepresidente DELL’OGLIO Daniele Ficola Francesco Giambrone Sovrintendente FILIPPONE ASSICURAZIONE Enrico Maccarone GIUSEPPE DI PASQUALE Anna Sica ALESSANDRA GIURINTANO DI MARCO COLLEGIO DEI REVISORI Maurizio Graffeo Presidente ISTITUTO CLINICO LOCOROTONDO Marco Piepoli Gianpiero Tulelli TURNI GUILLAUME TELL Opéra en quatre actes (opera in quattro atti) Libretto di Victor Joseph Etienne De Jouy e Hippolyte Louis Florent Bis Musica di Gioachino Rossini Prima rappresentazione Parigi, Théâtre de l’Academie Royale de Musique, 3 agosto 1829 Edizione critica della partitura edita dalla Fondazione Rossini di Pesaro in collaborazione con Casa Ricordi di Milano Data Turno Ora a cura di M. Elizabeth C. Bartlet Sabato 20 gennaio Anteprima Giovani 17.30 Martedì 23 gennaio Prime 19.30 In occasione dei 150 anni dalla morte di Gioachino Rossini Giovedì 25 gennaio B 18.30 Sabato 27 gennaio -
Damiano Michieletto Had Quickly Emerged to the International Scene As One of the Most Interesting Representatives of the Youngest Generation of Italian Directors
Saverio Clemente Andrea De Amici Luca Targetti Damiano Michieletto had quickly emerged to the international scene as one of the most interesting representatives of the youngest generation of Italian directors. He followed the direction course at School of Dramatic Arts “Paolo Grassi” in Milan and also graduated in Modern Letters at university of Venice, his home town. His production of Jaromír Weinberger’s Švanda Dudák at the 2003 Wexford Festival, acclaimed by the critics, wins the Irish Times ESB/Irish Theatre Award. Among the others, he stages L’italiana in Algeri at Teatro Olimpico in Vicenza, La gazza ladra at Rossini Opera Festival in Pesaro, in co- production with Teatro Comunale in Bologna and Fondazione Arena di Verona (it wins the 2008 Franco Abbiati Award), Lucia di Lammermoor, Il Corsaro, Luisa Miller and Poliuto at the Zürich Opernhaus, Roméo et Juliette and the Mozart/Da Ponte trilogy at Teatro La Fenice in Venice, Die Entführung aus dem Serail at Teatro di San Carlo in Naples, La scala di seta at the Rossini Opera Festival and at La Scala in Milan, Il barbiere di Siviglia at Grand Théâtre de Genève, Madama Butterfly in Turin, L’elisir d’amore in Valencia, Graz and Madrid, Martinů’s The Greek Passion in Palermo, Così fan tutte at the New National Theatre in Tokyo, Il Trittico at the Theater an der Wien and the Damiano Royal Opera in Copenhagen, Un ballo in maschera at La Scala, Michieletto Idomeneo at Theater an der Wien and The Rake’s Progress at Leipzig Opera and Teatro La Fenice. -
Pippo Delbonopippo Delbono
PIPPO PIPPO DELBONO DELBONOLES CINÉMAS DU CENTRE POMPIDOU INSTALLATION / RÉTROSPECTIVE DE FILMS / PERFORMANCES / EN PRÉSENCE DE L’ARTISTE 5 OCTOBRE - 5 NOVEMBRE 2018 SOMMAIRE AVANT-PROPOS • Avant-propos, par Serge Lasvignes, p. 1 • Entretien avec Pippo Delbono, p. 2-3 Metteur en scène et acteur, chorégraphe et danseur, cinéaste, Pippo Delbono embrasse l’art de sa stature de géant depuis plus de trente ans. De l’Italie, où il naît en 1959, au Danemark où • Les événements, p 4-5 il s’installe à 20 ans et s’intéresse aux principes du théâtre de l’Orient, en passant par l’Allemagne • L’installation : La Mente che mente, p. 6-7 où il rencontre Pina Bausch, c’est un artiste total, dont la reconnaissance, depuis ses premiers spectacles, La Rabbia et Barboni, au milieu des années 1990, dépasse les frontières de l’Europe. • Les films de la rétrospective, p. 8 • Calendrier des séances, p. 19-20 Convoquant l’image sur scène depuis ses débuts, la vidéo comme la photographie, faisant sans cesse référence à un imaginaire cinématographique nourri par Pasolini, Kurosawa autant que par Chaplin, Delbono réalise lui-même des films, sept longs métrages à ce jour, depuis Guerra, en 2003. Réalisés avec des moyens minuscules mais présentés dans les plus grands festivals internationaux, Grido, Amore Carne, ou encore Sangue, sont des œuvres anticonformistes et vivaces, qui interpellent notre conscience de spectateur. On y retrouve intacte la rage mêlée de poésie de Pippo Delbono, on y perçoit son corps et sa voix omniprésents, on y rencontre sa troupe, fidèle, inaliénable, dont il semble que la présence soit un gage pour l’artiste italien de pouvoir continuer à habiter le monde. -
Pippo Delbono
