DOCSLIB.ORG

SEPTEMBER 15 - 30, at the California Theatre Leoncavallo's PAGLIACCI NOVEMBER 17 - DECEMBER 2, 2018 Message from General Director Larry Hancock

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SEPTEMBER 15 - 30, at the California Theatre Leoncavallo's PAGLIACCI NOVEMBER 17 - DECEMBER 2, 2018 Message from General Director Larry Hancock 2018 | 2019 SEASON Opera SAN JOSÉ Celebrating 35 YEARS of Excellence Mozart's SEPTEMBER 15 - 30, at the California Theatre Leoncavallo's PAGLIACCI NOVEMBER 17 - DECEMBER 2, 2018 Message from General Director Larry Hancock “True lies describes the act of the clown whose art disguises the heart of a man… The very ease of the clown disguises the difficulty of his art.” - Jean Cocteau Ruggero Leoncavallo was born on April 23, 1857 in Naples. His father was a police magistrate and judge; his mother was the goddaughter of Donizetti, and was named after Donizetti’s wife, Virginia. The boy grew up in a cultured household and had solid financial support and an excellent education, graduating from the Royal Conservatory of Music in Naples, where he proved himself an exceptional pianist, then moving on to attend the famed University of Bologna where he studied literature under the Nobel Prize-winning poet Giosuè Carducci, the finest Italian poet of his generation. Leoncavallo was an accomplished writer who worked as a journalist, and as an Italian librettist he is second only to Boito. But it was not his to understand the spirit of his time. While still a student he composed his first opera,Chatterton , based on the life of Thomas Chatterton, a poet and symbol of the Romantic Movement. But Chatterton was not his aim, he used it to prepare himself for an ambitious trilogy on the Italian Renaissance. He goes on to compose 11 operas, 10 operettas, and two symphonic poems, but only Pagliacci has remained. At age 22 he was invited to Cairo by his uncle, a director in the Italian Foreign Ministry in Egypt. He secured work as piano teacher to the brother of Khedive Tewfik Pasha, and remained in Egypt three years, until political unrest prompted him to leave. Leoncavallo arrived in Paris in 1882 when France was of a very optimistic mind. The Belle Epoch was in full swing, the Impressionists had achieved acceptance, and Flaubert, Zola, and Turgenev were in their fame. Paris was a heady blend of success and hope. Here, he premiered a symphonic poem for tenor and orchestra, La nuit de Mai, a success that paid him well enough to marry and move to Milan. There he launched a career as an opera composer and Ricordi Music Publishers took the option for Chatterton but did not publish it; they outright refused I Medici. They did, however, ask him to work on the libretto for Puccini’s Manon Lescaut, which also came to nothing for Leoncavallo. As Ricordi was doing nothing for him, and having heard Mascagni’s premiere of Cavalleria rusticana, he locked himself away and wrote Pagliacci. This verismo (true-to-life) opera immediately surpassed all others and remains the most successful opera in this genre, always in the top 20, worldwide. Based on one of his father’s court cases, Pagliacci, using the unflinching honesty of the verismo school, exposes us to the lives of traveling street performers who eke out a living in southern Italy. It proclaims that it is true to life, that the performers as well as the characters are people just as the viewers are, who suffer just as the viewers suffer, but must mask themselves to earn a living. It is universal, in that all of us mask ourselves, and perhaps that is one reason this opera remains such an essential part of the opera world. 