Behind the Curtain

Total Page:16

File Type:pdf, Size:1020Kb

Behind the Curtain BEHIND THE CURTAIN FALL 2009 Gotham Chamber Opera is the nation’s foremost com- pany dedicated to pro- ducing rarely-performed chamber operas from the Baroque era to the pres- ent. Our mission is to pres- The National Endowment for the Arts With our inaugural newsletter, Gotham Cham- ent innovative, fully-staged recently awarded Gotham Chamber ber Opera intends to keep you – our loyal sup- productions of the highest Opera a $25,000 American Recovery porters and fans – current on the “pre-eminent quality in intimate venues. small opera company in New York” according to and Reinvestment Grant. Gotham was The New York Times. Starting with this semi-an- one of only 17 opera companies in the NEAL GOREN nual dispatch, we will broadcast the company’s ARTISTIC DIRECTOR country to receive this very special rec- news: our exciting upcoming productions; bios ognition, and one of just three in New of the fantastic artists scheduled to perform with York, along with New York City Opera us; reviews of our successes; and other relevant DAVID BENNETT developments. and Opera America. The NEA received MANAGING DIRECTOR While all performing arts companies endure tough stimulus funding under the American challenges these days, Gotham wants you to know Recovery and Reinvestment Act to sup- that our company also enjoys towering achieve- BOARD OF DIRECTORS port job retention in the performing arts ments. Read on to see what ambitious plans are sector. in our future. KAREN LERNER Thank you for your support! PRESIDENT EMERITUS “Because these grants go to support the or- ganizations themselves - rather than specif- ic programs or productions - this is a vote of TED TRUSSELL PORTER real confidence in Gotham as an institution,” PRESIDENT said Managing Director David Bennett. “This confirms that we now have an important na- tional presence within the field of opera.” DOMNA C. STANTON Please join the NEA in expressing con- VICE PRESIDENT fidence in Gotham Chamber Opera by making a tax-deductible contribution. DONALD N. GELLERT Use the form enclosed or join online at: SECRETARY & TREASURER www.gothamchamberopera.org/support. html. Every gift makes a difference! ROBERT BAREUTHER BROOKE HAYWARD DUCHIN MICHELLE EDELMAN ANDREA K. FALLEK In January 2010, take a won- drous trip to the moon with a PAUL L. KING revolutionary new production of LOUIS MIANO Joseph Haydn’s delightful opera JOHN L. MOORE I I I Il mondo della luna (The World WILLIAM OLIVER on the Moon). For the first time ever, the Hayden Planetarium at OLIVIA PIROVANO the Rose Center for Earth and ROBERT L. TURNER Space will be transformed into an intimate opera house. In an extraordinary collaboration with the American Museum of Natural © AMNH\D. Finnin AMNH\D. © History and the American The Rose Center for Earth and Space at the American Museum of Natural History Repertory Theater, Gotham will fuse live opera and stargazing. Taking advantage of breakthroughs in laser and light tech- nology, the production will immerse the audience in a completely new kind of the- atrical event – an out-of-this-world experi- ence for opera lovers, science buffs, and I know of only one commer- theatergoers alike. cial recording of Il mondo del- Gotham Chamber Opera will literally take au- la luna, and it is no longer diences to the moon in this production of Il In the days before easy travel, operas in print. The recording was mondo della luna, Haydn’s personal favorite were often set in what would have been made in 1978 by Philips and of all his operas. Written in 1777, it’s the sto- exotic locales for their audiences: the Arab features a star-studded cast ry of a nobleman who refuses to let his daugh- world (Mozart’s Abduction from the Seraglio, conducted by Haydn special- ters marry their true loves. With the help of Rossini’s L’italiana in Algeri, Verdi’s Nabucco), ist Antál Dorati. In the role a fake astronomer and a sleeping potion, the the East (Bizet’s Pearl Fishers, Puccini’s of Buonafede, bass-baritone daughters trick their father into believing he’s Turandot, Delibes’ Lakmé), and even the Alberto Trimarchi manages, been sent to the moon, where he discovers United States (Puccini’s La fanciulla del West). through his committed por- they do things differently, especially when it But nothing compares to the bizarrerie of set- trayal, to disguise the fact comes to courtship. On the moon, women are ting an opera on the moon, as Haydn did in Il the he’s singing a role that is allowed to choose their own husbands, and mondo della luna. The idea was so twisted I clearly written for a baritone. there it is even proper for a young lady to go found it irresistible on first sight. Edith Mathis