Opera Aida Directed by Olivier Py and Noda Kabuki Version of Princess Aida
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Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini. -
Giacomo Puccini Krassimira Stoyanova
Giacomo Puccini Complete Songs for Soprano and Piano Krassimira Stoyanova Maria Prinz, Piano Giacomo Puccini (1858-1924) 5 Ave Maria Leopolda (Giacomo Puccini) Conservatory. It is introduced by solemn organ harmonies (Milan, 20 May 1896) with strong treble line. The melody is shaped by slow Songs This short song is a setting of one of the composer’s letters lingering inflections of considerable emotional intensity. The Giacomo (Antonio Domenico Michele Seconda Maria) Gramophone Company (Italy) Ltd. The tone of this song, to the conductor Leopoldo Mugnone (who conducted hymn moves on to a more questioning phase, and concludes Puccini (1858-1924) was born into a family with long musical by the famous librettist Illica, a man of exuberant and violent Manon Lescaut and La Bohème in Palermo). It is a jocular with a smooth organ postlude. The tune was used by the traditions. He studied with the violinist Antonio Bazzini passions, celebrates the positivism of the late 19th century. salutation, offering greetings to his spouse Maria Leopolda, composer in his first opera Le Villi (1883) as the orchestral (1818-1897) and the opera composer Amilcare Ponchielli The text reflects that, although life is transient, we sense the from the dark Elvira (Bonturi, Puccini’s wife) and the blonde introduction to No. 5 and the following prayer Angiol di Dio. (1834-1886), and began his career writing church music. existence of an ideal that transcends it, conquering oblivion Foschinetta (Germignani, Puccini’s stepdaughter), who He is famous for his series of bold and impassioned operas and death. The musical setting is confident and aspirational, send kisses and flowers. -
Nomination Form International Memory of the World Register
1 Nomination form International Memory of the World Register Antonio Carlos Gomes: composer of two worlds ID[ 2016-73] 1.0 Summary (max 200 words) Antonio Carlos Gomes: composer of two worlds gathers together documents that are accepted, not only by academic institutions, but also because they are mentioned in publications, newspapers, radio and TV programs, by a large part of the populace; this fact reinforces the symbolic value of the collective memory. However, documents produced by the composer, now submitted to the MOW have never before been presented as a homogeneous whole, capable of throwing light on the life and work on this – considered the composer of the Americas – of the greatest international prominence. Carlos Gomes had his works, notably in the operatic field, presented at the best known theatres of Europe and the Americas and with great success, starting with the world première of his third opera – Il Guarany – at the Teatro alla Scala – in Milan on March 18, 1870. From then onwards, he searched for originality in music which, until then, was still dependent and influenced by Italian opera. As a result he projected Brazil in the international music panorama and entered history as the most important non-European opera composer. This documentation then constitutes a source of inestimable value for the study of music of the second half of the XIX Century. 2.0 Nominator 2.1 Name of nominator (person or organization) Arquivo Nacional (AN) - Ministério da Justiça - (Brasil) Escola de Música da Universidade Federal do Rio de -
The Metropolitan Opera Presents Aida in HD
