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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.
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Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
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MICHAEL FINNISSY at 70 the PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’S College, London
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2016). Michael Finnissy at 70: The piano music (9). This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17520/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] MICHAEL FINNISSY AT 70 THE PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’s College, London Thursday December 1st, 2016, 6:00 pm The event will begin with a discussion between Michael Finnissy and Ian Pace on the Verdi Transcriptions. MICHAEL FINNISSY Verdi Transcriptions Books 1-4 (1972-2005) 6:15 pm Books 1 and 2: Book 1 I. Aria: ‘Sciagurata! a questo lido ricercai l’amante infido!’, Oberto (Act 2) II. Trio: ‘Bella speranza in vero’, Un giorno di regno (Act 1) III. Chorus: ‘Il maledetto non ha fratelli’, Nabucco (Part 2) IV.
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Giuseppe Verdi Il Corsaro
GIUSEPPE VERDI IL CORSARO Molti fra i musicisti romantici attraversarono una fase byroniana. In alcuni casi - ad esempio Liszt e Berlioz - si può dire che essa abbia condizionato tutta la vita degli interessati. Per Verdi fu abbastanza breve e non durò che quei pochi anni durante i quali il compositore, nella condizione di giovane vedovo, dovette affrontare un pubblico esigente ed ostile. Nel 1844, alla prima commissione ricevuta da Venezia, Verdi aveva pensato di mettere in musica "The Bride of Abydos", anche se poi optò invece per "Ernani". Una lista di possibili soggetti operistici da lui redatta qualche tempo dopo includeva il "Cain" di Byron. "I due Foscari", pure destinati inizialmente a Venezia, debuttarono al Teatro Argentina di Roma. L'anno successivo, forse a causa di una ripicca con Ricordi (che aveva autorizzato la pubblicazione sulla rivista della casa, "La Gazzetta Musicale di Milano", di una recensione alquanto pungente della "Giovanna d'Arco"), Verdi firmò un contratto con Francesco Lucca, il principale concorrente del suo editore, per i diritti di tre opere, una delle quali da rappresentarsi a Londra. A quanto pare Lucca fu il primo ad istituire il sistema, in seguito adottato da Ricordi, in base al quale la commissione partiva dall'editore, che poi di conseguenza si assumeva l'onere di farla rappresentare in modo adeguato. A teatro inglese, soggetto inglese, fu il ragionamento di Verdi, in base al quale egli propose per l'opera londinese, il poema byroniano "The Corsair". Lucca dubitava forse dell'effetto che su di un pubblico britannico avrebbe potuto produrre un'opera italiana derivata da un classico letterario di casa; sua moglie Giovannina suggerì invece l'episodio di Ariodante dall' "Orlando Furioso", il quale dopo tutto si svolgeva in Scozia - anche se si tratta di una Scozia che chiunque tra i suoi figli farebbe fatica a riconoscere! Peraltro Verdi rispose picche: "Io faccio o il Corsaro o niente.
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Ernani Giuseppe Verdi Operas and Revision
Ernani Giuseppe Verdi Operas and Revision • Oberto, conte di San Bonifacio • First performance: Milan, Scala, 17 Nov 1839. • Un giorno di regio (Il Finto Stanislao) • First performance: Milan, Scala, 5 Sept 1840; alternative title used 1845 • Nabuccodonosor (Nabucco) • first performance: Milan, Scala, 9 March 1842 • Lombardi alla prima crociata • First performed: Milan, Scala, 11 Feb 1843 • Ernani • First performance: Venice, Fenice, 9 March 1844 • I due Foscari • First performance: Rome, Argentina, 3 Nov 1844 • Giovanna d’Arco • First performance: Milan, Scala, 15 Feb 1845 • Alzira • First performance: Naples, S Carlo, 12 Aug 1845 • Macbeth • First performance: Florence, Pergola, 14 March 1847 • I masnadieri • First performance: London, Her Majesty’s, 22 July 1847 • Jérusalem • First performance: Paris, Opéra, 26 Nov 1847 • Il Corsaro • First performance: Trieste, Grande, 25 October 1848 • La battaglia di Legnano • First performance: Rome, Argentina, 27 Jan 1849 • Luisa Miller • First performance: Naples, S Carlo, 8 Dec 1848 • Stiffelio • First performance: Trieste, Grnade, 16 Nov 1850; autograph used for Aroldo, 1857 • Rigoletto • First performance: Venice, Fenice, 11 March 1851 • Il trovatore • First performance: Rome, Apollo, 19 Jan 1853 • La Traviata • First performance: Venice, Fenice, 6 March 1853 • Les vêpres siciliennes • First performance: Paris, Opéra, 13 June 1855 • Simon Boccanegra • First performance: Venice, Fenice, 12 March 1857, rev. version Milan, Scala, 24 March 1881 • Aroldo • First performance: Rimini, Nuovo, 16 Aug 1857 • Un ballo in maschera • First performance: Rome, Apollo, 17 Feb 1859 • La forza del destino • First performance: St Petersburg, Imperial, 10 Nov 1862, rev. version Milan, Scala, 27 Feb 1869 • Don Carlos • First performance: Paris, Opéra, 11 March 1867, rev.