lends her pas- off with a man before marriage. It is a sign of When I delved further into the work, I was de- sionate voice to the role of respect! After much music and merriment, ev- lighted to discover that this setting had in- Clarice, while Arleen Auger, erybody comes back to Earth, properly and spired Haydn to write some of his most var- as Flaminia, sings faultlessly, happily matched. ied and stupendous music. If you are looking if missing the sense of dev- The Hayden Planetarium is unlike any other. In for a super-virtuosic show-stopping soprano il-may-care abandon that the top half of the Hayden Sphere, the Space aria, there is nothing in the entire repertoire the virtuosic role begs for. Theater uses the most advanced visual tech- that surpasses Flaminia’s Ragion nell’alma sie- As their suitors, Luigi Alva nology to create shows of unparalleled sophis- de; for dreamy pathos, Clarice’s Quanta gente is clearly way past his prime tication, realism, and excitement. The Hayden che sospira has never been outdone; and if (though only 51 when the re- Planetarium is the largest and most power- you’re a fan of brilliant ensembles, the sec- cording was made), and con- ful virtual reality simulator in the world and ond-act finale of Il mondo is clearly the pro- tralto Lucia Valentini-Terrani is will provide a stunning and singularly apt en- totype for the glorious second-act finale for terribly miscast in a role much vironment for our production of Il mondo del- Mozart’s Marriage of Figaro – and loses noth- better suited to the baritone la luna. ing in the comparison. This is not only the voice. The newcomers on the The lift-off begins January 19, 2010, using a best of Haydn; this is the best of music. It is, recording are Frederica von 180-degree dome and projections courtesy however, no secret that there is a great deal Stade, with her unmistak- of NASA. The production will be directed by of chaff among the wheat of Il mondo della able lovely, dark-hued tim- Diane Paulus, whom Opera News calls one of luna. Were there not, the piece would be in bre, and the warm-voiced the top 25 names in U.S. opera, and whose the standard repertory of every opera house Anthony Rolfe Johnson. In production of Hair has triumphed in Central today. So you will be pleased to know that the spite of all these fine talents, Park and on Broadway. Leading the 27-piece director Diane Paulus, her associate Andrew I find the recording incredi- orchestra is Neal Goren, Artistic Director and Eggert, and I have cut out the chaff, leaving bly boring, due to its languid founder of Gotham Chamber Opera. you the very choicest bits. tempi and turgid recitatives. So we hope you will get on board with Gotham, When planning the production in 2007, I noted Haydn, and the Hayden and join us as we fly Bass-baritone Thomas New York opera-lovers to the moon! “...the Space Theater uses Quasthoff included one aria and one duet from Il mon- the most advanced visual do della luna on his 2009 CD Performance dates and times: Gala technology to create entitled Haydn Italian Arias. Opening Performance and Reception: shows of unparalleled Quasthoff sings with his cus- Tuesday, January 19th, 7:30 pm. All oth- tomary rich middle and low er performances at 8:00 pm: Wednesday, sophistication, realism, notes and bright, tenori - January 20th, Monday January 25th, and excitement.” al top. His musical suavity is Tuesday, January 26th, and Thursday, that the orchestral forces for Il mondo, while very much in evidence here, January 28th. Gala opening night tickets not particularly large, were still too big to fit in music that calls for humor are $500 ($325 tax-deductible), and can in the pit of our home theater at the Henry above all else. The duet is be purchased by calling 212-868-4460. Street Settlement. As I began considering al- of such scant musical value VIP ($1,000) and Premium ($2,500) Gala ternative performance spaces, I happened to that we have cut it from our tickets are also available, with addition- take my nephew to the Hayden Planetarium production. al premium benefits; please call for more at the American Museum of Natural History. I information. soon realized there was no venue more suit- able (or more audacious) for an opera largely For tickets to other performances, please call set on the moon than the Hayden, where we Ticket Central at 212-279-4200 or order online could incorporate segments of the planetari- at www.ticketcentral.com. Ticket prices for all um’s amazing star show into our production, other performances are $125, $75, and $30. 2 thereby enabling our audience to make her success in moving back and forth be- the trip to the moon along with Haydn’s tween working in opera and musical theater protagonists.
