DOCSLIB.ORG

'Documento Del Mes' (JUNIO, 2014)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
'Documento Del Mes' (JUNIO, 2014) EL DOCUMENTO DEL MES junio de 2014 EL DOCUMENTO DEL MES Junio 2014 Cuentas de los gastos de los Corrales de Comedias. Contiene sólo las Nóminas de los empleados del Coliseo de los Caños del Peral correspondientes a los meses de octubre, noviembre y diciembre de 1787 y enero de 1788. 1787-1788 ARCHIVO REGIONAL DE LA COMUNIDAD DE MADRID Diputación Provincial Signatura 5085/2 0 EL DOCUMENTO DEL MES junio de 2014 0 Archivo Regional de la Comunidad de Madrid C/ Ramírez de Prado, 3. 28045 Madrid AUTOBUSES DE LA EMPRESA MUNICIPAL DE TRANSPORTES (EMT) § c/ Ramírez de Prado: autobús nº 8 § Paseo de las Delicias: autobuses nº 19, 45, 59, 85, 86 y 247 METRO DE MADRID: § Línea 3, estación Delicias § Línea 6, estación Méndez Álvaro § Línea 1, estación Atocha CERCANÍAS RENFE: § Líneas C-1, C-7 y C-10, estación Delicias § Líneas C-1, C-7 y C-10, estación Méndez Álvaro § Todas las Líneas, estación Atocha ACCESO AL CENTRO Libre y gratuito previa presentación de DNI, NIE , pasaporte o documento equivalente. HORARIOS Lunes a jueves de 9:00 a 21:00 horas y viernes de 9:00 a 14:00 horas. El Centro permanecerá cerrado todos los sábados y domingos, los días festivos de ámbito nacional, regional y local según el calendario anual, y los días 24 y 31 de diciembre. Unidad de Difusión y Divulgación Subdirección General de Archivos Dirección General de Bellas Artes, del Libro y de Archivos Consejería de Empleo, Turismo y Cultura COMUNIDAD DE MADRID Telf. 91 720 89 92 Correo electrónico: difusió[email protected] 1 EL DOCUMENTO DEL MES junio de 2014 Nómina de los sueldos de los miembros de la orquesta empleados en el Coliseo los Caños del Peral en el mes de enero de 1788 2 EL DOCUMENTO DEL MES junio de 2014 Nómina de los sueldos de la Compañía de Operistas empleados en el Coliseo de los Caños del Peral en el mes de enero de 1788. 3 EL DOCUMENTO DEL MES junio de 2014 A estos eventos se asistía bien por invitación de los LOS CORRALES DE organizadores bien de forma libre y gratuita, pero luchando por encontrar un hueco en medio de la COMEDIAS muchedumbre. El nuevo teatro, como expresión de un naciente capitalismo, se desarrolló en locales cerrados a los que se accedía a través de una puerta que se franqueaba a todo el que estuviera dispuesto a abonar el precio de la entrada. El fenómeno de la configuración del Teatro Moderno se ensayó en toda Europa. Desempeñaron un papel trascendental en su evolución las compañías italianas que deambulaban de un lugar a otro. En España surgen los lugares para la representación comercial: teatros cerrados con localidades separadas para los distintos sectores de un variado público en el que estaban representados casi todos los estamentos Primitivo Corral de Comedias. Ilustración de Ramón Rodríguez sociales, desde la más alta nobleza (incluida, a veces, la (http://parnaseo.uv.es) Casa Real) hasta modestos artesanos, soldados, Durante los siglos XVI y XVII, en el conjunto de los comerciantes, mujeres del pueblo, eclesiásticos e países occidentales se experimentó en busca de un tipo intelectuales. de teatro que pudiera interesar a un público amplio y variado. El siglo XVII fue el momento de esplendor de los Corrales de Comedias, y único lugar de La creación de lo que se ha llamado el Teatro Moderno representación teatral hasta que en 1640 se no es solo la configuración de una valiosa literatura inauguró el Coliseo del Buen Retiro, y con él dramática, sino de toda una industria del espectáculo que requiere que existan actores, técnicamente una nueva etapa en la Historia del Teatro. En preparados y seleccionados con rigor, que se la ciudad de Madrid no quedan restos de constituyan compañías, con una compleja estructura ninguno de sus corrales. empresarial, que se forme un público entusiasta y crítico y que se acondicionen o construyan lugares para la representación. En Madrid, en 1565 se funda la Cofradía de la Sagrada Pasión, que regentaba un Corral