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Verdi and Milan Transcript
Verdi and Milan Transcript Date: Monday, 14 May 2007 - 12:00AM VERDI AND MILAN Professor Roger Parker This talk is about Verdi and Milan, and is in three acts, with a brief prelude and even briefer postlude. You may like to know that, as with most of Verdi's operas, the last act is quite a bit shorter than the first two. Prelude When the eighteen-year-old Verdi moved from provincial Busseto, a town near Parma, to Milan in June 1832, to complete his musical training privately after having been rejected from the Milan Conservatory, he must have felt keenly the change in cultural climate. From a small town in which his reputation had been as a promising church musician, and whose inhabitants he later reviled for their parochialism and petty jealousies, he transferred to one of Italy's major capital cities, an international operatic centre with a rich tradition of intellectual and cultural achievement. At the heart of this culture, and at the heart of the city, stood the Teatro alla Scala, one of the two or three major theatres in Italy. Much later in life Verdi recalled his lessons in Milan as extremely formal and academic: in particular he recalled no reference to the music of the present. But his recollections were written in 1871, some forty years after the events described, and they tell us more about the then-aging Verdi's reactions to an Italy increasingly influenced by 'foreign' opera composers (in particular Meyerbeer and Wagner) than it does about the reality of his own student experiences. -
Donizetti Operas and Revisions
GAETANO DONIZETTI LIST OF OPERAS AND REVISIONS • Il Pigmalione (1816), libretto adapted from A. S. Sografi First performed: Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo. • L'ira d'Achille (1817), scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini. First performed: Possibly at Bologna where he was studying. First modern performance in Bergamo, 1998. • Enrico di Borgogna (1818), libretto by Bartolomeo Merelli First performed: November 14, 1818 at Teatro San Luca, Venice. • Una follia (1818), libretto by Bartolomeo Merelli First performed: December 15, 1818 at Teatro San Luca,Venice. • Le nozze in villa (1819), libretto by Bartolomeo Merelli First performed: During Carnival 1820-21 at Teatro Vecchio, Mantua. • Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), libretto by Gherardo Bevilacqua-Aldobrandini First performed: December 26, 1819 at the Teatro San Samuele, Venice. • Zoraida di Granata (1822), libretto by Bartolomeo Merelli First performed: January 28, 1822 at the Teatro Argentina, Rome. • La zingara (1822), libretto by Andrea Tottola First performed: May 12, 1822 at the Teatro Nuovo, Naples. • La lettera anonima (1822), libretto by Giulio Genoino First performed: June 29, 1822 at the Teatro del Fondo, Naples. • Chiara e Serafina (also known as I pirati) (1822), libretto by Felice Romani First performed: October 26, 1822 at La Scala, Milan. • Alfredo il grande (1823), libretto by Andrea Tottola First performed: July 2, 1823 at the Teatro San Carlo, Naples. • Il fortunate inganno (1823), libretto by Andrea Tottola First performed: September 3, 1823 at the Teatro Nuovo, Naples. -
The Kapralova Society Journal Fall 2018
Volume 16, Issue 2 The Kapralova Society Journal Fall 2018 A Journal of Women in Music Three Nineteenth Century Composers of Salon Music: Léonie Tonel, Maddalena Croff, Elisa Bosch Tom Moore The name of LÉONIE TONEL is forgotten were highly-regarded horticulturists, origi- today, but in the nineteenth century, despite nally from Gand (Ghent). Jean-Baptiste Tonel, her foreign origins, she made a significant born in Gand in 1819, traveled to Mexico in career in Paris as pianist and composer of sa- 1845 (other sources say about 1846), appar- lon music, producing a long catalogue of ently joining an unnamed older brother, and works for piano, published not only in France was followed by family members Auguste and Germany, but even in New York City. Tonel in 1850 and Constant Tonel in 1852. 3 Tonel’s name does appear in Aaron Cohen’s Tonel is mentioned in the Souvenirs de Voy- International Encyclopedia of Women Com- age 4 of his fellow Belgian J.-J. Coenraets posers ; however, the encyclopedia mentions (where the name is spelled Tonell). According only one of her works (the op. 2, Perles et to an obituary in the Bulletins d’arboricul- Diamans , a mazurka), gives no date of birth or ture ,5 he established his residence in Cordova, death, and describes her only as “19 th -century Vera-Cruz, Mexico (about 110 km inland Special points of interest: French composer”. As will be seen, she is from the port city of Veracruz). He returned to certainly French only by adoption. Belgium numerous times. Most importantly, The nineteenth-century salon Tonel is a very unusual surname. -
