DOCSLIB.ORG

I Gioielli Della Madonna

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I Gioielli Della Madonna Ermanno Wolf-Ferrari I GIOIELLI DELLA MADONNA Natalia Ushakova Kyungho Kim Daniel Čapkovič Susanne Bernhard Slovak National Theatre Opera Chorus Slovak Radio Symphony Orchestra FRieDRiCh haiDeR 2 CDs Ermanno Second Morra-Player .................................................................Martin Mikuš, Baritone WOLF-FERRARI Fruit Seller ...................................................................................Martin Klempár, Tenor (1876-1948) Three Pretty Girls (Tre Nennell ..............................................Andrea Vizvári, Soprano Three Pretty Girls (Nennelle) ............................................ Mária Rychlová, Soprano I gioielli della Madonna Three Pretty Girls (Tre Nennell ...............................Katarína Flórová, Mezzo-soprano Opera in Three Acts on Neapolitan Life First Monk ................................................................................ Vladimir Horváth, Bass Plot and Music by Ermanno Wolf-Ferrari Second Monk ...................................................................................Milan Kľučár, Bass Libretto by Carlo Zangarini (1874-1943) and Enrico Golisciani (1848-1919) ............................................................................... Andrea Vizvári, Soprano Two Girls .............................................................................. Mária Rychlová, Soprano Gennaro, a blacksmith ................................................................. Kyungho Kim, Tenor Two Girls A Young Peasant-Girl ........................................................ Eva Rampáčková, Soprano Carmela, his mother ........................................... Susanne Bernhard, Mezzo-soprano Toy-Balloon Man .............................................................................. Ivan Rychlo, Tenor Maliella ............................................................................... Natalia Ushakova, Soprano Young Man .......................................................................................... Mário Tóth, Bass Rafaele, head of the Camorra .............................................Daniel Čapkovič, Baritone Another Young Man .........................................................................Peter Hricák, Tenor Biaso, a scribe ......................................................................... Igor Pasek, Buffo-tenor A Girl .........................................................................Katarína Flórová, Mezzo-soprano Ciccillo, Camorrista ........................................................................... Peter Malý, Tenor Father .............................................................................................. Daniel Hlásny, Bass Rocco, Camorrista .................................................................... František Ďuriač, Bass A Young Nurse ....................................................... Katarína Ofúkaná, Mezzo-soprano Stella, a friend of the Camorristi ...........................................Andrea Vizvári, Soprano Camorrists .....................................................................................Attila Kovács, Tenor Concetta, a friend of the Camorristi ................................... Mária Rychlová, Soprano .....................................................................................Peter Kružliak, Bass Serena, a friend of the Camorristi ..........................Katarína Flórová, Mezzo-soprano Camorristi ..........................................................................................Ján Marták, Bass Totonno, a young man of the peasant class ..................... Maksym Kutsenko, Tenor Camorrists .......................................................................................... Ján Keder, Tenor Flower Girl ................................................................. Katarína Polakovičová, Soprano Camorrist A tenor voice (in Act II) ..................................................................... Maksym Kutsenko Water Seller ....................................................................... Miriam Maťašová, Soprano A bass voice (in Act II) ....................................................................... Martin Smolnický Vendor of Sacred Wares ........................................................... Michal Želonka, Tenor Ice-Cream Man ......................................................................... Martin Klempár, Tenor Bratislava Boys Choir (Choirmaster: Gabriel Rovňák Jr.) (CD1), 1, 7, 20, 22 Sorbet Seller Pressburg Singers (Choirmaster: Janka Rychlá) (CD1), 1, 7, 20, 22 Macaroni Seller ...................................................................... Daniel Hlásny, Baritone Slovak National Theatre Opera Chorus (Choirmaster: Pavol Procházka) Pizza Seller Slovak Radio Symphony Orchestra Blind Man ................................................................................ Martin Smolnický (Bass) Friedrich Haider First Morra-Player ............................................................................. Patrik Palík, Tenor CD 1 48:14 ^ Ah! / Guai, se piú fiati! / Suvvia, lasciami! / 8 Aprila, bella, la fenestrella! 3:20 ^ Alla mia bella / Lo volete saper? 4:35 Sì, perché t’amo 2:37 (Rafaele, Chorus of Camorristi, Maliella) (Rafaele, Camorristi, Chorus, Serena, Act I 48:14 (Biaso, Rocco, Ciccillo, Maliella, Rafaele, 9 Maliella! – Voi a quest’ora? 1:35 Stella, Concetta) & 1 ’O quadro d’a Madonna 0:50 Chorus of Camorristi) (Raffaele, Maliella) Dance of the Camorrists 3:53 & (Vendor of sacred wares, Macaroni Seller, Ebben! Vi sfido! 1:47 0 Sono un demonio buono 6:56 (Orchestra, Chorus) * Flower Girl, Ice-Cream Man, Water Seller, (Maliella, Rafaele, Biaso, Chorus, Ciccillo, (Raffaele, Maliella) Rafaele! Aiuto! Salvami! 3:41 Blind Man, Children, Chorus) Rocco, Camorristi, Chorus of Camorristi) ! Gennaro! – Son io... / Guarda! Per te!... 1:23 (Rafaele, Maliella, Chorus, Ciccillo, Rocco, * Stella, Concetta, Serena) 2 Festa grande, gran baldoria! 1:16 Bacio di lama 2:45 (Maliella, Gennaro) ( Or va, queste tue lagrime lontan (Chorus, Two Morra-Players, Ice-Cream Man, (Rafaele, Ciccillo, Rocco, Chorus of Camorristi) @ Prostrato nella polvere... la nella chiesa 3:11 ( di qui a versare! 1:11 Fruit Seller) Eh! Sentite! Viene la processione! 4:05 (Gennaro, Maliella) (Rafaele, Maliella) 3 Per chi, primavera odorosa 0:42 (Ciccillo, Rocco, Chorus of Camorristi, # E passa la Madonna in bianca veste 2:42 ) Gente, fuggite 6:06 (Three Girls, Totonno, Chorus) Rafaele, Maliella) (Maliella, Gennaro) ) (Gennaro, Rocco, Stella, Concetta, Serena, 4 Festa grande, gran baldoria! 1:08 In nuvola bianca d’incenso 2:45 (Rafaele, Chorus, Children, Maliella, Ciccillo, Chorus, Chorus of Camorristi, Ciccillo, (Chorus, Totonno, Two Morra-Players, Sorbet Seller) Act III 32:33 Rocco, Chorus of Camorristi, Gennaro) Raffaele, Maliella) 5 Ve’! Arriva il Pazzariello! 0:47 $ Intermezzo 3:32 ¡ ¡ Sa dire parole di fuoco 1:08 Madonna dei dolor! Miserere di me 1:56 (Chorus, Totonno) (Orchestra) (Gennaro) 6 (Maliella, Gennaro, Rafaele, Ciccillo, Rocco, % Largo gente! / O vergine bella di stelle vestita 2:02 Compagni, evviva! 4:47 ™ Deh non piangere! 2:53 Choir of Camorristi, Chorus) (Chorus, Two Monks, A Young Peasant-Girl, Biaso) (Chorus, Ciccillo, Rocco, Stella, Concetta, Serena) (Gennaro) ™ Beatam me dicent omnes generationes! 1:49 7 Maledetti, la finite? / Eh! La banda! 0:38 (Chorus, Children) (Pallonaro, Ragamuffins, Street Urchins, Chorus) 8 O Napoli bella dai mille colori 1:57 CD 2 74:37 (Chorus, Young Man, 2 Girls, Another Young Man, A Girl, Father, Totonno, A Young Nurse) Act II 42:04 9 Mastro Gennaro! / Non si legge nei cuori 1:47 1 Intermezzo 5:15 (Totonno, Gennaro) (Orchestra) 0 Madonna, con sospiri 2:30 2 Eh tiritomba! / Questo vinetto di Tore 4:07 (Gennaro) (A tenor voice, A Bass voice, Chorus, Carmela) ! No! Non voglio! 3:15 3 Vuoi ascoltarmi? 1:15 (Maliella, Carmela, Gennaro, Biaso) (Gennaro, Maliella) @ Diceva Cannetella 6:28 4 E ndringhete, ndranghete! Voglio far la pazza! 1:25 (Maliella, Chorus, Gennaro, Biaso) (Maliella, Gennaro) # Figliuolo, abbi pazienza 2:07 5 Addio! / Sì, perché t’amo 6:44 (Carmela, Gennaro) (Maliella, Gennaro) $ T’eri un giorno ammalato 2:41 6 No, no! 2:17 (Carmela, Gennaro) (Gennaro) % Benedicimi tu 3:11 7 Ajemmé! Che sciorta nera 1:53 (Carmela, Gennaro) (Chorus) Ermanno Wolf-Ferrari (1876-1948): in many Italian regions, since it is intended to settle disputes The libretto of Jewels, by Enrico Golisciani and Carlo and could be an incitement to commit murder!). A marching band Zangarini, can seem rather conventional due to its utilitarian I gioielli della Madonna enters, playing in entirely different keys from the main orchestra poetic approach. But the plot is