de Comedias. En 1567 En la Edad Media aún no existían los teatros; los se crea la Cofradía de Nuestra Señora de la Soledad, con cuentos, romances, etc… se divulgaban por calles, los mismos fines. Ambas se unen en 1568 para ejercer plazas, posadas, casas particulares, salones de palacios, el monopolio de las representaciones teatrales. incluso en los conventos. Los Corrales de Comedias fueron creados por estas Hasta las décadas finales del siglo XVI no hubo edificios Cofradías con el fin de que los ingresos sufragaran los dedicados al teatro en España. El teatro vive en los gastos de los enfermos de sus hospitales. patios universitarios, en los atrios de las iglesias o en el interior de los templos, en los palacios aristocráticos o Las Cofradías, para evitar el pago de alquileres, en las calles y plazas. construyeron sus propios teatros, el uno en la calle de la Cruz, en 1579, y el otro en la del Príncipe, abierto al Por entonces el teatro tenía mucho éxito entre todas las público en 1583, desapareciendo a la larga todos los capas sociales, aunque las representaciones teatrales demás corrales de Madrid, que eran varios. también tenían sus detractores pues algunos sectores no veían el teatro con muy buenos ojos ya que El siglo XVII fue el momento de esplendor de estos consideraban que propiciaba las malas costumbres. Pero locales, y único lugar de representación teatral hasta estaba muy arraigado en la vida cotidiana, siendo el que en 1640 se inauguró el Coliseo del Buen Retiro, y único medio de distracción de mucha gente y la excusa con él una nueva etapa en la Historia del Teatro. En la perfecta para salir de casa, lo cual facilitó que ciudad de Madrid no quedan restos de ninguno de sus sobreviviera. corrales. 4 EL DOCUMENTO DEL MES junio de 2014 Libro de asientos de productos de comedias desde el 7 de junio de 1579 hasta el año de 1586. Archivo Regional de la Comunidad de Madrid. Signatura 5084/1 Los corrales de comedias se crearon, por lo general, donde el Corral del Príncipe se trasformó en el teatro del aprovechando los patios interiores de las manzanas o Príncipe y, más tarde, en el Teatro Español. cuadras de casas. De esa forma, su coste se reducía, ya que se aprovechaban las galerías, corredores y Los corrales de comedias presentaban, en esencia, una aposentos que rodeaban el patio central. Bastaba misma estructura, aunque existieran entre ellos construir un tablado. diferencias de detalle y gran variedad de tamaños, ajustados a las necesidades de cada población: La planta era, normalmente, cuadrada, aunque, a veces, estas construcciones adoptaron una planta en forma de ü Se accedía a través de una puerta, situada debajo herradura y se llamaron coliseos o casas de comedias. de la vivienda que daba a la plaza o calle. Lo primero que encontramos es un vestíbulo o zaguán, Sólo ocasionalmente, se levantaron edificios creados ex donde estaba la alojería, una dependencia en que profeso para la representación teatral. se servían bebidas como la aloja (compuesta de agua, miel y especias aromatizantes). Los La mayor parte de estos corrales de comedias han acomodadores o alojeros, vendían en verano agua, desaparecido con el paso del tiempo. La razón de esta fruta y frutos secos. ruina es simple: se trata siempre de modestas construcciones, sin especial interés arquitectónico, ü El escenario estaba instalado en un extremo del realizadas con materiales de bajo coste. patio, contra la pared de la casa del fondo. Solía ser sencillo. Contaba con un telón decorado y con En los siglos XVIII y XIX se sustituyeron por teatros paneles para ambientar la escena. El escenario y las cerrados, a la italiana, iluminados con la luz artificial de gradas laterales estaban protegidas por un tejadillo las candilejas y con un escenario preparado para voladizo. Un toldo de tela permitía techar el corral cambiar diversas escenografías. A menudo estas salas para resguardar del sol el público del patio. Tras él se construyeron sobre el solar que ocupaba el antiguo estaba el vestuario. corral de comedias. Así