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10-12-2019 Turandot Mat.Indd
Synopsis Act I Legendary Peking. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to the king, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful reverence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. Three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor. Act II Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality. In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded. -
1 Ludwig Van Beethoven Symphony #9 in D Minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion
1 Ludwig van Beethoven Symphony #9 in D minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion "Ebarme dich, mein Gott" 3 George Frideric Handel Messiah: Hallelujah Chorus 4 Wolfgang Amadeus Mozart Symphony 41 C, K.551 "Jupiter" 5 Samuel Barber Adagio for Strings Op.11 6 Wolfgang Amadeus Mozart Clarinet Concerto A, K.622 7 Ludwig van Beethoven Piano Concerto 5 E-Flat, Op.73 "Emperor" (3) 8 Antonin Dvorak Symphony No 9 (IV) 9 George Gershwin Rhapsody In Blue (1924) 10 Wolfgang Amadeus Mozart Requiem in D minor K 626 (aeternam/kyrie/lacrimosa) 11 George Frideric Handel Xerxes - Largo 12 Johann Sebastian Bach Toccata And Fugue In D Minor, BWV 565 (arr Stokowski) 13 Ludwig van Beethoven Symphony No 5 in C minor Op 67 (I) 14 Johann Sebastian Bach Orchestral Suite #3 BWV 1068: Air on the G String 15 Antonio Vivaldi Concerto Grosso in E Op. 8/1 RV 269 "Spring" 16 Tomaso Albinoni Adagio in G minor 17 Edvard Grieg Peer Gynt 1, Op.46 18 Sergei Rachmaninov Piano Concerto No 2 in C minor Op 18 (I) 19 Ralph Vaughan Williams Lark Ascending 20 Gustav Mahler Symphony 5 C-Sharp Min (4) 21 Peter Ilyich Tchaikovsky 1812 Overture 22 Jean Sibelius Finlandia, Op.26 23 Johann Pachelbel Canon in D 24 Carl Orff Carmina Burana: O Fortuna, In taberna, Tanz 25 Wolfgang Amadeus Mozart Serenade G, K.525 "Eine Kleine Nachtmusik" 26 Johann Sebastian Bach Brandenburg Concerto No 5 in D BWV 1050 (I) 27 Johann Strauss II Blue Danube Waltz, Op.314 28 Franz Joseph Haydn Piano Trio 39 G, Hob.15-25 29 George Frideric Handel Water Music Suite #2 in D 30 Wolfgang Amadeus Mozart Ave Verum Corpus, K.618 31 Johannes Brahms Symphony 1 C Min, Op.68 32 Felix Mendelssohn Violin Concerto in E minor, Op. -
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Angelica Forti-Lewis Mito, spettacolo e società: Il teatro di Carlo Gozzi e il femminismo misogino della sua Turandot Alla Commedia dell'Arte Carlo Gozzi si rifece, almeno inizialmente, perché gli offriva uno spettacolo da contrastare al teatro di Goldoni, di Chiari e, più tardi, al nuovo dramma borghese e alla comédie larmoyante. A questo scopo l'Improvvisa poteva offrirgli aiuti preziosi: la teatralità pura degli intrecci, svincolati da ogni rapporto con la vita reale e contemporanea; le Maschere, cioè tipizzazioni astrat- te; il buffonesco delle trovate comiche che, insieme alle maschere, escludeva ogni possibile idealizzazione delle classi inferiori, degradate a oggetto di comico; e, infine, il carattere nazionale della Commedia, che escludeva qualsiasi intrusione forestiera. Ma anche se Gozzi si erge a strenuo difensore della Commedia dell'Arte, è chiaro che le sue fiabe hanno in realtà ben poco a che fare con l'Improvvisa e il loro tono, sempre dominato da personaggi seri, è ben più drammatico, mentre le varie trame non sono ricavate dalla solita tradizione scenica ma da racconti ita- liani ed orientali, nel loro adattamento teatrale parigino della Foire. L'esotismo e la magia, inoltre, erano anch'essi elementi ignoti alla Commedia dell'Arte e la lo- ro fusione con la continua polemica letteraria sono chiara indicazione di come il commediografo fosse ben altro che un mero restauratore di scenari improvvisati. Trionfano nelle fiabe i valori tradizionali, dall'amor coniugale {Re Cervo, Tu- randot, Donna serpente e Mostro Turchino), all'amore fraterno, la fedeltà e la virtù della semplicità (Corvo, Pitocchi fortunati e Zeim re de' Geni). -
Puccini's Version of the Duet and Final Scene of "Turandot" Author(S): Janet Maguire Source: the Musical Quarterly, Vol
