111320-21 Bk Otelloeu 12/18/07 4:06 PM Page 8
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
ARSC Journal
TOSCANINI LIVE BEETHOVEN: Missa Solemnis in D, Op. 123. Zinka Milanov, soprano; Bruna Castagna, mezzo-soprano; Jussi Bjoerling, tenor; Alexander Kipnis, bass; Westminster Choir; VERDI: Missa da Requiem. Zinka Milanov, soprano; Bruna Castagna, mezzo-soprano; Jussi Bjoerling, tenor; Nicola Moscona, bass; Westminster Choir, NBC Symphony Orchestra, Arturo Toscanini, cond. Melodram MEL 006 (3). (Three Discs). (Mono). BEETHOVEN: Symphony No. 9 in D Minor, Op. 125. Vina Bovy, soprano; Kerstin Thorborg, contralto; Jan Peerce, tenor; Ezio Pinza, bass; Schola Cantorum; Arturo Toscanini Recordings Association ATRA 3007. (Mono). (Distributed by Discocorp). BRAHMS: Symphonies: No. 1 in C Minor, Op. 68; No. 2 in D, Op. 73; No. 3 in F, Op. 90; No. 4 in E Minor, Op. 98; Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56A. Philharmonia Orchestra. Cetra Documents. Documents DOC 52. (Four Discs). (Mono). BRAHMS: Symphony No. 1 in C Minor, Op. 68; Concerto for Piano and Orchestra, No. 2 in B Flat, Op. 83. Serenade No. 1 in D, Op. 11: First movement only; Vladimir Horowitz, piano (in the Concerto); Melodram MEL 229 (Two Discs). BRAHMS: Symphony No. 1 in C Minor, Op. 68. MOZART: Symphony No. 40 in G Minor, K. 550. TCHAIKOVSKY: Romeo and Juliet (Overture-Fantasy). WAGNER: Lohengrin Prelude to Act I. WEBER: Euryanthe Overture. Giuseppe Di Stefano Presenta GDS 5001 (Two Discs). (Mono). MOZART: Symphony No. 35 in D, K. 385 ("Haffner") Rehearsal. Relief 831 (Mono). TOSCANINI IN CONCERT: Dell 'Arte DA 9016 (Mono). Bizet: Carmen Suite. Catalani: La Wally: Prelude; Lorelei: Dance of the Water ~· H~rold: Zampa Overture. -
Boston Symphony Orchestra Concert Programs, Summer, 2009
SUMMER 2009 • . BOSTON SYMPHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstengaIleries.com Olive Brown and Coral Pink Persian Set * for a Changing World They're Preparing to Change the 'I'Mi P i MISS HALL'S SCHOOL what girls have in mind 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] m Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " "Hot is the WOrdfor this show. —The New York Times Museum of Fine Arts, Boston March 15-August 16, 2009 Tickets: 800-440-6975 or www.mfa.ore BOSTON The exhibition is organized the Museum by The exhibition is PIONEER of Fine Arts, Boston and the Musee du sponsored £UniCredit Group by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937.1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler • Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
Monday, November 27 | 7:30 Pm
MONDAY, NOVEMBER 27 | 7:30 PM ALSO INSIDE This month, artists-in-residence Kontras Quartet explore the folk roots of classical music; on Live from WFMT, Kerry Frumkin welcomes the young string artists of the Dover Quartet and the acclaimed new-music ensemble eighth blackbird. Air Check Dear Member, The Guide Geoffrey Baer’s distinguished on-camera career at WTTW began in 1995 with the very first Chicago The Member Magazine for River Tour. A decade later, he took audiences back to that familiar territory to highlight big changes WTTW and WFMT Renée Crown Public Media Center that had taken place along its banks. Now, 12 years later, Geoffrey returns with an all-new tour that 5400 North Saint Louis Avenue covers more ground – all three branches of the river, in six different vessels, and the development Chicago, Illinois 60625 along the Chicago Riverwalk! Join him on WTTW11 and at wttw.com/river as Geoffrey shows us the incredible transformation that has taken place Main Switchboard (773) 583-5000 over the past decade – not just in the architecture but in how Chicagoans Member and Viewer Services enjoy it. Along the way, he shares fascinating stories about the River’s history, (773) 509-1111 x 6 and introduces some memorable characters who live, work, and play there. WFMT Radio Networks (773) 279-2000 Also this month on WTTW11 and wttw.com/watch, join us for the Chicago Production Center premiere of another exciting new local film and its companion website, (773) 583-5000 Making a New American NUTCRACKER, a collaboration with The Joffrey Websites Ballet that goes behind the scenes of a new interpretation of Tchaikovsky’s wttw.com classic holiday favorite. -