PIPPO DELBONO BIOGRAPHY (*translated to English from Italian) Pippo Delbono, author, actor, director, is one of Italy’s most unconventional and distinctive theatre artists. He began his studies of dramatic art in a traditional school that he left in research for a new theatrical language. He decided to study the principles of eastern theatre, where is central a detailed and strict work of the actor on the body and on the voice, where theatre and dance meet and merge. At the beginning of the Eighties, he founded Pippo Delbono Company with whom he represented all his performances, from Il tempo degli assassini (1987) to La Menzogna (2008). They are not representations of theatrical texts but entire creations where the actors are part of a stable core that grows up through the time. The meeting with people coming from emarginated areas of society brings a turning in his poetical research. From this encounter came out Barboni (1997). Some of these actors, for example Bobò, a deaf-and-dumb person met in the mental hospital of Aversa after 45 years spent there, strengthened their work inside the company and are today a basic part of the experience. The performances - La rabbia , dedicated to Pasolini, Guerra, Esodo, Gente di plastica, Urlo, Il silenzio , Questo Buio Feroce and the other already mentioned- have been represented in more than 50 countries. The experience of Pippo Delbono Company has been hosted in a lot of different theatrical International festivals, between them Avignon Festival which welcomed the company three times, coproduced the performance Urlo and hosted “La Menzogna” , the last theatrical production, in July 2009. -
Music and History in Italian Film Melodrama, 1940-2010
Between Soundtrack and Performance: Music and History in Italian Film Melodrama, 1940-2010 By Marina Romani A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Barbara Spackman, Chair Professor Mary Ann Smart Professor Linda Williams Professor Mia Fuller Summer 2015 Abstract Between Soundtrack and Performance: Music and History in Italian Film Melodrama, 1940-2010 by Marina Romani Doctor of Philosophy in Italian Studies and the Designated Emphasis in Film Studies University of California, Berkeley Professor Barbara Spackman, Chair Melodrama manifests itself in a variety of forms – as a film and theatre practice, as a discursive category, as a mode of imagination. This dissertation discusses film melodrama in its visual, gestural, and aural manifestations. My focus is on the persistence of melodrama and the traces it leaves on post-World War II Italian cinema: from the Neorealist canon of the 1940s to works that engage with the psychological and physical, private, and collective traumas after the experience of a totalitarian regime (Cavani’s Il portiere di notte, 1974), to postmodern Viscontian experiments set in a 21st-century capitalist society (Guadagnino’s Io sono l’amore, 2009). The aural dimension is fundamental as an opening to the epistemology of each film. I pay particular attention to the presence of operatic music – as evoked directly or through semiotic displacement involving the film’s aesthetic and expressive figures – and I acknowledge the existence of a long legacy of practical and imaginative influences, infiltrations and borrowings between the screen and the operatic stage in the Italian cinematographic tradition. -
BIO-Sulimsky AUG20.Pdf
Vladislav Sulimsky Baritone Belarussian Verdi baritone Vladislav Sulimsky has rapidly become one of the leading singers of the world. In the summer of 2018, he made his debut at the Salzburg Festival as Tomsky (Queen of the Spades) under the baton of Mariss Jansons, followed by Count Luna (Il trovatore) at the Berlin State Opera, Jago (Otello) at the Vienna State Opera, and his role debut as Scarpia (Tosca) at the Malmö opera. He also made his house debut at the Munich State Opera with Count Luna and will appear for the first time at the Frankfurt Opera in the role of Siriex (Fedore) in January 2021, as well as with the Berlin Philharmonic and Kyrill Petrenko as Lanceotto Malatesta in Rachmaninov’s Francesca da Rimini. His house debut at the Paris Opera was cancelled due to the Covid-19 pandemic. Since 2004, baritone Vladislav Sulimsky has been a member of the Mariinsky Theatre in St. Petersburg, where he has sung countless parts including the title roles in Eugen Onegin and Gianni Schicchi, Ibn-Hakia (Iolanta), Kovalev (The Nose), Rodrigo (Don Carlo), Silvio (Pagliacci), Andrei Bolkonsky (War and Peace), Enrico (Lucia di Lammermoor), Giorgio Germont (La Traviata), Renato (Un ballo in maschera) and Ford (Falstaff). In 2010 Sulimsky sang Enrico Ashton (Lucia di Lammermoor) at the Mariinsky alongside Nathalie Dessay and Belcore in L’elisir d´amore with Anna Netrebko as Adina, followed by Giorgio Germont (La Traviata) and Robert in Iolanta. A frequent guest at the Bolshoi Theatre in Moscow, he has performed Prince Kurlyatev in Enchantress by Tchaikovsky and his parade title role Eugen Onegin. -
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. -
Suor Angelica & Gianni Schicchi Program