highly suspenseful, thanks to in a kind of competition. Meanwhile, traditional folk instruments its psychological depth and the very specific cultural context IN THE NAME OF THE MADONNA others to treat the work as lively and colourful but without depth; such as guitars, mandolins and accordions are associated in which it takes place. And there are factual elements to the and later, the composer was accused of being anti-patriotic, above all with the Camorra – the Mafia. Later, when Maliella story: above all, the theft of the Madonna’s jewels. The opera How is it possible that an operatic work, even after the most anti-Italian and, by the Church, even blasphemous. But none of so defiantly calls for freedom, harsh guitar chords are used to was composed during the so-called Marianisches Jahrhundert successful première, can vanish
Load more

Recommended publications
  • Il Segreto Di Susanna
    Ermanno WOLF-FERRARI Il Segreto di Susanna Serenade for Strings Judith Howarth Àngel Òdena Oviedo Filarmonía Friedrich Haider Ermanno Wolf-Ferrari (1876–1948) Il segreto di Susanna (1905–09) · Serenade for Strings in E flat major (1893) Ermanno In 1903, the Residenztheater in Munich staged a premiere work of a master-craftsman. It was given its first performance that established the reputation of a young German-Italian at the Munich Odeon on 7 July 1894 and was well-received, WOLF-FERRARI composer, Ermanno Wolf-Ferrari (1876–1948). Although ‘with much benevolent shaking of professorial heads’, as (1876–1948) he was only 27 years old, Wolf-Ferrari’s opera Le donne Wolf-Ferrari later recalled. This Serenade is an early work, curiose succeeded not only in giving the comedies of but everything that was to characterise the composer’s art the Venetian dramatist Carlo Goldoni (1707–1793) a new from then on is already there – the individual tone of voice lease of artistic life, but also in launching a fundamental that sits somewhere between carefree cheerfulness, bliss Il segreto di Susanna renewal of opera buffa offering a clear alternative to the and bitter melancholy, the gift for writing inspired melodies Intermezzo in one act (1905–09) dominance of Richard Wagner and Giacomo Puccini. (the Andante), and not least the ability to integrate polyphonic Libretto by Enrico Golisciani (1848–1918) The years that followed were perhaps Wolf-Ferrari’s most writing into the music almost playfully, but at the same time in productive period as a composer: I quattro rusteghi, Il a way that is full of expression (the fugato of the final Presto).
    [Show full text]
  • The Mysterious Affair of the Serenade
    THE MYSTERIOUS AFFAIR OF THE SERENADE The time has come for the revaluation of Aldo Finzi, a Jewish composer who was on the point of winning, with his “playful comedy” when the anti-Jewish laws were about to be issued in Italy, the competition for a new opera which the La Scala Theatre had published. Aldo Finzi’s “Serenade to the Wind”, an injustice to be repaired. “ ... go, serenade to the wind, but don’t reveal that your singing - hides a secret longing - for a weeping moment - of an intimate torment...” On 11th February 1936 Wolf Ferrari’s “Il campiello”was staged at the Scala Theatre , conducted by Gino Marinuzzi with an all star cast: Mafalda Favero, Margherita Carosio, Iris Adami- Corradetti, Giuseppe Nessi, the very colourful and sunny only scene by Pieretto Bianchi. It can still be admired in the nowadays impossible to find volume that La Scala caused to be published in 1946 (1). Just seven years before, Toscanini had conducted, in addition to Fidelio, also Falstaff and Meistersingers in what was going to be his last Scala season before World War II (2). In December of the same year, on Bronislaw Hubermann’s invitation, he went to Palestine ( Jerusalem and Tel Aviv) to conduct the first Israeli orchestra and he was so impressed by the new life of the country he was visiting that he stated: “Here in Palestine I have found the country where I can be only Man as I conceive him” (3). These were the times and the place where a Jewish composer, on the eve of those anti-Jewish laws that were to alter radically the landscape of Italian music, was about to set to music a libretto by Carlo Veneziani, a “comedy of manners” racy and romantic, spicy and amusing, in which graceful satire and tart repartees combined to create the kind of wit which, to quote Falstaff,” creates wit in others”.