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Ritorna Vincitor!
CG1009 Degree Project, Bachelor, Classical Music, 15 credits 2014/15 Degree of Bachelor in Music Department of Classical Music Supervisor: David Thyrén Examiner: Peter Berlind Carlson Armi Harinen Ritorna vincitor! Interpretation of an aria in the opera Aida by Verdi The recorded element of this thesis is available at the library of the Royal College of Music in Stockholm. Summary This examination essay is a study of the aria Ritorna vincitor! from the opera Aida by composer Giuseppe Verdi. The aim of this study is to address the vocal and interpretational questions that may arise while learning the aria. My work with this essay has included searching for information about Verdi, the opera Aida and the cultural, political and musical climate wherein the opera was born. I have also watched the opera and listened to several versions of the aria. I concentrated especially on the interpretations of Mirella Freni, Leontyne Price and Maria Callas. I also created a musical analysis of the aria. Throughout the process of writing this essay I have kept in my mind my own perspective as a singer. I have formed my study from the information I find useful in the process of approaching a new piece of music. The process of writing this essay has provided me with a lot of insight into the musical ideals and ideas behind Verdi’s work. Writing this essay made me aware of the dilemma of fulfilling the vocal expectations of the tradition and at the same time interpreting the drama convincingly. I have found a lot of useful material for a singer’s artistic development and all that I have learned will certainly come into use in my future vocal studies.
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04-14-2018 Luisa Miller Mat.Indd
GIUSEPPE VERDI luisa miller conductor Opera in three acts Bertrand de Billy Libretto by Salvadore Cammarano, production Elijah Moshinsky based on the play Kabale und Liebe by Friedrich von Schiller set and costume designer Santo Loquasto Saturday, April 14, 2018 lighting designer 12:30–4:00 PM Duane Schuler revival stage director Gregory Keller The production of Luisa Miller was made possible by a generous gift from Catherine and Ephraim Gildor The revival of this production is made possible by a gift from Rolex and Mrs. Jayne Wrightsman general manager Peter Gelb music director designate Yannick Nézet-Séguin 2017–18 SEASON The 91st Metropolitan Opera performance of GIUSEPPE VERDI’S This performance luisa miller is being broadcast live over The Toll Brothers– Metropolitan Opera conductor International Radio Bertrand de Billy Network, sponsored by Toll Brothers, in order of vocal appearance America’s luxury ® homebuilder , with miller generous long-term Plácido Domingo support from The Annenberg luisa Foundation, The Sonya Yoncheva Neubauer Family Foundation, the laura Vincent A. Stabile Rihab Chaieb** Endowment for Broadcast Media, rodolfo and contributions Piotr Beczała from listeners worldwide. wurm Dmitry Belosselskiy Visit List Hall at the first intermission for count walter the Toll Brothers- Alexander Vinogradov Metropolitan Opera Quiz. federica Olesya Petrova This performance is also being broadcast a peasant live on Metropolitan Patrick Miller Opera Radio on SiriusXM channel 75. Saturday, April 14, 2018, 12:30–4:00PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
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Press Release Philharmonia Records Verdi
Philharmonia Records c/o Opernhaus Zürich Bettina Auge Pressereferentin Falkenstrasse 1 CH-8008 Zürich T + 41 44 268 64 34 [email protected] Zürich, 8. September 2017 Philharmonia Records presents: Giuseppe Verdi – Ouvertures and Preludes Giuseppe Verdi composed over 30 operas, though only about half of them are still regularly staged. For the latest studio recording with the Philharmonia Zürich, Fabio Luisi has cho- sen overtures and preludes from Verdi’s whole creative period. Next to popular masterpieces like the overture to «La forza del destino», the selection ranges from the earliest works by Verdi, which strongly remind of Rossini and Donizetti, over exceptional preludes he wrote for «Macbeth» or «La traviata» for example, to rarely performed overtures such as «I vespri sicil- iani» or «La battaglia di Legnano». A special highlight on this recording is the long version of the overture to «Aida», which is never heard in combination with opera. Furthermore, the ballet music for the French version of «Don Carlos» also found its way onto the album. Thus, the compilation unites pieces that belong to the day-to-day repertoire of the Philharmonia Zurich with those that are also rarities to orchestra musicians. Available worldwide as of now. CD 1 CD 2 1) La forza del destino 1) Luisa Miller 2) Aida 2) La battaglia di Legnano 3) Don Carlos 3) Il corsaro 4) Un ballo in maschera 4) I masnadieri 5) I vespri siciliani 5) Macbeth 6) La traviata 6) Giovanna d’Arco 7) Stiffelio 7) Ernani 8) Jerusalem 9) Nabucco 10) Un giorno di regno 11) Oberto Running time: 127.44 min Please find enclosed your personal review copy.