2 Pagliacci CONDUCTOR Christian Reif ASSISTANT CONDUCTOR Christopher James Ray STAGE DIRECTOR presents Chuck Hudson SET DESIGNER Leoncavallo's Andrea Bechert COSTUME DESIGNER Pagliacci Cathleen Edwards LIGHTING DESIGNER Kent Dorsey Opera in two acts WIG AND MAKEUP DESIGNER Music by Ruggero Leoncavallo Christina Martin Libretto by Ruggero Leoncavallo PROPERTIES MASTER Lori Scheper-Kesel First performed May 21, 1892 at the Teatro Dal CHORUS MASTER Verme in Milan. Christopher James Ray Sung in Italian with English supertitles. PRODUCTION STAGE MANAGER Darlene Miyakawa Performances of Pagliacci are made possible in ASSISTANT STAGE MANAGERS part by a Cultural Affairs grant from the City of Rebecca Bradley San José and a grant from The Applied Materials Chloe Schweizer Foundation. MUSIC STAFF Veronika Agranov-Dafoe Victoria Lington The performance will run approximately 1 hour and thirty minutes, including one 25 minute intermission. 2018 | 2019 THIRTY-FIFTH SEASON Mozart's The ABDUCTION from the Seraglio September 15-30, 2018 Leoncavallo's Pagliacci November 17-December 2, 2018 Jake Heggie & Gene Scheer's Moby-Dick February 9-24, 2019 Puccini's Madama Butterfly April 13-28, 2019 OPERASJ.ORG 3 Cast *Casting subject to change without notice Tonio Anthony Clark Evans Canio Cooper Nolan Nedda Maria Natale Beppe Mason Gates Silvio Emmett O'Hanlon Covers Trevor Neal, Tonio Dane Suarez, Canio Katharine Gunnink, Nedda Andrew Metzger, Beppe Thomas West, Silvio Chorus SOPRANOS ALTOS Laura Barragan Gaby Catipon Nicole Cooper Gabriella Crolla Jannika Dahlfort Taylor Dunye Rachel Freed Jennifer Jensen Hartshorn Juanita Harris Amy Mendon Shaina Levin Fallon Nunes Jessica Williams Deanna Payne Amy Worden Catherine Williams TENORS BASSES Ken Cioffi Clark Brown Nicolas Gerst Malcolm Jones Dario Rodriguez Jackson Lazo Mihajlovich Dan Leal Don Nguyen Andrew Metzger Brendan Stone Nicholas Mollé Thomas West Henry Wright 4 Pagliacci Cast *Casting subject to change without notice Supernumeraries Torie Chavez Lance LaShelle Alysa Grace Reinhardt courtesy The New Ballet School Emmett Rodriguez courtesy The New Ballet School Sally Virgilo courtesy The New Ballet School Youth Chorus Joy Sakai, Opera San José Youth Chorus Assistant RAGAZZI BOYS CHORUS Andrew Altofer Joan Addicott, Chorus Master Nathan Cheung Kent Jue, Associate Artistic Director Sam Dickey Daniel Dittrich Olivier Kondo Carter May Diego Ramirez Armaan Sharma Nikhil Srinivasan Tom Vosganian VIVACE YOUTH CHORUS Shrivalli Addepally Peggy Spool, Artistic Director Ella Calvert Kathy Yuan, Program Coordinator Leila Calvert Maya Calvert Margaret Gardella Pallas Lemarchand Sofia Oberg Medha Sarkar Ellie Shauchenka Juliet Steuer OPERASJ.ORG 5 Orchestra 1ST VIOLIN ENGLISH HORN Cynthia Baehr, Concertmaster Pamela Hakl Matthew Szemela, Assistant Concert- master CLARINET Valerie Tisdel Mark Brandenburg, Principal Chin Le Nicole Galisatus Virginia Smedberg Rochelle Nguyen BASS CLARINET Daniel Flanagan Nicole Galisatus Marie Flexer BASSOON 2ND VIOLIN Deborah Kramer, Principal Claudia Bloom, Principal Carolyn Lockhart Susan Stein, Assistant Principal FRENCH HORN Sue-Mi Shin Meredith Brown, Principal Elizabeth Corner Caitlyn Smith-Franklin Sergi Goldman-Hull Eric Achen Gulnar Spurlock Alex Camphouse Andrew Lan TRUMPET VIOLA William B. Harvey, Principal Chad Kaltinger, Principal John Freeman Janet Doughty, Assistant Principal Rick Leder Melinda Rayne Ivo Bokulic TROMBONE Kathryn Curran, Principal CELLO Bruce Chrisp Evan Kahn, Principal C.L. Behrens Paul Hale, Assistant Principal Nancy Kim TUBA Dina Weinshelbaum Forrest Byram, Principal BASS TIMPANI Andrew Butler, Principal Mark Veregge, Principal William Everett, Assistant Principal PERCUSSION FLUTE James Kassis Isabelle Chapuis, Principal Mary Hargrove HARP Karen Thielen, Principal PICCOLO Mary Hargrove ORCHESTRA MANAGER Mark Veregge OBOE Patricia Emerson Mitchell, Principal ORCHESTRA LIBRARIAN Pamela Hakl Tim Spears 6 Pagliacci What's Next Before I discuss our myriad coming events I wish to give a quick thank you to all who attended our Sonora DiVino event in October. This was an unmitigated success as evidenced by the wonderful energy of those who attended and the support that was raised. All proceeds go toward bringing our productions to life here in the South Bay. This will be a hot ticket next year so be sure to sign up for our e-News so you can be in the know. Aaron Nicholson Our third production of the