Recommended publications
  • Ottorino Respighi, Musicista Geniale Ed Estroverso a 130 Anni Dalla Nascita
    Ottorino Respighi, musicista geniale ed estroverso a 130 anni dalla nascita. di Giuseppe Testa Ottorino Respighi è, tra i compositori italiani del secolo scorso, quello che trovò diffusione e fama internazionale sin dall’inizio della sua carriera. E’ ricordato soprattutto per i tre poemi sinfonici romani, capolavori della letteratura sinfonica del ‘900 italiano, ma è anche stato un apprezzato musicologo. Respighi nasce a Bologna il 9 luglio 1879, inizia gli studi del pianoforte e del violino con il padre Giuseppe, studi che continua al liceo musicale di Bologna, dove è allievo di F. Sarti per il violino e la viola, C. Dall’Olio per il contrappunto e la fuga, L. Torchi e di G. Martucci per la composizione. E’ proprio Martucci che lo interessa alle forme sinfoniche e cameristiche dei romantici tedeschi, sino ad allora poco praticate in Italia. Si Diploma in violino nel 1899 e in composizione nel 1901 al liceo musicale di Bologna. Subito dopo si trasferisce in Russia dove ricopre il posto di prima viola dell’orchestra del Teatro Imperiale a San Pietroburgo, studiando per cinque mesi con Nikolaj Rimskij-Korsakov con cui può approfondire lo studio della sinfonia e del poema sinfonico, evidenziando la tendenza al descrittivismo e l’abilità nel trattamento dell’orchestra. Nel 1902 è accompagnatore in una scuola di canto a Berlino, dove conosce Ferruccio Busoni ed ha modo di studiare con Max Bruch. Ma la sua attività principale fino al 1908 è quella di violista, solo dopo si dedica alla composizione. Nel 1911 torna in Italia per sostituire il suo maestro L.
    [Show full text]
  • JUNE 2-9, 2018 Alejandro Hernandez-Valdez Artistic Director
    JUNE 2-9, 2018 Alejandro Hernandez-Valdez Artistic Director Albert E. & Myrtle Gunn York Trust AEOLUS QUARTET pg. 10 MOZART’S JOYS pg. 30 ARTISTIC DIRECTOR Alejandro Hernandez-Valdez EXECUTIVE DIRECTOR Nina M. Di Leo AEOLUS EMERGING ARTISTS COORDINATOR Faith DeBow QUARTET RENÉE ANNE LOUPRETTE pg. 10 pg. 26 BOARD OF DIRECTORS OFFICERS Ronald Walker, President Tim Hornback, Vice President Carolina Astrain, Secretary David Faskas, Treasurer Calendar of Events | 2-3 Thursday, June 7, evening: BOARD MEMBERS History of the Festival | 5 Homage | 22-23 Sallye Allen Bill Blanchard Friday, June 8, noon: Meet the Artistic Director | 7 Doris Boyd Teenage Geniuses | 24-25 Contributors / Memorials | 8-9 Clay Cain Friday, June 8, evening: Gary Childress Saturday & Sunday, June 2-3, evening: Renée Anne Louprette | 26-28 Paula Cobler Aeolus Quartet | 10-12 Saturday, June 9, evening: Annie Cullen Wednesday, June 6, noon: Mozart’s Joys and Sorrows | 30-35 John Griffin Emerging Artists | 14-16 Vanessa Hicks-Callaway About the Artists | 36-38 Dr. Michael Hummel Wednesday, June 6, evening: Festival Staff | 38 Phyllis Keller Baroque Masters | 18-19 Dr. Suzanne LaBrecque Thursday, June 7, noon: Acknowledgements and Thanks | 43 Linda Patterson Die Fünf & Les Six | 20-21 John Quitta Dr. Margaret Rice Mary Ann Sawyers SEASON SPONSORS Eileen Stewart Dolly Stokes Tommy Taylor Felecia Vela Philip Welder Albert E. and Myrtle Gunn York Trust ADVISORY BOARD John B. Bierman LEAD SPONSORS John E. “Buddy” Billups Wilbur Collins Dr. Marylynn Fletcher Joe A. Hewell Cloyd and Ethel Lee Tracy Foundation Lynn Knaupp M. Russell Marshall Neldene Matusevich Catherine McHaney David P.
