The Other Pasquale
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OLIVO E PASQUALE Hdemia Santagiulia All’Opera Per Olivo E Pasquale 7 Maggio – 3 Giugno 2017 – Fondazione Cicogna Rampana, Palazzolo Sull’Oglio
ALLESTIMENTO PER L’OPERA OLIVO E PASQUALE Hdemia SantaGiulia all’opera per Olivo e Pasquale 7 maggio – 3 giugno 2017 – Fondazione Cicogna Rampana, Palazzolo sull’Oglio L’esposizione, organizzata nell’ambito della spettacolo. Il libretto di Ferretti e la partitura di Donizetti manifestazione Le Meraviglie della Terra del Fiume sono stati da loro interpretati in una chiave comico- promossa dal Comune di Palazzolo, è curata dalla Scuola surreale che potesse, in qualche modo, trasmettere agli di Scenografia dell’Accademia di Belle Arti SantaGiulia di spettatori di oggi lo spirito e il divertimento tipici degli Brescia. Allestita dalla docente Michela Andreis e dalle allestimenti originali ottocenteschi. studentesse Daniela Bertuzzi, Arianna Delgado e Sara Sarzi Sartori, la mostra illustra il lavoro da loro svolto Come si diceva, la mostra di Palazzolo dà conto nell’allestimento dell’opera buffa di Gaetano Donizetti dell’importante lavoro di allestimento svolto dalla Scuola Olivo e Pasquale, che ha debuttato al Teatro Sociale di di Scenografia dell’Accademia SantaGiulia, che è consistito Bergamo il 26 ottobre 2016, aprendo la stagione operistica nella progettazione e in buona parte della realizzazione di 2016/2017 del Teatro Donizetti (per le informazioni tutte le scene e dei 55 costumi dello spettacolo (11 per dettagliate, si veda la scheda dello spettacolo a p. 2). i personaggi principali, i restanti per il coro). I visitatori potranno visionare i materiali prodotti sia nel corso Il progetto di allestimento è nato da un’idea di Francesco -
Caterina Corner in Venetian History and Iconography Holly Hurlburt
Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol. -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'. -
Gaetano Donizetti
Gaetano Donizetti ORC 3 in association with Box cover : ‘ Eleonore, Queen of Portugal’ by Joos van Cleve, 1530 (akg-images/Erich Lessing) Booklet cover : The duel, a scene from Gioja’s ballet Gabriella di Vergy , La Scala, Milan, 1826 Opposite : Gaetano Donizetti CD faces: Elizabeth Vestris as Gabrielle de Vergy in Pierre de Belloy’s tragedy, Paris, 1818 –1– Gaetano Donizetti GABRIELLA DI VERGY Tragedia lirica in three acts Gabriella.............................................................................Ludmilla Andrew Fayel, Count of Vergy.......................................................Christian du Plessis Raoul de Coucy......................................................................Maurice Arthur Filippo II, King of France......................................................John Tomlinson Almeide, Fayel’s sister...................................................................Joan Davies Armando, a gentleman of the household...................................John Winfield Knights, nobles, ladies, servants, soldiers Geoffrey Mitchell Choir APPENDIX Scenes from Gabriella di Vergy (1826) Gabriella..............................................................................Eiddwen Harrhy Raoul de Coucy............................................................................Della Jones Royal Philharmonic Orchestra Conductor: Alun Francis –2– Managing director: Stephen Revell Producer: Patric Schmid Assistant conductor: David Parry Consultant musicologist: Robert Roberts Article and synopsis: Don White English libretto: -
JOAN SUTHERLAND John Pritchard (1918–89)
