Catalogo Delle Opere Liriche Di Gioachino Rossini
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Le Opere Europee, 1750-1814
Le opere europee, 1750-1814 Michele Girardi (in fieri, 18 ottobre 2010) 1751 (1) data luogo titolo librettista compositore Artaserse, Pietro Metastasio Baldassarre opera in tre atti Galuppi 1754 (1) data luogo titolo librettista compositore 26.X Venezia, Teatro Il filosofo di campagna, Carlo Goldoni Baldassarre Grimani di S. dramma giocoso per Galuppi Samuele musica in tre atti 1757 (1) data luogo titolo librettista compositore autunno Venezia, Teatro L’isola disabitata, Carlo Goldoni Giuseppe Grimani di S. dramma giocoso per Scarlatti Samuele musica in tre atti 1760 (2) data luogo titolo librettista compositore 6.II Roma Teatro delle La Cecchina, ossia La Carlo Goldoni Nicola Piccinni Dame buona figliola, opera in tre atti OUIS NSEAUME IV Wien, Burgtheater L’ivrogne corrigée, da L A e Cristoph JEAN-BAPTISTE opéra-comique in due atti LOURDET DE SANTERRE, Willibald Gluck L’ivrogne corrigée, ou le mariage du diable 1761 (2) data luogo titolo librettista compositore 10.VI Bologna La buona figliola Carlo Goldoni Nicola Piccinni maritata, opera in tre atti Armida, opera da TASSO, Tommaso Gerusalemme Liberata Traetta 1765 (2) data luogo titolo librettista compositore 26.I London, King’s Adriano in Siria, dramma Pietro Metastasio Johann Christian Theater per musica in tre atti Bach 2.II London, Covent Artaxerxes, Arne ? Thomas Augustin Garden opera seria in tre atti (da METASTASIO) Arne Artaserse, Pietro Metastasio Giovanni dramma per musica in tre Paisiello atti 1766 (2) data luogo titolo librettista compositore Artaserse, Pietro Metastasio Nicola Piccinni opera in tre atti Venezia La buona figliola Bianchi Latilla supposta, opera 1767 (2) data luogo titolo librettista compositore 13.V Salzburg Apollo et Hyacinthus, Rufinus Widl Wolfgang seu Hyacinthi Amadeus Mozart metamorphosis, commedia in latino 26.XII Wien Alceste, opera in tre atti Ranieri Christoph de’Calzabigi Willibald Gluck (da EURIPIDE, Alceste) 1768 (2) data luogo titolo librettista compositore XI Wien, teatro-giardino Bastien und Bastienne, Friedrich W. -
La Colección De Música Del Infante Don Francisco De Paula Antonio De Borbón
COLECCIONES SINGULARES DE LA BIBLIOTECA NACIONAL 10 La colección de música del infante don Francisco de Paula Antonio de Borbón COLECCIONES SINGULARES DE LA BIBLIOTECA NACIONAL DE ESPAÑA, 10 La colección de música del infante don Francisco de Paula Antonio de Borbón en la Biblioteca Nacional de España Elaborado por Isabel Lozano Martínez José María Soto de Lanuza Madrid, 2012 Director del Departamento de Música y Audiovisuales José Carlos Gosálvez Lara Jefa del Servicio de Partituras Carmen Velázquez Domínguez Elaborado por Isabel Lozano Martínez José María Soto de Lanuza Servicio de Partituras Ilustración p. 4: Ángel María Cortellini y Hernández, El infante Francisco de Paula, 1855. Madrid, Museo del Romanticismo, CE0523 NIPO: 552-10-018-X © Biblioteca Nacional de España. Ministerio de Educación, Cultura y Deporte © De los textos introductorios: sus autores Catálogo general de publicaciones ofi ciales de la Administración General del Estado: http://publicacionesofi ciales.boe.es CATALOGACIÓN EN PUBLICACIÓN DE LA BIBLIOTECA NACIONAL DE ESPAÑA Biblioteca Nacional de España La colección de música del infante don Francisco de Paula Antonio de Borbón en la Biblioteca Nacional de España / elaborado por Isabel Lozano Martínez, José María Soto de Lanuza. – Madrid : Biblioteca Nacional de España, 2012 1 recurso en línea : PDF. — (Colecciones singulares de la Biblioteca Nacional ; 10) Bibliografía: p. 273-274. Índices Incluye transcripción y reproducción facsímil del inventario manuscrito M/1008 NIPO 552-10-018-X 1. Borbón, Francisco de Paula de, Infante de España–Biblioteca–Catálogos. 2. Partituras–Biblioteca Nacional de España– Catálogos. 3. Música–Manuscritos–Bibliografías. I. Lozano, Isabel (1960-). II. Soto de Lanuza, José María (1954- ). -
The Italian Girl in Algiers
Opera Box 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 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
"Il Barbiere Di Siviglia" De Rossini