    [Show full text]
  • Il Recupero Dell'antico Nell'opera Di Ottorino
    SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi …………….
    [Show full text]
  • Spring 2006 No
    SQUIRES GATE MUSIC CENTRE LTD A SPECIALIST SOURCE FOR CLASSICAL MUSIC Send for details of our UNIQUE LIBRARY SERVICE with 3,500 CDs to choose from, including the best of the latest releases on our Pick of the Month lists. Also try our SQUIRES GATE MAIL ORDER SERVICE fast, friendly and efficient for all your new CD requirements. Discounts offered. ST. CECILIA BARGAIN LIST We have a wide selection of bargain-priced CDs & DVDs available (many at half the list price) – send for our current list. GENUINE BARGAINS!!! Squires Gate Music Centre Ltd., 615 Lytham Road, Squires Gate, Blackpool, Lancashire FY4 1RG Tel. & Fax. 01253 405599 – E-mail: [email protected] YORKSHIRE REGIONAL GROUP SCARBOROUGH WEEKEND Friday 31 st M ARCH to MONDAY 3 rd A PRIL 2006 Plans are already well in hand for this year’s Musical Weekend at the Crown Hotel Principal speakers will include PIERS BURTON-PAGE Well known BBC Broadcaster and Reviewer Mozart in his 250th Anniversary Year JOHN CHARLES Former Administrator with leading British Orchestras speaking of his Musical Experiences EMMA MARSHALL Artistic Director of The English Music Festival Ralph Vaughan Williams PROF. NIGEL SIMEONE Sheffield University Music Department Hands Across The Sea (American performance of British music) ____________________________ SATURDAY AFTERNOON TO MONDAY LUNCH £134.00 FRIDAY NIGHT DBB £40.00 CONFERENCE FEE £15.00 We welcome members of all affiliated societies. Booking is open in October for YRG societies and November for others. Details from Dennis Clark: 0113 250 8136 FRMS BULLETIN Spring 2006 No. 144 CONTENTS Editor Thelma Shaw 15 Cann’s Lane EDITORIAL Page Hethersett A not-so-new broom back in harness 2 Norwich NR9 3JE Tel: 01603 812996 OUT & ABOUT Federation Editorial copy If your copy is in manuscript form AGM 2005 3 or on CD or floppy disc, send it Societies direct to the Editor at the above A success story from Torquay RMS 5 address.