    [Show full text]
  • Ermanno Wolf-Ferrari I Gioielli Della Madonna Mp3, Flac, Wma
    Ermanno Wolf-Ferrari I Gioielli Della Madonna mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: I Gioielli Della Madonna Country: UK Style: Opera MP3 version RAR size: 1481 mb FLAC version RAR size: 1719 mb WMA version RAR size: 1727 mb Rating: 4.2 Votes: 439 Other Formats: MP2 XM FLAC DTS WAV MOD ASF Tracklist A Act I (Beg.) 25:03 B Act I (Concluded) 26:40 C Act II (Beg.) 24:51 D Act II (Concluded) - Act III (Beg.) 24:29 E Act III (Concluded) 30:30 Vita Nuova F1 Prologo F2 Ballata F3 Danza degli Angeli F4 Arioso F5 Sonetto F6 Danza degli Angeli F7 Canzone Credits Baritone Vocals – Laerte Malaguti (tracks: Side F) Baritone Vocals [Rafaele] – Peter Glossop Chorus – Chorus of R.S.I.* (tracks: Side F) Composed By – Ermanno Wolf-Ferrari Conductor – Alberto Erede, Edwin Loehrer (tracks: Side F) Orchestra – Orchestra of R.S.I.* (tracks: Side F) Soprano Vocals – Maria Luisa Giorgetti (tracks: Side F) Soprano Vocals [Maliella] – Pauline Tinsley Tenor Vocals [Gennaro] – Andre Turp Notes “I gioielli della Madonna” recorded in London 1976. Related Music albums to I Gioielli Della Madonna by Ermanno Wolf-Ferrari Mario del Monaco With The Chorus And Orchestra Of The Accademia Di Santa Cecilia, Rome Conducted By Alberto Erede : Leoncavallo - Der Bajazzo Wagner, Birgit Nilsson ⋅ Gré Brouwenstijn ⋅ Rita Gorr ⋅ Jon Vickers ⋅ George London ⋅ David Ward / London Symphony Orchestra Conducted By Erich Leinsdorf - Die Walküre Pietro Mascagni - Ruggiero Leoncavallo - Cavalleria Rusticana / Pagliacci Gaetano Donizetti, Ettore Bastianini, Giulietta Simionato, Gianni Poggi, Chor Des Maggio Musicale Fiorentino, Orchestra Of The Maggio Musicale Fiorentino, Alberto Erede - La Favorita Verdi - Accademia Di Santa Cecilia, Alberto Erede - Rigoletto Hoogtepunten Ermanno Wolf-Ferrari - I Quattro Rusteghi Verdi, Leontyne Price, Jon Vickers, Robert Merrill, Chor Und Orchester Des Opernhauses Rom, Georg Solti - Aïda Ermanno Wolf-Ferrari - Violin Concerto / Serenade For Strings.
