The Four Italian Tenors Viva Italia
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Libretto Nabucco.Indd
Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane. -
Activities Overview 2018,2019 Success of Rohm Music Friends
Activities overview 2019 1 Nishinakamizu-cho, Saiin, Ukyo-ku, Kyoto 615-0044, Japan +81-75-331-7710 +81-75-331-0089 https://micro.rohm.com/en/rmf/ INDEX Objective, Detail of Operation, and Outline of the Foundation ………… 1 Directors, Trustees, Advisors and Members of Selection Committee … 2 Activities 2018 …………………………………………………………………………… 3 2019 …………………………………………………………………………… 9 Success of ROHM Music Friends …………………………………………… 15 (In chronological or alphabetical order.) 2019.9 Objective Directors Our foundation aims to contribute to the dissemination and development of the Japanese musical Chairman Ken Sato Chairman Emeritus ROHM CO., LTD. culture through the implementation of and financial support for music activities, and the provision of Managing Director Akitaka Idei Former Director, Member of the Board ROHM CO., LTD. scholarships for music students. Director Nobuhiro Doi President, Chairman of the Board The Bank of Kyoto, Ltd. Tadanobu Fujiwara President, Detail of Operation Chief Executive Officer ROHM CO., LTD. Yukitoshi Kimura Former Commissioner of the National Tax Agency Board Chairman, Zaikyo 1. Organizing music concerts and providing financial support for music activities Koichi Nishioka Journalist Director, Member of the Board ROHM CO., LTD. 2. Providing scholarships for both Japanese music students studying in Japan or abroad and overseas Seiji Ozawa Conductor music students studying in Japan Yasuhito Tamaki Lawyer Midosuji Legal Profession Corporation 3. Collecting, investigating and analyzing material related to music Mazumi Tanamura Guest Professor Tokyo College of Music Specially Appointed Principal Violist Tokyo Metropolitan Symphony Orchestra 4. Supporting overseas music research Shunichi Uchida Former Commissioner of the Consumer Affairs Agency President Kyoto International Conference Center Yasunori Yamauchi President and Editor in Chief The Kyoto Shimbun Newspaper Co., Ltd. -
La Traviata Synopsis 5 Guiding Questions 7
1 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of La Traviata Synopsis 5 Guiding Questions 7 The History of Verdi’s La Traviata 9 Guided Listening Prelude 12 Brindisi: Libiamo, ne’ lieti calici 14 “È strano! è strano!... Ah! fors’ è lui...” and “Follie!... Sempre libera” 16 “Lunge da lei...” and “De’ miei bollenti spiriti” 18 Pura siccome un angelo 20 Alfredo! Voi!...Or tutti a me...Ogni suo aver 22 Teneste la promessa...” E tardi... Addio del passato... 24 La Traviata Resources About the Composer 26 Online Resources 29 Additional Resources Reflections after the Opera 30 The Emergence of Opera 31 A Guide to Voice Parts and Families of the Orchestra 35 Glossary 36 References Works Consulted 40 2 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. Meet the Characters / The Story/ Resources Fostering familiarity with specific operas as well as the operatic art form, these sections describe characters and story, and provide historical context. Guiding questions are included to suggest connections to other subject areas, encourage higher-order thinking, and promote a broader understanding of the opera and its potential significance to other areas of learning. Guided Listening The Guided Listening section highlights key musical moments from the opera and provides areas of focus for listening to each musical excerpt. -
Signumclassics
