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Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Formato Europeo Per Il Curriculum Vitae
F ORMATO EUROPEO PER IL CURRICULUM VITAE INFORMAZIONI PERSONALI Nome FRANCESCO DI GENNARO Indirizzo 80030 SCISCIANO (NA) E-mail [email protected] [email protected] Nazionalità Italiana Data di nascita 14/05/1972 ESPERIENZE LAVORATIVE 1/09/2005 al 31/08/2019 DOCENTE DI MATERIE LETTERARIE, LATINO E GRECO • Nome e indirizzo del datore di Liceo classico “Tito Lucrezio Caro” di Sarno (Sa) lavoro Corso Vittorio Emanuele 29, 84087 Sarno (Sa) 26/11/1996-27/04/2018 ARTISTA DEL CORO IN QUALITÀ DI BARITONO • Nome e indirizzo del datore di Teatro di San Carlo di Napoli lavoro Via San Carlo 98F, 80132 Napoli 1/09/2019 DIRIGENTE SCOLASTICO MI ICS di Vimodrone Via Fiume, 32, 20055 Vimodrone (MI) ISTRUZIONE E FORMAZIONE 07/07/1990 Diploma di Maturità classica conseguito presso il Liceo classico “G. Carducci” di Nola (Na) Voto: 60/60 Vincitore dei premi “Crauso” e “Fonseca” per il curriculum scolastico più prestigioso della città di Nola (a.s. 1987/88 e 1988/89) 20/12/1995 Laurea in Lettere Classiche conseguita presso l’Università degli Studi di Napoli “Federico II” Voto 110/110 con Lode con tesi in Letteratura Latina dal titolo “Virgilio poeta e personaggio nelle Odi e negli Epodi di Orazio” 25/10/1997 Perfezionamento in Lingue e Letterature Classiche conseguito presso l’Università degli Studi di Napoli “Federico II” con tesi dal titolo “Le riscritture del mito di Edipo in musica” 22/07/1997 Diploma di Canto conseguito presso il Conservatorio di Musica “A. Martucci” di Salerno 30/09/2002 Diploma di Pianoforte conseguito -
Comunicato Stampa Premio Internazionale Tito Schipa
IL PREMIO INTERNAZIONALE TITO SCHIPA 2018 (VIII Edizione) AL TENORE MARCELLO GIORDANI Ostuni, 8 agosto 2018 – Comunicato Stampa La sera di lunedì 13 agosto, nel Chiostro San Francesco di Ostuni, il Premio Internazionale Tito Schipa verrà consegnato a Marcello Guagliardo, in arte Marcello Giordani(1), uno dei più grandi tenori contemporanei, gloria dell’Italia nel mondo(2). Questo cantante ammirevole, con la voce illuminata (come Giuseppe Di Stefano) dai raggi del sole di Sicilia, è l’esempio d’un tenore lirico puro, saggiamente educato alla scuola antica(3), che nel corso della carriera amplia il proprio repertorio dai ruoli di grazia sino a quelli di lirico spinto e persino drammatico, partendo da una 1 salda base di belcanto ottocentesco e mai dimenticandola. Respirazione diaframmatico- costale, gola libera, nessuna forzatura, emissione dolce e insieme virile, suono tondo, immascherato e proiettato verso il cielo, acuti (e sovracuti) naturali e sfavillanti... Il numero sette, che i Greci chiamavano venerabile, per i Maestri classici simboleggiava la compiutezza e la perfezione, congiungendo in sé il ternario divino e il quaternario terrestre e rappresentando la totalità degli astri erranti visibili all'occhio umano. Superata questa soglia si entrava, con l'otto, considerato difensore dell'equilibrio cosmico, nell’infinito, nella trascendenza, nella trasfigurazione. Ci sembra un bellissimo auspicio per l’ottava edizione del Premio Internazionale Tito Schipa. Con la voce di Marcello Giordani, degno successore del sommo artista leccese, il Premio che onora il nome di quest'ultimo va oltre. Prima della premiazione di Marcello Giordani canteranno due giovani promesse: il soprano Giulia Palma (già esibitasi l’anno scorso) e il baritono Giuseppe Tafuro. -
Saggio Finale Della Masterclass Di Fiorenza Cedolins “L'opera Italiana
saggio finale della masterclass di fiorenza cedolins “l’opera italiana dal romanticismo al verismo” 1° parte W.A. Mozart da Don Giovanni giovanni sala _tenore 1756 – 1791 Dalla sua pace da Don Giovanni alma fabricius _soprano In quali eccessi… Mi tradì quell’alma ingrata da Don Giovanni giovanni sala _tenore Il mio tesoro intanto da Le nozze di Figaro alma fabricius _soprano Porgi amor É. Lalo da Le Roi d’Ys giovanni sala _tenore 1823 – 1892 Vainement, ma bien-aimée J. Offenbach da Les contes d’Hoffmann alma fabricius _soprano 1819 – 1880 Elle a fui, la tourterelle G. Donizetti da L’Elisir d’amore giovanni sala _tenore 1797 – 1848 Una furtiva lacrima G. Verdi da Traviata francesca rini _soprano 1813 – 1901 È strano… Sempre libera 2° parte G. Verdi da Macbeth marcello mazza _tenore Ah, La paterna mano G. Puccini da La Bohème francesca rini _soprano 1858 – 