    [Show full text]
  • Wolf-Ferrari
    MUSICA ITALIANA Orchestral Works WOLF-FERRARI Karen Geoghegan bassoon BBC Philharmonic Gianandrea Noseda CHAN 10511 Ermanno Wolf-Ferrari (1876 – 1948) Suite from the opera ‘I gioielli della Madonna’ (1911) 16:48 1 I Festa popolare 4:34 2 II Intermezzo 4:28 3 III Serenata 3:44 4 IV Danza napolitana 3:48 © Lebrecht Music & Arts Photo Library From the opera ‘I quattro rusteghi’ (1906) 5:31 5 Prelude 2:04 6 Intermezzo 3:26 Suite-Concertino in F major, Op.16 (1932)* 21:56 for bassoon and orchestra 7 I Notturno. Andante un poco mosso 9:23 8 II Strimpellata. Presto 2 :11 9 III Canzone. Andante cantabile 4:46 10 IV Finale. Andante con moto 5:26 From the opera ‘Il segreto di Susanna’ (1909) 6:25 11 Overture 2:44 12 Intermezzo 3:41 John Bradbury solo clarinet Ermanno Wolf-Ferrari 3 Wolf-Ferrari: Orchestral Works As an Italian opera composer who was The reason Italian opera houses took more successful in Germany than in his comparatively little interest in his work at From the opera ‘L’amore medico’ (1913) 13:32 own country, Ermanno Wolf-Ferrari is a rare this time could have been that they were 13 Overture 7:59 phenomenon. He was born and died in Venice not ready for it. That is not to say that his 14 Intermezzo 5:33 but he made his home in or near Munich music was too progressive for them. On the Peter Dixon solo cello and most of his operas were first staged in contrary: if they were looking for something German versions in German opera houses.
    [Show full text]
  • Il Segreto Di Susanna Di Ermanno Wolf-Ferrari
    Conservatorio di musica «B. Marcello» di Venezia Diploma Accademico di 1° livello Scuola di Direzione d’Orchestra Il Segreto di Susanna di Ermanno Wolf-Ferrari Candidato: Raffaele Cipriano (matr. n. 101338) Relatore: prof. Michael Summers Correlatore: prof. Franco Rossi Anno Accademico 2013-2014 1 2 “Tutto è fumo a questo mondo che col tempo si dilegua…" finale da Il segreto di Susanna 3 4 INDICE Introduzione 7 Capitolo 1: Biografia di Ermanno Wolf-Ferrari 9 1. Gli anni della formazione 10 2. I primi passi come musicista: tra Venezia e Milano 13 3. Verso il successo: tra Venezia e Monaco 14 4. Successo italiano 16 5. Gli ultimi anni 19 Capitolo 2: Le composizioni di Ermanno Wolf-Ferrari 23 1. La produzione cameristica 23 2. La produzione sinfonica 24 3. La produzione vocale 25 4. La produzione operistica 25 Capitolo 3: Il Segreto di Susanna 27 1. Genesi de Il segreto di Susanna 30 2. Prima rappresentazione e successiva fortuna 33 3. Influenze musicali 35 4. Edizioni 37 Appendice A 41 Appendice B 47 Bibliografia 51 Sitografia 53 5 6 Introduzione Quando sentiamo il nome di Susanna, operisticamente parlando, la nostra mente subito salta alle Nozze di mozartiana memoria, e non pensiamo al piccolo gioiello della produzione di Wolf-Ferrari: Il segreto di Susanna, ancora troppo poco conosciuto. Questa tesi nasce dall'analisi e dallo studio svolto ai fini dell'esecuzione in forma di concerto di questo brillante atto unico. Lo studio si articola in tre capitoli: il primo riguarda la vita di Wolf- Ferrari, il secondo le sue composizioni, e il terzo si concentra sulla contestualizzazione e sull'analisi dell'opera.
