Cherubini Luigi
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Cherubini Luigi
CHERUBINI LUIGI Compositore italiano (Firenze, 14 IX 1760 - Parigi, 15 III 1842) 1 Decimo figlio di Bartolomeo (Firenze 21 X 1726 - 10 IX 1792), sostituto clavicembalista al teatro della Pergola, e di Veridiana Bosi, iniziò lo studio della musica sotto la guida paterna; a nove anni, morta nel frattempo la madre, andò a scuola presso Bartolomeo ed Alessandro Felici, padre e figlio, i quali proprio allora avevano aperto in Firenze una specie di "bottega" per l'insegnamento del contrappunto. Al 1773 risale la prima composizione elencata in quel catalogo di tutte le sue opere che Cherubini istituì più tardi e tenne fedelmente aggiornato sino alla vigilia della morte. Si tratta di una Messa in Re con accompagnamento di strumenti, cui tengono dietro, nel periodo dal 1773 al 1777 due Intermezzi, due Messe, un Oratorio, altra musica sacra e una Cantata. In seguito a questi precoci successi, il granduca Pietro Leopoldo di Lorena concedette a Cherubini una borsa di studio affinché il giovane musicista potesse stabilirsi nella vicina Bologna e frequentare le lezioni di G. Sarti. Il trasferimento a Bologna ebbe luogo nel 1778, ma non durò molto perché Sarti, nel 1779, vinse il concorso per un posto di maestro di Cappella nel Duomo di Milano e a Milano portò seco il suo allievo. Qui Cherubini compose altre musiche sacre (che non si trovano più) a titolo di studio; e da Milano, nello stesso anno 1779, si recò ad Alessandria per musicare e far rappresentare in quel teatro, nella stagione della fiera d’autunno, il suo primo melodramma Quinto Fabio. Poi rientrò a Milano, dove nel 1780 scrisse le 6 Sonate per clavicembalo. -
Donizetti Operas and Revisions
GAETANO DONIZETTI LIST OF OPERAS AND REVISIONS • Il Pigmalione (1816), libretto adapted from A. S. Sografi First performed: Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo. • L'ira d'Achille (1817), scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini. First performed: Possibly at Bologna where he was studying. First modern performance in Bergamo, 1998. • Enrico di Borgogna (1818), libretto by Bartolomeo Merelli First performed: November 14, 1818 at Teatro San Luca, Venice. • Una follia (1818), libretto by Bartolomeo Merelli First performed: December 15, 1818 at Teatro San Luca,Venice. • Le nozze in villa (1819), libretto by Bartolomeo Merelli First performed: During Carnival 1820-21 at Teatro Vecchio, Mantua. • Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), libretto by Gherardo Bevilacqua-Aldobrandini First performed: December 26, 1819 at the Teatro San Samuele, Venice. • Zoraida di Granata (1822), libretto by Bartolomeo Merelli First performed: January 28, 1822 at the Teatro Argentina, Rome. • La zingara (1822), libretto by Andrea Tottola First performed: May 12, 1822 at the Teatro Nuovo, Naples. • La lettera anonima (1822), libretto by Giulio Genoino First performed: June 29, 1822 at the Teatro del Fondo, Naples. • Chiara e Serafina (also known as I pirati) (1822), libretto by Felice Romani First performed: October 26, 1822 at La Scala, Milan. • Alfredo il grande (1823), libretto by Andrea Tottola First performed: July 2, 1823 at the Teatro San Carlo, Naples. • Il fortunate inganno (1823), libretto by Andrea Tottola First performed: September 3, 1823 at the Teatro Nuovo, Naples. -
Lucia Di Lammermoor
LUCIA DI LAMMERMOOR An in-depth guide by Stu Lewis INTRODUCTION In Gustave Flaubert’s Madame Bovary (1857), Western literature’s prototypical “Desperate Housewives” narrative, Charles and Emma Bovary travel to Rouen to attend the opera, and they attend a performance of Lucia di Lammermoor. Perhaps Flaubert chose this opera because it would appeal to Emma’s romantic nature, suggesting parallels between her life and that of the heroine: both women forced into unhappy marriages. But the reason could have been simpler—that given the popularity of this opera, someone who dropped in at the opera house on a given night would be likely to see Lucia. If there is one work that could be said to represent opera with a capital O, it is Lucia di Lammermoor. Lucia is a story of forbidden love, deceit, treachery, violence, family hatred, and suicide, culminating in the mother of all mad scenes. It features a heroic yet tragic tenor, villainous baritones and basses, a soprano with plenty of opportunity to show off her brilliant high notes and trills and every other trick she learned in the conservatory, and, to top it off, a mysterious ghost haunting the Scottish Highlands. This is not to say that Donizetti employed clichés, but rather that what was fresh and original in Donizetti's hands became clichés in the works of lesser composers. As Emma Bovary watched the opera, “She filled her heart with the melodious laments as they slowly floated up to her accompanied by the strains of the double basses, like the cries of a castaway in the tumult of a storm. -