Puccini's Version of the Duet and Final Scene of "Turandot" Author(s): Janet Maguire Source: The Musical Quarterly, Vol. 74, No. 3 (1990), pp. 319-359 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/741936 Accessed: 23-06-2017 16:45 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly This content downloaded from 198.199.32.254 on Fri, 23 Jun 2017 16:45:10 UTC All use subject to http://about.jstor.org/terms Puccini's Version of the Duet and Final Scene of Turandot JANET MAGUIRE ALTHOUGH it has been said that Puccini did not finish Turandot because he could not, I have always been convinced that he had the music for the duet and final scene clearly in mind and that he would have had his Turandot Finale ready for the publisher by the end of the year, 1924, had he survived his throat operation. The key to the completion of the opera lies in a relatively few pages of musical ideas sketched out in brief, schematic form. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Polemics and the Emergence of the Venetian Novel: Pietro Aretino, Piero Chiari, and Carlo Gozzi Permalink https://escholarship.org/uc/item/1sm8g0zm Author Stanphill, Cindy D Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UIVERSITY OF CALIFORNIA Los Angeles Polemics and the Emergence of the Venetian Novel: Pietro Aretino, Piero Chiari, and Carlo Gozzi A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian by Cindy Diane Stanphill 2018 ã Copyright by Cindy Diane Stanphill 2018 ABSTRACT OF THE DISSERTATION Polemics and the Emergence of the Venetian Novel: Pietro Aretino, Piero Chiari, and Carlo Gozzi by Cindy Diane Stanphill Doctor of Philosophy in Italian University of California, Los Angeles, 2018 Professor Massimo Ciavolella, Chair Pietro Chiari (1712-1785) and Carlo Gozzi (1720-1806) are well-known eighteenth-century Italian playwrights. Their polemical relationship has been the object of many studies, but there is a dearth of work dedicated to their narratives and novels, with none in English language scholarship, though a small and growing number of Italian studies of the novelistic genre in eighteenth-century Italy has emerged in recent years. In my dissertation entitled, Polemics and the Rise of the Venetian Novel: Pietro Aretino, Piero Chiari, and Carlo Gozzi, I examine the evolution of the Italian novel in a Venetian context in which authors, some through translation, some through new work, vie ii among themselves for the center in the contest to provide literary models that will shape and educate the Venetian subject. -
Leveled Reading- -Resources- -Activities
BIO Sphere -Leveled Reading- ATI RE VE C -Resources- K R A A A A L L L L C C C -Activities- C D L R W O Editable Presentation hosted on Google Slides. Click to Download. Early Life Personality & Characteristics ● Khutulun was a very strong woman. She ● Khutulun was born around 1260 in the Khutulun Mongol Empire. was very large and powerful. ● By 1280, her father Kaidu was the ● Her large size helped her succeed in Mongolian Warrior most powerful ruler in Central Asia. He archery, wrestling, and battle. ruled a large area of land, which included western Mongolia and India. ● She also had a very strong personality. ● She was the niece of the feared ● She knew what she wanted and didn’t Kublai Khan and was also related to back down. Genghis Khan. Mongolian Empire Map ● Her name meant "Moonlight" in her Depiction of Khutulun native language. Life Story Life Story Life Story ● Khutulun was very skilled at riding ● Khutulun often fought beside her ● Many men wanted to marry Khutulun to horses. father in battle. become part of the royal family. ● She grew up with fourteen brothers, so ● Many people thought she was blessed ● She said she wouldn’t marry any man she learned how to stick up for herself. by the spirits. who was weaker than her. She could beat her brothers in competition. ● Marco Polo said that she could grab a ● She wrestled anyone who wanted to soldier as fast as a hawk could grab a marry her, but she would always win. ● She became known as a wrestler that chicken. -
“Turandot” by Giacomo Puccini Libretto (English-Italian) Roles Personaggi