    [Show full text]
  • La Vedova Scaltra
    Rubelli (da «Il Crociato in Egitto», n 1/2007) FONDAZIONE TEATRO LA FENICE DI VENEZIA Radio3 per la Fenice Opere della Stagione Lirica 2007 trasmesse in diretta dal Teatro La Fenice domenica 14 gennaio 2007 ore 19.00 Il crociato in Egitto di Giacomo Meyerbeer sabato 10 febbraio 2007 ore 19.00 La vedova scaltra di Ermanno Wolf-Ferrari martedì 20 marzo 2007 ore 19.00 Erwartung di Arnold Schönberg Francesca da Rimini di Sergej Rachmaninov mercoledì 20 giugno 2007 ore 18.00 Siegfried di Richard Wagner venerdì 21 settembre 2007 ore 19.00 Signor Goldoni di Luca Mosca domenica 9 dicembre 2007 ore 19.00 Turandot di Giacomo Puccini Concerti della Stagione Sinfonica 2006-2007 trasmessi in diretta del Teatro La Fenice Bernhard Klee (domenica 3 dicembre 2006) Concerti della Stagione Sinfonica 2006-2007 trasmessi in differita del Teatro La Fenice Eliahu Inbal (sabato 14 ottobre 2006) Dmitrij Kitajenko (venerdì 17 novembre 2006) Gerd Albrecht (giovedì 7 dicembre 2006) Ola Rudner (sabato 27 gennaio 2007) Michel Tabachnik (sabato 31 marzo 2007) Pietari Inkinen (giovedì 17 maggio 2007) www.radio3.rai.it – per le frequenze n. 800.111.555 FONDAZIONE AMICI DELLA FENICE STAGIONE 2007 Incontro con l’opera Sale Apollinee - Teatro La Fenice martedì 9 gennaio 2007 ore 18.00 OLGA VISENTINI ePIER LUIGI PIZZI Il crociato in Egitto Sale Apollinee - Teatro La Fenice martedì 6 febbraio 2007 ore 18.00 PAOLO COSSATO La vedova scaltra Sale Apollinee - Teatro La Fenice lunedì 12 marzo 2007 ore 18.00 QUIRINO PRINCIPE Erwartung - Francesca da Rimini Sale Apollinee - Teatro La Fenice lunedì 16 aprile 2007 ore 18.00 LORENZO ARRUGA La traviata Sale Apollinee - Teatro La Fenice lunedì 11 giugno 2007 ore 18.00 GIORGIO PESTELLI Siegfried Sale Apollinee - Teatro La Fenice lunedì 17 settembre 2007 ore 18.00 LUCA MOSCA, GIANLUIGI MELEGA e PAOLO PETAZZI Signor Goldoni Clavicembalo francese a due manuali copia dello strumento di Goermans-Taskin, costruito attorno Sale Apollinee - Teatro La Fenice alla metà del XVIII secolo (originale presso la Russel lunedì 1 ottobre 2007 ore 18.00 Collection di Edimburgo).
    [Show full text]
  • 18.5 Vocal 78S. Sagi-Barba -Zohsel, Pp 135-170
    VOCAL 78 rpm Discs EMILIO SAGI-BARBA [b]. See also: MIGUEL FLETA [t], LUISA VELA [s] 1824. 10” Blue Victor 45284 [17579u/18709u]. NAZARETH [VILLANCICO] (Francisco Titto) / PLEGARIA A LA SANTISSIMA VIRGEN DEL PILAR (F. Agüeral). One harm- less lt., small discoloration patch side two, otherwise just about 1-2. $15.00. 3075. 12” Blue Victor 55143 (74389/74350) [02898½v/492ac]. EL CANTO DEL PRESI- DARIO (Alvarez) / Á TUS OJOS (Fuster). Few lightest mks. Cons . 2. $15.00. MATHILDE SAIMAN [s] 2357. 12” Red acous. Eng. Columbia D14203 [LX 13/LX 8]. GISMONDA: La paix du cloï- tre (Février) / MADAMA BUTTERFLY: Sur la mer calmée (Puccini). Side one just about 1-2. Side two cons . 2. $15.00. GIUSEPPE SALA [t]. Kutsch-Riemens suggests a birthdate of around 1870. Sala appears to have been active particularly in comprimario roles through at least 1911. 1n 1910, Giovanni Martinelli, basically then unknown, replaced Sala in a 1910 Teatro dal Verme performance of the Verdi Requiem . Martinelli’s sucess that evening led to his operatic debut there three weeks later as Verdi’s Ernani. Sala, however, experienced success by participating in the Teatro dal Verme world premiere of Zandonai’s Conchita and the Teatro Costanzi Italian premiere of Puccini’s La Fanciulla del West , both in 1911. What became of him subsequently doesn’t seem to be known. 1199. 11” Brown Odeon 37351/37346 [Xm633/Xm577]. I PURITANI: A te o cara (Bel- lini)/ DORA DOMAR [s]. MARRIAGE OF FIGARO: Voi che sapete (Mozart). Side one cons. 2. Side two gen . 2.