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La Traviata March 5 – 13, 2011
O p e r a B o x 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 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards.
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RIGOLETTO Onciseness
WARNING OF COPYRIGHT RESTRICTIONS1 The copyright law of the United States (Title 17, U.S. Code) governs the maKing of photocopies or other reproductions of the copyright materials. Under certain conditions specified in the law, library and archives are authorized to furnish a photocopy or reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than in private study, scholarship, or research.” If a user maKes a reQuest for, or later uses, a photocopy or reproduction for purposes in excess of “fair use,” that user may be liable for copyright infringement. The Yale University Library reserves the right to refuse to accept a copying order, if, in its judgement fulfillment of the order would involve violation of copyright law. 137 C.F.R. §201.14 2018 OPERA 101 A COMPLETE GUIDE TO LEARNING AND LOVING OPERA FRED PLOTKIN it, iHYPERION N E W YORK • 189 • RIGOLETTO onciseness. Some people think that one of the highest compli- its c ments that can be paid to an opera is that "there is not an extra note in it." This means that every word and every note have meaning in 4. the opera and that the work would be less than perfect without them. An opera does not have to be short to merit this accolade. The RIGOLETTO same has been said of Wagner's five-and-a-half-hour Götterdäm- merung, and, with only the slightest hesitation, I would agree. But LEARNING YOUR FIRST OPERA the fact that Verdi can pack an equal musical and dramatic punch in half that time is in itself quite an achievement.
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Verdi at 200: Recent Scholarship on the Composer and His Works Linda B
University of Richmond UR Scholarship Repository University Libraries Faculty and Staff ubP lications University Libraries 2013 Verdi at 200: Recent Scholarship on the Composer and His Works Linda B. Fairtile University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/university-libraries- publications Part of the Musicology Commons Recommended Citation Fairtile, Linda. "Verdi at 200: Recent Scholarship on the Composer and His Works ." Notes 70,no. 1 (2013): 9-36. This Article is brought to you for free and open access by the University Libraries at UR Scholarship Repository. It has been accepted for inclusion in University Libraries Faculty and Staff ubP lications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. VERDI AT 200: RECENT SCHOLARSHIP ON THE COMPOSER AND HIS WORKS By Linda B. Fairtile छ In December 2012 the Italian media were ablaze with outrage as the Teatro alla Scala inaugurated its new season with a performance of Lohengrin. Opening La Scala with a Wagner opera is nothing new: in 1898 Arturo Toscanini chose Die Meistersinger to begin his tenure as music direc- tor there. In the recent case, however, the timing struck many as a deliber- ate slight. Although both Verdi and Wagner were born in 1813, on the eve of their shared bicentennial Italy’s most prestigious opera house selected the German for the honor of an opening night. Certainly, politics played a part in the Italian press’s reaction. With the struggling economy forced to look northward for support, any whiff of German advantage was bound to rankle.
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Winter 2020 Syllabus: Viva Verdi! Opera and Birth of Modern Italy Tuesdays, January 21 Through March 3, 2020, 1:00-3:00Pm (NOT
Winter 2020 Syllabus: Viva Verdi! Opera and Birth of Modern Italy Tuesdays, January 21 through March 3, 2020, 1:00-3:00pm (NOTE: NO CLASS ON FEBRUARY 11) Freight and Salvage, 2020 Addison St., Berkeley, CA Professor: Clifford “Kip” Cranna, Dramaturg Emeritus, San Francisco Opera The leading artist of Italy’s reunification into a single country in the mid-Nineteenth Century was the great composer Giuseppe Verdi. His operatic masterworks brought to the stage the values and issues of the “Risorgimento” movement, giving vivid creative expression to the ideals of his time. His stirring and melodious music provided a common bond for peoples divided by political boundaries, customs, and dialects. Verdi’s personal life—his humble beginnings, his professional triumphs and family tragedies, his moral integrity, his patriotic yearnings—became symbolic of an emerging nation’s vital spirit. We will explore Giuseppe Verdi’s life and art in their historical context and use video examples (with English subtitles) to examine in detail his magnificent music dramas, whose creative genius continues to thrill audiences everywhere. No previous opera background required. Just watch, listen, and enjoy. Class I (Jan. 21): Verdi and his Time: We’ll learn about the composers and styles that influenced the young Verdi, and get a sampling of his first opera, Oberto, and his early comedy, Un Giorno di Regno (King for a Day), then look at his first big success, the brusquely energetic Nabucco. Class II (Jan. 28): Early slam-bam hits: Ernani (part of San Francisco Opera’s June 2020 season), Attila (yes, an opera about Atilla the Hun), and his first Shakespearean opera, Macbeth.
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