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COCKEREL Education Guide DRAFT
VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19 -
Le-Vite-Dei-Cesenati-10.Pdf
LE VITE DEI CESENATI X A cura di Pier Giovanni Fabbri e Alberto Gagliardo Redazione: Giancarlo Cerasoli, Franco Dell’Amore, Rita Dell’Amore, Paola Errani, Pier Giovanni Fabbri, Alberto Gagliardo. Segretario di redazione: Claudio Medri Consulenza fotografica: Guia Lelli Mami Autori e redattori ringraziano Leonardo Belli, Gessica Boni, Paolo Cascarano (Ana- grafe Ricerche, Comune di Milano), Claudia Colecchia (Fototeca dei Civici Musei di Storia ed Arte, Trieste), Andrea Daltri (Archivio Storico dell’Università di Bologna), Caterina Del Vivo (Archivio Storico del Gabinetto G.P. Vieusseux, Firenze), Adriana Faedi, Cesare Fantino (Biblioteca Basilica di Santa Maria delle Vigne, Genova), Lu- cia Gandini (Biblioteca di Archeologia e Storia dell’Arte, Roma), Barbara Gariboldi (Archivio Storico Civico, Milano), Leila Gentile (Biblioteca Universitaria, Bologna), Ivano Giovannini, Elisabetta Gnecco (Ufficiale dello Stato Civile, Comune di Ge- nova), Antonella Imolesi (Biblioteca Comunale A. Saffi, Forlì), Francesca Mambelli, Marcella Culatti (Fondazione Federico Zeri, Bologna), Elena Mantelli (Biblioteca San Carlo al Corso, Milano), Silvia Mirri (Biblioteca Comunale, Imola), Norma Monta- nari, Claudia Morgan (Fototeca dei Civici Musei di Storia ed Arte, Trieste), Barbara Mussetto (Biblioteca Casanatense, Roma), Elisabetta Papone (Centro di Documen- tazione per la Storia, l’Arte l’Immagine, Comune di Genova), Massimiliano Pavoni (Biblioteca Mozzi Borgetti, Macerata), Raffaella Ponte (Archivio storico, Comune di Genova), Francesca Sandrini (Museo Glauco Lombardi, Parma), Giampiero Savini, Claudio Schenone (Archivio Storico, Comune di Genova), Bruna Tabarri, Riccardo Vlahov (tecnico e storico della fotografia); il personale dell’Archivio Storico Diocesa- no di Cesena, della Biblioteca Malatestiana di Cesena, degli Archivi di Stato di Cesena e di Forlì. Altri ringraziamenti sono stati espressi nei testi. -
Corso Di Dottorato Di Ricerca in Storia Delle Arti Tesi Di Ricerca
Corso di Dottorato di ricerca in Storia delle Arti ciclo XXI Tesi di Ricerca «THE PHENOMENAL CONTRALTO» Vita e carriera artistica di Eugenia Mantelli SSD: L-ART/07 Musicologia e storia della musica Coordinatore del Dottorato ch. prof. Piermario Vescovo Supervisore ch. prof. Paolo Pinamonti Dottorando Federica Camata Matricola 808540 «THE PHENOMENAL CONTRALTO». VITA E CARRIERA ARTISTICA DI EUGENIA MANTELLI INDICE Introduzione p. 3 1. Biografia di Eugenia Mantelli p. 7 1.1. L’infanzia e gli studi p. 9 1.2. Il debutto al Teatro de São Carlos p. 13 1.3. La carriera internazionale p. 16 1.3.1. 1886: prima tournée in Sudamerica p. 17 1.3.2. 1887: seconda tournée in Sudamerica p. 24 1.3.3. 1889: terza tournée in Sudamerica p. 26 1.3.4. Eugenia Mantelli-Mantovani p. 28 1.3.5. Dal Bolshoi al Covent Garden p. 31 1.3.6. ¡Que viva Chile! Ultime tournée in Sudamerica p. 33 1.4. New York, il Metropolitan e le tournée negli Stati Uniti p. 36 1.4.1. Eugenia Mantelli-De Angelis p. 47 1.5. «Madame Mantelli has gone into vaudeville» p. 51 1.6. Mantelli Operatic Company p. 66 1.7. Attività artistica in Italia p. 69 1.8. Le ultime stagioni portoghesi e il ritiro dalle scene p. 81 1.9. Gli anni d’insegnamento p. 91 1.10.Requiem per Eugenia p. 99 1 2. Cronologia delle rappresentazioni p. 104 2.1. Nota alla consultazione p. 105 2.2. Tabella cronologica p. 107 3. Le fonti sonore p. 195 3.1. -
17.2. Cylinders, Ed. Discs, Pathes. 7-26
CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction Edison orange box and printed top. All others in clean, used boxes. Any mold on wax cylinders is always described. All cylinders not described as in OB (original box with generic top) or OBT (original box and original top) are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual and refers to the cylinders rather than the boxes. Any major box problems are noted. CARLO ALBANI [t] 1039. Edison BA 28116. LA GIOCONDA: Cielo e mar (Ponchielli). Repro B/T. Just about 1-2. $30.00. MARIO ANCONA [b] 1001. Edison 2M Wax B-41. LES HUGUENOTS: Nobil dama (Meyerbeer). Announced by Ancona. OBT. Just about 1-2. $75.00. BLANCHE ARRAL [s] 1007. Edison Wax 4-M Amberol 35005. LE COEUR ET LA MAIN: Boléro (Lecocq). This and the following two cylinders are particularly spirited performances. OBT. Slight box wear. Just about 1-2. $50.00. 1014. Edison Wax 4-M Amberol 35006. LA VÉRITABLE MANOLA [Boléro Espagnole] (Bourgeois). OBT. Just about 1-2. $50.00. 1009. Edison Wax 4-M Amberol 35019. GIROLFÉ-GIROFLA: Brindisi (Lecocq). OBT. Just about 1-2. $50.00. PAUL AUMONIER [bs] 1013. Pathé Wax 2-M 1111. LES SAPINS (Dupont). OB. 2. $20.00. MARIA AVEZZA [s]. See FRANCESCO DADDI [t] ALESSANDRO BONCI [t] 1037. Edison BA 29004. LUCIA: Fra poco a me ricovero (Donizetti). -