170booklet 6/8/09 15:21 Page 1 ALSO AVAILABLE on signumclassics Spanish Heroines Silvia Tro Santafé Orquesta Sinfónica de Navarra Julian Reynolds conductor SIGCD152 Since her American debut in the early nineties, Silvia Tro Santafé has become one of the most sought after coloratura mezzos of her generation. On this disc we hear the proof of her operatic talents, performing some of the greatest and most passionate arias of any operatic mezzo soprano. Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 170booklet 6/8/09 15:21 Page 3 Rossini Mezzo Rossini Mezzo gratitude, the composer wrote starring roles for her in five of his early operas, all but one of them If it were not for the operas of Gioachino Rossini, comedies. The first was the wickedly funny Cavatina (Isabella e Coro, L’Italiana in Algeri) the repertory for the mezzo soprano would be far L’equivoco stravagante premiered in Bologna in 1. Cruda sorte! Amor tiranno! [4.26] less interesting. Opera is often thought of as 1811. Its libretto really reverses the definition of following generic lines and the basic opera plot opera quotes above. In this opera, the tenor stops Coro, Recitativo e Rondò (Isabella, L’Italiana in Algeri) has been described as “the tenor wants to marry the baritone from marrying the mezzo and does it 2. Pronti abbiamo e ferri e mani (Coro), Amici, in ogni evento ... (Isabella) [2.45] the soprano and bass tries to stop them”. by telling him that she is a castrato singer in drag. -
The Worlds of Rigoletto: Verdi╎s Development of the Title Role in Rigoletto
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Worlds of Rigoletto Verdi's Development of the Title Role in Rigoletto Mark D. Walters Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE WORLDS OF RIGOLETTO VERDI’S DEVELOPMENT OF THE TITLE ROLE IN RIGOLETTO By MARK D. WALTERS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2008 The members of the Committee approve the Treatise of Mark D. Walters defended on September 25, 2007. Douglas Fisher Professor Directing Treatise Svetla Slaveva-Griffin Outside Committee Member Stanford Olsen Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii I would like to dedicate this treatise to my parents, Dennis and Ruth Ann Walters, who have continually supported me throughout my academic and performing careers. iii ACKNOWLEDGEMENTS I would like to express my gratitude to Professor Douglas Fisher, who guided me through the development of this treatise. As I was working on this project, I found that I needed to raise my levels of score analysis and analytical thinking. Without Professor Fisher’s patience and guidance this would have been very difficult. I would like to convey my appreciation to Professor Stanford Olsen, whose intuitive understanding of musical style at the highest levels and ability to communicate that understanding has been a major factor in elevating my own abilities as a teacher and as a performer. -
L'opera a Portata Di Mano Aida
Bologna, lunedì 21 gennaio 2008 COMUNICATO STAMPA L’OPERA A PORTATA DI MANO La FONDAZIONE DEL MONTE di BOLOGNA E RAVENNA PRESENTA AIDA Di come la Guerra seppellisce l’Al’Amoremore di Gabriele Duma e Andrea Stanisci Si apre il 23 gennaio sera nel teatro di Marzabotto la tournèe dell’opera lirica AIDA , proposta attraverso una rivisitazione che permette a tutti coloro che per i più diversi motivi (luogo di abitazione, tempo, disponibilità economica, difficoltà di prenotazione, limitato periodo di programmazione…), pur desiderandolo, non riescono a frequentare le stagioni liriche. L’AIDA, infatti, verrà rappresentata nei teatri di Marzabotto, Casalecchio, San Giovanni in Persiceto, Budrio, Pieve di Cento. Il ciclo di rappresentazioni dell’AIDA è realizzato con il contributo della Fondazione del Monte di Bologna e Ravenna, la collaborazione della Associazione Eptagon Bonaventura ed il sostegno dell’Assessorato alla Cultura del comune di Porretta Terme e degli altri comuni promotori della Rassegna Crinali, che ha messo d’accordo i teatri di Marzabotto, Casalecchio, San Giovanni in Persiceto, Budrio, Pieve di Cento. Si tratta di un’operazione culturale che promuove un modello di spettacolo, come quello dell’opera lirica, che per molti fattori tende ad essere poco raggiungibile - tanto concettualmente quanto logisticamente ed economicamente - sia dal pubblico che dai teatri stessi: con questa rivisitazione, ridotta ad un ora e un quarto, nella quale si colgono i nuclei centrali dell’AIDA viene impiegata una compagnia di alto livello ma molto ridimensionata rispetto agli sfarzi che di solito impone l’opera verdiana, viene proposto un modello, per così dire, “sostenibile” per il pubblico e per gli stessi teatri (non sempre in grado di mettere in scena un’opera lirica per gli alti costi di rappresentazione e di allestimento). -