ocurre, por ejemplo, en Madrid, 5 EL DOCUMENTO DEL MES junio de 2014 ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü ü Vista transversal de un Corral de Comedias en el üque se aprecian sus partes y estructura ü ü poleas u otros mecanismos que podían usarse en la representación. ü En los huecos formados por los pies derechos y las galerías se colocaban unos paños o cortinas que podían abrirse y descubrir las apariencias (pinturas u objetos de atrezzo) que constituían una escenografía elemental. ü Para representar algunas acciones, sobre todo en comedias de santos o mitológicas, se usaban escotillones (trampillas en el tablado por las que aparecían o desaparecían los personajes), tramoyas Sección transversal del Teatro: escenario con tablados, corredores y vestuario, gradas, bancos, aposentos de ventana y balcón y desvanes. (máquinas para elevar o bajar a los actores desde las galerías superiores al escenario) o bofetones ü El tablado era, en todos los casos, de pequeñas (paneles de madera que giran sobre un eje para que dimensiones. Al fondo del tablado se levantaban, personajes u objetos aparezcan o desaparezcan sobre varios pies derechos (apoyo de madera, repentinamente ante el espectador). especie de jamba para sostener alguna bóveda, puerta, ventana, …), una galería, de unos 70 cm. de ü Frente al escenario estaba el patio descubierto, ancho, que se usaba para representar los lugares donde los hombres del pueblo, también llamados elevados.
Load more

Recommended publications
  • 3. Monody and Opera
    Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced
    [Show full text]
  • Music and Science from Leonardo to Galileo International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca
    MUSIC AND SCIENCE FROM LEONARDO TO GALILEO International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) The present conference has been made possibile with the friendly support of the CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE MUSIC AND SCIENCE FROM LEONARDO TO GALILEO Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Virtual conference 13-15 November 2020 Programme Committee: VICTOR COELHO (Boston University) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) RUDOLF RASCH (Utrecht University) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) ef Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) FRIDAY 13 NOVEMBER 14.45-15.00 Opening • FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) 15.00-16.00 Keynote Speaker 1: • VICTOR COELHO (Boston University), In the Name of the Father: Vincenzo Galilei as Historian and Critic ef 16.15-18.15 The Galileo Family (Chair: Victor Coelho, Boston University) • ADAM FIX (University of Minnesota), «Esperienza», Teacher of All Things: Vincenzo Galilei’s Music as Artisanal Epistemology • ROBERTA VIDIC (Hochschule für Musik und Theater Hamburg), Galilei and the ‘Radicalization’ of the Italian and German Music Theory • DANIEL MARTÍN SÁEZ (Universidad Autónoma de Madrid), The Galileo Affair through
    [Show full text]
  • Forgotten Reality, Remembered Fiction, Production Values and Court Opera
    INFORMATION TO USERS This manuscript has been repockiced frwn the mkdilrn master. UMI films the text directly ftom the original or copy submitted. Thus, some thesis and dissertation copies are in Merface, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Brdcen or indistinct print, cdored or poor quality illustrations and photographs, print Meedttrmugh, substandard margins, and impmper alignment can adversely affect reprodudion. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e-g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuirlg from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, MI 48106-1346 USA 800-521-0600 FORGOTTEN mITY, REMEMBERED FICTION: PRODUCTION VALUES AND COURT OPERA, 1598-1608 Peter Eliot Weiss A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto O Copyright by Peter Eliot Weiss 1999 National Library Biblioth4que nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395.
