Study Guide 2018-2019 Season
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Premières Principali All 'Opéra-Comique
Premières principali all ’Opéra-Comique Data Compositore Titolo 30 luglio 1753 Antoine Dauvergne Les troqueurs 26 luglio 1757 Egidio Romualdo Duni Le peintre amoureux de son modèle 9 marzo 1759 François-André Danican Philidor Blaise le savetier 22 agosto 1761 François-André Danican Philidor Le maréchal ferrant 14 settembre 1761 Pierre-Alexandre Monsigny On ne s ’avise jamais de tout 22 novembre 1762 Pierre-Alexandre Monsigny Le roy et le fermier 27 febbraio 1765 François-André Danican Philidor Tom Jones 20 agosto 1768 André Grétry Le Huron 5 gennaio 1769 André Grétry Lucile 6 marzo 1769 Pierre-Alexandre Monsigny Le déserteur 20 settembre 1769 André Grétry Le tableau parlant 16 dicembre 1771 André Grétry Zémire et Azor 12 giugno 1776 André Grétry Les mariages samnites 3 gennaio 1780 André Grétry Aucassin et Nicolette 21 ottobre 1784 André Grétry Richard Coeur-de-lion 4 agosto 1785 Nicolas Dalayrac L ’amant statue 15 maggio 1786 Nicolas Dalayrac Nina, ou La folle par amour 14 gennaio 1789 Nicolas Dalayrac Les deux petits savoyards 4 settembre 1790 Étienne Méhul Euphrosine 15 gennaio 1791 Rodolphe Kreutzer Paolo e Virginia 9 aprile 1791 André Grétry Guglielmo Tell 3 maggio 1792 Étienne Méhul Stratonice 6 maggio 1794 Étienne Méhul Mélidore et Phrosine 11 ottobre 1799 Étienne Méhul Ariodant 23 ottobre 1800 Nicolas Dalayrac Maison à vendre 16 settembre 1801 François-Adrien Boieldieu Le calife de Bagdad 17 maggio 1806 Étienne Méhul Uthal 17 febbraio 1807 Étienne Méhul Joseph 9 maggio 1807 Nicolas Isouard Les rendez-vous bourgeois 22 febbraio -
La Letteratura Degli Italiani Rotte Confini Passaggi
Associazione degli Italianisti XIV CONGRESSO NAZIONALE Genova, 15-18 settembre 2010 LA LETTERATURA DEGLI ITALIANI ROTTE CONFINI PASSAGGI A cura di ALBERTO BENISCELLI, QUINTO MARINI, LUIGI SURDICH Comitato promotore ALBERTO BENISCELLI, GIORGIO BERTONE, QUINTO MARINI SIMONA MORANDO, LUIGI SURDICH, FRANCO VAZZOLER, STEFANO VERDINO SESSIONI PARALLELE Redazione elettronica e raccolta Atti Luca Beltrami, Myriam Chiarla, Emanuela Chichiriccò, Cinzia Guglielmucci, Andrea Lanzola, Simona Morando, Matteo Navone, Veronica Pesce, Giordano Rodda DIRAS (DIRAAS), Università ISBN 978-88-906601-1-5 degli Studi di Genova, 2012 Dalla Francia all’Italia e ritorno. Percorsi di un libretto d’opera Rita Verdirame «Il tragitto da Milano a Parigi de L’elisir d’amore può anche essere riletto [...] come l’intrecciarsi di due tradizioni, quella dell’opera italiana e quella dell’opera francese, esteticamente distinte, eppure inevitabilmente dialettiche».1 Questa osservazione ci introduce nelle vicende compositive, nei travasi intertestuali e nella mappa degli allestimenti, tra la penisola e oltralpe, di una delle opere più celebri e popolari nel catalogo del melodramma italiano. Era il 12 maggio 1832. Al Teatro della Cannobbiana di Milano l’impresario Alessandro Lanari assisteva al trionfo dell’Elisir d’amore, da lui commissionato a un Donizetti già applauditissimo al Carcano per Anna Bolena, spettacolo inaugurale della stagione milanese del carnevale 1830-31, senza che il trionfo trovasse però conferma nella prima scaligera del marzo dell’anno seguente; Ugo conte di Parigi difatti era stato un mezzo insuccesso. Reduce dalla caduta di due mesi innanzi, il compositore ha con l’Elisir la sua rivincita sia Italia sia a Parigi, dove l’opera viene ripresa il 17 gennaio 1739 con l’entusiastico consenso del pubblico del Théâtre Italien. -
Un Ballo in Maschera