Jealousy and Destruction in William Shakespeare's
Crossing the Border: International Journal of Interdisciplinary Studies Volume 4; Number 1; 15 April 2016 ISSN 2350-8752 (Print); ISSN 2350-8922 (Online) JEALOUSY AND DESTRUCTION IN WILLIAM SHAKESPEARE’S OTHELLO Ram Prasad Rai (Nepal) ABSTRACT Othello is honest. He wants to establish an order and peace in the society. He falls in love with a white lady, Desdemona. Despite the discontentment of Desdemona’s father Brobantio, they marry each other. Iago, an evil-minded man, is not happy with the promotion of Cassio, a junior o! cer to Iago, to lieutenant’s post in support of the chief Othello. Iago becomes jealous to Cassio and plans to destroy the relation between Othello and Cassio in any way it is pos- sible. He uses Roderigo, a rejected suitor to Desdemona and Emilia, the innocent wife of Iago in his evil plot. Iago treacherously makes Desdemona’s handkerchief, a marriage gi" from Othello, reach in Cassio through Emilia. # en he notices Othello about the Apresence of the handkerchief in Cassio as an accusation of Desdemona’s falling in love with Cassio. In reality, both Cassio and Desdemona are innocent. # ey are honest and loyal to their moral position. But because of jealousy grown in Othello by Iago, Othello plans to murder his kind and truly loving wife and his dutiful junior o! cer Cassio. Othello kills Desdemona and Iago kills his wife Emilia as she discloses the reality about Iago’s evilness. Othello kills himself a" er he knows about Iago’s treachery. As a result, all the happiness, peace and love in the families of Othello and Iago get spoilt completely because of just jealousy upon each other. -
FOTO ARTISTI PICS of ARTISTS
CASA DELL'AMORE Archivi di Musica Arte e Storia Cesena - Italy www.dellamore.it [email protected] FOTO ARTISTI PICS of ARTISTS Secoli XIX-XX XIX-XX Centuries Aggiornata al 7 settembre 2015 Updated at September 7, 2015 Fotografie musicisti cesenati e romagnoli (Piccolo e grande formato) Collocazione: FOT 01 (ordine alfabetico) Marietta ALBONI Contralto + Cartoline Rue Alboni - Paris Melchiade BENNI e ORCHESTRA FOLCLORE DI ROMAGNA (Foto Viterbo, Longiano, 1987) Alessandro BONCI Tenore Foto cartolina originale Alessandro BONCI Tenore Fotografia duplicata Alessandro BONCI Tenore Fotografia duplicata (Cesena, 17.09.1904) Alessandro BONCI Tenore Fotografia Alessandro BONCI con Giosuè CARDUCCI a Villa Silvia. Foto cartolina Jolanda BUDELACCI Violinista COMPLESSO THE DEVILS di Cesena. Locandina COMPLESSO THE DEVILS di Cesena. 1962 COMPLESSO THE DEVILS di Cesena. Settimana Cesenate 1964 Dora DE GIOVANNI Soprano Domenico EVANGELISTI Violinista Franco FANTINI Trombettista Bruna LALLI Cantante Orchestra Astoria Claudio MALTONI Cantante Orchestra Astoria Vera MONTANARI Soprano (agosto 1941) ORCHESTRA ANGELINI al Club Sirenella, Anni '50 ? (Foto Baratelli) ORCHESTRINA ANONIMA di Montecastello di Mercato Saraceno ? ORCHESTRA MANARESI di Forlì (1966 ca.) ORCHESTRA PONI di Pievequinta (1915 ca.) ORCHESTRA SCAGLIONI di Bologna (Teatro Odeon Forlimpopoli, 26.III.1956) ORCHESTRA ZANGHERI (Cesenatico, 13.VIII.1910) Nicola PETRINI ZAMBONI violinista e direttore d'orchestra Camille SAINT-SAENS a Cesena. Banchetto all'Albergo Leon d'Oro, 4 settembre 1911 (Fondo -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
