The Trains Which Left) C (Lyric by Vangelis Goufas [Vah-GAY-Liss GOO-Fahss] Set to Music by Stavros Xarhakos [STAHV-Russ Ksar-HAH-Kuss]

Total Page:16

File Type:pdf, Size:1020Kb

The Trains Which Left) C (Lyric by Vangelis Goufas [Vah-GAY-Liss GOO-Fahss] Set to Music by Stavros Xarhakos [STAHV-Russ Ksar-HAH-Kuss] Ta trena pou figan C Ta tréna pou figan C tah TRAY-nah poo FEE-gahn C (The Trains Which Left) C (lyric by Vangelis Goufas [vah-GAY-liss GOO-fahss] set to music by Stavros Xarhakos [STAHV-russ ksar-HAH-kuss]) Tabachnik C Michel Tabachnik C mih-HELL tah-BAHCH-nyick Tabakov C Mikhail Tabakov C mee-kahEEL tah-bah-KAWF Tabard inn C At the Tabard Inn C (At the) TA-burd (Inn) C (overture by George Dyson [JAW-urj D¦-sunn]) Tabarro C Il tabarro C eel tah-BAR-ro C (The Cloak) C (an opera, with music by Giacomo Puccini [JAH-ko-mo poo-CHEE-nee]; libretto by Giuseppe Adami [joo-ZAYP-pay ah-DAH- mee] after Didier Gold [dee-deeay gawld]) Taberna C In taberna C inn tuh-BAYR-nuh C (In the tavern) C (a group of poems from the 13th-century manuscript Carmina Burana [kar-MEE-nah boo-RAH-nah] set to music by Carl Orff [KARL AWRF]) Tabernera del puerto C La tabernera del puerto C lah tah-vehr-NAY-rah dell pooEHR-toh C (an opera, with music by Pablo Sorozábal [PAH-vlo so-ro-THAH-vahl]; libretto by Romero [ro- MAY-ro] and Fernández Shaw [fehr-NAHN-dehth SHAW]) Tableaux de statistiques C tah-blo duh stah-teess-teek C (Statistical tables) C (an excerpt from the suite Souvenirs de l’exposition [sôô-v’neer duh luckss-paw-zee-seeaw6] — Remembrances of the Exposition — by Federico Mompou [feh-theh-REE-ko mawm-POOO]) Tabor C TAY-bur Tabourin C tah-bôô-reh6 C (small drum) Tabourot C Jehan Tabourot C zhehah6 tah-bôô-ro Tabuteau C Marcel Tabuteau C mar-sell tah-bü-toh Tacchinardi C Nicola Tacchinardi C nee-KO-lah tahk-kee-NAR-dee C (the first name is also spelled Niccolò [nee-ko-LO]) Tacchino C Gabriel Tacchino C gah-breeell tahk-kee-no Tacea la notte placida C tah-CHAY-ah lah NOHT-tay plah-CHEE-dah C (The peaceful night was hushed) C (aria featuring Leonora [lay-o-NO-rah] in the opera Il trovatore [eel tro- vah-TOH-ray] — The Troubadour; music by Giuseppe Verdi [joo-ZAYP-pay VAYR-dee]; libretto by Salvadore Cammarano [sahl-vah-DOH-ray kahm-mah-RAH-no] and Leone Emanuele Bardare [lay-O-nay ay-mah-nooAY-lay bar-DAH-ray] after Antonio García Gutiérrez [ahn-TOH-neeo gar-THEE-ah goo-teeAYR-rehth]) Tacea la notte placida di tale amor C Tacea la notte placida ... Di tale amor C tah-CHAY-ah lah NOHT-tay plah-CHEE-dah ... dee TAH-lay ah-MOHR C (The peaceful night was hushed ... Such love as this) C (passage featuring Leonora [lay-o-NO-rah] in the opera Il trovatore [eel tro-vah-TOH-ray] — The Troubadour; music by Giuseppe Verdi [joo-ZAYP-pay VAYR-dee]; libretto by Salvadore Cammarano [sahl-vah-DOH-ray kahm-mah-RAH-no] and Leone Emanuele Bardare [lay-O-nay ay-mah-nooAY-lay bar-DAH-ray] after Antonio García Gutiérrez [ahn-TOH-neeo gar-THEE-ah goo-teeAYR-rehth]) Tacete gia veggo C Tacete! già veggo C tah-CHAY-tay! jah VAYG-go C (excerpt from the opera Il barbiere di Siviglia [eel bar-beeAY-ray dee see-VEE-leeah] — The Barber of Seville [suh-VILL]; music by Gioachino Rossini [johah-KEE-no rohss-SEE-nee]; libretto by Cesare Sterbini [chay-ZAH-ray stayr-BEE-nee] after Pierre-Augustin Caron de Beaumarchais [peeehr- o-güss-teh6 kah-raw6 duh bo-mar-sheh] and Giuseppe Petrosellini [joo-ZAYP-pay pay-tro- zayl-LEE-nee]) Tachezi C Herbert Tachezi C HEHR-pert tah-KAY-tsee Tachezi C Herwig Tachezi C HEHR-vihh tah-KAY-tsee Tachezi C Wilfred Tachezi C VILL-frett tah-KAY-tsee Taci giason C Taci Giason? C TAH-chee jah-ZOHN? C (aria from the opera Medea [may- DAY-ah]; music by Luigi Cherubini [looEE-jee kay-roo-BEE-nee] and libretto by François Benoît Hoffmann [frah6-swah beh-n’wah hawf-mahn]) C (Medea is the Italian version of the opera known in French as Médée [may-day]) Taddei C Giuseppe Taddei C joo-ZAYP-pay tahd-DAYEE Tadeo C Giorgio Tadeo C JOHR-jo tah-DAY-o Tadolini C Eugenia Tadolini C ayoo-JAY-neeah tah-doh-LEE-nee Tadolini C Giovanni Tadolini C jo-VAHN-nee tah-doh-LEE-nee Taffanel C Paul Taffanel C pohl tahf-fah-nell C (known also as Claude-Paul [klohd-pohl] Taffanel) Tag C Christian Gotthilf Tag C KRIH-stihahn GAWT-hilff TAHK Tagesbuch der laura C Tagesbuch der Laura C TAHAH-guss-pôôk dayr LAHÔÔ-rah C (aria from the opera Der Ring des Polykrates [der RIHNG dess PAW-lü-krah-tuss]; music by Erich Wolfgang Korngold [{EH-rick WÔÔLF-gang KAWRN-gohld} AY-rihh VAWLF-gahng KAWRN-gawlt]; libretto by Korngold after Heinrich Teweles [H¦N-rihh TAY-vay-luss]) Tagliabue C Carlo Tagliabue C KAR-lo tah-leeah-BOO-ay Tagliaferro C Magda Tagliaferro C MAHG-duh tah-leeuh-FAY-hôô Tagliafico C Joseph Tagliafico C zho-zeff tah-leeAH-fee-ko C (known also as Dieudonné [deeö-dawn-nay] Joseph Tagliafico) Tagliapietra C Gino Tagliapietra C JEE-no tah-leeah-peeAY-trah Tagliapietra C Giovanni Tagliapietra C jo-VAHN-nee tah-leeah-peeAY-trah TagliaviniC Ferruccio Tagliavini C fayr-ROO-cho tah-leeah-VEE-nee TagliaviniC Luigi Ferdinando Tagliavini C looEE-jee fayr-dee-NAHN-doh tah-leeah-VEE-nee Taglichsbeck C Thomas Täglichsbeck C TOH-mahss TECK-lihh-speck Tagore C Rabindranath Tagore C rah-BINN-druh-naht tah-GAWR C (character in the opera Satyagraha [saht-yeeAH-grah-hah] — To Insist on the Truth; music by Philip Glass [FIH- lupp GLASS] and libretto by Constance DeJong [KAHNT-stunntss duh-JAWNG]) Tagore C Sir Surindro Mohun Tagore C (Sir) suh-RINN-dro mo-HUNN tah-GAWR Tahidromos C O tahidrómos C o tah-hee-THRAW-muss C (The Postman) C (words and music by Manos Hadjidakis [MAH-nuss hahth-zee-TH¦-kiss]) Taille C tehy’ Tailleferre C Germaine Tailleferre C zhehr-mehn teh-yuh-fehr C (known also as Marcelle Germaine Tailleferre [mar-sell zhehr-mehn teh-yuh-fehr]) Taillon C Jocelyne Taillon C zhawss’-leen teh-yaw6 Tajcevic C Marko Taj evi C MAR-kaw TAHIH-cheh-vihch Tajo C Italo Tajo C ee-TAH-lo TAH-ho Tak pechalny C Vy tak pechalny C vwee TAHK pih-CHAHL-nyih C (excerpt from the opera Pique dame [peek dahm] — The Queen of Spades — featuring Yeletsky [yeh-LYETT-skee] with Lisa [LEE-suh]; music by Peter Ilyich Tchaikovsky [p’YAW-t’r ill-YEECH {chahih- KAWF-skee} chay-KAWF-skee]; libretto by Modest Tchaikovsky [mah-DYESST {chahih- KAWF-skee} chay-KAWF-skee] and P. I. Tchaikovsky after Alexander