JOAN SUTHERLAND John Pritchard (1918–89). Walthamstow-born, John Pritchard learned his craft as principal conductor of the Derby String Orchestra, before joining the music staff of Glyndebourne in 1947. Appointed Chorus Master in 1949, he was soon sharing major Mozart productions with Fritz Busch, conducting the London Philharmonic Orchestra there and swiftly expanding his repertoire. The company’s Musical Director from 1969 to 1977, he was also a regular guest at the Royal Opera, where in 1955 he conducted the premiere of Tippett’s A Midsummer Marriage. His opera and concert work encircled the globe, with periods at the helm of many companies and orchestras, notably the Royal Liverpool Philharmonic and BBC Symphony. He was knighted in 1983. Though his full diary could result in perfunctory routine, fiery theatricality and a grasp of essentials inform his best work – not least in many studio and off-air recordings made with his ‘home’, Glyndebourne company, and for BBC radio. Joan Sutherland (1926–2010). The world-renowned soprano Joan Sutherland left her Sydney home for London in 1952, with the ultimate aim of singing Wagner. Contracted to Covent Garden, she felt her future lay in heavy, dramatic roles; and her early assignments there included Amelia in Verdi’s Un ballo in maschera and the title role in Aida. Soon her breathtaking agility, crystalline staccatos and unique stratospheric purity became evident – not least as Jenifer in Tippett’s The Midsummer Marriage, followed swiftly by the doll Olympia in Offenbach’s Les contes d’Hoffmann (both 1955). Although increasingly identified with the bel canto repertoire, until her 1959 Covent Garden triumph in Donizetti’s Lucia di Lammermoor she kept her options open. -
Drugstore Liceo
al salir ... LAUNION Y EL FENIX f1M D RUGSTORE LICEO ESPAÑOL~ ~·s..-- - .......... - MIOAI.LA Ol OIO A1 MOno 1H n SIGUIO revistas postal es foto-cine discos casserres '::00 toda la no0 ... Domicilio Social: RESTAURANTE INTERMEZZO Paseo de la Castellana, '31 i a todas horas ! Estreno en España de CATERINA CORNARO Opera en un prólogo y dos actos 15 cuadrosl. libreto de GIACOMO SACCHERO CATERINA CORNARO música de GAET ANO DONIZETTI Versión actualizada por el maestro REPAR T O RUBINO PROFETA Caterina Cornara MONTSERRAT CABALLE Gherardo JAIME ARAGALL Lusignano RENATO BRUSON Andrea Cornara ANTONIO BORRAS Mocenigo SILVANO PAGLIUCA Strozzi JOSE MANZANEDA Matilde CECILIA FONDEVILA Un caballero JOSE RUIZ Caro General Cuerpo de Baíle Maestro Director CARLO F. CILLARIO INAUGURACION Director de Escena DIEGO MONJO Decorades NICOLA BENOIS DE LA TEMPORADA Maestro de Caro RICCARDO BOmNO Coreógrafo y Maestro de Baile JUAN MAGRifiiA Maestro Apuntador JOAN DORNEMANN JUEVES 8 DE NOVIEMBRE DE 1973 Vestuario: lzquierdo. - Muebles: Miró. - Zapateria y peluqueria: Damaret-Valldeperas. - Atrezzo y armeria NOC HE propledad de la Empresa. 1. 1 de propiedad y abono a noches OROUESTA SINFONICA DEL GRAN TEATRO DEL LICEO Turnos B y Extraordinar(o El vestuario de la Sra. Caballé, es una creaclón de Modas Fefe. ARGUMENTO La acción tiene lugar en Venecia y Nicosia en 1.472 prólogo CUADRO I El salón d e ballPe del alacio Cornaro, en Venecia Los lnvltados estan reunidos para festejar los esponsales entre Caterina, hlja de Andrea Cornara y Gherardo. un joven noble francés. La feliz pareja esta preparandose para ir a la iglesla cuando una extraña mascara se acer ca a Andrea. -
Donizetti Night
FONDAZIONE DONIZETTI 2016 STAGIONE DEDICATA A GIANANDREA GAVAZZENI DONIZETTI ALTA CITTÀ NIGHT DAL 7 AL 10 GIUGNO: BEFORE THE NIGHT BERGAMO SABATO 11 GIUGNO 11 SABATO 11 GIUGNO Concerti e spettacoli invadono Bergamo Alta per vivere una notte all’insegna del Donizetti Pride In collaborazione con i commercianti di Bergamo Alta ABenergie è la luce della Donizetti Night www.donizetti.org BEFORE THE NIGHT MARTEDÌ 7 GIUGNO GIOVEDÌ 9 GIUGNO 19.00 – Lime, Spalti di San Giacomo 18.00 – via Borgo Palazzo 100/H Donizetti en plein air Gaetano Pietro Micheletti, Mattia Sonzogni sax Pigmented 7 – 10 Inaugurazione del murale realizzato dagli artisti 