San Francisco Opera Association War Memorial Opera House 2014-2015 Un Ballo in Maschera A Masked Ball (In Italian) Opera in three acts by Giuseppe Verdi Libretto by Antonio Somma Based on a libretto by Eugene Scribe for Daniel Auber's opera Gustave III, ou Le Bal masque Cast Conductor Nicola Luisotti Count Horn (Sam) Christian Van Horn Count Ribbing (Tom) Scott Conner * Director Jose Maria Condemi Oscar Heidi Stober Costume Designer Gustavus III, King of Sweden (Riccardo) Ramón Vargas John Conklin Count Anckarström (Renato) Thomas Hampson Lighting Designer Brian Mulligan 10/7, 22 Gary Marder Chief Magistrate A.J. Glueckert † Chorus Director Madame Arvidson (Ulrica) Dolora Zajick Ian Robertson Christian (Silvano) Efraín Solís † Choreographer Amelia's Servant Christopher Jackson Lawrence Pech Amelia Anckarström Julianna Di Giacomo * Assistant Conductors Giuseppe Finzi Vito Lombardi * San Francisco Opera debut † Current Adler Fellow Musical Preparation Bryndon Hassman Tamara Sanikidze Place and Time: 1792 in Stockholm, Sweden John Churchwell Jonathan Khuner Fabrizio Corona Prompter Dennis Doubin Supertitles Philip Kuttner Assistant Stage Directors E. Reed Fisher Morgan Robinson Stage Manager Rachel Henneberry Costume Supervisor Jai Alltizer Wig and Makeup Designer Jeanna Parham Saturday, Oct 04 2014, 7:30 PM ACT I Tuesday, Oct 07 2014, 7:30 PM Scene 1: Levee in the king's bedroom Friday, Oct 10 2014, 7:30 PM Scene 2: Madame Arvidson's house on the waterfront Monday, Oct 13 2014, 7:30 PM INTERMISSION Thursday, Oct 16 2014, 7:30 PM ACT II Sunday, Oct 19 2014, 7:30 PM A lonely field Wednesday, Oct 22 2014, 7:30 PM INTERMISSION ACT III Scene 1: Count Anckarström's study Scene 2: The king's box at the opera Scene 3: Inside the Stockhold opera house Sponsors This production is made possible, in part, by the Bernard Osher Endowment Fund and the Thomas Tilton Production Fund. -
|What to Expect from L'elisir D'amore
| WHAT TO EXPECT FROM L’ELISIR D’AMORE AN ANCIENT LEGEND, A POTION OF QUESTIONABLE ORIGIN, AND THE WORK: a single tear: sometimes that’s all you need to live happily ever after. When L’ELISIR D’AMORE Gaetano Donizetti and Felice Romani—among the most famous Italian An opera in two acts, sung in Italian composers and librettists of their day, respectively—joined forces in 1832 Music by Gaetano Donizetti to adapt a French comic opera for the Italian stage, the result was nothing Libretto by Felice Romani short of magical. An effervescent mixture of tender young love, unforget- Based on the opera Le Philtre table characters, and some of the most delightful music ever written, L’Eli s ir (The Potion) by Eugène Scribe and d’Amore (The Elixir of Love) quickly became the most popular opera in Italy. Daniel-François-Esprit Auber Donizetti’s comic masterpiece arrived at the Metropolitan Opera in 1904, First performed May 12, 1832, at the and many of the world’s most famous musicians have since brought the opera Teatro alla Cannobiana, Milan, Italy to life on the Met’s stage. Today, Bartlett Sher’s vibrant production conjures the rustic Italian countryside within the opulence of the opera house, while PRODUCTION Catherine Zuber’s colorful costumes add a dash of zesty wit. Toss in a feisty Domingo Hindoyan, Conductor female lead, an earnest and lovesick young man, a military braggart, and an Bartlett Sher, Production ebullient charlatan, and the result is a delectable concoction of plot twists, Michael Yeargan, Set Designer sparkling humor, and exhilarating music that will make you laugh, cheer, Catherine Zuber, Costume Designer and maybe even fall in love. -
An Alabama School Girl in Paris 1842-1844
An Alabama School Girl in Paris 1842-1844 the letters of Mary Fenwick Lewis and her family Nancyt/ M. Rohr_____ _ An Alabama School Girl in Paris, 1842-1844 The Letters of Mary Fenwick Lewis and Her Family Edited by Nancy M. Rohr An Alabama School Girl In Paris N a n c y M. Ro h r Copyright Q 2001 by Nancy M. Rohr All rights reserved. No part of this book may be reproduced in any form without permission of the editor. ISPN: 0-9707368-0-0 Silver Threads Publishing 10012 Louis Dr. Huntsville, AL 35803 Second Edition 2006 Printed by Boaz Printing, Boaz, Alabama CONTENTS Preface...................................................................................................................1 EditingTechniques...........................................................................................5 The Families.......................................................................................................7 List of Illustrations........................................................................................10 I The Lewis Family Before the Letters................................................. 11 You Are Related to the Brave and Good II The Calhoun Family Before the Letters......................................... 20 These Sums will Furnish Ample Means Apples O f Gold in Pictures of Silver........................................26 III The Letters - 1842................................................................................. 28 IV The Letters - 1843................................................................................ -