    [Show full text]
  • The Accademia Degli Alterati and the Invention of a New Form Of
    chapter 3 The Accademia degli Alterati and the Invention of a New Form of Dramatic Experience: Myth, Allegory, and Theory in Jacopo Peri’s and Ottavio Rinuccini’s Euridice (1600)* Déborah Blocker On the evening of 6 October 1600, as part of the week-long festivities celebrat- ing the wedding by proxy of Maria de’ Medici and Henry IV of France, a new type of divertimento was staged inside the Pitti Palace in Florence. The per- formance was given in the apartments of Don Antonio de’ Medici (1576–1621) for the enjoyment of the official wedding guests of Grand Duke Ferdinando I de’ Medici (1549–1609), as well as a small number of Florentine courtiers. The piece was a poetic text set to music, staging a happy-ended version of the myth of Orpheus and Eurydice in stile recitativo. It bore the title Euridice and is often considered today to have constituted the first courtly opera. The performance also included an element that is usually absent from most modern operas: it was enhanced by ballets, sometimes involving the whole cast, as during the finale.1 Euridice’s libretto had been composed by the poet Ottavio Rinuccini (1562–1621), while the music was a creation of Jacopo Peri (1561–1633), both artists having worked in close collaboration with their patron, the Florentine merchant and music lover Jacopo Corsi (1561–1602). Corsi had financed and organised most of the court performance and went so far as to play the harpsi- chord to support the efforts of his protégés during the event. These men were not only tied by bonds of patronage and friendship; they were also tightly * I am very grateful to Tim Carter for his thorough comments on one of the last drafts of this essay.
    [Show full text]
  • Cultural Exchange, Brokerage Networks, and Social Representation in Early Mode
    Cover Page The handle http://hdl.handle.net/1887/32883 holds various files of this Leiden University dissertation. Author: Goudriaan, Elisa Johanna Title: The cultural importance of Florentine patricians. Cultural exchange, brokerage networks, and social representation in early modern Florence and Rome (1600-1660) Issue Date: 2015-04-30 The patricians’ contribution to cultural events 295 6 The patricians’ contribution to cultural events the Medici organised for public ceremonies and in honour of visiting guests Introduction The Medici created status in many ways, and one of them was its use of court ceremonies like marriage spectacles, the baptism of a new prince, memo- rial ceremonies, and festivities to honour a visiting cardinal, king, prince, or duke.1259 All these ceremonies helped create a positive image of the Medici fam- ily and Grand Duchy for the Tuscans as well as at other European courts. The 1259 Conrieri 2001: 43-52; Fantoni 1999: 265. Important persons who visited Florence in the first half of the seventeenth century were the Cardinals Montalto and Del Monte, (in 1595), the prince of Modena (in 1605), Prince Federigo di Urbino (in 1616), Prince Condé Henri II Bourbon (in 1623) and Prince Wladyslaw of Poland (in 1625). Important marriages that took place in the same period were: • 1600 Maria de’ Medici and Hendry IV of France • 1608 Cosimo II de’ Medici and Maria Maddalena of Austria • 1617 Caterina de’ Medici and Ferdinando Gonzaga of Mantua • 1621 Claudia de’ Medici and Federigo d’Urbino • 1626 Claudia de’ Medici and Archbishop Leopoldo of Austria • 1628 Margherita de’ Medici and Odoardo Farnese of Parma • 1637 Ferdinand II de’ Medici and Vittoria della Rovere.