Aladdin, Ali Baba, Sinbad and the Tales of Scheherazade Pdf Free
ONE THOUSAND AND ONE ARABIAN NIGHTS : ALADDIN, ALI BABA, SINBAD AND THE TALES OF SCHEHERAZADE Author: Wen-Chin Ouyang Number of Pages: 480 pages Published Date: 17 Nov 2020 Publisher: Flame Tree Publishing Publication Country: London, United Kingdom Language: English ISBN: 9781839642388 DOWNLOAD: ONE THOUSAND AND ONE ARABIAN NIGHTS : ALADDIN, ALI BABA, SINBAD AND THE TALES OF SCHEHERAZADE One Thousand and One Arabian Nights : Aladdin, Ali Baba, Sinbad and the Tales of Scheherazade PDF Book " " " Kaplan MCAT General Chemistry Review: Book OnlineMore people get into medical school with a Kaplan MCAT course than all major courses combined. com This book is a reproduction of an important historical work. The Essential Oils Handbook: All the Oils You Will Ever Need for Health, Vitality and Well-BeingAt the dawn of the 21st century, the old paradigms of medicine have begun to fall apart. Source: Article in Journal of American Dental Association Don't just say, 'Ah!' Be a smart dental consumer and get the best information on one of the most important health investments you can make!A visit to the dentist is about more than just brushing and flossing. Metaphysics Medicine: Restoring Freedom of Thought to the Art and Science of HealingThomas Kuhn's "The Structure of Scientific Revolutions" is one of the best known and most influential books of the 20th century. Intended for advanced undergraduate or graduate courses that conduct cultural or cross-cultural research including cross-(cultural) psychology, culture and psychology, or research methodsdesign courses in psychology, anthropology, sociology, cultural studies, social work, education, geography, international relations, business, nursing, public health, and communication, the book also appeals to researchers interested in conducting cross-cultural and cultural studies. -
SCHEHERAZADE a Musical Fantasy
Alan Gilbert Music Director SCHEHERAZADE A Musical Fantasy School Day Concerts 2013 Resource Materials for Teachers Education at the New York Philharmonic The New York Philharmonic’s education programs open doors to symphonic music for people of all ages and backgrounds, serving over 40,000 young people, families, teachers, and music professionals each year. The School Day Concerts are central to our partnerships with schools in New York City and beyond. The pioneering School Partnership Program joins Philharmonic Teaching Artists with classroom teachers and music teachers in full-year residencies. Currently more than 4,000 students at 16 New York City schools in all five boroughs are participating in the three-year curriculum, gaining skills in playing, singing, listening, and composing. For over 80 years the Young People’s Concerts have introduced children and families to the wonders of orchestral sound; on four Saturday afternoons, the promenades of Avery Fisher Hall become a carnival of hands-on activities, leading into a lively concert. Very Young People’s Concerts engage pre-schoolers in hands-on music-making with members of the New York Philharmonic. The fun and learning continue at home through the Philharmonic’s award-winning website Kidzone! , a virtual world full of games and information designed for young browsers. To learn more about these and the Philharmonic’s many other education programs, visit nyphil.org/education , or go to Kidzone! at nyphilkids.org to start exploring the world of orchestral music right now. The School Day Concerts are made possible with support from the Carson Family Charitable Trust and the Mary and James G. -
Grand Finals Concert
NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel) -