![[Collection Title]](https://docslib.b-cdn.net/cover/6756/collection-title-186756.webp)
[Collection Title]
1 New Orleans Opera Association Archives 99 boxes/68 linear ft Special Collections & Archives J. Edgar & Louise S. Monroe Library Loyola University New Orleans Collection 74 2 Contents Collection Summary ....................................................................................................................... 3 Series Description .......................................................................................................................... 7 Container List ................................................................................................................................. 8 Series I: Administrative Files ..................................................................................................... 8 Subseries I-A: Artist Fees ...................................................................................................... 8 Subseries I-B: Awards and Grants ......................................................................................... 8 Subseries I-C: Board of Directors 1943-1999 ........................................................................ 9 Subseries I-D: Budgets ........................................................................................................ 10 Subseries I-E: Clubs and Guilds .......................................................................................... 10 Subseries I-F: Correspondence ............................................................................................ 10 Subseries I-G: Facilities and Sets ........................................................................................ -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette. -
Recollections and Notes, Vol. 1 (1887–1945) Translated by Abe
Vita Mathematica 18 Hugo Steinhaus Mathematician for All Seasons Recollections and Notes, Vol. 1 (1887–1945) Translated by Abe Shenitzer Edited by Robert G. Burns, Irena Szymaniec and Aleksander Weron Vita Mathematica Volume 18 Edited by Martin MattmullerR More information about this series at http://www.springer.com/series/4834 Hugo Steinhaus Mathematician for All Seasons Recollections and Notes, Vol. 1 (1887–1945) Translated by Abe Shenitzer Edited by Robert G. Burns, Irena Szymaniec and Aleksander Weron Author Hugo Steinhaus (1887–1972) Translator Abe Shenitzer Brookline, MA, USA Editors Robert G. Burns York University Dept. Mathematics & Statistics Toronto, ON, Canada Irena Szymaniec Wrocław, Poland Aleksander Weron The Hugo Steinhaus Center Wrocław University of Technology Wrocław, Poland Vita Mathematica ISBN 978-3-319-21983-7 ISBN 978-3-319-21984-4 (eBook) DOI 10.1007/978-3-319-21984-4 Library of Congress Control Number: 2015954183 Springer Cham Heidelberg New York Dordrecht London © Springer International Publishing Switzerland 2015 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
CHAN 3000 FRONT.Qxd
CHAN 3000 FRONT.qxd 22/8/07 1:07 pm Page 1 CHAN 3000(2) CHANDOS O PERA IN ENGLISH David Parry PETE MOOES FOUNDATION Puccini TOSCA CHAN 3000(2) BOOK.qxd 22/8/07 1:14 pm Page 2 Giacomo Puccini (1858–1924) Tosca AKG An opera in three acts Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou English version by Edmund Tracey Floria Tosca, celebrated opera singer ..............................................................Jane Eaglen soprano Mario Cavaradossi, painter ..........................................................................Dennis O’Neill tenor Baron Scarpia, Chief of Police................................................................Gregory Yurisich baritone Cesare Angelotti, resistance fighter ........................................................................Peter Rose bass Sacristan ....................................................................................................Andrew Shore baritone Spoletta, police agent ........................................................................................John Daszak tenor Sciarrone, Baron Scarpia’s orderly ..............................................Christopher Booth-Jones baritone Jailor ........................................................................................................Ashley Holland baritone A Shepherd Boy ............................................................................................Charbel Michael alto Geoffrey Mitchell Choir The Peter Kay Children’s Choir Giacomo Puccini, c. 1900 -
1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini. -
ARSC Journal
THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.