Turandot: Good to Know 5 Production Information 6 Synopsis 7 the Principal Characters 9 the Principal Artists 10 the Composer 11 Turandot the Librettists 12
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10-12-2019 Turandot Mat.Indd
Synopsis Act I Legendary Peking. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to the king, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful reverence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. Three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor. Act II Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality. In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded. -
A Comparison of the Alto Voice in Early and Modern Opera
View metadata, citation and similar papers at core.ac.uk • w #*>* brought to you by CORE provided.'V by Illinois Digital Environment for Access to Learning and Scholarship... J HUTCHINS A Comparison of the Alio Voice in Early mii Modern Opera j A ' Tw V ill, .^ i%V** i i • i ! 1 i i 4 Music j • 19 15 i • * THE UNIVERSITY OF ILLINOIS LIBRARY Digitized by the Internet Archive in 2013 http://archive.org/details/comparisonofaltoOOhutc COMPARISON OF THE ALTO VOICE IN EARLY AND MODERN OPERA BY MARJORIE HUTCHINS THESIS FOR THE DEGREE OF BACHELOR OF MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1915 , ftfy UNIVERSITY OF ILLINOIS June I 19235. SUPERVISION BY THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY MARJORIS HUTCHIUS, - MODERN ENTITLED A COMPARISON OF THE ALTO VOICE IN EARLY JJffl OPERA, - - FOR THE IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS DEGREE QF BACHELOR OF MUSIC. , Instructor in Charge 1 IG HEAD OF DEPARTMENT OF .S • u»uc H^T A COMPARISON OP THE ALTO VOICE IN EARLY AND MODERN OPERA. The alto voice is, in culture and use, as an important solo instrument, comparatively modern. It must be well understood that the alto voice, due to its harmonic relation to the soprano, has always been the secondary voice. The early opera writers, such as Monteverde, Cavalli, Lully, and Scarlatti, although they wrote for this voice when it was sung only by the male artificial con- tralli or counter-tenor, have done much toward putting it where it is today. -
The Voice and Singing Sample Pages.Pdf
2 THE VOICE AND SINGING FRANCIS KEEPING AND ROBERTA PRADA Originally LA VOIX ET LE CHANT TRAITÉ PRACTIQUE J. FAURE PARIS 1886 this book, translated and expanded contains Faure’s original exercises with all the transpositions as indicated by the author. 3 Copyright © 2005 Francis Keeping and Roberta Prada. All rights reserved. No part of this book may be reproduced in any form, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2005 by Vox Mentor LLC. For sales please contact: Vox Mentor LLC. 343 East 30th street, 12M. New York, NY. 10016 phone: 212-684-5485 Email: [email protected] Website: www.voxmentor.biz Printed in USA. Awaiting Library of congress Cataloging-in-Publication Data ISBN 10: 0-9777823-0-1 Originally La Voix et le Chant, J. Faure, Paris, 1886, AU Menestrel, 2 bis, Rue Vivienne, Henri Heugel. The present volume is set in Times New Roman 12 point, on 28 lb. bright white acid free paper and wire bound for easy opening on the music stand. Page turns have been avoided wherever possible in the exercises, meaning that there are intentional blank spaces throughout. The cover photo of J. Faure as a younger man is from the collection of Bill Ecker of Harmonie Autographs, New York City. The present authors have faithfully translated the words of Faure, taking care to preserve the original intent of the author making changes only where necessary to assist modern readers. The music was written using Sibelius 3 and 4™ software. -
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida. -
Puccini's Version of the Duet and Final Scene of "Turandot" Author(S): Janet Maguire Source: the Musical Quarterly, Vol
Puccini's Version of the Duet and Final Scene of "Turandot" Author(s): Janet Maguire Source: The Musical Quarterly, Vol. 74, No. 3 (1990), pp. 319-359 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/741936 Accessed: 23-06-2017 16:45 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly This content downloaded from 198.199.32.254 on Fri, 23 Jun 2017 16:45:10 UTC All use subject to http://about.jstor.org/terms Puccini's Version of the Duet and Final Scene of Turandot JANET MAGUIRE ALTHOUGH it has been said that Puccini did not finish Turandot because he could not, I have always been convinced that he had the music for the duet and final scene clearly in mind and that he would have had his Turandot Finale ready for the publisher by the end of the year, 1924, had he survived his throat operation. The key to the completion of the opera lies in a relatively few pages of musical ideas sketched out in brief, schematic form. -
Puccini Il Tabarro