Sergeyevich Pushkin [uh-lyick-SAHN-d’r sehr-GAY-yeh-vihch POOSH-kinn]) Tak v nenastnye dni C TAHK v’neh-NAHST-n’yeh d’nyee C (quartet and chorus) C (quartet featuring Chekalinsky [cheh-kah-LYEEN-skee], Surin [SOO-rinn], Chaplitsky [chah-PLYEET- skee], and Narumov [nah-ROO-muff] with chorus from the opera Pique Dame [peek dahm] — The Queen of Spades; music by Peter Ilyich Tchaikovsky [p’YAW-t’r ill-YEECH {chahih- KAWF-skee} chay-KAWF-skee]; libretto by Modest Tchaikovsky [mah-DYESST {chahih- KAWF-skee} chay-KAWF-skee] after Alexander Sergeyevich Pushkin [uh-lyick-SAHN-d’r sehr-GAY-yeh-vihch POOSH-kinn]) Takacs C JenÅ Takács C YEH-nöö tah-KAHAHSH Takacs C Klára Takács C KLAHAH-rah tah-KAHAHSH Takacs C Mária Takács C MAHAH-rihah tah-KAHAHSH Takacs C Tamara Takács C TAH-mah-rah tah-KAHAHSH Takagi C Tôroku Takagi C tawaw-lawk tah-kah-ghee Takahashi C Aki Takahashi C ahk tah-kah-hahsh Takahashi C Yuji Takahashi C yoo-jee tah-kah-hahsh Takarazuka city C Takarazuka City C tah-kah-lah-zoo-kah (City) Takashi C Asahina Takashi C ah-sah-hee-nah tah-kahsh Takata C Saburô Takata C sah-boo-lawaw tah-kah-tah Takata C Shin-ichi Takata C shih6-neech tah-kah-tah Takeda Yoshimi Takeda C yaw-shee-mee tah-kee-dah Takemitsu C Toru Takemitsu C taw-loo tah-keh-meetss Takemitsu C TÇru Takemitsu C tohohloo tah-keh-mittss Taking his beer with old anacharsis C (Taking his beer with old) ah-nah-KAR-siss) C (composition by Aldridge [AWL-drihj]) TaktakishviliC Otar Taktakishvili C ah-TAR tahk-tah-kihsh-VEE-lyee C (known also as Otar Vasilievich [vah-SEE-liheh-vihch] Taktakishvili) TaktakishviliC Shalva Taktakishvili C shahl-VAH tahk-tah-kihsh-VEE-lyee C (known also as Shalva Mikhailovich [mee KAHEE-luh-vihch] Taktakishvili) Taku C Koji Taku C kaw-jee tahk Tal C Josef Tal C YO-seff TAHL Talavera C Mario Talavera C MAH-reeo tah-lah-VAY-rah Tale amor C Di tale amor C dee TAH-lay ah-MOHR C (Such love as this) C (aria featuring Leonora [lay-o-NO-rah] in the opera Il trovatore [eel tro-vah-TOH-ray] — The Troubadour; music by Giuseppe Verdi [joo-ZAYP-pay VAYR-dee]; libretto by Salvadore Cammarano [sahl- vah-DOH-ray kahm-mah-RAH-no] and Leone Emanuele Bardare [lay-O-nay ay-mah-nooAY- lay bar-DAH-ray] after Antonio García Gutiérrez [ahn-TOH-neeo gar-THEE-ah goo-teeAYR- rehth]) Tale of the kalender prince C The Tale of the Kalender Prince C (The Tale of the) KAH-lenn- dur (Prince) C (excerpt from the suite Scheherazade [shuh-heh-rah-zahd] by Nicolai Rimsky- Korsakov [nyee-kah-LAHIH REEM-skee-KAWR-suh-kuff]) C (Kalender is also transliterated as Kalendar; the Russian pronunciation is kah-lenn-D¦) C (the pronunciation of Scheherazade given here is the common French version) Tale of tsar saltan C The Tale of Tsar Saltan C (The Tale of) TSAR sahl-TAHN C (an opera, with music by Nicolai Rimsky-Korsakov [nyee-kah-LAHIH REEM-skee-KAWR-suh-kuff]; libretto by Vladimir I.
Recommended publications
  • Josef Tal on the Cusp of Israeli Statehood, Or, the Simultaneity of Adjacency and Oppositionality