    [Show full text]
  • Open FINAL THESIS.Pdf
    The Pennsylvania State University The Graduate School School of Music THE PHILOSOPHICAL FOUNDATION AND POLITICAL FUNCTION OF SPAIN’S RECITADO IN CELOS AUN DEL AIRE MATAN (1661) A Thesis in Musicology by Stephanie Haddock de Jesús © 2016 Stephanie Haddock de Jesús Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2016 The thesis of Stephanie Haddock de Jesús was reviewed and approved* by the following: Marica S. Tacconi Professor of Musicology Thesis Adviser Mark C. Ferraguto Assistant Professor of Musicology Sue E. Haug Professor of Music Director of the School of Music *Signatures are on file in the Graduate School. ii! ABSTRACT This thesis focuses on the development of opera in one of the world’s largest empires during the sixteenth and seventeenth centuries, Spain. Musicologists such as Louise K. Stein, José María Domínguez, and José Subirá have researched the first evidence of the Italian genre in the Spanish royal court. Two contrasting arguments have resulted from their conclusions. The first argument states that the Spanish opera does not follow the Italian model of the late seventeenth century and therefore does not attest to Italian influence. On the other hand, other musicologists argue that the Spanish genre does reflect the Italianate taste of the Spanish court, but that past research is tainted with nationalism. These seemingly opposing conclusions may be reconciled through an analysis of the political and philosophical context surrounding the evolution of opera in Spain. The first surviving, fully sung Spanish opera, Celos aun del aire matan (1661), composed by Juan Hidalgo (1614-1685) on a libretto by Don Pedro Calderón de la Barca (1600-1681), provides the groundwork for this thesis.
    [Show full text]
  • Myth, Allegory, and Theory in Jacopo Peri’S and Ottavio Rinuccini’S Euridice (1600)*
    chapter 3 The Accademia degli Alterati and the Invention of a New Form of Dramatic Experience: Myth, Allegory, and Theory in Jacopo Peri’s and Ottavio Rinuccini’s Euridice (1600)* Déborah Blocker On the evening of 6 October 1600, as part of the week-long festivities celebrat- ing the wedding by proxy of Maria de’ Medici and Henry IV of France, a new type of divertimento was staged inside the Pitti Palace in Florence. The per- formance was given in the apartments of Don Antonio de’ Medici (1576–1621) for the enjoyment of the official wedding guests of Grand Duke Ferdinando I de’ Medici (1549–1609), as well as a small number of Florentine courtiers. The piece was a poetic text set to music, staging a happy-ended version of the myth of Orpheus and Eurydice in stile recitativo. It bore the title Euridice and is often considered today to have constituted the first courtly opera. The performance also included an element that is usually absent from most modern operas: it was enhanced by ballets, sometimes involving the whole cast, as during the finale.1 Euridice’s libretto had been composed by the poet Ottavio Rinuccini (1562–1621), while the music was a creation of Jacopo Peri (1561–1633), both artists having worked in close collaboration with their patron, the Florentine merchant and music lover Jacopo Corsi (1561–1602). Corsi had financed and organised most of the court performance and went so far as to play the harpsi- chord to support the efforts of his protégés during the event. These men were not only tied by bonds of patronage and friendship; they were also tightly * I am very grateful to Tim Carter for his thorough comments on one of the last drafts of this essay.