Giacomo Puccini - Turandot (English–Italian) 8/16/12 10:44 AM “Turandot” by Giacomo Puccini libretto (English-Italian) Roles Personaggi Princess Turandot - soprano Turandot, principessa (soprano) The Emperor Altoum, her father - tenor Altoum, suo padre, imperatore della Cina (tenore) Timur, the deposed King of Tartary - bass Timur, re tartaro spodestato (basso) The Unknown Prince (Calàf), his son - tenor Calaf, il Principe Ignoto, suo figlio (tenore) Liù, a slave girl - soprano Liú, giovane schiava, guida di Timur (soprano) Ping, Lord Chancellor - baritone Ping, Gran Cancelliere (baritono) Pang, Majordomo - tenor Pang, Gran Provveditore (tenore) Pong, Head chef of the Imperial Kitchen - tenor Pong, Gran Cuciniere (tenore) A Mandarin - baritone Un Mandarino (baritono) The Prince of Persia - tenor Il Principe di Persia (tenore) The Executioner (Pu-Tin-Pao) - silent Il Boia (Pu-Tin-Pao) (comparsa) Imperial guards, the executioner's men, boys, priests, Guardie imperiali - Servi del boia - Ragazzi - mandarins, dignitaries, eight wise men,Turandot's Sacerdoti - Mandarini - Dignitari - Gli otto sapienti - handmaids, soldiers, standard-bearers, musicians, Ancelle di Turandot - Soldati - Portabandiera - Ombre ghosts of suitors, crowd dei morti - Folla ACT ONE ATTO PRIMO The walls of the great Violet City: Le mura della grande Città Violetta (The Imperial City. Massive ramparts form a semi- (La Città Imperiale. Gli spalti massicci chiudono circle quasi that enclose most of the scene. They are interrupted tutta la scena in semicerchio. Soltanto a destra il giro only at the right by a great loggia, covered with è carvings and reliefs of monsters, unicorns, and rotto da un grande loggiato tutto scolpito e intagliato phoenixes, its columns resting on the backs of a mostri, a liocorni, a fenici, coi pilastri sorretti dal gigantic dorso di massicce tartarughe. -
Ferruccio Busoni Biography
Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso. -
Germanica, 41 | 2007
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Germanica 41 | 2007 Le livret d’opéra en langue allemande au XXe siècle : ruptures et reprises À propos de Turandot de Ferruccio Busoni Une poétique de l’opéra classique et romantique ? Gozzis fiabe und Busonis Turandot und Arlecchino (1917) Jean-François Candoni Édition électronique URL : http://journals.openedition.org/germanica/477 DOI : 10.4000/germanica.477 ISSN : 2107-0784 Éditeur CeGes Université Charles-de-Gaulle Lille-III Édition imprimée Date de publication : 1 décembre 2007 Pagination : 19-34 ISBN : 978-2-913857-20-9 ISSN : 0984-2632 Référence électronique Jean-François Candoni, « À propos de Turandot de Ferruccio Busoni », Germanica [En ligne], 41 | 2007, mis en ligne le 01 décembre 2009, consulté le 21 avril 2019. URL : http://journals.openedition.org/ germanica/477 ; DOI : 10.4000/germanica.477 Ce document a été généré automatiquement le 21 avril 2019. © Tous droits réservés À propos de Turandot de Ferruccio Busoni 1 À propos de Turandot de Ferruccio Busoni Une poétique de l’opéra classique et romantique ? Gozzis fiabe und Busonis Turandot und Arlecchino (1917) Jean-François Candoni 1 En choisissant de composer son troisième opéra sur une adaptation de Turandot, une fiaba teatrale du Vénitien Carlo Gozzi, Ferruccio Busoni se place résolument dans une démarche de réappropriation de l’esthétique romantique, inaugurée par son premier opéra, Die Brautwahl ( Le Choix d’une fiancée), inspiré quant à lui du récit homonyme d’E.T.A. -
Carlo Gozzi and the Rhetoric of Conservatism
Maria Galli Stampino Family, City or State, and Theater: Carlo Gozzi and the Rhetoric of Conservatism It might seem odd to utilize rhetorical tools to analyze an Early Modern play written in Venice. Plays are not often framed that way. Furthermore, throughout its ‘republican’ history (697–1797), Venice did not have a ruling family, a long- standing court, appointed poets or rhetors; indeed, the serenissima was not a principality or a monarchy, but rather an oligarchy, in which the Doge was elected by his peers, and where his power was limited in many different ways.1 This political and cultural situation seemingly negates another condition for rhetorical readings in a particularly Early Modern context: the existence of a court; for courts are believed to have been keen on imbuing with meaning as many events and situations as possible, and with a view to representation. In other words: in an Early Modern setting, but without a court, the postulation of a respective rhetorical intent might seem problematic. Finally, Carlo