season, Moby-Dick, opens DEVELOPMENT & February 9th, 2019. This co-production has already MARKETING DIRECTOR received high praise at Utah Opera and Pittsburgh Opera. What excites me most about Moby-Dick is not the 40-member male chorus or the impressive cast, it’s not the stunning sets and detailed period costumes, or even the genius of Bay Area native, composer Jake Heggie. I am most excited at the opportunity to deliver this production to the Opera San José patrons who will experience this masterpiece in its full profundity at the California Theatre. The scale of an opera like Moby-Dick produced in such an intimate venue will be a truly transformative experience and I hope will serve to further solidify Moby- Dick into the heart of the modern operatic repertoire and OSJ patrons. Put aside your reservations about new opera, if you have them, and experience Moby-Dick. Surrounding our production are several smaller activities designed to deepen understanding of the Melville classic. The preview for this event on January 29th at noon will be held at the San José Institute of Contemporary Art and is open to all. Discover Moby-Dick with the help of General Director, Larry Hancock, and the principal artists. Larry will illuminate and the artists will perform excerpts from Moby-Dick. Patrons will be invited to view the Moby-Dick inspired exhibit by Diane Samuels along with her other literary-inspired collection. If you are unable to attend the preview there is another chance to see the Moby- Dick exhibit as it will take center stage at our Symposium on February 8th at 3:30 pm. Hosted by Rachel Myrow, this two-panel discussion will include composer Jake Heggie, Berkeley professor and Melville expert Sam Otter, conductor Joseph Marcheso and librettist Gene Sheer along with principal artists from our production. Tickets are on sale at operasj.org for $20. Admission is free to those who are attending the General Director's Dinner to follow which starts at 6 pm on the set of our Moby-Dick at the California Theatre. We have 35 reasons to throw a grand party this year and once again we will be at the California Theatre for a full sit-down dinner complete with music, and live and silent auctions all followed by a Gala concert on the stage of the California Theatre.
Load more

Recommended publications
  • Composers Mascagni and Leoncavallo Biography
    Cavalleria Rusticana Composer Biography: Pietro Mascagni Mascagni was an Italian composer born in Livorno on December 7, 1863. His father was a baker and dreamed of a career as a lawyer for his son, but following the good reception obtained by Mascagni’s first compositions was persuaded to allow him to study music at the Milan Conservatoire, where his teachers included Amilcare Ponchielli and Michele Saladino, and where he shared a furnished room with his fellow-student Giacomo Puccini. His first compositions won him financial support to study at the Milan Conservatory. He was of a rebellious nature and intolerant of discipline, and in 1885 he left the Conservatoire to join a modest operetta company as conductor. He became part of the Compagnia Maresca and, together with his future wife, Lina Carbognani, settled in Cerignola (Apulia) in 1886, where he formed a symphony orchestra. Here Mascagni composed at a single stroke, in only two months, the one-act opera Cavalleria rusticana, based on the short story by Verga, which was to win him the first prize in the Second Sonzogno Competition for new operas. The innovative strength of the opera and the resounding worldwide success which followed its first performance (1890, Teatro Costanzi, Rome) marked the beginning of an artistic life rich in achievements and satisfactions, both as composer and as conductor. He became increasingly prominent as a conductor and in 1892 conducted his opera I Rantzau around Europe. Further successes included Amica (1905) and Isabeau (1911), alongside such failures as Le maschere (1901). In 1915 he experimented with writing for cinema in Rapsodia satanicawith Nino Oxilia.