    [Show full text]
  • Risveglio Musicale 2009 2
    Rivista dell’Anbima nazionale - Viale delle Milizie, 76 - 00192 ROMA Poste Italiane spa - Spedizione in Abbonamento Postale - D.L. 353/2003 (conv.in L. 27/02/2004 n° 46) art. 1 comma 1-DCB Roma. n. 2•Marzo -Aprile2009 Risveglio Musicale Risveglio Musicale Risveglio MusicaleRisveglio Musicale Risveglio Musicale Risveglio MusicaleRisveglio Musicale Sollecitiamo coloro che avessero domande quesiti sulle problematiche fiscali-amministrative di sottoporle al nostro esperto-consulente, inviandole alla segreteria nazionale. Le domande di interesse generale troveranno risposta nella nostra rubrica, per le altre, troveremo modo di rispondere privatamente. ERRATA CORRIGE Sul n°1 di Risveglio Musicale (gennaio/febbraio 2009 - pag. 16 - art: “Corso Majorettes), per una deprecabile svista è stato omesso il nome del Signor Alessio COLINI, Presidente Regionale ANBIMA Lazio e organizzatore del corso. Il giorno 24 gennaio scorso, è mancata la signora AUGUSTA SANTUCCI. La Presidenza Nazionale e tutta l’Associazione si sente vicina al Prof. Leone Santucci, già Consigliere Nazionale e Presidente dell’ANBIMA - Regione Lazio, per la perdita della moglie. 2 Risveglio Musicale SOLIDARIETA’ per l’ABRUZZO La Presidenza Nazionale si sente vicina agli Amici Abruzzesi colpiti da questo tragico sisma. Con lo scopo di poter valutare e possibilmente aiutare i Soci Anbima coinvolti nella catastrofe, attendiamo indicazioni del Presidente Anbima Regione Abruzzo e dei Suoi Collaboratori; da queste indicazioni si potranno cercare modalità e termini per un concreto aiuto.
    [Show full text]
  • Il Fondo Respighi
    AD 49 Archivio di Stato di Milano FONDO RESPIGHI Per la richiesta indicare: FONDO: RESPIGHI PEZZO N.: 1 (serie Musica, Carteggio, Documenti e Allegati) 2 (serie Fotografie. Attenzione: limitazioni per la consultazione di questa cartella. Le fotografie si consultano normalmente nella riproduzione digitale) ASMi Fondo Respighi Riordino e inventariazione a cura di Mariagrazia Carlone, Archivista di Stato Milano, maggio 2010 Revisione: marzo 2019 ASMi Fondo Respighi Indice generale Introduzione Fondo Respighi. p. 1 Storia archivistica, Contenuto, Criteri di ordinamento Soggetti produttori. 2 Ottorino Respighi, Elsa Respighi Olivieri Sangiacomo Bibliografia 3 Inventario 1. Serie “Musica” 4 2. Serie “Fotografie” 6 3. Serie “Carteggio” 37 4. Serie “Documenti” 51 Appendice : trascrizioni (lettere e documenti) 53 Indici Indice dei nomi 80 Indice delle opere musicali 85 Indice dei luoghi 87 Allegati 89 ASMi Fondo Respighi Fondo Respighi Storia archivistica. Il Fondo Respighi, già di proprietà dello studio bibliografico “L’Arengario” di Gussago (BS), è stato acquistato nel 2004 dalla Soprintendenza Archivistica per la Lombardia, previa approvazione del Ministero per i Beni e le Attività Culturali, e destinato all’Archivio di Stato di Milano. Il materiale è giunto contenuto in buste di plastica dentro tre raccoglitori da ufficio ad anelli e in una cartelletta di plastica per gli autografi musicali. I documenti, numerati a uno a uno, erano distribuiti nelle serie: “Archivio fotografico”, “Carteggio”, “Materiale vario” e “Autografi musicali”. A loro volta, le prime tre serie erano organizzate in varie sotto-serie. Corredavano il tutto alcune pagine dattiloscritte anonime, prive di dati identificativi o di indicazioni cronologiche, in cui si illustravano sommariamente i contenuti dei raccoglitori e si offriva la trascrizione di alcune lettere.
