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Politische Opern? Die Opernproduktion Von Saverio Mercadante Und Salvadore Cammarano Im Kontext Des Risorgimento.“
DIPLOMARBEIT „Politische Opern? Die Opernproduktion von Saverio Mercadante und Salvadore Cammarano im Kontext des Risorgimento.“ Verfasserin Sara Iovino angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater, Film- und Medienwissenschaft Betreuer: Univ.- Prof. Dr. Stefan Hulfeld 2 Inhaltsverzeichnis 1. Einleitung …................................................................................................. S. 5 2. Oper und Politik- ein Forschungsstand ….................................................... S. 9 3. Neapel im geschichtlichen Kontext …........................................................ S. 14 3.1. „Fremdling komm in das große Neapel und sieh's und stirb“ - Der Beginn der Bourbonendynastie in Neapel …......................................................................... S. 14 3.2. Die Parthenopäische Republik und die französische Herrschaft ................. S. 17 3.3. Die Restauration – Ferdinand I. als König beider Sizilien …......................... S. 18 3.4. Das Risorgimento – Franz I. und Ferdinand II. …......................................... S. 19 3.5. Die Neoguelfen und die Verfassung …......................................................... S. 21 3.6. Die Folgen von 1848 – Franz II. „Io sono Napoletano“ oder: Wo ist nun die „patria“? …........................................ S. 23 3.7. Das Ende der Bourbonendynastie in Neapel und der Zug der Tausend ….. S. 28 4. Das Teatro San Carlo …............................................................................ -
Lucia Di Lammermoor
LUCIA DI LAMMERMOOR An in-depth guide by Stu Lewis INTRODUCTION In Gustave Flaubert’s Madame Bovary (1857), Western literature’s prototypical “Desperate Housewives” narrative, Charles and Emma Bovary travel to Rouen to attend the opera, and they attend a performance of Lucia di Lammermoor. Perhaps Flaubert chose this opera because it would appeal to Emma’s romantic nature, suggesting parallels between her life and that of the heroine: both women forced into unhappy marriages. But the reason could have been simpler—that given the popularity of this opera, someone who dropped in at the opera house on a given night would be likely to see Lucia. If there is one work that could be said to represent opera with a capital O, it is Lucia di Lammermoor. Lucia is a story of forbidden love, deceit, treachery, violence, family hatred, and suicide, culminating in the mother of all mad scenes. It features a heroic yet tragic tenor, villainous baritones and basses, a soprano with plenty of opportunity to show off her brilliant high notes and trills and every other trick she learned in the conservatory, and, to top it off, a mysterious ghost haunting the Scottish Highlands. This is not to say that Donizetti employed clichés, but rather that what was fresh and original in Donizetti's hands became clichés in the works of lesser composers. As Emma Bovary watched the opera, “She filled her heart with the melodious laments as they slowly floated up to her accompanied by the strains of the double basses, like the cries of a castaway in the tumult of a storm. -
Francis Poulenc
CHAN 3134(2) CCHANHAN 33134134 WWideide bbookook ccover.inddover.indd 1 330/7/060/7/06 112:43:332:43:33 Francis Poulenc © Lebrecht Music & Arts Library Photo Music © Lebrecht The Carmelites Francis Poulenc © Stephen Vaughan © Stephen CCHANHAN 33134(2)134(2) BBook.inddook.indd 22-3-3 330/7/060/7/06 112:44:212:44:21 Francis Poulenc (1899 – 1963) The Carmelites Opera in three acts Libretto by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis Marquis de la Force ................................................................................ Ashley Holland baritone First Commissioner ......................................................................................James Edwards tenor Blanche de la Force, his daughter ....................................................... Catrin Wyn-Davies soprano Second Commissioner ...............................................................................Roland Wood baritone Chevalier de la Force, his son ............................................................................. Peter Wedd tenor First Offi cer ......................................................................................Toby Stafford-Allen baritone Thierry, a valet ........................................................................................... Gary Coward baritone Gaoler .................................................................................................David Stephenson baritone Off-stage voice ....................................................................................... -