1924 Addio del passato F. Cilea da Arlesiana marcello mazza _tenore 1866 – 1950 Il lamento di Federico G. Puccini da La Bohème francesca rini _soprano 1858 – 1924 Sì, mi chiamano Mimì R. Wagner da Lohengrin alma fabricius _soprano 1813 – 1883 Einsam in trüben Tagen G. Verdi da Otello marcello mazza _tenore Niun mi tema da Otello francesca rini _soprano Ave Maria da Otello alma fabricius _soprano Già nella notte densa marcello mazza _tenore aliona forti _pianoforte ALMA FABRICIUS Nata a Heidelberg in Germania, riceve già presto le prime lezioni di canto e pianoforte. Subito dopo il diploma si trasferisce in Italia e studia con il maestro di canto Alain Billard presso l’accademia Frescobaldi a Ferrara e dal 2005 con il maestro collaboratore Enza Ferrari a Treviso. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
Mozart: Requiem
LSO Live Mozart Requiem Sir Colin Davis Marie Arnet Anna Stéphany Andrew Kennedy Darren Jeffery London Symphony Chorus London Symphony Orchestra Mozart Requiem, K626 (1791) Page Index Marie Arnet soprano 3 Track listing Anna Stéphany alto 4 English notes Andrew Kennedy tenor 5 French notes Darren Jeffery bass 6 German notes 7 Composer biography Sir Colin Davis conductor 8 Text London Symphony Orchestra 10 Conductor biography London Symphony Chorus 11 Artist biographies 13 Orchestra and Chorus personnel lists 14 LSO biography James Mallinson producer Daniele Quilleri casting consultant Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd balance engineers Ian Watson and Jenni Whiteside for Classic Sound Ltd editors A high density DSD (Direct Stream Digital) recording Recorded live at the Barbican, London 30 September and 3 October 2007 © 2008 London Symphony Orchestra, London UK P 2008 London Symphony Orchestra, London UK 2 Track listing Introitus and Kyrie 1 No 1 Requiem and Kyrie (chorus, soprano) 7’12’’ p8 Sequence 2 No 2 Dies irae (chorus) 1’44’’ p8 3 No 3 Tuba mirum (soprano, alto, tenor, bass) 3’38’’ p8 4 No 4 Rex tremendae (chorus) 2’13’’ p8 5 No 5 Recordare (soprano, alto, tenor, bass) 6’03’’ p8 6 No 6 Confutatis maledictis (chorus) 2’44’’ p8 7 No 7 Lacrimosa (chorus) 2’59’’ p8 Offertorium 8 No 8 Domine Jesu (chorus, soprano, alto, tenor, bass) 4’16’’ p8 9 No 9 Hostias (chorus) 4’36’’ p9 Sanctus 10 No 10 Sanctus (chorus) 1’47’’ p9 Benedictus 11 No 11 Benedictus (chorus, soprano, alto, tenor, bass) 4’29’’ p9 Agnus Dei and Communio 12 No 12 Agnus Dei (chorus, soprano) 8’46’’ p9 TOTAL 50’35’’ 3 Wolfgang Amadeus Mozart (1756–91) Jesu’ and the ’Hostias’ were written separately. -
FRIENDSHIPS: GOOD and BAD a Lecture for Mercury Opera Rochester by Chuck Lundeen Guild Address P.O
FRIENDSHIPS: GOOD and BAD A Lecture for Mercury Opera Rochester by Chuck Lundeen Guild address P.O. Box 92245 Rochester NY 14692 Mercury Opera Rochester Website: www.mercuryoperarochester.org with link to Guild Guild contacts: Dr. Agneta D. Borgstedt, President 585-334-2323 [email protected] Helga Strasser, Trip coordinator 585-586-2274 [email protected] Arthur Axelrod, Vice-President,Guild lectures and technical assistance 585-377-6133 [email protected] Playlist of excerpts used and an outline of the lecture 1. A Friendship Formed from Shared Circumstances: NORMA 1831, La Scala, Milan; by Vincenzo Bellini (1801-1835), with libretto by !Felice !Romani. ARTHAUS MUSIK DVD #101 465: From the Gran Teatre Del Liceu, Barcelona, !conducted by Giuliano Carella and directed by Francisco Negrin, 2007. Norma (soprano), High Priestess of the Druids!!Fiorenza Cedolins Adalgisa (soprano) a virgin from the Druid temple!Sonia Ganassi Norma, supposedly a virgin high priestess of the Druids, has secretly been carrying on a love affair. Oddly enough, it is with Pollione, the head of the Roman army in Gaul, which is trying to conquer the Druids. Their affair has been going on long enough for the couple to have two young sons whom Norma has successfully kept hidden from everyone! Adalgisa, one of the young virgin priestesses, is feeling guilty and comes to confide in Norma that she is having a secret love affair. During the course of her confession Norma discovers that the affair is with none other than her own lover, Pollione. In this scene Norma is in total desperation. -
Bando ENG 6.1.21 Concorso Soi Seconda Edizione 2021