Visions and Voices and the USC Libraries have collaborated to create a series of resource guides that allow you to build on your experiences at many Visions and Voices events. Explore the resources listed below and continue your journey of inquiry and discovery! USC LIBRARIES RESOURCE GUIDE VISIONS AND VOICES and the USC SCHOOL OF CINEMATIC ARTS, in conjunction with the METROPOLITAN OPERA in New York, present the HD telecast of Giuseppe Verdi’s Aida. To help you learn more about Verdi’s masterpiece, ROSS SCIMECA of the USC LIBRARIES has selected the following resources. Introduction Giuseppe Verdi composed 28 operas during his lifetime. Aida is the 26th, followed by his late masterpieces, Otello and Falstaff. What is unique about Aida is that it is a grand opera, meaning it features extended choruses, ballets and marches composed in a theatrically spectacular style. Like Don Carlos, which preceded Aida by five years and premiered at the Paris Opera, Verdi brilliantly integrated these spectacular elements with the vocal elements of traditional opera. Camille du Locle took the plot for his French-language libretto for Aida from the work of Egyptologist Mariette Bey. The libretto was later translated into Italian verse by Antonio Ghislanzoni. Commissioned by the Khedive of Egypt, Aida premiered at the Italian Theatre in Cairo on December 24, 1871. It was a sensational success, as it was two months later at Milan’s La Scala. The opera reached New York’s Academy of Music on November 26, 1873. You can find the Italian-language libretto of Aida and an English translation in the Opera Classics Library by clicking on the Databases tab at: www.usc.edu/libraries/eresources. -
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. -
The Autograph of Aida and the New Verdi Edition David Lawton SUNY Stony Brook
Verdi Forum Number 14 Article 1 1986 The Autograph of Aida and the New Verdi Edition David Lawton SUNY Stony Brook Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Lawton, David (1986) "The Autograph of Aida and the New Verdi Edition," Verdi Forum: No. 14, Article 1. Available at: http://scholarship.richmond.edu/vf/vol1/iss14/1 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]. The Autograph of Aida and the New Verdi Edition Keywords Giuseppe Verdi; Aida; The orkW s of Giuseppe Verdi; opera This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss14/1 The Autograph of AIDA and the New Verdi Edition David Lawton The editorial guidelines for The Works number 42602.8 It contains a number of of Giuseppe Verdi establish the final authority corrections in the composer's hand, which of the composer's autograph as a fundamental correspond to those mentioned in his letters premise of the new critical edition: to Ricordi of 23 and 26 November 1871.9 The score presumably represents the version It was normally Verdi's habit of the piece performed in Cairo, and thus through most of his career to leave compensates to some extent for the Joss of his autograph manuscripts in a form the full score. -
La Scapigliatura. Schreiben Gegen Den Kanon
Farben: cyan magenta gelb schwarz sabine schrader La Scapigliatura. Schreiben schrader Italiens Weg gegen in die schrader Moderne den Kanon La Scapigliatura. Schreiben gegen den Kanon ie Scapigliatura (1858–1880) ist eine Mailänder Künstlergruppe, die der jungen Generation nach der Einigung Italiens ein Sprachrohr sein möchte. Die Schrift- gegen den Kanon Schreiben La Scapigliatura. steller und Publizisten Arrigo und Camillo Boito, Giovan- ni Camerana, Emilio Praga und I.U.Tarchetti suchen nach Schreibweisen jenseits des nationalen Kanons. Während Francesco de Sanctis in seiner italienischen Literatur- geschichte dem gerade geeinten Italien sein ideologisches Fundament verleiht, können diese Autoren nur Trümmer des Nationalen erkennen. Sie pflegen ein Diskontinuitäts- und Generationsbewusstsein, neue Formen der Perfor- mativität, der literarischen