Anna Bolena Opera by Gaetano Donizetti
ANNA BOLENA OPERA BY GAETANO DONIZETTI Presentation by George Kurti Plohn Anna Bolena, an opera in two acts by Gaetano Donizetti, is recounting the tragedy of Anne Boleyn, the second wife of England's King Henry VIII. Along with Gioachino Rossini and Vincenzo Bellini, Donizetti was a leading composer of the bel canto opera style, meaning beauty and evenness of tone, legato phrasing, and skill in executing highly florid passages, prevalent during the first half of the nineteenth century. He was born in 1797 and died in 1848, at only 51 years of age, of syphilis for which he was institutionalized at the end of his life. Over the course of is short career, Donizetti was able to compose 70 operas. Anna Bolena is the second of four operas by Donizetti dealing with the Tudor period in English history, followed by Maria Stuarda (named for Mary, Queen of Scots), and Roberto Devereux (named for a putative lover of Queen Elizabeth I of England). The leading female characters of these three operas are often referred to as "the Three Donizetti Queens." Anna Bolena premiered in 1830 in Milan, to overwhelming success so much so that from then on, Donizetti's teacher addressed his former pupil as Maestro. The opera got a new impetus later at La Scala in 1957, thanks to a spectacular performance by 1 Maria Callas in the title role. Since then, it has been heard frequently, attracting such superstar sopranos as Joan Sutherland, Beverly Sills and Montserrat Caballe. Anna Bolena is based on the historical episode of the fall from favor and death of England’s Queen Anne Boleyn, second wife of Henry VIII. -
Roberto Devereux
GAETANO DONIZETTI roberto devereux conductor Opera in three acts Maurizio Benini Libretto by Salvadore Cammarano, production Sir David McVicar after François Ancelot’s tragedy Elisabeth d’Angleterre set designer Sir David McVicar Saturday, April 16, 2016 costume designer 1:00–3:50 PM Moritz Junge lighting designer New Production Paule Constable choreographer Leah Hausman The production of Roberto Devereux was made possible by a generous gift from The Sybil B. Harrington Endowment Fund The presentation of Donizetti’s three Tudor queen operas this season is made possible through a generous grant from Daisy Soros, general manager in memory of Paul Soros and Beverly Sills Peter Gelb music director James Levine Co-production of the Metropolitan Opera principal conductor Fabio Luisi and Théâtre des Champs-Élysées 2015–16 SEASON The seventh Metropolitan Opera performance of GAETANO DONIZETTI’S This performance roberto is being broadcast live over The Toll Brothers– devereux Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury Maurizio Benini homebuilder®, with generous long-term in order of vocal appearance support from sar ah (sar a), duchess of not tingham The Annenberg Elīna Garanča Foundation, The Neubauer Family queen eliz abeth (elisabet ta) Foundation, the Sondra Radvanovsky* Vincent A. Stabile Endowment for lord cecil Broadcast Media, Brian Downen and contributions from listeners a page worldwide. Yohan Yi There is no sir walter (gualtiero) r aleigh Toll Brothers– Christopher Job Metropolitan Opera Quiz in List Hall robert (roberto) devereux, e arl of esse x today. Matthew Polenzani This performance is duke of not tingham also being broadcast Mariusz Kwiecien* live on Metropolitan Opera Radio on a servant of not tingham SiriusXM channel 74. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Lucia Di Lammermoor Page 1 of 2 Opera Assn