Ludwig Van Beethoven Hdt What? Index
LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father. -
Soviet-Indian Coproductions: Ali Baba As Political Allegory
Soviet-Indian Coproductions: Ali Baba as Political Allegory by MASHA SALAZKINA Abstract: This essay considers the history of Soviet Indian coproductions focusing on Ali Baba and 40 Thieves (1980) as a political allegory over the fate of the multination state. It addresses the formal utopian character of the fi lm and the excessive threat of sexual violence in the song-and-dance numbers. he subject of this essay is the little studied phenomenon of the Soviet-Indian cinematic coproductions. While giving a general outline of the history of these coproductions, I focus primarily on the most commercially successful of these joint efforts, Ali Baba and 40 Thieves (Alibaba Aur 40 Chor/Priklyucheniya Ali-Baby Ti soroka razboinikov, Latif Faiziyev and Umesh Mehra, 1980), henceforward Alibaba. I argue that the fi lm contains a political allegory expressing anxiety over the fate of the multination state; that anxiety lies beneath the formal utopian character of the fi lm, which attempts to show the constitution of a new community on the screen and to defi ne the role of its political subject in the face of crime and governmental corruption. I will address these issues through discussing the directors’ choice of the material (a story from One Thousand and One Nights, or The Arabian Nights, as it is better known in English); the narrative structure of the fi lm; performance histories of the Indian and Soviet actors; and, fi nally, through a reading of the excessive threat of sexual violence concentrated in the fi lm’s song-and-dance numbers. Alibaba, I con- tend, is of interest not only due to the formal and institutional hybridization of two autonomous cinematic traditions, Indian and Soviet, but also as a cultural object which displays a shared anxiety over the role of the state as its existing political and economic order moves palpably toward the brink of collapse. -
Marino Faliero
www.ferragamo.com VENEZIA Calle Larga XXII Marzo, 2093 FONDAZIONE TEATRO LA FENICE DI VENEZIA FONDAZIONE TEATRO LA FENICE DI VENEZIA Paolo Costa presidente Cesare De Michelis Pierdomenico Gallo Achille Rosario Grasso Mario Rigo Valter Varotto Giampaolo Vianello consiglieri Giampaolo Vianello sovrintendente Sergio Segalini direttore artistico Marcello Viotti direttore musicale Angelo Di Mico presidente Luigi Braga Adriano Olivetti Maurizia Zuanich Fischer SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. Marino Faliero La Fenice prima dell’Opera 2002-2003 8 FONDAZIONE TEATRO LA FENICE DI VENEZIA Marino Faliero azione tragica in tre atti libretto di Giovanni Emanuele Bidera musica di Gaetano Donizetti Teatro Malibran venerdì 20 giugno 2003 ore 20.00 turni A-Q domenica 22 giugno 2003 ore 15.30 turno B martedì 24 giugno 2003 ore 20.00 turni D-R venerdì 27 giugno 2003 ore 20.00 turni E-H domenica 29 giugno 2003 ore 15.30 turni C-I-V Gaetano Donizetti all’epoca di Zoraida di Granata (Roma, Teatro Argentina, 1822). Miniatura su avorio. Sommario 7 La locandina 9 «È traditor chi è vinto / E tal son io» di Michele Girardi 11 Marino Faliero: libretto e guida all’opera a cura di Giorgio Pagannone 63 Marino Faliero in breve a cura di Gianni Ruffin 65 Argomento – Argument – Synopsis – Handlung 73 Paolo Fabbri «Fosca notte, notte orrenda» 89 Francesco Bellotto L’immaginario scenico del Marino Faliero 103 Guido Paduano L’individuo e lo stato. Byron, Delavigne, Donizetti 128 Il contratto del Marino Faliero 133 Emanuele Bidera Marino Faliero, libretto della prima versione, a cura di Maria Chiara Bertieri 151 Francesco Bellotto Bibliografia 157 Online: Marin Faliero «dux VeNETiarum» a cura di Roberto Campanella 165 Gaetano Donizetti a cura di Mirko Schipilliti Il frontespizio del libretto pubblicato per la prima italiana (Firenze, 1836). -
How Arabs Are Laughably Derided in Animations