SAVERIO LAMACCHIA Universitá di Udine Reflexiones para una nueva interpretación de Il barbiere di Siviglia de Rossini (y de Manuel García)1 Se dice que Il barbiere di Siviglia de Rossini es una obra en la que un astuto barbero (Figaro), consigue que se casen el Conde de Almaviva y Rosina, para vergüenza del viejo Bartolo.Aquí sos- tenemos que, con toda probabilidad, Rossini y su libretista, Cesare Sterbini, en el carnaval de 1816, habían pensado en otra historia, aquella en la que el barbero chapucero intenta en el primer acto ayudar al Conde, pero provoca grandes problemas que hacen que el poderoso Conde deba tomar las riendas de la intriga en el segundo acto y a conducir él mismo el desenlace. Para argumentar esta tesis se subrayan las importantes diferencias entre el libreto y su fuente principal, Le barbier de Séville de Beaumarchais, y por primera vez, se señala como fuente Il Califfo di Bagdad de Manuel García (1813). Sostenemos que Il barbiere di Siviglia fue escrito por mediación de García, no sólo desde el punto de vista vocal sino también actoral: éste elegía personajes iracundos, poderosos y con deter- minación. Figaro no obstante, se toma su revancha desde el punto de vista musical: desde siempre, los espectadores acaban por hacer suya la parte de más éxito y divertida; y a fin de cuentas, es eso lo que más importa en una ópera cómica. Palabras clave: Rossini, Manuel García, Il barbiere di Siviglia, Il Califfo di Bagdad, Beaumarchais, ópera s. XIX. Rossini’s The Barber of Seville is said to be a work in which an astute barber -
Gaetano Donizetti
Gaetano Donizetti ORC 3 in association with Box cover : ‘ Eleonore, Queen of Portugal’ by Joos van Cleve, 1530 (akg-images/Erich Lessing) Booklet cover : The duel, a scene from Gioja’s ballet Gabriella di Vergy , La Scala, Milan, 1826 Opposite : Gaetano Donizetti CD faces: Elizabeth Vestris as Gabrielle de Vergy in Pierre de Belloy’s tragedy, Paris, 1818 –1– Gaetano Donizetti GABRIELLA DI VERGY Tragedia lirica in three acts Gabriella.............................................................................Ludmilla Andrew Fayel, Count of Vergy.......................................................Christian du Plessis Raoul de Coucy......................................................................Maurice Arthur Filippo II, King of France......................................................John Tomlinson Almeide, Fayel’s sister...................................................................Joan Davies Armando, a gentleman of the household...................................John Winfield Knights, nobles, ladies, servants, soldiers Geoffrey Mitchell Choir APPENDIX Scenes from Gabriella di Vergy (1826) Gabriella..............................................................................Eiddwen Harrhy Raoul de Coucy............................................................................Della Jones Royal Philharmonic Orchestra Conductor: Alun Francis –2– Managing director: Stephen Revell Producer: Patric Schmid Assistant conductor: David Parry Consultant musicologist: Robert Roberts Article and synopsis: Don White English libretto: -
Donizetti Double Delight La Zingara and L'assedio Di Calais
Donizetti Double Delight La zingara and L'assedio di Calais Charles Jernigan, October 30, 2017 La zingara Donizetti wrote over 70 operas in the 26 years or so of his career, and about 4 or 5 of them are in the regular repertory of opera houses all over the world, with another half dozen on the fringes of the standard repertory. The chance to see any of the other 60 or so of the works he wrote comes along every now and then, but the chance to see two of those rarities in three days is worth a trip for the true bel canto lover. That chance occurred on October 26 and 28th of this year in Boston and New York where there were productions of #7 or #10, depending on how you count, the obscure La zingara (The Gypsy Girl) and #55, L'assedio di Calais (The Siege of Calais). Both works saw the light of day in Naples, but one dated from Donizetti's early career (La zingara, 1822) and the other came from his full maturity--1836, a year after Lucia di Lammermoor. La zingara is the greater rarity. It was Donizetti's very first opera for Naples (he came from practically another country--Bergamo in far northern Italy), the city which would see the premieres of more of his works than any other, and it was a big hit, receiving around 50 performances in its first year at the Teatro Nuovo. It made it to Germany (in 1823) and as far afield as Havana (in 1859) according to William Ashbrook. -