    [Show full text]
  • Cavalleria Rusticana I Pagliacci Usporedno Sa Sve Brojnijim Izvedbama Prvi Su Put Zajedno Izvedeni 22
    P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. Foto: Metropolitan opera P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Pietro Mascagni CAVALLERIA RUSTICANA Opera u jednom činu Libreto: Giovanni Targioni-Tozzetti i Guido Menasci prema istoimenoj noveli Giovannija Verge NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Costanzi, Rim, 17. svibnja 1890. Prva hrvatska izvedba: Druga operna stagiona, Zagreb, 29. svibnja 1893. Prva izvedba ansambla Metropolitana 4. prosinca 1891. u Chicagu Premijera ove izvedbe u Metropolitanu: 14. travnja 2015. ZBOR I ORKESTAR METROPOLITANA SANTUZZA Eva-Maria Westbroek ZBORovođa Donald Palumbo TURIDDU Marcelo Álvarez DIRIGENT Fabio Luisi ALFIO George Gagnidze REDATELJ David McVicar LUCIA Jane Bunnell SCENOGRAF Rae Smith LOLA Ginger Costa-Jackson Tekst: talijanski Stanka poslije Cavallerije rusticane. Titlovi: engleski Svršetak oko 22 sata. Ruggero Leoncavallo I PAGLIACCI Foto:Metropolitan opera Opera u dva čina s prologom Libreto: skladatelj NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Dal Verme, Milano, 21. kolovoza 1892. Prva hrvatska izvedba: Treća operna stagiona, Zagreb, 22. travnja 1894. Prva izvedba u Metropolitanu: 11. prosinca 1893. Premijera ove izvedbe u Metropolitanu: 25. travnja 2015. KOSTIMOGRAF Moritz Junge CANIO/PAGLIACCIO Marcelo Álvarez OBLIKOVATELJICA RASVJETE Paule Constable NEDDA/COLOMBINA Patricia Racette KOREOGRAF Andrew George TONIO/TADDEO George Gagnidze KONZULTANT ZA VODVILJ Emil Wolk BEPPE/ARLECCHINO Andrew Stenson SILVIO Lucas Meachem Tekst: talijanski Titlovi: engleski CAVALLERIA RUSTICANA Radnja se događa na Uskrs u sicilijanskom selu.
    [Show full text]
  • Ceriani Rowan University Email: [email protected]
    Nineteenth-Century Music Review, 14 (2017), pp 211–242. © Cambridge University Press, 2016 doi:10.1017/S1479409816000082 First published online 8 September 2016 Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti* Davide Ceriani Rowan University Email: [email protected] The world premiere of Pietro Mascagni’s Cavalleria rusticana on 17 May 1890 immediately became a central event in Italy’s recent operatic history. As contemporary music critic and composer, Francesco D’Arcais, wrote: Maybe for the first time, at least in quite a while, learned people, the audience and the press shared the same opinion on an opera. [Composers] called upon to choose the works to be staged, among those presented for the Sonzogno [opera] competition, immediately picked Mascagni’s Cavalleria rusticana as one of the best; the audience awarded this composer triumphal honours, and the press 1 unanimously praised it to the heavens. D’Arcais acknowledged Mascagni’smeritsbut,inthesamearticle,alsourgedcaution in too enthusiastically festooning the work with critical laurels: the dangers of excessive adulation had already become alarmingly apparent in numerous ill-starred precedents. In the two decades prior to its premiere, several other Italian composers similarly attained outstanding critical and popular success with a single work, but were later unable to emulate their earlier achievements. Among these composers were Filippo Marchetti (Ruy Blas, 1869), Stefano Gobatti (IGoti, 1873), Arrigo Boito (with the revised version of Mefistofele, 1875), Amilcare Ponchielli (La Gioconda, 1876) and Giovanni Bottesini (Ero e Leandro, 1879). Once again, and more than a decade after Bottesini’s one-hit wonder, D’Arcais found himself wondering whether in Mascagni ‘We [Italians] have finally [found] … the legitimate successor to [our] great composers, the person 2 who will perpetuate our musical glory?’ This hoary nationalist interrogative returned in 1890 like an old-fashioned curse.