The Apology | the B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero Scene & Heard
November-December 2017 VOL. 32 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES N O . 6 IN THIS ISSUE One Week and a Day | Poverty, Inc. | The Apology | The B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero scene & heard BAKER & TAYLOR’S SPECIALIZED A/V TEAM OFFERS ALL THE PRODUCTS, SERVICES AND EXPERTISE TO FULFILL YOUR LIBRARY PATRONS’ NEEDS. Learn more about Baker & Taylor’s Scene & Heard team: ELITE Helpful personnel focused exclusively on A/V products and customized services to meet continued patron demand PROFICIENT Qualified entertainment content buyers ensure frontlist and backlist titles are available and delivered on time SKILLED Supportive Sales Representatives with an average of 15 years industry experience DEVOTED Nationwide team of A/V processing staff ready to prepare your movie and music products to your shelf-ready specifications Experience KNOWLEDGEABLE Baker & Taylor is the Full-time staff of A/V catalogers, most experienced in the backed by their MLS degree and more than 43 years of media cataloging business; selling A/V expertise products to libraries since 1986. 800-775-2600 x2050 [email protected] www.baker-taylor.com Spotlight Review One Week and a Day and target houses that are likely to be empty while mourners are out. Eyal also goes to the HHH1/2 hospice where Ronnie died (and retrieves his Oscilloscope, 98 min., in Hebrew w/English son’s medical marijuana, prompting a later subtitles, not rated, DVD: scene in which he struggles to roll a joint for Publisher/Editor: Randy Pitman $34.99, Blu-ray: $39.99 the first time in his life), gets into a conflict Associate Editor: Jazza Williams-Wood Wr i t e r- d i r e c t o r with a taxi driver, and tries (unsuccessfully) to hide in the bushes when his neighbors show Editorial Assistant: Christopher Pitman Asaph Polonsky’s One Week and a Day is a up with a salad. -
Arrigo Boito
Servizio Toponomastica Progetto “ CHI SONO ?” note sui nomi delle vie di CESENA Scheda relativa a : ARRIGO BOITO Poeta, narratore e compositore Arrigo Boito è noto per il suo melodramma "Mefistofele" e per i suoi libretti d'opera. Arrigo Boito nasce a Padova il 4 febbraio 1842; dal 1854 studia violino, pianoforte e composizione al Conservatorio di Milano. Terminati gli studi si reca a Parigi con Franco Faccio dove prende contatto con Gioacchino Rossini, quando questi viveva alla periferia della capitale francese; successivamente si sposterà in Polonia, Germania, Belgio e Inghilterra. Torna a Milano e dopo un periodo nel quale si presta a compiere svariati lavori, nel 1862 scrive i versi per l'"Inno delle Nazioni" che successivamente verrà musicato da Giuseppe Verdi per l'Esposizione Universale di Londra. Seguono anni di lavoro, interrotti solamente per due mesi nel 1866 durante i quali, con Faccio ed Emilio Praga, Arrigo Boito segue Giuseppe Garibaldi nella sua azione nel Trentino. Nel 1868 alla Scala di Milano viene rappresentata la sua opera "Mefistofele", basata sul "Faust" di Goethe. Al suo debutto l'opera non viene accolta benevolmente, tanto che provoca disordini e scontri per il supposto implicito "Wagnerismo". Dopo due rappresentazioni la polizia decide di interrompere le esecuzioni. Boito successivamente rivedrà drasticamente l'opera, riducendola: la parte di Faust, scritta per baritono, verrà riscritta in chiave tenorile. La nuova versione viene rappresentata al Teatro Comunale di Bologna nel 1876 e ottiene un grande successo; unica fra le composizioni di Boito, entra nel repertorio delle opere ancor oggi rappresentate e registrate con maggiore frequenza. Negli anni successivi Boito si dedica alla stesura di libretti per altri compositori. -
Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
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.