    [Show full text]
  • Orcncstrh INCORPORATED THIRTY-NINTH SEASON (^^
    ^:- \. m ^^%<<M/ BOSTON SYAPflONY ORCnCSTRH INCORPORATED THIRTY-NINTH SEASON (^^ PRoGRSAAE |151 %rm Established 1833 WEBSTER > AND ATLAS NATIONAL BANK OF BOSTON WASHINGTON AND COURT STREETS AMORY ELIOT President RAYMOND B. COX, Vice-President v2^^-^'-^^i ^t\ ^r^'h" JOSEPH L. FOSTER, Vice-President and Cashier ARTHUR W. LANE, iSst. (S^e'r EDWARD M. HOWLAND. Vice-President HAROLD A. YEAMES, Asst Cashier Capital $1,000,000 Surplus and Profits $1,600,000 Deposits $11^,000,000 The well-established position of this bank in the community, the character of its Board of Directors, and its reputation as a solid, conservative institution recommend it as a particularly desirable depository for ACCOUNTS of TRUSTEES, EXECUTORS and INDIVIDUALS For commercial accounts it is known as A STRONG BANK OF DEPENDABLE SERVICE DIRECTORS CHARLES B. BARNES GRANVILLE E. FOSS JOSEPH S. BIGELOW ROBERT H. GARDINER FESSENDEN S. BLANCHARD EDWARD W. GREW THEODORE G. BREMER OLIVER HALL WILLIAM R. CORDINGLEY WALTER HUNNEWELL RAYMOND B. COX HOMER B. RICHARDSON AMORY ELIOT DUDLEY P. ROGERS ROGER ERNST THOMAS W. THACHER JOHN W. FARWELL WALTER TUFTS SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephones Ticket Office ) \ Back Bav 1492 Branch Exchange ( Administration Offices ) INCORPORATED THIRTY-NINTH SEASON, 1919-1920 PIERRE MONTEUX, Conductor igrainmime © nteei B )n;ee:r'i§ WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, FEBRUARY 20 AT 2.30 O'CLOCK SATURDAY EVENING. FEBRUARY 21 AT 8.00 O'CLOCK COPYRIGHT, 1920, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN. Manager G. E. JUDD, Assistant Manager 1037 — A name that is spoken with the full pride of ownership—that carries with it the deep satis- faction of possessing the ultimate expression of man*s handiwork in Musical Art.
    [Show full text]
  • Respighi Ottorino
    RESPIGHI OTTORINO Compositore e strumentista italiano (Bologna 9 VI 1879 - Roma 18 IV 1936) 1 Nato da una famiglia di musicisti (il nonno Tommaso era organista del duomo di Fidenza) fu avviato alla musica dal padre, ottimo pianista e didatta. Iscritto al liceo musicale di Bologna (1891), studiò violino con F. Sarti, diplomandosi nel 1899, e contemporaneamente seguì le lezioni di contrappunto e fuga di C. Dall'Olio e di composizione di L. Torchi e G. Martucci. Nel 1900 fu a Pietroburgo, come orchestrale nella stagione operistica italiana dei teatri imperiali e conobbe Rimskij-Korsakov dal quale ebbe varie lezioni di composizione rimaste essenziali (come dichiarò lo stesso Respighi) per la sua formazione artistica. Tornato a Bologna, si diplomò in composizione nel 1901. L'anno dopo tornò in Russia come prima viola dell'Opera di Pietroburgo e vi rimase nove mesi, prendendo contatto con l'ambiente artistico che faceva capo ad A. Benois (il figlio Nicola sarà poi uno degli scenografi più cari a Respighi). Nel 1903 ritornò in Italia e l'anno dopo fu eseguita dal pianista F. Ivaldi a Bologna, sotto la direzione di B. Mugellini, la sua Fantasia in Sol minore per pianoforte ed orchestra che ottenne notevole successo. Nel 1905 la sua opera Re Enzo fu rappresentata dagli studenti dell'università di Bologna ed in quello stesso anno Respighi entrò come viola nel quintetto Mugellini per il quale compose il Quintetto in Fa. Nel 1908 R. Ferrari diresse al Metropolitan di New York il Notturno per orchestra e A. Nikish, a Berlino, la sua trascrizione per orchestra del Lamento di Arianna di Monteverdi.