    [Show full text]
  • Historical Verism in Ruggero Leoncavallo's I Medici
    Kwartalnik Młodych Muzykologów UJ no. 47 (4/2020), 139–155 DOI 10.4467/23537094KMMUJ.20.045.13918 www.ejournals.eu/kmmuj https://orcid.org/0000-0003-0122-1609 Agata Czemerys THE CHOPIN UNIVERSITY OF MUSIC THE UNIVERSITY OF WARSAW History Enchanted in Music – Historical Verism in Ruggero Leoncavallo’s I Medici Abstract My study of the historical opera I Medici focuses on an analysis of the work’s dramaturgy. In my opinion, the libretto is the key to understand- ing operatic dramas; it constitutes their primary foundation, on which the subsequent semantic layers of this naturally syncretic musical genre are constructed. In my paper I have therefore analysed the individual components of the libretto, with special emphasis on the persons of the drama, their personality traits, as well as their musical representations in Leoncavallo’s work. Analysis of the dramaturgical aspects of the opera is an essential first step to a consideration of the musical layer, which lies at the heart of my research. In my paper, I have followed the path mapped out by musicologist Luca Zoppelli; however, his work is only the starting point for a more detailed study of the opera’s expressive qualities and the procedures applied for the musical representation of veristic ideas. Verity – not only in the historical sense – becomes a leading category which unifies 139 Kwartalnik Młodych Muzykologów UJ, No. 47 (4/2020) the opera at every level, from its original source recorded in the chronicles to the composer’s presentation of the story. Keywords Ruggero Leoncavallo,
    [Show full text]
  • Museo Ruggero Leoncavallo – Palazzo Branca-Baccalà
    Informazioni: Fondazione Ruggero Leoncavallo, c/o Municipio Orari d’apertura, aprile-ottobre Museo Ruggero Leoncavallo – CH-6614 Brissago — tel. +41(0)91 793 02 42 Mercoledì-sabato: 10:00-12:00 – 16:00-18:00 Palazzo Branca-Baccalà – Fax: +41 (0)91 786 81 61 — www.leoncavallo.ch Ingresso: CHF 5.– / 3.– /gratis ‹ 12 www.sbt.ti.ch/leoncavallo CH-6614 Brissago 170309mlc_i-1000: [email protected] uggero (Ruggiero) Leoncavallo è nato il 23 aprile 1857 La prima presenza di Leoncavallo in Ticino risale all’ini- Il Palazzo Branca-Baccalà a Chiaia (Napoli), quale discendente di una famiglia zio degli anni Novanta. A Vacallo trascorre con Puccini un In seguito a diverse demolizioni e l’ultimo restauro esterno Il monumento funerario di Leoncavallo Rnobile di campagna delle Puglie. Suo padre è giudice periodo breve ma fruttuoso e lavora a i Pagliacci. Nei primi fatto eseguire dall’architetto Livio Vacchini, si presenta alla L’estrema dimora di Ruggero Leoncavallo e di sua moglie e magistrato; il senso per l’arte lo eredita probabilmente dalla anni del XX secolo, in occasione di un soggiorno a Cannero Via Pioda come esempio bello e significativo di barocco Berthe si trova, dopo il loro tardo e avventuroso madre, nata D’Auria. I diversi trasferimenti della famiglia nella parte piemontese del Lago Maggiore, Leoncavallo, signorile nell’Alto Verbano e come testimonianza monu- ritorno da Firenze, nel portico del XVII secolo portano Ruggero nel 1865 a Montalto Uffugo, in Calabria, ormai famoso, scopre anche Brissago. In questo ridente mentale della costruzione di un tempo. Composto dalla accanto alla magnifica chiesa rinascimentale dove suo padre deve giudicare un caso d’omicidio (questo Borgo, nel 1903 fa costruire dall’architetto Ferdinando casa padronale, locali per il personale domestico, fabbricato Madonna del Ponte, affacciata sull’amato caso, più avanti, servirà come sfondo per l’opera i Pagliacci).