Download Five
Chapter Four “Un misérable eunuque” He had his Spring contract, his librettist was by his side and he had sympathy galore - no one whatsoever in musical circles in Milan could have been unaware of the Venetian scam,i from now on the guilty pair would be viewed askance by operatic managements throughout the peninsula. The direction of La Scala - only too willing to be supportive - agreed against all their usual caution to a religious heroine to fulfil Pacini’s contractual engagement and Giovanna d’Arco was the result - a saintly martyr bedevilled not just by the familiar occult and heretic foes but by the dilatory behaviour of the librettist in question - Gaetano Barbieri - who confessed that only half his text was actually in hand when rehearsals began in February 1830. Even if the great theatre was not unduly dismayed by the delay that resulted it put the opera and its composer into bad odour with its audience, after excuse after excuse and postponement after postponement of the prima, Pacini was obliged to ask the Chief of Police to impose a measure of calm and it was only at the very last gasp of the season that the curtains parted on his Giovanna and then before a sea of angry faces. The composer was hissed as he took his seat at the cembalo but smiled merely as they were confronted by a genuine novelty: Henriette Méric-Lalande in bed asleep. Her “dream aria” in which the bienheureuse greets her sacred destiny met with murmurs (Italian audiences seldom warmed to devotional intimacies on stage) but her truly seraphic cavatina, immaculately sung, brought them down to earth like a perfect miracle. -
Michele Carafa E La Sua Gabriella Alexander Weatherson
Michele Carafa e la sua Gabriella Alexander Weatherson Can any composer ever have had a longer pedigree - or shorter claim to fame - than Michele-Enrico-Francesco-Vincenzo-Aloiso-Paulo Carafa dei principi di Colobrano? Born on 7 November 1787 of a dynasty of mathematicians, territorial potentates, and larger-than-life Cardinals whose gilded tentacles touched the papacy (Paul IV) while taking most of the powerful positions the Renaissance had to offer, the second son of Don Giovanni Carafa, duca D'Alvito could have expected nothing less than a happy life of privilege in Naples. His cultural credentials were impeccable. It was in the palazzo Carafa that the first known comic opera in Neapolitan dialect was given in honour of Don Tiberio Carafa, principe di Chiusano in 1707; Don Giuseppe Carafa was Paisiello's first patron; a cousin, Don Marzio-Gaetano Carafa, principe di Colobrano, was an accomplished church musician, while a yet more distant kinsman, Don Giovanni Carafa, duca di Noja, presided over the fortunes of the redoubtable Conservatorio di S.Sebastiano as its Sovrintendente, doubling this responsibility with the precarious task of guiding the destiny of the Royal Theatres in Naples (until 1820). Thus, Michele Carafa's own career as a composer was neither demeaning nor odd, nor in fact totally unexpected. Until, that is, Bonaparte took a hand and turned him into a soldier. But while at military college in Naples, the inevitable destiny of a second son, Carafa studied music with Francesco Ruggi and in 1802 wrote two juvenile cantatas for home consumption, Achille e Deidamia and Il natale di Giove, which were of such significance to his early ambitions that the manuscripts were still in his possession at the time of his death some seventy years later. -
Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke
SECTION 2 STAGE WORKS OPERAS BALLETS TEIL 2 BÜHNENWERKE BALLETTE 267 268 Bergh d’Albert, Eugen (1864–1932) Amram, David (b. 1930) Mister Wu The Final Ingredient Oper in drei Akten. Text von M. Karlev nach dem gleichnamigen Drama Opera in One Act, adapted from the play by Reginald Rose. Libretto by von Harry M. Vernon und Harald Owen. (Deutsch) Arnold Weinstein. (English) Opera in Three Acts. Text by M. Karlev based on the play of the same 12 Solo Voices—SATB Chorus—2.2.2.2—4.2.3.0—Timp—2Perc—Str / name by Harry M. Vernon and Harald Owen. (German) 57' Voices—3.3(III=Ca).2(II=ClEb).B-cl(Cl).3—4.3.3.1—Timp—Perc— C F Peters Corporation Hp/Cel—Str—Off-stage: 1.0.Ca.0.1—0.0.0.0—Perc(Tamb)—2Gtr—Vc / 150' Twelfth Night Heinrichshofen Opera. Text adapted from Shakespeare’s play by Joseph Papp. (English) _________________________________________________________ 13 Solo Voices—SATB Chorus—1.1.1.1—2.1.1.0—Timp—2Perc—Str C F Peters Corporation [Vocal Score/Klavierauszug EP 6691] Alberga, Eleanor (b. 1949) _________________________________________________________ Roald Dahl’s Snow White and the Seven Dwarfs Text by Roald Dahl (English) Becker, John (1886–1961) Narrator(s)—2(II=Picc).2.2(II=B-cl).1.Cbsn—4.2.2.B-tbn.1—5Perc— A Marriage with Space (Stagework No. 3) Hp—Pf—Str / 37' A Drama in colour, light and sound for solo and mass dramatisation, Peters Edition/Hinrichsen [Score/Partitur EP 7566] solo and dance group and orchestra. -
EJ Full Draft**
Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today. -
Lucia Di Lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012
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 . .9 Reference/Tracking Guide . .10 Lesson Plans . .12 Synopsis and Musical Excerpts . .44 Flow Charts . .49 Gaetano Donizetti – a biography .............................56 Catalogue of Donizetti’s Operas . .58 Background Notes . .64 Salvadore Cammarano and the Romantic Libretto . .67 World Events in 1835 ....................................73 2011–2012 SEASON History of Opera ........................................76 History of Minnesota Opera, Repertoire . .87 così fan tutte WOLFGANG AMADEUS MOZART The Standard Repertory ...................................91 SEPTEMBER 25 –OCTOBER 2, 2011 Elements of Opera .......................................92 Glossary of Opera Terms ..................................96 silent night KEVIN PUTS Glossary of Musical Terms . .101 NOVEMBER 12 – 20, 2011 Bibliography, Discography, Videography . .105 werther Evaluation . .108 JULES MASSENET JANUARY 28 –FEBRUARY 5, 2012 Acknowledgements . .109 lucia di lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012 madame butterfly mnopera.org GIACOMO PUCCINI APRIL 14 – 22, 2012 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. -
Su Alcune Mescolanze Fra Prosa E Musica Nel Teatro Italiano Dell ’Ottocento
Corso di Laurea magistrale in Musicologia e scienze dello spettacolo Tesi di Laurea «S EGRETI », «PIANELLE » E «CAMPANELLI ». SU ALCUNE MESCOLANZE FRA PROSA E MUSICA NEL TEATRO ITALIANO DELL ’OTTOCENTO . Relatore prof. David Douglas Bryant Laureando Filippo Bordin Matricola 835512 Anno Accademico 2011 / 2012 INTRODUZIONE Il ruolo privilegiato che il melodramma ha avuto nella storia culturale dell’Italia ottocentesca ha favorito la creazione del mito dell’opera romantica italiana trasformata nel paradigma del genere stesso; Rossini, Verdi e Puccini sono considerati i campioni del melodramma e le loro opere più famose sono viste come i simboli di questo tipo di spettacolo. Il barbiere di Siviglia , L’italiana in Algeri , La Traviata , Aida , Tosca o Madama Butterfly sono le opere italiane per antonomasia, esportate e conosciute in tutto il mondo come il prodotto più alto e rappresentativo di questo genere. Giovanni Morelli arriva a definire il melodramma italiano ottocentesco l’«archetipo del made in Italy »1. Lo studio di fonti d’archivio riguardanti alcuni teatri veneti, in particolare il Teatro Accademico di Castelfranco Veneto, mi ha posto difronte ad una realtà operistica ottocentesca ben più complessa ed articolata rispetto alla fermezza monolitica del mito dei grandi nomi e grandi titoli. Il mercato dei drammi romantici, dei compositori famosi, dei palcoscenici prestigiosi, si appoggiava su un piedistallo costituito da un sistema capillare di teatri e di spettacoli che per la loro vastità e diffusione non possono essere archiviati come fenomeni minori o marginali. Si ricorda qui lo studio condotto da Carlotta Sorba sul numero di edifici teatrali attivi nell’Italia ottocentesca 2; nel censimento del 1868 se ne contavano 942, di cui almeno 613 costruiti dopo il 1815.