    [Show full text]
  • Le Voci Del Museo. 22 Collana Di Museologia E Museografia Le Voci Del Museo Collana Di Museologia E Museografia
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Florence Research Le Voci del Museo. 22 Collana di Museologia e Museografia le voci del museo collana di museologia e museografia Collana diretta da Cristina De Benedictis Antonio Paolucci Comitato scientifico Luca Basso Peressut Pellegrino Bonaretti Enzo Borsellino Pietro Clemente Marisa Dalai Emiliani Paola D’Alconzo Michela Di Macco Arturo Fittipaldi Elena Fumagalli Antonella Gioli Donata Levi Maria Cecilia Mazzi Raffaella Morselli Giuseppe Olmi Marinella Pigozzi Cecilia Prete Emanuela Rossi Massimiliano Rossi Ettore Spalletti Maria Letizia Strocchi Segreteria Scientifica Maria Maugeri Donatella Pegazzano Committenza e collezionismo nel Cinquecento La famiglia Corsi a Firenze tra musica e scultura Le Voci del Museo. 22 Il volume è stato finanziato sui fondi MURST del progetto PRIN 2007 © Copyright 2010 by Edifir Edizioni Firenze s.r.l. Via Fiume, 8 – 50123 Firenze Tel. 05528639 – Fax 055289478 www.edifir.it – [email protected] Responsabile editoriale Elena Mariotti Stampa Pacini Editore Industrie Grafiche Progetto Grafico Heartfelt Graphic Design Studio – Milano isbn 978-88-7970-451-9 Ringraziamenti L’autrice desidera ringraziare tutti coloro che, in vario modo, hanno contribuito alla buona riuscita di questo lavoro ed in particolar modo: Giovanni Guicciardini Corsi Salviati (†), Cristina De Benedictis, Bruno Bruscagli, Antonio Mazzinghi, Michele Maccherini, Alessandra Giannotti. Referenze fotografiche Metropolitan Museum, New York; Zamek Kròlewski, Ciechanowiecki Foundation, Warsaw (Maciej Bronarski); Mu- seo Archeologico Regionale A. Salinas, Palermo; Lensini Foto, Siena. In copertina Orazio Mochi, Stemma Corsi, Firenze, palazzo Corsi Fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall’art.
    [Show full text]
  • The Monteverdi Project"
    From the Director Good Evening All, I am overjoyed to be writing my first director's note for UNI Opera! Welcome to "The Monteverdi Project". Tonight we feature several students from the School of Music in three short pieces by Claudio Monteverdi. It was a joy to work with these artists and help them interpret these works through a modern lens. It is thrilling to produce an evening of music that is as striking today as it was when it was written almost four HUNDRED years ago (Il combattimento di Tancredi e Clorinda premiered in 1624!). Please join me in recognizing the bravery and discipline these students have that allowed this evening to come to fruition. Despite a worldwide pandemic, these artists opened their hearts and allowed us to all be together again, even if only just for a little while. With deepest gratitude, Richard Gammon Director of Opera Program 7:30 p.m. performance “Lamento della ninfa” La ninfa Athena-Sadé Whiteside Coro Aricson Jakob, Dylan Klann, Brandon Whitish Actor Collin Ridgley “Lamento d’Arianna” -fragment- Arianna Joley Seitz “Il combattimento di Tancredi e Clorinda” Il testo Alyssa Holley Tancredi Jovon Eborn Clorinda Deanna Ray Eberhart -INTERMISSION- 9 p.m. performance “Lamento della ninfa” La ninfa Athena-Sadé Whiteside Coro Aricson Jakob, Dylan Klann, Brandon Whitish Actor Collin Ridgley “Lamento d’Arianna” -fragment- Arianna Joley Seitz “Il combattimento di Tancredi e Clorinda” Il testo Alyssa Holley Tancredi Aricson Jakob Clorinda Madeleine Marsh Production Team Conductor/Harpsichordist . .Korey Barrett Stage Director . Richard Gammon Set and Lighting Designer . .W. Chris Tuzicka Costume Designer .