Sprachkritik und feiern die Langeweile. Mit ihrer Kritik an den positivistischen Wis- senschaften bewegen sich die Scapigliati in ihren fantasti- schen, grotesken, morbiden Texten auf der Schwelle zur ästhetischen Moderne. Das vorliegende Buch ist die erste deutschsprachige Monographie zur Scapigliatura. Es versteht sich daher auch als Einführung in das Text- und Selbstverständnis der Gruppe und strebt eine Neubewer- tung ihrer Rolle in der Literatur- und Kulturgeschichte an. Universitätsverlag winter isbn 978-3-8253-6172-3 Heidelberg studia romanica Band 176 Herausgegeben von Marc Föcking Klaus Heitmann Ulrich Mölk Edgar Radtke sabine schrader La Scapigliatura. Schreiben gegen den Kanon Italiens Weg in die Moderne Universitätsverlag winter Heidelberg Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Gedruckt mit freundlicher Unterstützung der Deutschen Forschungsgemeinschaft. umschlagbild © Hiltrud Gauf isbn 978-3-8253-6172-3 Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. -
Lecco E Antonio Ghislanzoni — ------+------Humero Unico Illurstrato
Ivecco, 19 Kov'em'bre 1893 Lecco e Antonio Ghislanzoni — ------------------------ +--------------------------- Humero Unico Illurstrato schezza, per l’onestà grande che ne traspirano. Esso I repressi cachinni. Ospite assidua, Fra noi respiri la gaiezza; scoppino A n t o n io G h is l a n z o n i è intitolato: Epistola al doti. L. V. — Dice: Gli epigrammi, i bei motti, le facezie, .... dai circoli Gli aneddoti giocondi, e in noi riflettasi L ’ilarità di tu tti......... A n t o n io G h is l a n z o n i è morto a quasi 70 Dei pusilli gaudenti, ove si biascica La nenia eterna del quieto vivere, 4 Così: anni, ma non era vecchio. — Tuttavia il Nè dai cupi, frementi conciliaboli, Gli odi e i rancor svaniscono; si appianano segreto della sua perenne giovinezza egli Ove ringbian tribuni e arrutfapopoli, I più tetri cipigli; e dell’innocuo non avrebbe potuto venderlo a nessuno, poi- Il verbo io presi mai. Prostrarmi agli idoli Lepor le donne amabilmente ridono ! A Non seppi. Liberal, volli esser libero! !______ chè consisteva appunto in ciò che egli non E sì libero fui, cbe, al breve svolgersi Il quadro è bello e Antonio Ghislanzoni l’ha rea volle mai vendere: la Coscienza. Di quattro o cinque mesi, in abbominio lizzato. E, nella quiete della campagna, egli continuò Venni ai rossi ed ai bianchi! Esordì col farsi dispensare dal seminario, dove non a lavorare indefessamente. Oltre i molti libretti che Allora egli sentì andavano naturalmente a genio certe sue arditezze di .... dentro l’interlinea egli compose — credo sian circa So ! ! — dal suo romi carattere. -
10-06-2018 Aida Mat.Indd
GIUSEPPE VERDI aida conductor Opera in four acts Nicola Luisotti Libretto by Antonio Ghislanzoni production Sonja Frisell Saturday, October 6, 2018 PM set designer 1:00–4:40 Gianni Quaranta costume designer Dada Saligeri lighting designer Gil Wechsler choreographer Alexei Ratmansky The production of Aida was made revival stage director Stephen Pickover possible by a generous gift from Mrs. Donald D. Harrington The revival of this production is made possible by a gift from Viking Cruises general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,166th Metropolitan Opera performance of GIUSEPPE VERDI’S aida conductor Nicola Luisotti in order of vocal appearance r amfis a priestess Dmitry Belosselskiy Gabriella Reyes** r adamès amonasro Aleksandrs Antonenko Quinn Kelsey amneris Anita Rachvelishvili solo dancers Jennifer Cadden aida Bradley Shelver Anna Netrebko the king Ryan Speedo Green* a messenger Arseny Yakovlev** Saturday, October 6, 2018, 1:00–4:40PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex. Chorus Master Donald Palumbo Musical Preparation Derrick Inouye, Howard Watkins*, Carol Isaac, and Liora Maurer Assistant Stage Directors Jonathon Loy and J. Knighten Smit Stage Band Conductor Gregory Buchalter Italian Coach Loretta Di Franco Prompter Carol Isaac Met Titles Christopher Bergen Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Headdresses by Rodney Gordon Studios and Miles-Laity, Ltd. -