1 Prime+Trama TRAVIATA
Parma e le terre di Verdi 1-28 ottobre 2007 La Traviata Musica di GIUSEPPE VERDI Parma e le terre di Verdi 1-28 ottobre 2007 Parma e le terre di Verdi 1-28 ottobre 2007 main sponsor media partner Il Festival Verdi è realizzato anche grazie a e con il sostegno e la collaborazione di Teatro Verdi di Busseto Teatro Comunale di Modena iTeatri di Reggio Emilia Soci fondatori Consiglio di Amministrazione Presidente Pietro Vignali Sindaco di Parma Consiglieri Paolo Cavalieri Maurizio Marchetti Sovrintendente Mauro Meli Direttore musicale Bruno Bartoletti Segretario generale Gianfranco Carra Collegio dei Revisori Giuseppe Ferrazza Presidente Nicola Bianchi Andrea Frattini La Traviata Melodramma in tre atti su libretto di Francesco Maria Piave dal dramma La Dame aux camélias di Alexandre Dumas figlio Musica di GIUSEPPE V ERDI Editore Universal Music Publishing Ricordi srl, Milano Villa Verdi a Sant’Agata La trama dell’opera Atto primo Parigi, alla metà dell’Ottocento. È estate e c’è festa nella casa di Violetta Valéry, una famosa mondana: è un modo per soffocare l’angoscia che la tormenta, perché ella sa che la sua salute è gravemente minata. Un nobile, Gastone, presenta alla padrona di casa il suo amico Alfredo, che l’ammira sinceramente. L’attenzione che Violetta dimostra per la nuova conoscenza non sfugge a Douphol, il suo amante abituale. Mentre Violetta e Alfredo danzano, il giovane le dichiara tutto il suo amore e Violetta gli regala un fiore, una camelia: rivedrà Alfredo solo quando sarà appassita. Alla fine della festa, Violetta deve ammettere di essersi innamorata davvero, per la prima volta. -
Table of Contents More Information
Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Table of Contents More information Contents List of figures and table [page vii] List of examples [viii] Notes oncontributors [x] Preface [xiii] Chronology [xvii] r Part I Personal, cultural, and political context 1Verdi’s life: a thematic biography Mary Jane Phillips-Matz [3] 2The Italian theatre of Verdi’s day Alessandro Roccatagliati [15] 3Verdi, Italian Romanticism, and the Risorgimento Mary Ann Smart [29] r Part II The style of Verdi’s operas and non-operatic works 4Theforms of set pieces Scott L. Balthazar [49] 5Newcurrents in the libretto Fabrizio Della Seta [69] 6Words and music Emanuele Senici [88] 7French influences Andreas Giger [111] 8Structuralcoherence Steven Huebner [139] 9Instrumental music in Verdi’s operas David Kimbell [154] 10 Verdi’s non-operatic works Roberta Montemorra Marvin [169] r Part III Representative operas 11 Ernani: the tenor in crisis Rosa Solinas [185] 12 “Ch’hai di nuovo, buffon?” or What’s new with Rigoletto Cormac Newark [197] 13 Verdi’s Don Carlos:anoverviewoftheoperas Harold Powers [209] 14 Desdemona’s alienation and Otello’s fall Scott L. Balthazar [237] r Part IV Creation and critical reception 15 An introduction to Verdi’s working methods Luke Jensen [257] 16 Verdi criticism Gregory W.Harwood [269] [v] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Table of Contents More information vi Contents Notes [282] List of Verdi’s works [309] Select bibliography and works cited [312] Index [329] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. -
Rigoletto, Composes by Verdi: with an English Version, and the Music of the Principal Airs
No. 34. The only Edition that contains the Music and correct Words. RIGOLETTO, COMPOSES BY VERDI: WITH AN ENGLISH VERSION, AND THE MUSIC OF THE PRINCIPAL AIRS IjIBfipf l^g UNIFORM WITH THIS, IN FOREICN AND ENCLISH, With the Number of Pieces of Music printed in each. No. No. 1 Le Peophete with 9 Pieces 22 Fidklio with 5 Pieces 43 Crispino e la Comare 7 2 Noema 1- Pieces 23 L' Elisiee d'Amore 9 Pieces 44 Luisa Miller 14 3 IlBaebierediSivigliaH Pieces 24 Les Huguenots 10 Pieces 45 Marta 10 4 Otello 8 Pieces 25 I Puritani io Pieces 46 Zampa 8 5 Lucrezia Borgia 15 Pieces 20 Romeo e Giulietta 7 Pines 47 Macbeth 12 La Cekebbntola 10 Pieces 27 La Gazza Ladra 11 Pieces 48 II Giuramento 15 7 Linda di Chamouni ...10 Pieces 2S PiPEi.io (German) 5 Pieces 40 Matrimonio Segreto 10 8 Lek Fbeischtjtz (Hal.) 10 Pieces 2» Der FREiscnuiz (Ger.) lo Pieces 50 Orfeo e Eurydice 8 9 LUCIA DI LamMEEMOOR 10 Pieces so II Seraglio (German)... 