    [Show full text]
  • Dramatic Experience Drama and Theatre in Early Modern Europe
    Dramatic Experience Drama and Theatre in Early Modern Europe Editor-in-Chief Jan Bloemendal (Huygens Institute for the History of the Netherlands) Editorial Board Cora Dietl (Justus-Liebig-Universität Gieβen ) Peter G.F. Eversmann (University of Amsterdam) Jelle Koopmans (University of Amsterdam) Russell J. Leo (Princeton University) Volume 6 The titles published in this series are listed at brill.com/dtem Dramatic Experience The Poetics of Drama and the Early Modern Public Sphere(s) Edited by Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat LEIDEN | BOSTON This is an open access title distributed under the terms of the CC-BY-NC License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Cover illustration: Bauerntheater (Peasants’ Theatre), by Jakob Placidus Altmutter, c. 1805. Pen-and-wash drawing, 179 × 254 mm. Courtesy of Innsbruck, Tiroler Landesmuseum Ferdinandeum, Grafische Sammlungen, TBar/1149. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/ Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 2211-341X isbn 978-90-04-32975-1 (hardback) isbn 978-90-04-32976-8 (e-book) Copyright 2017 by the Editors and the Authors. This work is published by Koninklijke Brill NV. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. Koninklijke Brill NV reserves the right to protect the publication against unauthorized use and to authorize dissemination by means of offprints, legitimate photocopies, microform editions, reprints, translations, and secondary information sources, such as abstracting and indexing services including databases.
    [Show full text]
  • 1 the Palazzo, Collections, and Musical Patronage of Niccolò Gaddi
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Andrews Research Repository The Palazzo, Collections, and Musical Patronage of Niccolò Gaddi (1536-91) Laura Moretti This article examines the collection of musical instruments and music books (both published editions and manuscripts) belonging to the Florentine Niccolò di Sinibaldo Gaddi. One of the greatest collectors and patrons of the arts of his time, in the 1570s and 1580s he organized and fit out one of the largest private collections of the era in the so-called casa dell’orto. Today it is possible to reconstruct not only the scope of his collections but also the breadth of his incredibly rich library thanks to an unpublished inventory from 1628 and analyses of other primary sources. Around forty musical instruments and a group of one hundred and thirty volumes of printed and manuscript music books were among the thousands of objects exhibited. The identification of several of them has made it possible to advance new hypotheses on the contributions made to the collection by various members of the family. Niccolò di Sinibaldo Gaddi was one of the greatest collectors and patrons of the arts in Florence in the second half of the sixteenth century (Fig. 1).1 He was the last descendent of a family that had played a leading role in the political, religious and cultural life of the city for over four centuries, and was able to boast among its members the painters Gaddo (c.1239-c.1312), Taddeo (c.1290-1366) and Agnolo (c.1350-96), the secretary
    [Show full text]
  • Carlo Milanuzzi's Quarto Scherzo and the Climate of Venetian Popular
    CARLO MILANUZZI’S QUARTO SCHERZO AND THE CLIMATE OF VENETIAN POPULAR MUSIC IN THE 1620S Cory Michael Gavito, B.M.E. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2001 APPROVED: Deanna D. Bush, Major Professor Michael B. Collins, Major Professor Thomas P. Sovík, Minor Professor Lester D. Brothers, Chair of the Department of Music Theory, History, and Ethnomusicology, College of Music Graham Phipps, Chair of Graduate Studies, College of Music Thomas Clark, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Gavito, Cory Michael, Carlo Milanuzzi’s Quarto Scherzo and the Climate of Venetian Popular Music in the 1620s. Master of Music (Musicology), August 2001, 93 pp., 2 tables, 12 illustrations, references, 53 titles. Although music publishing in Italy was on the decline around the turn of the seventeenth century, Venice emerged as one of the most prolific publishing centers of secular song in Italy throughout the first three decades of the 1600s. Many Venetian song collections were printed with alfabeto, a chordal tablature designed to facilitate even the most untrained of musicians with the necessary tools for accompanying singers on the fashionable five-course Spanish guitar. Carlo Milanuzzi’s Quarto Scherzo (1624) stands out among its contemporary Venetian song collections with alfabeto as an anthology of Venetian secular songs, including compositions by Miniscalchi, Berti, and Claudio and Francesco Monteverdi. Issues surrounding its publication, instrumentation, and musical and poetic style not only contribute to the understanding of Venetian Baroque monody, but also help to construe a repertory of vocal music with defining characteristics usually associated with popular music of the 19th, 20th, and 21st centuries.
    [Show full text]