    Josef Tal on the Cusp of Israeli Statehood, or, The Simultaneity of Adjacency and Oppositionality Assaf Shelleg Acta Musicologica, Volume 91, Number 2, 2019, pp. 146-167 (Article) Published by International Musicological Society For additional information about this article https://muse.jhu.edu/article/741611 Access provided at 28 Nov 2019 16:05 GMT from Tel Aviv University i i i i Josef Tal on the Cusp of Israeli Statehood, or, The Simultaneity of Adjacency and Oppositionality Assaf Shelleg Jerusalem To the amateur composer who comes to this country with an inheritance of Russian of Balkan folk tunes, the absorption of the Oriental Jewish and Arabian music is a gain. The traditionalism of his original country receives a new accent. To the professional composer whose material is the European art-music, the Jewish and Arab-Palestinian folklore opens up a fertile and rejuvenating world. A few will attach certain ourishes, some popular syl- lables to the iron structure of modern art-language; in other words they write a kind of “quotation-music” with wrong notes.1 [Sharett’s music] demonstrates neither melodic templates in their conven- tional form nor harmonies using parallel fourths and fths mixed with seconds—a falsied acoustic substitute; nor is there any articial immer- sion in the past in the form of shallow mimicry of biblical chants. We must not follow the easy path of success, but rather aspire to achieve in our spiritual creation what we had accomplished politically.2 The statements “‘quotation music’ with wrong notes,” “fal- sied acoustics,” and “shallow mimicry of biblical chants” could have equally come from either of the composers, Stefan Wolpe or Josef Tal.
    [Show full text]
  • Georges Thill « Aux Bords Lointains Dont Nul Mortel N’Approche… »
    1 Je crois entendre encore… Georges Thill « Aux bords lointains dont nul mortel n’approche… » J’ai intitulé la causerie d’aujourd’hui : « Aux bords lointains dont nul mortel n’approche », d’abord parce qu’il s’agit d’un hommage au ténor Georges Thill et que ces quelques mots disent les sommets interprétatifs dont je voudrais vous donner aujourd’hui un modeste écho. Echo qui, comme notre déclaration d’amour à Victoria de Los Angeles, il y a deux semaines, va, je l’espère, nous faire rêver mais aussi, je le crains, sonner le glas lugubre d’un certain art du chant, d’une école française de chant dont la gloire, universelle au tournant du XXème siècle, n’est plus à présent qu’un souvenir évanescent. Certes le vaillant Roberto Alagna, Benjamin Berheim et une théorie de magnifiques cantatrices, actrices autant que chanteuses, tous aguerris à des techniques jadis négligées, me font mentir. Mais Georges Thill, dans les témoignages sonores qu’il nous a laissés, dénonce la pénurie de grandes pointures – soprano dramatique et ténor héroïque – qui rendent si problématique toute programmation wagnérienne. « Aux bords lointains dont nul mortel n’approche… », c’est aussi pour moi un souvenir d’enfance. Je ne suis pas si vieux que je n’ai toujours connu le microsillon, désormais baptisé vinyle, quand nous disions 33 tours ou 30 cm, parce qu’il existait aussi des 25 cm. Mais, comme dans les familles rien ne se perd, il n’était pas rare de tomber, dans les années soixante, sur des piles de « vieux » 78 tours, lourds et raides.