7 Pieces > 51 Ballo in Maschera ...12 10 Don Pasquale 6 Pieces 31 Die Zaubeeflote (Ger) 10 Pieces ! 52 I Lombardi 14 11 La Favorita 8 Pieces 32 II Flauto Magico (Ita) 10 Pieces 63 La Forza del Destino 9 12 Medea (Mayer) 10 Pieces 33 II Trovatore 16 Pieces 64 Don Bucefalo 4 18 ]>cm Giovanni 11 Pieces 34, KlGOLETTO 10 Pieces 55 L'Italiana in Algeri... 8 | 50 Precauzioni 8 1 1 Semiramide 10 Pieces 35 Guglielmo Teli. 6 Pieces Le là Kunani 10 Pieces 30 La Traviata 12 Pieces 57 La Donna del Lago ...li Pieces I 8 Pieces 58 Orphee aux Enfees, Fr 9 l'ieres 16 Koiikkto II Diavolo .. -
Tuscia Operafestival™ Brings Italian Style to California IAOF Is Delighted
Tuscia Operafestival™ brings Italian Style to California IAOF is delighted to announce an exciting partnership with Italian luxury brand Bulgari, proud sponsors of the first edition of the “Italian Opera Festival”. Every night before the show will 'offer the public a free taste of the best wines and oils of the tuscia and Italy The Tuscia Operafestival™, now in its sixth season in the historic papal city of Viterbo, will see its Californian debut with the opening of the Italian Opera Festival™ in Orange County, the pearl of Southern California, at the Soka Performing Arts Center of Soka University in Aliso Viejo. The series of events will begin on Saturday, May 26th at 5:00 PM with a press conference hosted by the Italian Cultural Institute (1023 Hilgard Avenue, Los Angeles) and its director, Alberto Di Mauro, and will end on June 2nd, the “Festa della Repubblica”, national Italian holiday commemorating the independence of the Republic of Italy, to be celebrated at the Pico House (430 North Main Street, Los Angeles) in the presence of the Italian Consul General . This new version of our festival strives to promote the excellence of world renowned Italian products such as opera, art, wine, olive oil, water and fashion. The first cultural event, on Wednesday, May 30th at 7:00 PM, at the Soka Performing Arts Center (1 University Drive, Aliso Viejo) will be the recital of international opera star Bruno Praticò: "Buffo si nasce!" (We are Born Funny!), presenting operatic arias and duets by Italian composers Donizetti and Rossini. Recently featured at the LA Opera in the role of "Don Bartolo” in Rossini's Barbiere di Siviglia, Praticò is considered to be one of the greatest comic bass-baritone artists of our time. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Call for Applications for the Post of Artistic Director Dossier
CALL FOR APPLICATIONS FOR THE POST OF ARTISTIC DIRECTOR DOSSIER FUNDACIÓ PALAU DE LES ARTS REINA SOFÍA CONTENTS CONTENTS....................................................................................................................................2 FINANCIAL INFORMATION............................................................................................................2 DESCRIPTION OF THE ARTISTIC PROGRAMME.............................................................................3 WHO’S WHO AT ‘LES ARTS’.........................................................................................................25 FINANCIAL INFORMATION Financial information for 2014 - 2016 can be found on the transparency portal of Fundació Palau de les Arts Reina Sofía. The information is contained in the section Información económica, presupuestaria y estadística > CCAA e Informes de auditoría (Financial, Budgetary and Statistic Information > Annual Accounts and Audit Reports) (available in Spanish). Details of productions, concerts, and programmes for 2015 - 2018 can be found on the Fundació Palau de les Arts’ transparency portal. See the section titled Información institucional, organizativa y de planificación > Plan de actuación y programa de actividades (Information on the Institution, Organisation and Planning > Action Plan and Programmed Activities) (available in Spanish). 2 DESCRIPTION OF THE ARTISTIC PROGRAMME FINANCIAL YEAR 2017: PRODUCTIONS AND CONCERTS Description and key information The 2016-2017 Season (September 2016 to January