20.30 – Teatro Donizetti Frederico Draw e ALMA nell’ambito del progetto 35° Premio Abbiati Oltrevisioni a cura di Pigmenti, Cooperativa socia- le Patronato San Vincenzo e Comune di Bergamo, Cerimonia di consegna dei premi assegnati con il contributo di Fondazione Cariplo dall’Associazione Nazionale Critici Musicali Seguirà aperitivo in collaborazione con Edoné e Donizetti Revolution vol. 2 dj set in collaborazione con Bauhaus GIUGNO Francesco Micheli, il baritono Bruno Taddia Iniziative promosse in collaborazione e il pianista Samuele Pala introducono alla Stagione 18.30 – Il Circolino con i commercianti di Bergamo Alta 2016: parole, musica, video nel segno di Donizetti e dei capolavori che compongono il nuovo cartellone Summer Ingresso libero. Prenotazione consigliata DoReDrink Aperitivo donizettiano in Città Alta MERCOLEDÌ 8 GIUGNO 21.00 – Fuoriporta House 18.30 – Domus Magna, Sala Locatelli Donizetti. -
Portrait of Caterina Cornaro (1454 –1510) Dressed As St Catherine of Alexandria C.1542 (Oil on Canvas) by Titian (C.1588 –1576)
ORC48 Box cover and CD faces : Portrait of Caterina Cornaro (1454 –1510) dressed as St Catherine of Alexandria c.1542 (oil on canvas) by Titian (c.1588 –1576). Galleria degli Uffizi, Florence, Italy/ The Bridgeman Art Library Book cover : Caterina Cornaro by Hans Makart (1840 –1884). © Belvedere, Vienna Opposite : Gaetano Donizetti (Opera Rara Archive) –1– Gaetano Donizetti CATERINA CORNARO Tragedia lirica in a prologue and two acts Libretto by Giacomo Sacchèro Caterina Cornaro............................................................Carmen Giannattasio Andrea Cornaro, Caterina’s father ..........................................Graeme Broadbent Gerardo, a young Frenchman ( in the prologue bethrothed to Caterina ).....................................................................Colin Lee Lusignano, King of Cyprus ..................................................................Troy Cook Mocenigo, a counsellor of the Dieci in Venice and Venetian ambassador in Cyprus .................................................................Vuyani Mlinde Strozzi, a leader of mercenary cut-throats ...............................................Loïc Félix A Knight of the King...........................................................................Loïc Félix Matilde, Caterina’s confidante .........................................................Sophie Bevan Knights, Ladies, Gondoliers, Populace, Soldiers, Cut-throat ruffians, Guards BBC Singers Renato Balsadonna, chorus director BBC Symphony Orchestra Stephen Bryant, leader David Parry, conductor -
Michele Carafa E La Sua Gabriella Alexander Weatherson
Michele Carafa e la sua Gabriella Alexander Weatherson Can any composer ever have had a longer pedigree - or shorter claim to fame - than Michele-Enrico-Francesco-Vincenzo-Aloiso-Paulo Carafa dei principi di Colobrano? Born on 7 November 1787 of a dynasty of mathematicians, territorial potentates, and larger-than-life Cardinals whose gilded tentacles touched the papacy (Paul IV) while taking most of the powerful positions the Renaissance had to offer, the second son of Don Giovanni Carafa, duca D'Alvito could have expected nothing less than a happy life of privilege in Naples. His cultural credentials were impeccable. It was in the palazzo Carafa that the first known comic opera in Neapolitan dialect was given in honour of Don Tiberio Carafa, principe di Chiusano in 1707; Don Giuseppe Carafa was Paisiello's first patron; a cousin, Don Marzio-Gaetano Carafa, principe di Colobrano, was an accomplished church musician, while a yet more distant kinsman, Don Giovanni Carafa, duca di Noja, presided over the fortunes of the redoubtable Conservatorio di S.Sebastiano as its Sovrintendente, doubling this responsibility with the precarious task of guiding