“1° Concorso di Canto Lirico Virtuale SOI Scuola dell’Opera Italiana Fiorenza Cedolins” Edition 2021 Categories Opera, Operetta, Zarzuela, Classical Musical, Lied-Song even new, unpublished compositions. Competition rules Foreword The competition, in its first edition, was conceived under exceptional circumstances and had, as its main purpose, to keep the interest of students, artists, professionals and fans in the world of singing and Opera alive. Overcoming the hardships of this period, the use of technological tools and the intelligent use of new social communication strategies offered artists the opportunity to invent novel expressive languages, which they can treasure for the continuation of their careers, without neglecting their technical, artistic and professional content. These artistic and professional qualities will therefore be evaluated globally, in terms of vocal, musical, interpretative, stylistic, acting, stage, directorial performance, in the context of an expressive language dedicated to the multimedia artistic universe, with particular attention to creative originality. The aim of the competition is not only the discovery and promotion of new talents, but also the dissemination of opera singing, in its main musical forms, to new audiences, through technological tools and popular and democratic communications, which are widely used especially among the younger generations. Requirements and application for admission Art. 1 – General The competition is open to classical singers of all nationalities who, at the closing date of registration, have reached the age of 18. Art. 2 - Application for admission The Competitor must send the registration form attached to this document, biography, copy of passport or other identity document, audio- video recording, receipt of payment of the registration fee and consent for publication from all contributors of their video, to [email protected] Art. -
Christian Books Print Media: 1) Anchor Bible Dictionary (6 Volumes)
Standard Library Project: Christian Books Print Media: 1) Anchor Bible Dictionary (6 volumes); ISBN 038519313 volume 1; 0385193602 volume 2; 0385193610 volume 3; 0385193629 volume 4; 0385193637 volume 5 038526190X volume 6 This six volume set is considered a classic bible dictionary series. 2) Confessions by Augustine, Saint ; ISBN 0-19-281774-4 Saint Augustine shares his personal wrestling against human temptations to find God’s peace. 3) Familias en un Mundo Enfermo by Bedrossian, Nydia; ISBN 0-311-12111-X Bedrossian explores family wellness in this text. 4) New Daily Study Bible: Complete Set (New Daily Bible) 17 vol. set (Paperback) by Barclay, William This classic commentary series is very readable for personal and group bible study. 5) Baptism in the New Testament by Beasley-Murray, G.R.; ISBN 0-8028-1493-X Beasley offers a thorough background on the biblical and theological context to Christian baptism. 6) Don’t Waste Your Sorrows by Billheimer, Paul E.; ISBN 0875080073 Pastor Billheimer shares how God desires to transform our pain into Christian character and spiritual growth. 7) Experiencing the Cross by Blackaby, Henry; ISBN 1-59052-480-2 Blackaby outlines very practical application of the cross in the Christian’s life. 9901901227 This is an essential reference for up to date and comprehensive treatment of biblical subjects. 8) A Testament to Freedom by Bonhoeffer, Dietrich; ISBN 0-06-064214-9 This revised edition includes newly translated and expanded writings of Bonhoeffer’s books, speeches, letters through his career as a pastor, seminary professor, imprisoned martyr, and peace advocate. 9) Conspiracy and Imprisonment 1940-1945 by Bonhoeffer, Dietrich ; ISBN 0-8006-8316-1 This book examines a Christian who lived and died with conviction. -
VERDI FALSTAFF Sir Colin Davis
LSO Live LSO Live LSO Live captures exceptional LSO Live témoigne de LSO Live fängt unter performances from the finest concerts d’exception, donnés Einsatz der neuesten High- musicians using the latest par les musiciens les plus Density-Aufnahmetechnik high-density recording remarquables et restitués außerordentliche technology. The result? grâce aux techniques les plus Darbietungen der besten Sensational sound quality modernes de l’enregistrement Musiker ein. Das Ergebnis? VERDI FALSTAFF and definitive interpretations haute-définition. La qualité Sensationelle Klangqualität combined with the energy and sonore impressionnante und maßgebliche Sir Colin Davis emotion that you can only entourant ces interprétations Interpretationen, gepaart mit experience live in the concert d’anthologie se