    [Show full text]
  • Behind the Curtain
    BEHIND THE CURTAIN FALL 2009 Gotham Chamber Opera is the nation’s foremost com- pany dedicated to pro- ducing rarely-performed chamber operas from the Baroque era to the pres- ent. Our mission is to pres- The National Endowment for the Arts With our inaugural newsletter, Gotham Cham- ent innovative, fully-staged recently awarded Gotham Chamber ber Opera intends to keep you – our loyal sup- productions of the highest Opera a $25,000 American Recovery porters and fans – current on the “pre-eminent quality in intimate venues. small opera company in New York” according to and Reinvestment Grant. Gotham was The New York Times. Starting with this semi-an- one of only 17 opera companies in the NEAL GOREN nual dispatch, we will broadcast the company’s ARTISTIC DIRECTOR country to receive this very special rec- news: our exciting upcoming productions; bios ognition, and one of just three in New of the fantastic artists scheduled to perform with York, along with New York City Opera us; reviews of our successes; and other relevant DAVID BENNETT developments. and Opera America. The NEA received MANAGING DIRECTOR While all performing arts companies endure tough stimulus funding under the American challenges these days, Gotham wants you to know Recovery and Reinvestment Act to sup- that our company also enjoys towering achieve- BOARD OF DIRECTORS port job retention in the performing arts ments. Read on to see what ambitious plans are sector. in our future. KAREN LERNER Thank you for your support! PRESIDENT EMERITUS “Because these grants go to support the or- ganizations themselves - rather than specif- ic programs or productions - this is a vote of TED TRUSSELL PORTER real confidence in Gotham as an institution,” PRESIDENT said Managing Director David Bennett.
    [Show full text]
  • El Gato Con Botas (Puss in Boots)
    BEHIND THE CURTAIN FALL 2010 Gotham Chamber Opera is the nation’s foremost com- IL MONDO DELLA LUNA pany dedicated to producing rarely-performed chamber Best “off-Broadway” opera production 2010 Parterre Box – May 20, 2010 operas from the Baroque era to the present. Our mission is to pres- GREETINGS ent innovative, fully-staged FROM OUR productions of the highest El gato quality in intimate venues. PRESIDENT At the Summer 2005 Lincoln Center Festival, Gotham’s production of Respighi’s La bella con botas NEAL GOREN ARTISTIC DIRECTOR dormente nel bosco (Sleeping Beauty) From October 1 to 10, Gotham Chamber Opera delightfully animated the composer’s lush and Tectonic Theater Project will join forces to harmonies with the magical puppetry present the United States premiere of Xavier DAVID BENNETT MANAGING DIRECTOR of Basil Twist. Those of you who fondly Montsalvatge’s El gato con botas (Puss in Boots). remember this spectacle will be especially As a presentation of the New Victory Theater at 209 West 42nd St., our production will be BOARD OF DIRECTORS excited by our Fall 2010 production: Xavier Montsalvatge’s El gato con botas (Puss in directed by Moisés Kaufman (Broadway’s 33 Variations, The Laramie Project, I Am My Own KAREN LERNER Boots). For this fairy-tale set by another mid- PRESIDENT EMERITUS twentieth century composer, we will again Wife), and will feature feature bunraku puppetry, employ puppets –this time under the direction designed and executed by London’s renowned Blind Summit Theatre Company. Blind Summit is TED TRUSSELL PORTER of Moisés Kaufman. Undoubtedly the same PRESIDENT magic will ensue.