the destiny of the Royal Theatres in Naples (until 1820). Thus, Michele Carafa's own career as a composer was neither demeaning nor odd, nor in fact totally unexpected. Until, that is, Bonaparte took a hand and turned him into a soldier. But while at military college in Naples, the inevitable destiny of a second son, Carafa studied music with Francesco Ruggi and in 1802 wrote two juvenile cantatas for home consumption, Achille e Deidamia and Il natale di Giove, which were of such significance to his early ambitions that the manuscripts were still in his possession at the time of his death some seventy years later. -
La Fille Du Régiment
LELELELE BUGUE BUGUEBUGUEBUGUE Salle Eugène Le Roy Réservation : Maison de la Presse Le Bugue 05 53 07 22 83 Gaetano Donizetti LA FILLE DU RÉGIMENT Orpheline, Marie was taken in by Sergeant Sulpice, who employs him as a cantinière in his regiment. Crazy in love with Marie, the young peasant Tonio engages in the battalion to see her every day. When the Marquise of Berkenfield reveals the true identity of Mary, who is her daughter, the young woman could be separated forever from Tonio. Acclaimed by the lyric press, South African soprano Pretty Yende returns to the stage of the Met opposite the tenor Javier Camarena for an opera of great vocal virtuosity under the baton of Enrique Mazzola. The alchemist Donizetti's expertise once again acts with this unique blend of melancholy and joy. Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal fireworks—including the show-stopping tenor aria “Ah! Mes amis … Pour mon âme,” with its nine high Cs. Alessandro Corbelli and Maurizio Muraro trade off as the comic Sergeant Sulpice, with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. And in an exciting piece of casting, stage and screen icon Kathleen Turner makes her Met debut in the speaking role of the Duchess of Krakenthorp. Enrique Mazzola conducts. Conductor Marie Marquise Enrique Pretty Stéphanie Mazzola Yende Blythe soprano Mezzo soprano Duchess Tonio Sulpice Kathleen Javier Maurizio Turner Camarena Muraro actress tenor Bass Production : Laurent Pelly DATE : 2nd March 2019 Time : 6.25pm Opera en 2 acts by Giacomo Puccini LA FILLE DU RÉGIMENT World Premiere : Opéra Comique, Paris, 1840. -
JOS-075-1-2018-007 Child Prodigy
From the Bel Canto Stage to Reality TV: A Musicological View of Opera’s Child Prodigy Problem Peter Mondelli very few months, a young singer, usually a young woman, takes the stage in front of network TV cameras and sings. Sometimes she sings Puccini, sometimes Rossini, rarely Verdi or Wagner. She receives praise from some well meaning but uninformed adult Ejudge, and then the social media frenzy begins. Aunts and uncles start sharing videos, leaving comments about how talented this young woman is. A torrent of blog posts and articles follow shortly thereafter. The most optimistic say that we in the opera world should use this publicity as a means to an end, to show the world at large what real opera is—without ever explaining how. Peter Mondelli The sentiment that seems to prevail, though, is that this performance does not count. This is not real opera. Opera was never meant to be sung by such a voice, at such an age, and under such conditions. Two years ago, Laura Bretan’s performance of Puccini’s “Nessun dorma” on America’s Got Talent evoked the usual responses.1 Claudia Friedlander responded admirably, explaining that there are basic physiological facts that keep operatic child prodigies at a distance from vocally mature singers.2 More common, however, are poorly researched posts like the one on the “Prosporo” blog run by The Economist.3 Dubious claims abound—Jenny Lind, for exam- ple, hardly retired from singing as the post claims at age twenty-nine, the year before P. T. Barnum invited her to tour North America.