    [Show full text]
  • Stagione 2013-2014 CAMPIELLO (IL) Compositore: Ermanno Wolf Ferrari
    3 La Fenice prima dell’Opera 2013-2014 3 2013-2014 Fondazione Stagione 2013-2014 Teatro La Fenice di Venezia Lirica e Balletto Ermanno Wolf-Ferrari il ampiello l campiello C i errari f olf- w rmanno e FONDAZIONE TEATRO LA FENICE DI VENEZIA TEATRO LA FENICE - pagina ufficiale seguici su facebook, Twitter, You Tube, Instagram e Pinterest follow us on facebook, Twitter, You Tube, Instagram and Pinterest Incontro con l’opera FONDAZIONE lunedì 18 novembre 2013 ore 18.00 AMICI DELLA FENICE GUIDO ZACCAGNINI e OLGA VISENTINI L’africaine STAGIONE 2013-2014 martedì 14 gennaio 2014 ore 18.00 SANDRO CAPPELLETTO La scala di seta lunedì 20 gennaio 2014 ore 18.00 GIORGIO PESTELLI La clemenza di Tito martedì 25 febbraio 2014 ore 17.30 GIOVANNI GAVAZZENI Il campiello lunedì 24 marzo 2014 ore 18.00 GIORGIO PESTELLI Elegy for Young Lovers mercoledì 16 aprile 2014 ore 18.00 ALBERTO MATTIOLI La bohème Madama Butterfly Tosca lunedì 23 giugno 2014 ore 18.00 LUCA MOSCA The Rake’s Progress martedì 9 settembre 2014 ore 18.00 DANIELE SPINI Il trovatore mercoledì 8 ottobre 2014 ore 18.00 PAOLO COSSATO Don Giovanni venerdì 17 ottobre 2014 ore 18.00 Clavicembalo francese a due manuali copia dello MARIO MESSINIS e PAOLO FURLANI strumento di Goermans-Taskin, costruito attorno La porta della legge alla metà del XVIII secolo (originale presso la Russell Collection di Edimburgo). Incontro con il balletto Opera del M° cembalaro Luca Vismara di Seregno (MI); ultimato nel gennaio 1998. lunedì 16 dicembre 2013 ore 18.00 Le decorazioni, la laccatura a tampone e le SERGIO TROMBETTA chinoiseries – che sono espressione di gusto Onegin tipicamente settecentesco per l’esotismo orientaleggiante, in auge soprattutto in ambito francese – sono state eseguite dal laboratorio dei fratelli Guido e Dario Tonoli di Meda (MI).
    [Show full text]
  • Un Ballo in Maschera Giuseppe Verdi
    Un ballo in maschera Giuseppe Verdi Programme 1 1 Contents Creative Team and Cast List 4 Content editors Chloe Bridgen, Anna Picard Orchestra and Chorus List 5 Designed by Olley Design Synopsis 6 Printed by Belmont Press A Masked Ball 8 www.operahollandpark.com Article by Professor Susan Rutherford Box Office: 0300 999 1000 Un ballo in maschera: From the archives... 12 Main Office: 020 3846 6222 The Real Gustav III 14 Article by Professor Jeremy Black Registered Address: 37 Pembroke Road, London W8 6PW An interview with Alison Langer 18 Theatre Address: Ilchester Place, London W8 6LU Biographies /operahollandpark Creatives 19 @operahollandpk Cast 21 @operahollandpark /operahollandpark #OHPBallo Opera artwork by Ewelina Koszykowska for Opera Holland Park, 2019 © Opera Holland Park 2019 Reproduction of this publication in full or in part is not permitted without the written permission of the publisher. The views expressed in this magazine are not necessarily those of Opera Holland Park. For many years, OHP has commissioned artists to create images inspired by the season’s operas. The images are not representations of the productions, but the artist’s interpretations of the works. The images for the 2019 Season were created by Ewelina Koszykowska. For more information on Ewelina, please visit ewelinak.com. To donate to Opera Holland Park, visit www.operahollandpark.com/donate 2 Un ballo in maschera Giuseppe Verdi Opera in three acts First performed in this version 17 February 1859, Teatro Apollo, Rome Sung in Italian with English surtitles
    [Show full text]
  • Eldon Black Album Collection
    Albums Eldon Black Album Collection These albums are only available for use by ASU students, faculty, and staff. Ask at the Circulation Desk for assistance. (Use the Adobe "Find" to locate song(s) and/or composer(s).) Catalog Number Title Notes 1 Falstaff-Verdi Complete 2 La Perichole Complete 3 Tosca-Puccini Complete 4 Cavalleria Rusticana-Mascagni Complete 5 The Royal Family of Opera 5A lo son l'umile ancella from Adriana Lecouvreur by Cilea 5B Come rugiada al cespite from Ernani by Verdi 5C In questo suolo a lusingar tua cura from La Favorita by Donizetti 5D E lucevan le stelle from Tosca by Puccini 5E Garden Scene Trio from Don Carlo by Verdi 5F Oh, di qual onta