    [Show full text]
  • Eberhard Waechter“
    DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung ..........................................................................................
    [Show full text]
  • The Tallis Scholars 20.00 Concertzaal Nagesprek Met Peter 40 Jaar Bidden, Huilen, Juichen Phillips En Sofie Taes Biografieën Uitvoerders En Programma
    zaterdag 05.10.2013 The Tallis Scholars 20.00 Concertzaal Nagesprek met Peter 40 jaar bidden, huilen, juichen Phillips en Sofie Taes Biografieën Uitvoerders en programma The Tallis Scholars (UK) werden in 1973, Peter Phillips (UK) studeerde renaissance­ Peter Phillips: dirigent Eric Whitacre (1970) veertig jaar geleden dus, opgericht door muziek in Oxford en begon daar uit interesse The Tallis Scholars: Sainte-Chapelle (2013), Belgische première Peter Phillips. Door talloze opnames en voor minder gekend repertoire een eigen Janet Coxwell, Amy Haworth, concerten groeiden ze uit tot een van ensemble. Bijna 2000 concerten en zestig Grace Davidson, Amy Wood: sopraan Michael Tippett (1905-1998) de meest toonaangevende uitvoerders cd­opnames later staan The Tallis Scholars aan Caroline Trevor, Matthew Venner: alt Plebs angelica (1943-44) van renaissancepolyfonie en brachten de wereldtop van de vocale muziek. Naast die Christopher Watson, Ashley Turnell: tenor zo dit repertoire onder de aandacht van concerten treedt Peter Phillips geregeld op als Simon Whiteley, Greg Skidmore: bas John Tavener (1944) het grote publiek. De groep geeft zo’n gastdirigent, de afgelopen jaren onder meer Funeral Ikos (1981) zeventig concerten per jaar, veel daarvan bij Collegium Vocale Gent en het Nederlands — in de Verenigde Staten en Japan, en heeft Kamerkoor en nu bij het Chœur de Chambre Arvo Pärt (1935) een sterke band met de serie Choral at de Namur, Musica Reservata Barcelona en Thomas Tallis (ca.1505-1585) Magnificat(1989) Cadogan in Londen. Het jubileumwerk van het Tudor Choir Seattle. In eigen land werkt Loquebantur variis linguis a7 Eric Whitacre op dit programma is zeker niet hij veel met de BBC Singers.