double de der Energie und Gefühlstiefe, London Symphony Orchestra hall. LSO Live lets everyone, l’énergie et de l’émotion die man nur live im everywhere, feel the que seuls les concerts en Konzertsaal erleben kann. excitement in the world’s direct peuvent offrit. LSO Live LSO Live lässt jedermann greatest music. For more permet à chacun, en toute an der aufregendsten, Michele Pertusi information visit circonstance, de vivre cette herrlichsten Musik dieser Welt Carlos Alvarez www.lso.co.uk passion intense au travers teilhaben. Wenn Sie mehr Ana Ibarra des plus grandes oeuvres erfahren möchten, schauen du répertoire. Sie bei uns herein: Marina Domashenko Pour plus d’informations, www.lso.co.uk Jane Henschel rendez vous sur le site Maria Josè Moreno www.lso.co.uk -
Approche Narratologique À La Transmodalisation De Carmen: Du Récit Littéraire À L’Opéra
Anales de Filología Francesa, n.º 28, 2020 https://doi.org/10.6018/analesff.401511 Recibido: 4-11-2019 / Aceptado: 11-02-2020 Approche narratologique à la transmodalisation de Carmen: du récit littéraire à l’opéra Narratological approach to Carmen’s transmodalisation: from the literary narrative to the opera Mathilde Robin Universidad de Alicante [email protected] Abstract Resumen This article presents a study between the Méri- Este artículo presenta un estudio entre la novela mée’s novel Carmen and its Bizet’s homonym Carmen de Mérimée y la ópera de Bizet desde opera from a comparatist perspective, to un- una perspectiva comparatista. Ello permitirá derstand the transmodalisation and mythifica- entender el proceso de transmodalización y de tion process, and also the difference of success mitificación, así como la diferencia de éxito between hypotext and hypertext. To that end, entre hipotexto e hipertexto. Para ello, se ana- it analyses the treatment of the opera’s actants lizará el tratamiento de los actantes de la ópera in comparison with the novel’s actants, but it en comparación con los de la novela. Se inci- highlights above all the enhancement brought dirá sobre todo en el enriquecimiento aportado by the transmodalisation. por la transmodalización. Key-words Palabras clave transmodalisation, comparatism, opera, litera- transmodalización, comparatismo, ópera, lite- ture, mythification. ratura, mitificación. 555 Anales de Filología Francesa, n.º 28, 2020 Approche narratologique à la transmodalisation de Carmen: du récit littéraire à… 1. Introduction Nous pouvons affirmer que Carmen (1875), l’opéra-comique en quatre actes, com- posé par Georges Bizet sur le livret de Ludovic Halévy et d’Henri Meilhac, est très certai- nement l’opéra le plus connu et le plus représenté dans le monde entier. -
Turandot: Good to Know 5 Production Information 6 Synopsis 7 the Principal Characters 9 the Principal Artists 10 the Composer 11 Turandot the Librettists 12
Study Guide Chorus Sponsor Season Sponsors Student Night at the Opera Sponsor Projected Translations Sponsor Making the Arts More Accessible® Education, Outreach and Audience Engagement Sponsors 1060 – 555 Main Street lower level, Centennial Concert Hall Winnipeg, MB, R3B 1C3 204-942-7479 www.manitobaopera.mb.ca For Student Night tickets or more information on student programs, contact Livia Dymond at 204-942-7470 or [email protected] Join our e-newsletter for exclusive behind-the-scenes content: Go to www.manitobaopera.mb.ca and click “Join Our Mailing List” welcome Contents Three Great Resources for Teaching Your Students About Opera 4 Turandot: Good to Know 5 Production Information 6 Synopsis 7 The Principal Characters 9 The Principal Artists 10 The Composer 11 Turandot The Librettists 12 About Musical Highlights 13 Nessun Dorma 14 The History of Turandot 15 Ancient China: Geography 16 People in Ancient China 17 A Short Overview of Opera 18 Bringing an Opera to the Stage 20 The Operatic Voice and Professional Singing 22 Glossary: Important Words in Opera 23 General Opera General Audience Etiquette 27 Manitoba Opera 28 Student Activities 29 Winnipeg Public Library Resources 36 TURANDOT 3 welcome Three Great Resources for Teaching Your Students About Opera 1. Student Night In order to expose student audiences to the glory of opera, Manitoba Opera created Student Night. It’s an affordable opportunity for students to watch the dress rehearsal, an exciting look at the art and magic of opera before the curtain goes up on Opening Night, when tension is high and anything can happen.