aggravasi from Nabucco by Verdi 5G In quelle trine morbide from Manon Lescaut by Puccini 5H Dulcamara/Nemorino duet from "Ecco il magico liquor" from L'Elisir D'Amore by Donizetti 5I Il balen from Il Trovatore by Verdi 5J Mon coeur s'ouvre a ta voix from Samson et Dalila by Saint-Saens 5K Bel raggio lusingheir from Semiramide by Rossini 5L Le Veau d'or from Faust by Gounod 5M Page's Aria from Les Huguenots by Meyerbeer 5N Depuis le jour from Louise by Charpentier 5O Prize Song from Die Meistersinger by Wagner 5P Sois immobile from William Tell by Rossini 5Q Cruda sorte from L'Italiana in Algeri by Rossini 5R Der Volgelfanger bin ich from The Magic Flute by Mozart 5S Suicidio! from La Gioconda by Ponchielli 5T Alla vita che t'arride from A Masked Ball by Verdi 5U O mio babbino caro from Gianni Schicchi by Puccini 5V Amor ti vieta from Fedora by Giordano 5W Dei tuoi figli from
    [Show full text]
  • Il Ritorno D'ulisse in Patria
    Thursday, October 19, 2017, at 7:00 pm Pre-concert lecture by Ellen Rosand at 5:45 pm in the Stanley H. Kaplan Penthouse Monteverdi: The Birth of Opera Il ritorno d’Ulisse in patria Music by Claudio Monteverdi Libretto by Giacomo Badoaro , after Homer Monteverdi Choir English Baroque Soloists Sir John Eliot Gardiner , Conductor Furio Zanasi , Ulisse Marianna Pizzolato , Penelope Krystian Adam , Telemaco Hana Blažíková , Minerva / Fortuna Gianluca Buratto , Tempo / Nettuno / Antinoo Michał Czerniawski , Pisandro Gareth Treseder , Anfinomo Zachary Wilder , Eurimaco Anna Dennis , Melanto John Taylor Ward , Giove Francesca Boncompagni , Giunone Robert Burt , Iro Francisco Fernández-Rueda , Eumete Carlo Vistoli , Umana Fragilità Silvia Frigato , Amore Francesca Biliotti , Ericlea John Eliot Gardiner and Elsa Rooke , Co-Directors This performance is also part of Great Performers. (Program continued) Monteverdi: The Birth of Opera is made possible in part by The Gladys Krieble Delmas Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall, Starr Theater Please make certain all your electronic devices Adrienne Arsht Stage are switched off. WhiteLightFestival.org Support for Great Performers is provided by Rita E. UPCOMING WHITE LIGHT FESTIVAL EVENTS: and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Friday, October 20 at 7:30 pm at Gerald W. Lynch Council, and Friends of Lincoln Center. Theater at John Jay College Saturday, October 21 at 3:00 pm and 7:30 pm Public support is provided by the New York State Dancing Voices Council on the Arts with the support of Governor Meredith Monk , voice, composer, and director Andrew M.
    [Show full text]
  • Religion and Opera in Liberal Italy from Unification to the First World War
    1 Opera avanti a Dio! Religion and Opera in Liberal Italy from Unification to the First World War Andrew James Holden Thesis submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy Oxford Brookes University 25 February 2019 2 Opera avanti a Dio! Religion and Opera in Liberal Italy from Unification to the First World War Contents Abstract ..................................................................................................................... 4 List of Tables and Images ....................................................................................... 5 Acknowledgements .................................................................................................. 7 Introduction .............................................................................................................. 9 Chapter I – Adapting religion in the operatic libretto .......................................... 38 Introduction ......................................................................................................... 38 Verdian adaptations of religion after Unification ............................................. 48 Adapting History and Realism – Don Carlos .................................................... 54 Boito and Boito/Verdi ......................................................................................... 59 Sanctity and anticlericalism in Cristoforo Colombo ........................................ 63 Giving space to religion in contemporary drama ...........................................
    [Show full text]