Chytry POEM'e'
MANAGER AS ARTIST Dégot ‘APHRODISIAN BLISS’ Chytry POEM‘E’: MANAGING ‘ENGAGEMENT’ Guimarães-Costa & Pina e Cunha PERIPHERAL AWARENESS Chia & Holt FUNKY proJECts Garcia and Pérez AesthetiCS OF Emptiness Biehl POETRY PLAY Darmer, Grisoni, James & Rossi Bouchrara WORKPLACE proJECts James DVD DRAMA Taylor AVANT GARDE ORGANIZATION Vickery Aesthesis//Create International journal of art and aesthetics in management and organizational life and organizational International journal of art and aesthetics in management Volume 1//TWO: 2007 AESTHESIS: International Journal of Art and Aesthetics in Management and Organizational Life EditorS Ian W. King, Essex Management Centre, University of Essex, Colchester, UK Jonathan Vickery, Centre for Cultural Policy Studies, University of Warwick, Coventry, UK Ceri Watkins, Essex Management Centre, University of Essex, Colchester, UK Editorial coordiNator Jane Malabar [email protected] Editorial AdviSORY Board Dawn Ades, University of Essex, UK Daved Barry, Universidade Nova de Lisboa, Portugual Jo Caust, University of South Australia, Editor, Asia Pacific Journal of Arts and Cultural Management Pierre Guillet de Monthoux, University of Stockholm, Sweden Laurie Heizler, Wright Hassallthe LLP, Leamington Spa, UK Stephen Linstead, University of York, UK Nick Nissley, The Banff Centre, Canada Antonio Strati, University of Trento and University of Siena, Italy Steve Taylor, Worcester PolytechnicAes Institute, USA thesis This journal is published by THE AESTHESIS ProjEct: The Aesthesis Project was founded in January 2007 and is a research project investigatingproject art and aesthetics in management and organizational contexts. The project has its roots in the first Art of Management and Organization Conference in London in 2002, with successive conferences held in Paris and Krakow. From those events emerged an international network of academics, writers, artists, consultants and managers, all involved in exploring and experimenting with art in the context of management and organizational research. -
Clear Lake Symphony Newsletter Vol. 10 Issue 4 2018
Clear Lake Symphony Newsletter Vol. 10 Issue 4 www.ClearLakeSymphony.org 2018 - 2019 “Great French Masters” Concert – February 8, 2019 The Clear Lake Symphony, with Music Director, Dr. Charles Johnson, starts its 43rd season in the Fall of 2018. The Symphony, recognized as a premiere community orchestra, is a member of ASCAP and BMI. Its goals are to present classical music for the residents of the Bay Area and to provide opportunities for the Bay Area musicians to create a variety of musical experiences for the enjoymentofthecommunity. Six regular season performances including the Christmas “Pops” will be held featuring various classical selections and guest soloists. Join the Symphony as it celebrates its 43rd Anniversary with a brand new “Season of Music featuring Masters of Music”. All concerts will be held at Gloria Dei Lutheran Church Auditorium, 18220 Upper Bay Road in Nassau Bay across from NASA Johnson Space Center at 7:30 PM (see concert dates). The Clear Lake Symphony will be performing the fourth concert of their 2018-2019 season on Friday, February 8th at the Gloria Dei Lutheran Church Auditorium located at 18220 Upper Bay Road across from NASA Johnson Space Center. Celebrating their 43rd season, the Orchestra will present a fun evening of MUSIC BY GREAT FRENCH MASTERS. The Orchestra will be led by Dr. Charles Johnson, in his 38th year as Conductor and Musical Director of the Clear Lake Symphony. Dr. Charles Johnson Conductor & Musical Director Reminder: All concerts will be on Friday evenings at 7:30 p.m. For a list of all the season concerts, please click on the following link: www.ClearLakeSymphony.org Concert Tickets are available from Eye Trends, 515 Bay Area Blvd., Suite 300 (next door to Starbucks). -