San Francisco War Memorial 1994 Lucia di Lammermoor Page 1 of 2 Opera Assn. Opera House New Production This production is made possible by generous gifts from The Herman J. Miller and Edward J. Clarke Foundation and from an anonymous friend in honor of William W. Godward. Lucia di Lammermoor (in Italian) Opera in three acts by Gaetano Donizetti Libretto by Salvadore Cammarano Based on "The Bride of Lemmermoor" by Sir Walter Scott Conductor CAST Nello Santi Normanno (Norman, Captain of the Guards at Ravenswood) Matthew Lord Production Enrico (Lord Henry Ashton) Roberto Servile † Sandra Bernhard Raimondo (Raymond Bidebent, Lucy's tutor) Alastair Miles Set designer Lucia (Lucy, sister of Lord Henry Ashton) Ruth Ann Swenson Gerard Howland Alisa (Alice, her companion) Mika Shigematsu Costume Designer Edgardo (Edgar, Master of Ravenswood) Marcello Giordani Carl Toms Arturo (Lord Arthur Bucklaw) Alfredo Portilla Lighting Designer Daniel Hendrick (12/11) Thomas J. Munn Chorus Director Ian Robertson *Role debut †U.S. opera debut Musical Preparation PLACE AND TIME: Late 17th-century Scotland Robert Morrison Kathleen Kelly Adelle Eslinger Peter Grunberg Philip Eisenberg Prompter Philip Eisenberg Assistant Stage Director Paula Suozzi Stage Manager Theresa Ganley Fight Consultant Larry Henderson Supertitles Christopher Bergen Saturday, November 19 1994, at 8:00 PM Act I, Scene 1 -- Grounds of Ravenswood Castle Tuesday, November 22 1994, at 8:00 PM Act I, Scene 2 -- A park near the Castle Saturday, November 26 1994, at 8:00 PM INTERMISSION Tuesday, November 29 1994, at 7:30 PM Act II, Scene 1 -- Enrico's chambers Friday, December 2 1994, at 8:00 PM Act II, Scene 2 -- A hall in Ravenswood Castle Sunday, December 4 1994, at 7:30 PM INTERMISSION Thursday, December 8 1994, at 7:30 PM Act III, Scene 1 -- Castle tower Sunday, December 11 1994, at 1:00 PM Act III, Scene 2 -- The great hall of the Castle Act III, Scene 3 -- The cemetery of the Ravenswoods San Francisco War Memorial 1994 Lucia di Lammermoor Page 2 of 2 Opera Assn. -
What to Expect from Lucia Di Lammermoor
WHAT to EXpect From Lucia di Lammermoor The MetropoLitAN OperA’s production OF Lucia di Lammermoor unfurls a tight tapestry of family honor, forbidden love, heart- THE WORK LUCIA DI LAMMERMOOR break, madness, and death. Mary Zimmerman’s exploration of Sir Walter Composed by Gaetano Donizetti Scott’s shocking 1819 novel The Bride of Lammermoor led her down winding roads in Scotland, where her imagination was fed by the country’s untamed Libretto by Salvadore Cammarano vistas and abandoned castles. That journey shaped her ghost-story-inspired (based on The Bride of Lammermoor by Sir Walter Scott) vision for the production of Donizetti’s Lucia di Lammermoor. The char- First performed on September 26, 1835 acter of Lucia has become an icon in opera and beyond, an archetype of the in Naples, Italy constrained woman asserting herself in society. She reappears as a touchstone for such diverse later characters as Flaubert’s adulterous Madame Bovary THE MET PRODUCTION and the repressed Englishmen in the novels of E.M. Forster. The insanity Marco Armiliato, Conductor that overtakes and destroys Lucia, depicted in opera’s most celebrated mad scene, has especially captured the public imagination. Donizetti’s handling Mary Zimmerman, Production of this fragile woman’s state of mind remains seductively beautiful, thor- Daniel Ostling, Set Designer oughly compelling, and deeply disturbing. Madness as explored in this Mara Blumenfeld, Costume Designer opera is not merely something that happens as a plot function: it is at once a T.J. Gerckens, Lighting Designer personal tragedy, a political statement, and a healing ritual. Daniel Pelzig, Choreographer The tale is set in Scotland, which, to artists of the Romantic era, signi- STARRing fied a wild landscape on the fringe of Europe, with a culture burdened Anna Netrebko (Lucia) by a French-derived code of chivalry and an ancient tribal system. -
Lucia Di Lammermoor