Donizetti Society Newsletter 10
14 The Stuarts and their kith and kin Alexander Weatherson Elis No- Figlia impura della Guisa, parli tu di disonore? Meretfice indegna oscena in te cada il mio rcssore. Profanato i il suolo Scozzese. vil puttana dal tuo piA. The other side oflhe coin? Not before dme I dare sav, and anvwav Queen Elizabeth has soi it dgh1, Scotland's soil was about 1o be Profaned by a stream ofoperas that bore the footprint ofher rival Wletherhistory should, or should not, be called brn* is a matter ofopinion but ought nor be left in the hands ofa cabal ofcerman melodramatic queens - withoul Mary Sruan Scotland miSht have been l€ii in peace. yil bellarda'l a species of Sruaft indusiry rvas a rcsult of her inlervention, in ltaly alone in the earliest decades ofthe nineieenth century there was a Scotch broth of operas by Aspa, Capecelalro, Carafa, Csrlini, Casalini, Casella, Coccia. Donizeui,-Gabrieili, Mazzucato, Mercadanter, Nicolini, Pacini, Pavesi, Pugni, Rajentroph, the Riccis, Rossini, Sogner and Vaocai - and this isjust a scraich upon the su ace ofthe European infatuation with the decapitated Stuar! and/or her nodern fastness which boiled-up in rhe bloodbath finale of the eight€€nth century, op€ras often rabid and inconsequential, full offashionable confrontations and artificial conflicts, politically molivatd, repetitious and soon forgotten At the heart ofthe plot, however, lay an ltalian, th€ puh plays and novels of Carniuo Federici (1749-1802) a former acror whose prolific vulgarisations of Schiller and Kotzebue sel ltalian librellisls scribbling for four decades Indeed, without ,ifl it is to bc suspected ihat Sir walter Scolt would never have captured the imaginaiion ofso many poets, nor for so long. -
15, Mezzo-Soprano Denes Van Parys, Piano
SCHOOL OF MUSIC SENIOR RECITAL JENNIFER ANN MAYER ’15, MEZZO-SOPRANO DENES VAN PARYS, PIANO SUNDAY, MARCH 8, 2015 SCHNEEBECK CONCERT HALL 5 P.M. “Esurientes implevit bonis” ...................................................... Johann Sebastian Bach from Magnificat (1685–1750) “Lobe, Zion, deinen Gott” from Cantata No. 190 From Zwei Gesänge, Opus 91 ............................................................Johannes Brahms Geistliches Wiegenlied (1833–1897) with Forrest D. Walker, viola Nuit d’étoiles ........................................................................................ Claude Debussy (1862–1918) Le Spectre de la Rose ..............................................................................Hector Berlioz from Les Nuits d’Été (1803–1869) “Faites-lui mes aveux” ..........................................................................Charles Gounod from Faust (1818–1893) INTERMISSION From Sea Pictures, Opus 37 ...................................................................... Edward Elgar Where Corals Lie (1857–1934) Sabbath Morning at Sea “Lullaby” .......................................................................................... Gian Carlo Menotti from The Consul (1911–2007) “Il segreto per esser felici” ................................................................Gaetano Donizetti from Lucrezia Borgia (1797–1848) A reception will follow the recital in School of Music, Room 106. VOCALIST JENNIFER ANN MAYER ’15, mezzo-soprano, is double-majoring in music and communication studies. She studies voice -
Fly, Thought, on Golden Wings