Free Downloads Operatic Vocal Score: Bellini's NORMA, Lyric Tragedy in Two Acts by Felice Romani, Music by Bellini, Ed
Free Downloads Operatic Vocal Score: Bellini's NORMA, Lyric Tragedy In Two Acts By Felice Romani, Music By Bellini, Ed. 2253 (G. Schirmer Opera Score Editions, In Italian Only) Norma is a tragedia lirica or opera in two acts by Vincenzo Bellini with libretto by Felice Romani. First produced at La Scala on 26 December 1831, it is generally regarded as an example of the supreme height of the bel canto tradition. Paperback Publisher: G. Schirmer (1970) ISBN-10: 0229117686 ISBN-13: 978-0229117680 ASIN: B002E6QTJE Product Dimensions: 10.6 x 7.3 x 0.8 inches Shipping Weight: 1.2 pounds Average Customer Review: Be the first to review this item Best Sellers Rank: #3,158,150 in Books (See Top 100 in Books) #20 in Books > Humor & Entertainment > Sheet Music & Scores > Composers > Bellini #818 in Books > Humor & Entertainment > Sheet Music & Scores > Historical Period > Early Romantic #1835 in Books > Humor & Entertainment > Sheet Music & Scores > Forms & Genres > Vocal Operatic Vocal Score: Bellini's NORMA, Lyric Tragedy in Two Acts by Felice Romani, Music by Bellini, Ed. 2253 (G. Schirmer Opera Score Editions, In Italian Only) Norma (Lyric Tragedy in Two Acts, VOCAL SCORE Ed. 2253) Norma Lyric Tragedy in Two Acts Vocal Score (Music by Vincenzo Bellini) I Capuleti e i Montecchi: Tragedia lirica in Two Acts by Felice Romani (The Critical Edition of the Works of Vincenzo Bellini; Series I: Operas) Norma: Lyric Tragedy in Two Acts Vocal Score L'Elisir D'Amore, The Elixir of Love : Comic Opera in Two Acts, Vocal Score (G. Schirmer Opera Score Editions, Number 2421) Der Freischutz (Romantic Opera in Three Acts) Vocal Score German-English (G. -
"Casta Diva" from Bellini's
“Casta Diva” from Bellini's “Norma”--Rosa Ponselle; accompanied by the Metropolitan Opera Orchestra and Chorus, conducted by Giulio Setti (December 31, 1928 and January 30, 1929) Added to the National Registry: 2007 Essay by Judy Tsou (guest post)* Rosa Ponselle “Casta Diva” is the most famous aria of Vincenzo Bellini’s “Norma” (1831). It is sung by the title character, a Druidess or priestess of the Gauls, in the first act. The opera takes place in Gaul between 100 and 50 BCE when the Romans were occupiers. The Gauls want Norma to declare war on the Romans, who have been oppressing them. Norma is hesitant to do so because she is secretly in love with Pollione, the Roman proconsul, and with whom she has borne two children. She assuages the people’s anger and convinces them that this is not the right time to revolt. She asserts that the Romans will eventually fall by their own doing, and the Gauls do not need to rise up now. It is at this point that Norma sings “Casta Diva,” a prayer to the moon goddess for peace, and eventually, conquering the Romans. When things between her and Pollione go sour, Norma tries to kill their children but ultimately cannot bring herself to do so. Eventually, she confesses her relationship with Pollione and sacrifices herself on the funeral pyre of her lover. “Norma” was the first of two operas commissioned in 1830 for which Bellini was paid an unprecedented 12,000 lire. “Norma” premiered on December 26, 1831 at La Scala, and the second opera, “Beatrice di Tenda,” premiered in 1833, but in Venice (La Fenice). -
Mercadante in Paris (1835-36): the Critical View Author(S): Francesca Placanica Source: Revue Belge De Musicologie / Belgisch Tijdschrift Voor Muziekwetenschap, Vol