Original Article KOME − An International Journal of Pure Communication Inquiry Cartoonin g Humor: How Arabs Volume 3 Issue 2, p. 64-74. © The Author(s) 2015 are Laughably Derided in Reprints and Permission: [email protected] Animations Published by the Hungarian Communication Studies Association DOI: 10.17646/KOME.2015.25 Mohamed Belamghari Mohammed First University, Morocco Abstract: Some animated movies use humor to capture the full attention of its audience. In so doing, the movie’s messages have become a great concern for many theorists and critics by virtue of the idea that a movie can be a repository of ideologies meant to construct a certain type of easy-going and noncritical audience. This paper, therefore, takes the example of Max Fleischer’s Popeye the Sailor Meets Ali Baba and his Forty Thieves (1937) and Robert Clampett’s Ali Baba Bound (1941) as its case studies aiming at spotting the different manifestations of humor, taking Arabs as its subject-matter, becoming a leaked ideology and taming the discourse that is amplified, manipulated, and delivered to the Western public in unwarrantable ways compared to the imagery of Westerners. Keywords: Passive/silent spectatorship, Humor, Anachronism, Ideology, Stereotypes The bleak visions of quite a few novels of the period are couched in a bitterly irreverent humor that has the capacity to shock readers out of their apathy and self-pity; to produce an angry laughter that is hopefully more productive than despair; to disorient in order to reorient. (Al-Nowaihi 2005: 295) It has often been remarked that part of the philosophy of humor is to draw unexpected results from unexpected situations. -
The False Caliph ROBERT G
The False Caliph ROBERT G. HAMPSON 1 heat or no heat, the windows have to be shut. nights like this, the wind winds down through the mountain passes and itches the skin on the backs of necks: anything can happen. 2 voices on the radio drop soundless as spring rain into the murmur of general conversation. his gloved hands tap lightly on the table-top as he whistles tunelessly to himself. his partner picks through a pack of cards, plucks out the jokers and lays down a mat face down in front of him. 285 286 The 'Arabian Nights' in English Literature the third hones his knife on the sole of his boot: tests its edge with his thumb. 3 Harry can't sleep. Mezz and the boys, night after night, have sought means to amuse him to cheat the time till dawn brings the tiredness that finally takes him. but tonight everything has failed. neither card-tricks nor knife-tricks - not even the prospect of nocturnal adventures down in the old town has lifted his gloom. they're completely at a loss. then the stranger enters: the same build the same face the same dress right down to the identical black leather gloves on the hands The False Caliph 287 which now tap contemptuously on the table while he whistles tunelessly as if to himself. Appendix W. F. Kirby's 'Comyarative Table of the Tales in the Principal Editions o the Thousand and One Nights' from fhe Burton Edition (1885). [List of editions] 1. Galland, 1704-7 2. Caussin de Perceval, 1806 3. -
Riccardo Muti Conductor Cherubini Overture in G Major Liszt Les
Program ONe HuNDreD TweNTieTH SeASON Chicago symphony orchestra riccardo muti Music Director Pierre Boulez Helen regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, April 8, 2011, at 1:30 riccardo muti Conductor Cherubini Overture in G Major First Chicago Symphony Orchestra performances Liszt Les préludes IntermIssIon shostakovich Symphony No. 5 in D Minor, Op. 47 Moderato—Allegro non troppo—Largamente Allegretto Largo Allegro non troppo—Allegro Maestro Muti’s 2011 Spring Residency is supported in part by a generous grant from the National Endowment for the Arts. Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PHi LLiP HuSCHer Luigi Cherubini Born September 14, 1760, Florence, Italy. Died March 15, 1842, Paris, France. overture in g major n 1841, the year before he died, Beethoven and Haydn were in the ILuigi Cherubini had his portrait audience and spoke glowingly of painted by his close friend, the the work. Mendelssohn admired popular neoclassical artist Jean- Cherubini the opera composer for Auguste-Dominique Ingres. The “his sparkling fire, his clever and painting now hangs in the Louvre, unexpected transitions, and the where it is admired by millions of neatness and grace with which he visitors each year; it has become the writes.” Bruckner learned how to lasting image of a major composer write his own sacred music by copy- who is regularly overlooked, if not ing out movements of Cherubini’s nearly forgotten today.