Puccini Il Tabarro MELODY MOORE · BRIAN JAGDE · LESTER LYNCH MDR LEIPZIG RADIO CHOIR · DRESDNER PHILHARMONIE MAREK JANOWSKI Giacomo Puccini (1858-1924) Giorgetta Melody Moore, Soprano Il Tabarro (1918) Michele Lester Lynch, Baritone Opera in one act Luigi Brian Jagde, Tenor Libretto: Giuseppe Adami Un venditore di canzonette Khanyiso Gwenxane, Tenor Frugola Roxana Constantinescu, Mezzo-soprano 1 Introduzione 2. 02 Tinca Simeon Esper, Tenor 2 O Michele? (Giorgetta, Michele, Scaricatori) 2. 07 Talpa Martin-Jan Nijhof, Bass 3 Si soffoca, padrona! (Luigi, Giorgetta, Tinca, Talpa) 2. 11 Voce di Sopranino & 4 Ballo con la padrona!(Tinca, Luigi, Giorgetta, Talpa, Michele) 1. 35 Un’amante Joanne Marie D’Mello, Soprano 5 Perché? (Giorgetta, Un venditore di canzonette, Michele, Midinettes) 3. 21 Voce di Tenorino & 6 Conta ad ore le giornate (Midinettes, Frugola, Giorgetta) 3. 56 Un amante Yongkeun Kim, Tenor 7 To’! guarda la mia vecchia! (Talpa, Frugola, Michele, Luigi, Tinca) 1. 21 8 Hai ben raggione; meglio non pensare (Luigi) 2. 22 MDR Leipzig Radio Choir 9 Segui il mio esempio (Tinca, Talpa, Frugola, Giorgetta, Luigi) 2. 32 Chorus Master: Jörn Hinnerk Andresen 10 Belleville è il suolo e il nostro mondo! (Giorgetta, Luigi) 2. 29 11 Adesso ti capisco (Frugola, Talpa, Luigi, Voce di Sopranino, Voce di Tenorino) 2. 22 Dresdner Philharmonie 12 O Luigi! Luigi! (Giorgetta, Luigi) 1. 30 Concertmaster: Wolfgang Hentrich 13 Come? Non sei andato? (Michele, Luigi, Giorgetta) 1. 13 Assistant Conductor: Andreas Henning 14 Dimmi: perché gli hai chiesto di sbarcarti a Rouen? (Giorgetta, Luigi, Michele) 4. 36 15 Perché non vai a letto? (Michele, Giorgetta) 7. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
“Turandot” by Giacomo Puccini Libretto (English-Italian) Roles Personaggi
Giacomo Puccini - Turandot (English–Italian) 8/16/12 10:44 AM “Turandot” by Giacomo Puccini libretto (English-Italian) Roles Personaggi Princess Turandot - soprano Turandot, principessa (soprano) The Emperor Altoum, her father - tenor Altoum, suo padre, imperatore della Cina (tenore) Timur, the deposed King of Tartary - bass Timur, re tartaro spodestato (basso) The Unknown Prince (Calàf), his son - tenor Calaf, il Principe Ignoto, suo figlio (tenore) Liù, a slave girl - soprano Liú, giovane schiava, guida di Timur (soprano) Ping, Lord Chancellor - baritone Ping, Gran Cancelliere (baritono) Pang, Majordomo - tenor Pang, Gran Provveditore (tenore) Pong, Head chef of the Imperial Kitchen - tenor Pong, Gran Cuciniere (tenore) A Mandarin - baritone Un Mandarino (baritono) The Prince of Persia - tenor Il Principe di Persia (tenore) The Executioner (Pu-Tin-Pao) - silent Il Boia (Pu-Tin-Pao) (comparsa) Imperial guards, the executioner's men, boys, priests, Guardie imperiali - Servi del boia - Ragazzi - mandarins, dignitaries, eight wise men,Turandot's Sacerdoti - Mandarini - Dignitari - Gli otto sapienti - handmaids, soldiers, standard-bearers, musicians, Ancelle di Turandot - Soldati - Portabandiera - Ombre ghosts of suitors, crowd dei morti - Folla ACT ONE ATTO PRIMO The walls of the great Violet City: Le mura della grande Città Violetta (The Imperial City. Massive ramparts form a semi- (La Città Imperiale. Gli spalti massicci chiudono circle quasi that enclose most of the scene. They are interrupted tutta la scena in semicerchio. Soltanto a destra il giro only at the right by a great loggia, covered with è carvings and reliefs of monsters, unicorns, and rotto da un grande loggiato tutto scolpito e intagliato phoenixes, its columns resting on the backs of a mostri, a liocorni, a fenici, coi pilastri sorretti dal gigantic dorso di massicce tartarughe. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Chan 3013 Bookcover.Qxd 15/10/07 11:14 Am Page 1
Chan 3013 bookcover.qxd 15/10/07 11:14 am Page 1 Chan 3013 Clive Barda/P.A.L. reatreat OperaticOperatic CHANDOS O PERA IN ENGLISH GG AARIASRIAS Dennis O’Neill as Riccardo in the 1994 Royal Opera House production of Verdi’s Un ballo in maschera DENNIS O’NEILL PETE MOOES FOUNDATION CHAN 3013 BOOK.qxd 15/10/07 11:22 am Page 2 Great Operatic Arias with Dennis O’Neill Dennis O’Neill as Radames in the 1994 Royal Opera House production of Verdi’s Aida Photo © Donald Cooper 3 CHAN 3013 BOOK.qxd 15/10/07 11:22 am Page 4 Giacomo Puccini (1858–1924) from A Masked Ball from Turandot Gustavus’s and Amelia’s Duet 1 Calaf’s Aria – ‘None may sleep!’ 3:44 [p. 44] 6 ‘Take my hand…’ – 1:31 [p. 45] (Nessun dorma) 7 ‘Don’t you know in my heart and my spirit…’ – 4:52 [p. 46] 8 ‘The sweetest glowing fire of love…’ 3:45 [p. 47] Giuseppe Verdi (1813–1901) (Teco io sto – Non sai tu che se l’anima mia) from Luisa Miller with Susan Bullock soprano 2 Rodolfo’s Aria – ‘Oft in the quiet evening hour…’ 4:19 [p. 44] (Quando le sere al placido) Gaetano Donizetti (1797–1848) from Lucia di Lammermoor from The Lombards at the First Crusade Aria Finale 3 Oronte’s Cavatina – ‘My heart is full of happiness’ 2:20 [p. 44] 9 ‘My ancestors lie here buried…’ – 4:33 [p. 48] (La mia letizia infondere) 10 ‘A lonely grave will shelter me…’ – 3:36 [p.