    [Show full text]
  • The Career of Fernand Faniard
    Carrière artistique du Ténor FERNAND FANIARD (9.12.1894 Saint-Josse-ten-Noode - 3.08.1955 Paris) ********** 1. THÉÂTRE BELGIQUE & GRAND DUCHÉ DE LUXEMBOURG BRUXELLES : OPÉRA ROYAL DE LA MONNAIE [1921-1925 : Baryton, sous son nom véritable : SMEETS] Manon [première apparition affichée dans un rôle] 1er & 5 août 1920 Louise (Le Peintre) 2 août 1920 Faust (Valentin) 7 août 1920 Carmen (Morales) 7 août 1920. La fille de Madame Angot (Buteux) 13 avril 1921, avec Mmes. Emma Luart (Clairette), Terka-Lyon (Melle. Lange), Daryse (Amarante), Mercky (Javotte, Hersille), Prick (Thérèse, Mme. Herbelin), Deschesne (Babet), Maréchal (Cydalèse), Blondeau. MM. Razavet (Ange Pitou), Arnaud (Pomponnet), Boyer (Larivaudière), Raidich (Louchard), Dognies (Trénitz), Dalman (Cadet, un officier), Coutelier (Guillaume), Deckers (un cabaretier), Prevers (un incroyable). La fille de Roland (Hardré) 7 octobre 1921 Boris Godounov (création) (Tcherniakovsky), 12 décembre 1921 Antar (création) (un berger) 10 novembre 1922 La victoire (création) (L'envoi) 28 mars 1923 Les contes d'Hoffmann (Andreas & Cochenille) La vida breve (création) (un chanteur) 12 avril 1923 Francesca da Rimini (création) (un archer) 9 novembre 1923 Thomas d'Agnelet (création) (Red Beard, le Lieutenant du Roy) 14 février 1924 Il barbiere di Siviglia (Fiorillo) Der Freischütz (Kilian) La Habanera (Le troisième ami) Les huguenots (Retz) Le joli Gilles (Gilles) La Juive (Ruggiero) Les maîtres chanteurs (Vogelsang) Pénélope (Ctessipe) Cendrillon (Le superintendant) [1925-1926 : Ténor] Gianni Schicchi (Simone) Monna Vanna (Torello) Le roi d'Ys (Jahel) [20.04.1940] GRANDE MATINÉE DE GALA (au profit de la Caisse de secours et d'entr'aide du personnel du Théâtre Royal). Samson et Dalila (2ème acte) (Samson) avec : Mina BOLOTINE (Dalila), Mr.
    [Show full text]
  • KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
    KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
    [Show full text]
  • Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
    ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms.
    [Show full text]
  • A Librettist's Reflections on Opera in Our Times
    Israel Eliraz A LIBRETTIST'S REFLECTIONS ON OPERA IN OUR TIMES [1] Pierre Boulez may have mourned the death of the opera and suggested setting fire to opera houses (he has repented since and has even written in this rnusical form himsel~, but the Old Lady is still going strong. She is no Ionger as regal and as much admired as in the 18th century, nor is she as popular and vital as she was in mid-I9th century for bold young rivals have entered the arena: film, radio, musicals and television. But reviewing the new operas written in this century, from MOSES UND ARON by Schoenberg and WOZZECK by Berg, to works by Luigi Dallapiccola, lldebrando Pizzetti, Werner Egk, Marcel Delannoy and others, one is taken by surprise by the abundance, versatility and ingenuity in musical, theatrical and ideological terms, of modern opera. What the rnusical avant -garde considered a defunct creature, a 'dinosaur' of sorts (this strange animal is over 370 years old), became, to their dismay, a phoenix redux. At tirnes it metarnorphosed into political drarna (Weiii-Brecht); at others it returned to the oratory form (Stravinsky, Honegger, Debussy), and on still other occasions it turns upon itself with laudable irony, as in Mauricio Kagel's STAATSTHEATER. Anylhing can happen in an opera, all is allowed and, if one rnay venture to express some optirnisrn - which is not easy in our province - it still has some surprises in store for us. [2] Music Iovers have been accustorned to think that it is in the nature of opera to address the 'larger issues'- biblical, rnylhological, historical, national.
    [Show full text]
  • 3 Italian Opera Composers June 2020
    Italian Culture June 2020 Dear Italian Culture Friends I thought that it might be interesting to look this week at the work of three Italian Opera Composers who later composed some liturgical works. In the case of two of the composers, we invariably think of their operatic output. These are Giuseppe Verdi and Gioachino Rossini. The third of them, Cherubini, also wrote a number of operas before turning to liturgical music In 1831 Rossini travelled to Spain with a friend, a banker named Alexandre Aguado, owner of Chateau Margaux, famous for its Bordeaux wine (claret). While he was there, he was commissioned by Fernández Varela, a state councillor, to write a setting of the liturgical text, the Stabat Mater. Although he began the work in 1831, it was not until 1841 that the final form was completed. It was premiered on Holy Saturday 1833 in the Chapel of San Felipe el Real in Madrid but this was the only performance of that version. The choice of Holy Saturday was appropriate as the work tells part of the story of the previous day, Good Friday, and perhaps it was the rush to complete it in time for that first performance which caused Rossini’s dissatisfaction with that version and caused him to continue to revise it. In fact, the first version was not solely the work of Rossini. It was a twelve-part piece of which Rossini had written Parts 1 and 5-9. His friend, Giovanni Tadolini, had written the rest but Rossini claimed it as his own work. Rossini, the product of a musical family from Pesaro, on the Adriatic coast - his father was a trumpeter and his mother a singer - had published his first composition at the age of 18 and the next year he was contracted to write operas and manage theatres in Naples.