    [Show full text]
  • Il Consiglio Di Stato
    ovnfsp Cfmmjo{pob 1823 mm 145 20 aprile 2010 / 334.09 Sfqvccmjdb!f!Dboupof Ujdjop Jm!Dpotjhmjp!ej!Tubup Signor Fiorenzo Dadò Deputato in Gran Consiglio Interrogazione 18 dicembre 2009 n. 334.09 Fondo Ruggero Leoncavallo: quale bilancio dopo vent'anni? / Signor deputato, con il suo atto parlamentare chiede al Consiglio di Stato di stilare un bilancio sul Fondo Leoncavallo a 20 anni dalla sua acquisizione e in particolare di comunicare il costo richiesto per il suo riordino, la natura delle nuove acquisizioni, il numero di consultazioni e di pubblicazioni a partire da ricerche compiute sul fondo. A tale proposito le comunichiamo quanto segue. Il Fondo Ruggero Leoncavallo è stato acquistato nel dicembre del 1988 per la somma di 1 milione e 200 mila franchi. Di questi, 600 mila franchi sono stati pagati dallo Stato del Cantone Ticino e 600 mila franchi - cioè la metà della cifra complessiva - sono stati pagati dal Fondo della Lotteria intercantonale. Al momento dell'acquisto il fondo era costituito di 4'830 documenti - cui vanno aggiunte 83 pagine di schizzi, piccole composizioni e abbozzi musicali autografi e 41 pagine di musica manoscritta raccolte da Leoncavallo nel corso di ricerche sulle tradizioni e i costumi popolari in vista della composizione dell'opera Avemaria - mentre alla fine del 2009 i documenti erano 6'610. L'accrescimento del Fondo Leoncavallo è stato quindi di 1'780 documenti, di cui soltanto 300 sono stati acquistati. Infatti molti sono i generosi donatori che hanno contribuito ad arricchire il fondo sia con documenti originali - di notevole valore venale -, sia con copie conformi all'originale al fine di offrire agli studiosi nuove informazioni provenienti da fonti affidabili.
    [Show full text]
  • Celluloid Diva Staging Leoncavallo
    King’s Research Portal DOI: 10.1080/02690403.2019.1651515 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Rindom, D. (2019). Celluloid Diva: Staging Leoncavallo’s Zazà in the Cinematic Age. Journal of the Royal Musical Association, 144(2), 287-321. https://doi.org/10.1080/02690403.2019.1651515 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • Cultural World
    Cultural World Front Page Reviews / Interviews Window To The World Think About It Photo Gallery Travel About US OPERA SAN JOSÉ IS FORMIDABLE By Iride Aparicio Photos Courtesy: OPERA SAN JOSÉ SAN JOSÉ, CA – OPERA SAN JOSÉ's Opening Night of LEONCAVALLO’s opera PAGLIACCI ended with the spectators inside the California Theatre, standing in front of their seats applauding enthusiastically, and shouting Formidable The performance was masterful. The Orchestra, under the baton of Conductor CHRISTIAN REIF, interpreted the contrasting festive and sorrowful moods of LEONCAVALLO’s melodies with feeling. It also managed to control its volume, allowing the audience to listen clearly, even the pianissimos tones in the voices of the singers. The set, designed by ANDREA BECHERT, representing the plaza of the Calambrian Village, showing two of its houses, one with flowers and a three-arch balcony, the Pagliacci’s wagon and the wooden platform at the center of the plaza where the clowns are going to present their show on that night, was both visual and creative. https://culturalworldbilingual.com/Reviews_Interviews/Opera29.php?fbclid=IwAR0hjAGrCvE0NjP0k0gLfCOCW6CTyugpMe_OqRRamDjxU0i5Cw2umMfgnnM[11/27/2018 2:18:14 PM] Cultural World The Cast of OSJ representing the Calabrian Villagers in the opera PAGLIACCI Sprinkling the set with the bright colors of their costumes (Designed by CATHLEEN EDWARDS) and bringing it to life were the singer: from the OPERA SAN JOSE YOUTH CHORUS, the RAGAZZI BOYS CHORUS and the VIVACE YOUTH CHORUS. representing the town's peasants, and adding charm to the production the “SUPERNUMERARIES” which included dancers from THE NEW BALLET SCHOOL. HISTORY OF PAGLIACCI When the music and the Librettos of his two previous operas Chatterton and I Medici failed to attract attention, Neapolitan Poet/Composer RUGGERO LEONCAVALLO (l858-l9l9) decided to write his new work, Pagliacci in the Verismo (realistic) Style of MASCAGNI, (The composer of the opera Cavalleria Rusticana).