Fly, thought, on golden wings Rose Marie Boudeguer Yerkovic Director, Research Services MONTHLY STRATEGY REPORT July 2015 Monthly Strategy Report. July 2015 Fly, thought, on golden wings “It is said that success requires talent, hard work, and an embrace of the opportunities that arise. But equally as important is the ability to overcome defeat. This month’s story is a tale of triumph, like many others in fields as diverse as art, sport, and business”. The young man sheepishly opened the immense door of the audition room and entered. Opposite him, the three examiners from the Conservatory leered with curiosity and suspicion. They had never assessed someone so old. He played two pieces, but his fate was sealed after the first. The examiners were appalled at the curvature of his back and the way in which he rested his fingers on the keyboard. The second piece was an original composition to which the examiners paid no attention. They had already made their decision. “We are sorry, your technique is unsatisfactory and nineteen is too old to correct it,” they said. “But I don’t want to be a pianist,” he protested, “I want to be a composer.” Sixty-six years later, the same man received a letter from the Ministry of Culture suggesting his name grace the Conservatory. “If you didn’t want me when I was young, you shan’t have me old,” he responded. But ultimately the Milan Conservatory prevailed, changing its name to the Giuseppe Verdi Conservatory of Music. Verdi was born on 10 October 1813 in a small town near the city of Busseto, in the Duchy of Parma. -
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 -
Donizetti Il Duca D’Alba
Gaetano Donizetti Il Duca d’Alba Il duca d’Alba - F. Goya - 1795 Huile sur toile ; 195 x 126 - Madrid, Museo del Prado « J’avais surtout caressé le rôle (1) de la femme ; rôle nouveau peut-être au théâtre, un rôle d’action, tandis que presque toujours la femme est passive. Ici, une jeune enthousiaste, aimante, une Jeanne d’Arc. » Gaetano Donizetti, janvier 1842 (1) en français dans le texte Ces quelques mots de Donizetti nous donnent non seulement sa conception de cette héroïne hors du commun, mais révèlent combien il tenait encore à l’œuvre, trois années après le début de la composition de son opéra… qu’il n’achèvera pourtant jamais car malheureusement pour l’Art, le personnage - tout particulier qu’il est, précisément ! - déplaît à la divette régnant alors sur l’Opéra de Les dossiers de Forum Opéra - www.forumopera.com - Il duca d'Alba © Yonel Buldrini - p. 1 Paris (et son directeur). Il sera tout de même créé, mais après quarante années d’attente et quelques essais infructueux. L’actuelle reprise, motivant cet article, aura lieu dans le cadre de la Saison lyrique de Radio France, le 15 avril 2005 *, et il pourrait bien s’agir de la création en France, pays auquel était destiné l’opéra ! En raison de la grève d'une partie des personnels de Radio France, le concert du vendredi 15 avril, au programme duquel était inscrit Il Duca d'Alba de Donizetti, est annulé. (Ndlr) Donizetti et Le Duc d’Albe « Addio mia Bella Napoli ! » Ces premiers mots d’une mélancolique chanson populaire, par la voix tremblotante et nasillarde de Caruso, sortant des impressionnants pavillons des phonographes, pourraient nous donner l’état d’esprit avec lequel Donizetti quitte la Naples de ses succès. -
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. -
Notes Upon Dancing Historical and Practical by C. Blasis
: / NOTES UPON DANCING, HISTORICAL AND PRACTICAL, BY C. BLASIS, BALLET MASTER TO THE ROYAL ITALIAN OPERA, COVENT GARDEN ; FINISHING MASTER OF THE IMPERIAL ACADEMY OF DANCING AT MILAN; AUTHOR OF A TREATISE ON DANCING, AND OTHER WORKS ON THEATRICAL ART, PUBLISHED IN ITALY, FRANCE, AND ENGLAND. FOLLOWED BY A HISTORY OF THE IMPERIAL AND ROYAL ACADEMY OF DANCING, AT MILAN, TO WHICH ARE ADDED BIOGRAPHICAL NOTICES OF THE BLASIS FAMILY, INTERSPERSED WITH VARIOUS PASSAGES ON THEATRICAL ART. EDITED AND TRANSLATED, FROM THE ORIGINAL FRENCH AND ITALIAN, by R. BARTON. WITH ENGRAVINGS. ? - 4 . / E r -7 ' • . r ' lionJjon PUBLISHED BY M. DELAPORTE, 116, REGENT STREET, AND SOLD BY ALL BOOKSELLERS. 1847. Digitized by Google M'OOWAN AND CO., GREAT WINDMILL STREET, HAYMAREET Digitized by Google Digitized by Google ; ADVERTISEMENT. (by tiik kditor.) It will be seen, that the principle object of this work is to place that part of the entertainment at the Lyric Theatres or Opera, called the Ballet, on a new basis. This, the eminent artiste, who is the author of this work, has already effected in his own country, where he is patronized and supported by the government, and is there undoubtedly the first in his profession, as he is perhaps in Europe. The true object of the Ballet appears to be the Beautiful in motion, supported by expressive and well-adapted music. This may be effected in two ways, by two classes of movements the one is quick, vehement and joyous, and is no other than Dancing—but the other class of motions is a far different tiling ; it is no less than a mute expression of feelings, passions, ideas, intentions, or any other sensations belonging to a reasonable being—this is properly termed Pantomime, and must also be sus- tained by music, which now becomes a kind of explanatory voice ; and while it greatly assists the Mime, when well adapted to the subject to be ex- pressed by his gestures, it produces upon the mind and feelings of the spectator an extraordinary effect. -