    [Show full text]
  • 07 – Spinning the Record
    VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo.
    [Show full text]
  • Introduction: on Not Singing and Singing Physiognomically
    Cambridge University Press 978-1-107-00426-9 - Opera Acts: Singers and Performance in the Late Nineteenth Century Karen Henson Excerpt More information Introduction: On not singing and singing physiognomically Here you are, my dear Berty, an When the French baritone Victor Maurel wrote this image of the Don Giovanni your old to his son from New York City in 1899, he had just papa just presented to the New York enjoyed an extraordinary ten years performing public. In spite of squalls and storms around the world as Giuseppe Verdi’s first Iago and endured on land and sea, the ravages ff of time don’t seem to show up too Falsta , but was heading into the twilight of his much on my physiognomy, which I career, into a last half-decade of appearances in the think has the chic and youthfulness repertory. The note is written on the back of a appropriate to the character. photographic postcard (or “cabinet card”) that cap- ... What do you think? When I tures him on the occasion of one of those appear- have the full set [of photographs] I’ll ances, as Don Giovanni at the Metropolitan Opera. send them to you; in the meantime ’ accept the affectionate kisses of a The image, which is indeed part of a set by the Met s father who loves you dearly.1 first regularly employed photographer, Aimé Dupont, is well known to specialists of historical singing, but Maurel’s personalization of his copy is striking and unique. Along with the wistful reference to his age and the affectionate greeting, the baritone manages to offer a miniature disquisition on the character of Mozart’s anti-hero, whom he hopes to have presented with “chic” and “youthfulness” (Figure 0.1).
    [Show full text]
  • Mercadante's Emma D' Antiochia
    Il maestro delle Gabalette? Mercadante's Emma d' Antiochia So zorv we know what he really meant when he said 'Ho.-Bando aUe Gabalette trivioli, esilio a'crescendo- Tessilura cortq: meno replirhe - Qualchz novitd nelle cadenze - Curata la parte dtammatica: I'orchestra ricca, senza coprire il catuo - Tolti i lunghi assoli ne'pezii concertati, che obbligavano le alne parti al essere fredde, a danno dell'azione - Poco gran cassa. e pochissima banda -" Now we get the message, Mercadante was talking about Emma d'Antiochiq. By 1838 and in this his welt-publicised tetter of reform to his friend Florimo he had come to a decision - he was never going to write an opera like Emma ever again. We can only be thanldut. At the time of writing this opera, four years earlier, the altamurese rnaestro had a real problem - he was struggling to draw his head out of a self-inllicted Rossinian noose. WhileBo/ena , Norma ard Lucrezia Borgia chalked-up a high-tide elsewhere on the ltalian stage the operas which marked Mercadante's retum from exile in Spain foundered in a rag-bag of empty gestures, predictable rcutines, pretty tunes in triple+ime and cringe nak;:.ng bande - a penchant for the most obvious dramatic-clich6s imaginable flanked by stage-business which simply did not come-off. Few big moments, dreary plots, vulgarity triumphant with knee-jerk music heavily dependent upon great pr te donnc. Thus Eruma d'Afitiochia created as a starring role for Giuditta Pasta. Staged at la Fenice on 8 March 1834 together with " cinq poupief' including Eugenia Tadolini as Adelia, Domenico Donzelli as Ruggiero and Orazio Cartagenova as Conado it made the tiniest of splashes: Pasta was out of yoice and sang only the music that pleased her; the house was unruly (as usua[); the press unsympathetic.
    [Show full text]