    [Show full text]
  • Leoncavallo Ruggero
    LEONCAVALLO RUGGERO Compositore italiano (Napoli 8 III 1857 - Montecatini 9 VIII 1919) RRIITTRRAATTTTOO DDEELL CCOOMMPPOOSSIITTOORREE 635 Studiò musica, prima privatamente con i maestri Siri e A. Simonetti, poi al conservatorio di Napoli con B. Cesi (pianoforte), M. Ruta (armonia), L. Rossi (composizione). Mandato dal padre a Bologna a studiare giurisprudenza, formò invece la sua cultura letteraria alle lezioni del Carducci e nel 1878, a 20 anni, si laureò in lettere. Ebbe indole avventurosa e vita irrequieta. A 20 anni, trovate sbarrate a Milano le porte di editori ed impresari raggiunse in Egitto uno zio che si faceva chiamare Leoncavallo-bey e che lo fece nominare maestro di camera di Mahmud Hamid, fratello del viceré, che lo avrebbe voluto capo delle bande militari egiziane. Dopo una fuga avventurosa, a fatica riuscì a mettersi in salvo a Porto Said, travestito da arabo, e a raggiungere poi Marsiglia. Passato a Parigi, visse dando lezioni, suonando il pianoforte nei caffè- concerto, e scrivendo canzoni per le cantanti di second'ordine. La fortuna gli venne incontro nelle vesti del baritono V. Maurel, che prese a proteggerlo e lo presentò a Milano a G. Ricordi, dal quale ottenne un assegno di L. 200 mensili per un anno, onde musicare il già approntato libretto I Medici, primo della trilogia italiana (Crepusculum), che avrebbe dovuto comprendere anche Savonarola e Cesare Borgia. Il suo disegno di comporre una trilogia musicale sul fenomeno grandioso del Rinascimento politico italiano, Leoncavallo lo aveva già manifestato a Wagner in occasione della presentazione di Rienzi a Bologna. Ma lo strepitoso successo di Cavalleria rusticana di Mascagni (17 V 1890) lo indusse a sceneggiare un fatto d'amore e di sangue svoltosi sotto i suoi occhi in Calabria, quando aveva quindici anni, e portato davanti al padre, presidente della corte di giustizia.