Gozzi’s Le gare teatrali (written in 1751, but not printed until 2011) was never performed, and so did not have an actual theatrical audience that might have been convinced. These are superficial considerations, of course. Neither the genre of a text, nor the existence of a proto-absolutist court, nor the presence of an audience are sine qua non conditions for rhetorical acts. In fact, as Brian Vickers pointed out several decades ago, Early Modern culture was saturated with rhetoric; any text, including the ones without actual spectators, was pervaded by “a concept of elocutio lost even on modern historians of rhetoric, by which it [sc. -
Liurandot, Ovvero the Strange Case of Princess Turandot and Slave Liù *
Rivista di Storia delle Idee 3:1 (2014) pp. 196-218 ISSN.2281-1532 http://www.intrasformazione.com DOI 10.4474/DPS/03/01/ONT124/23 Patrocinata dall’Università degli Studi di Palermo Antonino Fiorenza Liurandot, ovvero The strange case of Princess Turandot and slave Liù * Tra il 1886 e il 1887 lo scrittore inglese Henry Rider Haggard pubblica sulla rivista «The Graphic» un romanzo intitolato She, che ha per protagonista Ayesha, una bellissima donna bianca, in possesso di poteri soprannaturali ed ancora giovane dopo oltre 2000 anni di vita. Ella regna su una sperduta popolazione africana (gli Amahagger), cui si mostra raramente e sempre con il viso coperto da un velo, perché gli uomini, alla visione della sua bellezza, impazziscono d’amore, “perdono la testa” per Lei-cui-si-deve-obbedienza (She-Who-Must-Be-Obeyed). Ma anche essere amati da Ayesha si rivela molto pericoloso: Callicrate, il sacerdote egizio di Iside, del quale la regina si è invaghita, viene da Lei ucciso perché è l'unico che le resiste, mentre nel successivo Ayesha: The Return of She (1905) il suo discendente Leo Vincey, che dovrebbe vendicarlo (il suo cognome significa appunto Vendicatore), ma resta vittima del fascino di Ayesha, muore baciandola, perché il suo corpo mortale non può reggere il potere e l'amore della Donna eterna (questo il titolo di alcune traduzioni italiane di She). Il romanzo di Haggard diventa ben presto popolarissimo, tant’è vero che tra il 1899 e il 1925 ispira ben sei film. Il primo di questi, il brevissimo La Danse du feu o La colonne de feu di Georges Meliès, ci mostra Ayesha mentre si bagna nel Fuoco che, essendo la vita e il sangue della Natura, la rende eternamente giovane, come poi farà nel 1932 nei fumetti di Cino e Franco una sua epigona, la regina Loana, la cui misteriosa fiamma ha dato il titolo al quinto romanzo di Umberto Eco (2004). -
For Immediate Release September 28, 2017
Media Release For Immediate Release September 28, 2017 Contact: Edward Wilensky, Director of Media Relations [email protected] Telephone: 619.232.7636 San Diego Opera Presents “Taste of Opera” A Series of Communitywide Events Designed to Offer a Casual Introduction to the San Diego Opera Season Events feature tango classes, magic realism painting classes, an exploration transgender representation in the arts, and more. San Diego, CA – San Diego Opera is pleased to announce a series of communitywide events designed to offer a fun and casual introduction to San Diego Opera’s 2017-2018 season offerings for both the operaphile and opera curious. Centered on themes that are covered in the Company’s season –As One, Maria de Buenos Aires, Turandot, and Florencia en el Amazonas – Taste of Opera events are fun community building gatherings that brings people together for a drink, a bite to eat, and an educational component that should make coming to the opera more enjoyable. San Diego Opera is proud to present the opera As One, part of the dētour series which reflects topics and stories that are important to diverse communities. As One explores the journey of Hannah from her youth in a small town to a place where she learns to embrace herself and her true identity emerges. As One strips the topic of being transgender bare to one human being’s personal and emotional story with a beautiful score illuminated by empathy and humor. To engage our community in dialogue about this current topic, San Diego Opera is please to present Transgender Visibility in the Arts on Thursday, October 26, 2017 at 6:30 PM at Diversionary Theatre (4545 Park Blvd.