    [Show full text]
  • IC Booklet 72005 Printers
    Muzio CLEMENTI Five Piano Sonatas 11-year-old Albert Wong Muzio Clementi (1752-1832) Clementi’s works have been published under a confusing array of opus numbers. The numbering of the sonatas here follows Alan Tyson’s Thematic Catalogue of the Works of Muzio Clementi (1967). Any musician who earns the appellation “The Father of the Pianoforte” certainly commands immediate attention. Clothed in this mantle fairly early in life, Muzio Clementi invites both admira- tion and conjecture. In a recent talk by the American pianist Michael Habermann (a longtime Clementi devotee), the nail was hit on the head when he described the current prevailing perception of Clementi: “Listeners should just stop defining Clementi as being a lesser version of his famous contemporaries. If at times he seems to lack the lightness of Haydn, the symmetry of Mozart, or the forcefulness of Beethoven, it is certainly not because of inadequacies. Quite simply, he was a composer with different aims and a different musical character. Once that reality is accepted, his unique qualities emerge and his pres- ence becomes as vital as those of his more celebrated colleagues.” Muzio Clementi Beginnings He was baptized Mutius Philippus Vincentius Franciscus Xaverius Clementi the day follow- ing his birth in Rome on January 23, 1752. The oldest of seven children, his brother Gaetano was a musician and his silversmith-father a music aficionado. Muzio’s talent appeared early, so no time was wasted in getting him to Antonio Buroni (1738-92), a choral master at St. Peter’s, for training. At age six he was doing sol-fa, at seven studying thorough bass with the organist Cordicelli, followed by work under the castrato-soprano Santarelli and possibly the counter- point-expert Carpini.
    [Show full text]
  • Soci Fondatori Stato Italiano Regione Autonoma Della Sardegna Comune Di Cagliari Consiglio Di Indirizzo Mario Scano Presidente C
    Soci fondatori Stato Italiano Regione Autonoma della Sardegna Comune di Cagliari Consiglio di Indirizzo Mario Scano Presidente Claudio Orazi Sovrintendente Salvatore Cherchi Rappresentante del Ministero per i Beni e le Attività Culturali Angela Maria Quaquero Rappresentante della Regione Autonoma della Sardegna Mario Marchetti Rappresentante del Comune di Cagliari Francesco Boggio Rappresentante della Fondazione di Sardegna Collegio dei Revisori dei Conti Paolo Luigi Rebecchi (Presidente), Roberto Coffa, Pietro Leinardi Un ponte di musica Progetto di internazionalizzazione del Teatro Lirico di Cagliari tra Italia e Stati Uniti marzo - settembre 2017 Dall’Italia agli States tanti, in tal senso, sono le affinità elettive che legano comunque i tre autori, con le opere ‘americane’ di Da Ponte, Puccini e Respighi soprattutto per il tramite di Respighi: tempratosi, da un lato, nel segno del Claudio Orazi recupero dell’antico – formula cara alla cosiddetta ‘Generazione dell’Ot- Sovrintendente del Teatro Lirico di Cagliari tanta’ – con lavori molto prossimi ai termini sonori dell’esperienza dapon- tiana, dalle suggestioni del tardobarocco veneziano impregnato di ‘barca- role’ e di commedia dell’arte (Le astuzie di Colombina, 1920) all’entusia- Con il debutto newyorkese della Campana sommersa di Ottorino smo per Rossini (La boutique fantasque, 1919); dall’altro, in quel gusto per Respighi, avvenuto al Metropolitan Theatre il 24 novembre 1928 sotto l’orchestrazione che gli guadagnò la stima e l’amicizia di Puccini. Il quale la direzione di Tullio Serafin, l’Opera Italiana negli Stati Uniti, ormai al – sempre a proposito di nessi – subito dopo il trionfo della Fanciulla del culmine della popolarità, compiva un secolo di storia. West accarezzò l’idea di mettere in musica un dramma (Hanneles Himmel- Una storia precorsa dall’intensa attività culturale di Lorenzo Da Ponte, fahrt) di Gerhart Hauptmann, lo stesso autore – e qui il cerchio si chiude culminata nel 1825 con l’assegnazione della prima cattedra di Letteratura – della Campana sommersa.
    [Show full text]