    [Show full text]
  • Leoncavallo Ruggero
    LEONCAVALLO RUGGERO Compositore italiano (Napoli 23 IV 1857 - Montecatini 9 VIII 1919) 1 Studiò musica, prima privatamente con i maestri Siri e A. Simonetti, poi al conservatorio di Napoli con B. Cesi (pianoforte), M. Ruta (armonia), L. Rossi (composizione). Mandato dal padre a Bologna a studiare giurisprudenza, formò invece la sua cultura letteraria alle lezioni del Carducci e nel 1878, a 20 anni, si laureò in lettere. Ebbe indole avventurosa e vita irrequieta. A 20 anni, trovate sbarrate a Milano le porte di editori ed impresari raggiunse in Egitto uno zio che si faceva chiamare Leoncavallo-bey e che lo fece nominare maestro di camera di Mahmud Hamid, fratello del viceré, che lo avrebbe voluto capo delle bande militari egiziane. Dopo una fuga avventurosa, a fatica riuscì a mettersi in salvo a Porto Said, travestito da arabo, e a raggiungere poi Marsiglia. Passato a Parigi, visse dando lezioni, suonando il pianoforte nei caffè- concerto, e scrivendo canzoni per le cantanti di second'ordine. La fortuna gli venne incontro nelle vesti del baritono V. Maurel, che prese a proteggerlo e lo presentò a Milano a G. Ricordi, dal quale ottenne un assegno di L. 200 mensili per un anno, onde musicare il già approntato libretto I Medici, primo della trilogia italiana (Crepusculum), che avrebbe dovuto comprendere anche Savonarola e Cesare Borgia. Il suo disegno di comporre una trilogia musicale sul fenomeno grandioso del Rinascimento politico italiano, Leoncavallo lo aveva già manifestato a Wagner in occasione della presentazione di Rienzi a Bologna. Ma lo strepitoso successo di Cavalleria rusticana di Mascagni (17 V 1890) lo indusse a sceneggiare un fatto d'amore e di sangue svoltosi sotto i suoi occhi in Calabria, quando aveva quindici anni, e portato davanti al padre, presidente della corte di giustizia.
    [Show full text]
  • Giacomo Ancona
    Intellectuals displaced from fascist Italy © Firenze University Press 2019 Giacomo Ancona Go to personal file In his student matriculation file for Florence University he appears as son of Link to other connected Lives on the move: Moisè. His father was in fact the baritone Mario Ancona, acclaimed in the leading theatres of Europe and the Americas, in New York, San Francisco and Enzo Bonaventura Alessandro Fiano Chicago. He too as a doctor decided to leave for the United States Aldo Luisada Piero Mustacchi permanently after the anti-Jewish laws, with his wife, his teenage children, Carlo Schapira and his widowed mother. He leapt at the offer from an American colleague, a Mario Volterra professor in the Medical School in San Francisco, whom he had met more then ten years earlier through his research interests. We can hear him telling the story in his own voice, in a recording from the UCSF. An allergy specialist and a musicologist, on leaving Italy he took with him his father’s opera collection: an extraordinary inheritance, which he gave to Stanford University in 1974. Music and medicine Born in Livorno 24 November 1886, to Mario Moisé Ancona (Livorno 28 February 1860 - Florence 23 February 1931) and Emma Ascarelli (1861-1942). Neither the registry office nor the Jewish community in his home city seem to to have kept any records relating to him1. He spent his whole childhood and youth amid the triumphs and absences of his father, a baritone of increasing fame internationally (the son of the bass Raffaele Ancona), who in 1890 made his debut at Livorno in Cavalleria rusticana, and in 1893 as Tonio in I Pagliacci at the Metropolitan Opera in New York and at the Royal Opera House in Covent Garden in London, where in 1904 he was Scarpia in Tosca2.
    [Show full text]
  • Pagliacci Guide.Pdf
    Pagliacci Opera Box Table of Contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Lesson Plans . .9 Synopsis and Musical Excerpts . .37 Flow Charts . .41 Ruggero Leoncavallo – a biography ...........................46 Catalogue of Pagliacci’s Operas . .47 Background Notes . .49 The commedia dell’arte .....................................51 The Many Faces of Verismo ................................53 2000 – 2001 SEASON World Events in 1892 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 The Standard Repertory ...................................70 GIACOMO PUCCINI Elements of Opera .......................................71 Glossary of Opera Terms ..................................76 Glossary of Musical Terms .................................82 Bibliography, Discography, Videography . .85 VINCENZO BELLINI Acknowledgements . .88 KURT WEILL mnopera.org GIOACHINO ROSSINI RUGGERO LEONCAVALLO 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. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes.
    [Show full text]