Societe Belge de Musicologie Mercadante in Paris (1835-36): The Critical View Author(s): Francesca Placanica Source: Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap, Vol. 66, La critique musicale francophone belge au xixe siècle dans une perspective internationale / Nineteenth-century Belgian Francophone Music Criticism in International Context (2012), pp. 151-165 Published by: Societe Belge de Musicologie Stable URL: https://www.jstor.org/stable/23339196 Accessed: 26-05-2020 13:01 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 https://about.jstor.org/terms Societe Belge de Musicologie is collaborating with JSTOR to digitize, preserve and extend access to Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap This content downloaded from 78.18.65.11 on Tue, 26 May 2020 13:01:02 UTC All use subject to https://about.jstor.org/terms Mercadante in Paris (1835-36): The Critical View Francesca Placanica (University of Southampton) On 1 desFebruary deux mondes 1842, theread openingas follows: paragraph of the music column of the Revue Il y a en ce moment, en Italie, une école qui tend à se rapprocher du système lyrique français. On a tant répété aux Italiens que leurs roulades n'avaient pas le sens commun, et que leurs éternelles cavatines étaient absurdes, que les Italiens ne veulent plus faire de roulades et renoncent aux cavatines. -
TOCC0335DIGIBKLT.Pdf
WENZEL HEINRICH VEIT: COMPLETE STRING QUARTETS VOLUME ONE: QUARTETS NOS. 1 AND 2 by Markéta Kabelková and Aleš Březina Te first half of the nineteenth century saw a change from old to new forms of musical life. Performances accessible to the general public were increasingly promoted, and from the third quarter of the eighteenth century public concerts and publicly accessible musical theatres began to be developed. A lively and diverse cultural environment tends to emerge in places that are not only strong economically – that is, have a solid, educated middle class – but also have an existing cultural tradition. Although Prague was at that time the capital of the Czech kingdom and as such part of the Hapsburg monarchy, no ruler resided within the city, which therefore lacked the cultural life associated with a royal court. It was nonetheless an important European musical centre – the most important in Bohemia – and a popular stop for musicians on their concert tours. In 1810 the ‘Jednota pro zvelebení hudby v Čechách’ (‘Association for the Promotion of Music in Bohemia’) was established there and, only one year later, the Prague Conservatoire was founded, becoming the first professional training institution for musicians in central Europe. New forms of social life influenced demand for certain types of music, particularly smaller-scale compositions (songs, piano pieces and choruses). Larger instrumental compositions– such as symphonies, concertos and chamber music (which at that time was not intended for public concerts but to be played for smaller audiences) – were far less popular in Bohemia during the first half of the nineteenth century. -
1. ADOR Gustave (1845-1928) Président De La Confédération Suisse En 1919
1. ADOR Gustave (1845-1928) Président de la Confédération suisse en 1919. Deux ans plus tôt, il avait reçu, pour le compte du Comité Int. de la Croix- Rouge, le prix Nobel de la paix — L.A., signée en tête, 1 p. in-12 obl. Sur carte imprimée : Le Président de la Confédération. 125.– «Monsieur Ador présente ses compliments empressés...», remercie pour une invitation «... à la- quelle il a le grand regret de ne pouvoir se rendre...», etc. Sept lignes autographes datant du temps de sa présidence. 2. AGOULT, Au sujet de Marie d’ — L.A.S. (1 1/2 pp. in-8) du révolution- naire socialiste fr. Louis BLANC (1811-1882) ; Londres, 27.X.1862. 250.– «... I have sent you... a beautiful book written on the events of 1848 by Countess d’Agoult under the feigned name Daniel Stern. Countess d’Agoult is one of our best french writers...». L’ancien révolutionnaire trouve que Marie d’Agoult y développe des idées et aspirations fort libérales malgré ses origines aristocratiques ; et Louis Blanc de juger cet ouvrage «... the only reliable and clever account of the Revolution of February... a work most essentially deserving of notice...», etc. Intéressante. 3. ALARD Delphin (1815-1888) Violoniste français, maître de Sarasate — L.S. avec d’autres, 1 p. in-folio ; Paris, 22.X.1857. En-tête imprimé. 300.– Successeur de Baillot comme professeur de violon au Conservatoire de Paris, Alard signe ici, en tant que membre du Comité des Etudes, une très belle lettre de félicitations en faveur de son confrère Ernest DELDEVEZ (1817-1897).