July 30, 2020 – Gaetano Donizetti’s Lucia di Lammermoor “Lammermoor lass goes mad, stabs fiancée to death” is the headline that might have appeared in The Scotsman following the premiere of Gaetano Donizetti’s Lucia di Lammermoor, which is featured on this week’s Thursday Night Opera House. Loosely based on Sir Walter Scott’s historical novel The Bride of Lammermoor, the opera benefitted greatly from a European interest in the history and culture of Scotland: the perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued nineteenth-century readers and audiences. Lucia premiered on September 26, 1835 at the Teatro San Carlo in Naples. It has always been the best-known of Donizetti's tragic operas and has never fallen out of the standard repertory. In seventeenth-century Scotland, Lucia (soprano Andrea Rost) loves Edgardo (tenor Bruce Ford), the dispossessed master of Ravenswood and an enemy of her family. The couple exchange rings and vows before Edgardo leaves the country on a mission, and Lucia’s brother Enrico (baritone Anthony Michaels-Moore), learning of this, is outraged. He wants his sister to make a politically advantageous marriage to Lord Arturo Bucklaw (tenor Paul Charles Clark) and shows her a forged letter supposedly written by Edgardo that “proves” his infidelity. In the light of this and persuaded by the chaplain Raimondo (bass Alastair Miles), Lucia reluctantly agrees to the marriage. Months later Edgardo returns, interrupts the wedding celebration, curses Lucia and flings her ring at her, provoking Enrico to challenge him to a duel in the Ravenswood cemetery. -
Roger Parker: Curriculum Vitae
1 Roger Parker Publications I Books 1. Giacomo Puccini: La bohème (Cambridge, 1986). With Arthur Groos 2. Studies in Early Verdi (1832-1844) (New York, 1989) 3. Leonora’s Last Act: Essays in Verdian Discourse (Princeton, 1997) 4. “Arpa d’or”: The Verdian Patriotic Chorus (Parma, 1997) 5. Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, 2006) 6. New Grove Guide to Verdi and his Operas (Oxford, 2007); revised entries from The New Grove Dictionaries (see VIII/2 and VIII/5 below) 7. Opera’s Last Four Hundred Years (in preparation, to be published by Penguin Books/Norton). With Carolyn Abbate II Books (edited/translated) 1. Gabriele Baldini, The Story of Giuseppe Verdi (Cambridge, 1980); trans. and ed. 2. Reading Opera (Princeton, 1988); ed. with Arthur Groos 3. Analyzing Opera: Verdi and Wagner (Berkeley, 1989); ed. with Carolyn Abbate 4. Pierluigi Petrobelli, Music in the Theater: Essays on Verdi and Other Composers (Princeton, 1994); trans. 5. The Oxford Illustrated History of Opera (Oxford, 1994); translated into German (Stuttgart. 1998), Italian (Milan, 1998), Spanish (Barcelona, 1998), Japanese (Tokyo, 1999); repr. (slightly revised) as The Oxford History of Opera (1996); repr. paperback (2001); ed. 6. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford, 2001); ed. with Mary Ann Smart 7. Verdi in Performance (Oxford, 2001); ed. with Alison Latham 8. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli (Turin, 2002); ed. with Stefano La Via 9. Puccini: Manon Lescaut, special issue of The Opera Quarterly, 24/1-2 (2008); ed. -
What the Critics Say As Primo Tenore/Principal Tenor
DAVID KELLETT TENOR What the critics say as primo tenore/principal tenor... Return of Ulysses Town Topics “The two meatier tenor roles of the opera were allocated to non-students; University Lecturer David Kellett sang the role of Eumaeus the shepherd with a relentless protectiveness of Penelope. The register and musical style of this role clearly foreshadowed the operatic vocal style of such later composers as Handel, and Mr. Kellett was effective in maintaining the required stamina.” Alice in Wonderland Town Topics “Tenor David Kellett is always solid on an operatic stage, and has participated in a number of Westergaard premieres. He and Ms. Jolicoeur performed well in tandem as two heads of the “Caterpillar,” and as the “Mad Hatter” (with a great purple hat), he helped bring the scene to the appropriate level of confusion.” New York Times “The other singers…David Kellett, tenor… were all in strong voice and met Mr. Westergaard’s demands with flexibility and energy.” The Magic Flute The Star Ledger "Kellett's tenor was ardent and clear." Classical New Jersey “David Kellett's voice has been an instrument that I have found appealing since I first heard him over 20 years ago. He had a refreshing lyric quality then that was sufficient in carrying power up to his higher register where it would take on a slightly driven quality. He always reminded me of having a smoothness like "Tito Schipa" several generations ago. Kellett’s voice is a finely produced instrument, and he has retained that smoothness of line and production throughout the registers even as age has darkened the tone and added weight. -
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.