University of Southern Maine USM Digital Commons Programs 2008-2009 Season Theatre Programs 2000-2010 3-2009 Two Puccini Operas: Suor Angelica & Gianni Schicchi Program University of Southern Maine Department of Theatre Follow this and additional works at: https://digitalcommons.usm.maine.edu/theatre-programs-2008-2009 Part of the Theatre History Commons Recommended Citation University of Southern Maine Department of Theatre, "Two Puccini Operas: Suor Angelica & Gianni Schicchi Program" (2009). Programs 2008-2009 Season. 3. https://digitalcommons.usm.maine.edu/theatre-programs-2008-2009/3 This Book is brought to you for free and open access by the Theatre Programs 2000-2010 at USM Digital Commons. It has been accepted for inclusion in Programs 2008-2009 Season by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. UNIVERSITY OF [i]m SOUTHERN MAINE The School of Music and the Department of Theatre in collaboration present Suor Angelica and Gianni Schicchi by Giacomo Puccini Stage Director, Assunta Kent Music Director, Ellen Chickering Conductor, Robert Lehmann Sponsored by Drs. Elizabeth and John Serrage March 13-21, 2009 Main Stage, Russell Hall Gorham Campus Produced by special arrangement with Ricardi. lfL·--- - -- - - . Director's Note Suor Angelica and Gianni Schicchi by Giacomo Puccini (1858-1924) Once every four years Music and Theatre collaborate on a fully staged opera production- and this time, we offer you the rare Stage Director, Assunta Kent opportunity to sample grand opera in one evening, with Puccini' Conductor, Robert Lehmann Suor Angelica, an exqui ite tear-jerker, and Gianni Schicchi, a laugh Musical Director, Ellen Chickering out-loud comedy. -
Roma Opera Aperta Continua Con Presti - Berio Corsetti
Roma Roma Opera Opera aperta aperta stagione s agio ne 2017-18 2017-18 operaroma.it o d n o f a c c o T i g i u l n a i G i d i n o i z a r t s u l l I - n g i s e D g a n u a H , a t s e F e r o t t E RiccaRdo Muti Direttore onorario a vita SovrintenDente caRlo FuoRtes Direttore artiStico alessio Vlad MaeStro Del coro RobeRto Gabbiani Direttore Del corpo Di Ballo eleonoRa abbaGnato Fondazione teatRo dell’opeRa di RoMa Soci fonDatori consiGlio di indiRizzo preSiDente ViRGinia RaGGi vicepreSiDente MaRiapia GaRaVaGlia Soci privati conSiglieri MaRia pia aMMiRati FRancesca chialà alessandRo leon autoMotive partner caRlo FuoRtes SovrintenDente Mecenate colleGio dei ReVisoRi dei conti preSiDente antonio FRittella MeMBri effettivi silVia GenoVese paMela palMi il teatro Dellopera Di roMa è MeMBro Di SponSor Stagione staGione di opeRa pag. 9 staGione di balletto pag. 51 conceRti sinFonici SponSor faBBrica pag. 78 touRnée pag. 82 lezioni di opeRa pag. 87 SponSor i coReoGRaFi i balleRini e noi pag. 89 antepRiMe GioVani pag. 91 MeDia SponSor pRezzi e abbonaMenti pag. 92 SponSor tecnici inFoRMazioni GeneRali pag. 96 fornitori ufficiali corpo Di Ballo In ogni istante della nostra vita siamo ciò che saremo non meno di ciò che siamo stati. oscaR wilde Cari spettatori, chetta di Henrik Nánási e Stefano Montanari. Infine, la coppia di titoli tradizionali imman - la nuova stagione 2017-18 è il risultato di un cabili in cartellone, Tosca e La traviata , con le ambizioso progetto artistico, in continuità regie di Alessandro Talevi e Sofia Coppola, con i recenti successi che hanno determinato sarà guidata dalle bacchette di Jordi Bernàcer l’affermazione dell’Opera di Roma nel pano - e Pietro Rizzo. -
Puccini's Gianni Schicchi
Puccini’s Gianni Schicchi - A survey by Ralph Moore Having already surveyed the first two operas in Puccini’s triptych Il trittico, I conclude with the last instalment, Gianni Schicchi. There are nearly fifty recordings if live recordings are counted but despite the claim on the Wikipedia that it “has been widely recorded”, it enjoys no more studio recordings than its two companion pieces. I survey below eleven, consisting of all nine studio accounts plus two mono radio broadcasts all in Italian; I am not considering any live recordings or those in German, as the average listener will want to hear the original text in good sound. The plot may be based on a cautionary tale from Dante’s Inferno about Schicchi’s damnation for testamentary falsification but its comic treatment by librettist Giovacchino Forzano, in the commedia dell'arte tradition, makes it a suitably cheery conclusion to a highly diverse operatic evening consisting of a sequence which begins with a gloomy, violent melodrama, moves on to a heart-rending tear-jerker and ends with this high farce. It is still genuinely funny and doubtless the advent of surtitles has enhanced its accessibility to non-Italian audiences, just as non-Italian speakers need a libretto to appreciate it fully when listening. This was Puccini’s only comic opera and satirises the timeless theme of the feigned grief and greed of potential heirs. The starring role is that of the resourceful arch-schemer and cunning impostor Gianni Schicchi but the contributions of both the soprano and tenor, although comparatively small, are important, as each has a famous, set piece aria, and for that reason neither part can be under-cast.