CARTEGGIO PONCHIELLI-RICORDI (1873-1877) Edizione Delle Lettere Con Uno Studio Su: Il Parlatore Eterno (1873)
UNIVERSITÀ DEGLI STUDI DI PAVIA Dipartimento di Musicologia e Beni Culturali Laurea Magistrale in Musicologia CARTEGGIO PONCHIELLI-RICORDI (1873-1877) Edizione delle lettere con uno studio su: Il parlatore eterno (1873) Relatore: Prof. Carlo BIANCHINI Tesi di laurea di: Correlatore: Prof. Pietro ZAPPALÀ, Licia SIRCH Roberto MAIETTA Matricola: 404966 Anno Accademico 2016/2017 Indice Introduzione p. 1 PARTE PRIMA: Frammenti di un’epoca Capitolo 1: Inquadramento storico - § 1.1 ‘Artigianato’ vs ‘intellettualismo’ p. 4 - § 1.2 Ponchielli e la rappresentazione delle proprie opere p. 7 - § 1.3 Alla ricerca del librettista p. 10 - § 1.4 Riflessioni d’autore sulla forma p. 12 Capitolo 2: Ponchielli e i suoi editori - § 2.1 I primi editori di Ponchielli p. 14 - § 2.2 L’editoria italiana negli anni Settanta dell’Ottocento: Ricordi vs. Lucca p. 14 - § 2.3 La battaglia fra Lucca e Ricordi per I promessi sposi p. 15 - § 2.4 Un problema di rappresentanza: Giuseppe Lamperti p. 16 - § 2.5 Una guerra sotterranea nel carteggio Ponchielli-Ricordi p. 17 - § 2.6 Giulio Ricordi editore e agente di Ponchielli p. 18 Capitolo 3: Il parlatore eterno, un unicum del Ponchielli comico - § 3.1 Precedenti e genesi dell’opera p. 21 - § 3.2 Dalla farsa francese al libretto di Ghislanzoni p. 22 - § 3.3 Il libretto di Ghislanzoni p. 23 - § 3.4 Opera comica, operetta e teatro di rivista in Italia negli anni Settanta p. 27 dell’Ottocento - § 3.5 Alcune osservazioni sulla musica di Ponchielli p. 28 - § 3.6 Il primo parlatore: profilo vocale del baritono Ignazio Viganotti p. 30 Capitolo 4: La scrittura di Ponchielli - § 4.1 Neologismi, giochi linguistici, caricature p. -
21.92 More Lps, Laser Discs. Pp 164-177
LP SETS and SINGLES ALL IN EXCELLENT CONDITION (records and jackets) AND CONTAINING ORIGINAL PAPER MATERIALS, UNLESS OTHERWISE INDICATED, FOR SETS THAT ORIGINALLY INCLUDED THEM . MINIMUM BID AS INDICATED PER ITEM. A few have a small cut in the box usually on the right side. These were made by the dealer to indi- cate that the set was on sale. In some cases a small hole was punched in the upper right hand area instead. They are both indicated as “ small box cut ”. A few others have a neat plastic tape index label attached to the upper right cover and/or spine. “ Index lbl ” indicates such items. IN SUBMITTING YOUR BIDS FOR ITEMS IN THIS SECTION, PLEASE BE SURE TO INCLUDE THE CORRECT CATALOGUE NUMBER. OPERAS, OPERETTAS and EXTENDED VOCAL WORKS 5000. [FRANCO ALFANO ]. SAKUNTALA. Casapietra, Michele Molese, Tomleich, Mazzoli, dir. Ottavio Ziino. 2 LP boxed MRF 196. Factory sealed . $5.00. 5001. [ ALFANO] . CYRANO DE BERGERAC . Olivia Stapp, Johns, Blancas, dir. Maurizio Arenas. 2 2 LP boxed MRF 131. Factory sealed . $5.00. 5032. [ WILLIAM ALWYN ]. MISS JULIE . Jill Gomez, Benjamin Luxon, Della Jones, John Mitchinson, etc., dir. Vilem Tausky. 2 LP boxed Lyrita Stereo 121-2. Cover signed by Gomez, Jones and Luxon. $5.00. 5003. [DOMINICK ARGENTO ]. POSTCARDS FROM MOROCCO . 2 LP boxed set. Barbara Brandt, Barry Busse, Foreman, Hardy, Marshall, etc., dir. Philip Brunelle. 2 LP boxed Desto 7137/8. Factory sealed. $5.00. 5002. [ RAFFAELLO DE BANFIELD ] [libretto TENNESSEE WILLIAMS ]. LORD BYRON’S LOVE LETTER. Astrid Varnay, Gertrude Ribla, Carlin, Carrruba, dir. Nicola Rescigno. 1 LP.