15 FINAL VDL II De Simone-Maccavino APPENDICE E
PAOLA DE SIMONE – NICOLÒ MACCAVINO APPENDICE I I titoli della Collezione Guillaume in trascrizione diplomatica dall’elenco allega- to nel Registro d’inventario della Biblioteca del Conservatorio di Musica San Pietro a Majella - Esercizio finanziario 1895-1896 Tabella n. 4* Figurini di Opere Figurini di Balli A A Astuccio d’oro Assedio di Leyda Adelia Alfredo Albina di Lerida Azurina Alzira Appuntamento Adolfo di Warbel Amore e Psiche Assedio di Leyda [Ballo] Anacreonte Aroldo Alcidoro [Alcindoro] Anna Bolena Astuzie amorose Alceste Alloggio militare Aida Amore e mistero Arabi nelle Gallie Ariella Attila Adoratori del sole Antonio Foscarini Africana Alfonso d’Aragona [Il ritorno di Alfonso Abecerraghi e Zegrindi d’Aragona, Ballo] Alina Amazilek Amalia Candiano Armida e Rinaldo Angelica Veniero Assedio di Negroponte Alchimista Assedio di Corinto Amore alla prova B B Batilde di Turenna Batilde Wolman Betly Bassora Briganti Benvenuto Cellini Birraio di Preston Batilde di Turenna [opera] Bosco di Dafne Bonaventura Belisario Bianchi e ne[g]ri * I titoli evidenziati in grassetto risultano nell’elenco registrato all’acquisto ma non in Collezione. 276 I FIGURINI DELLA COLLEZIONE CARLO GUILLAUME Battaglia di Nav.[arin]o Bella fanciulla di Gand Ballo in maschera I bucanieri Bianca Turenga Boccaccio Buondelmonte Battaglia di Legnano Bianca Orsini Bravo C C Colonnello Carlo Himmerich Conte di Chalais Il cittadino e la statua Contrabbandieri Cristina di Svezia Coscritto Carlo di Roverestein [sic] Conte di Rossiglione Castore e Polluce Caterina di Blum Capra Cenerentola Cacciatore nero Caterina di Guisa Camelia Ciarlatani Coppa de’ Fidanzati Corradino Cadet barbiere Caterina Howard Corazziere di Brest Cantante Collegiali in vacanza Chiara di Rosemberg Coscritto Celinda Caccia di Enrico IV Costanza d’Aragona Corte di amore Cantata nozze Francesco 2° Caterina Cornaro Corsaro Candiano C.[on]te di Marsico Claudina Corrado d’Altamura Curioso accidente Carlo Gonzaga Coraggio di una donna Chi dura vince Camelia Corsaro Cid Caterina Cornaro C.[on]te di S. -
Una Fanatica Per La Musica Di Mayr 2
Una fanatica per la musica di Mayr? Angelica Catalani and Il fanatico per la musica in London in 1824 Alexander Weatherson No one can really be surprised that the outrageous heroine of Che originali - the fantastic Donna Aristea - who sported the headdress of Cleopatra and the sandals of Sofonisba, who swept on the stage in the robes of Semiramide or of Dido or of Ifigenia should have had such an attraction for Angelica Catalani - that irresistible bête noire of the operatic firmament who has come down to us as the one truly insuperable primadonna of the age of Mayr. A legendary soprano who sang more Semiramide, Didos and Ifigenie than anyone in existence, the one gloriously willful icon in a theatre of posture and change. The ultimate Metastasiasta diva par excellence. She timed her appearances with perfection, and not just for Mayr, it was the French Revolution that did it. No one ever sang so many betrayed or dying queens. Her operatic tastes, like her musical garb, however pessimistically they may have been viewed by generations of vocal purists, reflected the popular events of her day. Her career, like that of Donna Aristea was old hat but indisputably topical. She was a final extravagant flower of the ancien régime like Brigida Banti, Gertrud Elisabeth Mara and Giuseppina Grassini and utterly unlike - for example - Giuditta Pasta or Maria Malibran of the romantic era, with whom she overlapped. But was she a fanatic for the music of Mayr? She cultivated fanaticism it is true, she counted upon fanatics to sustain her career and ran a fanatical train of existance.