DOCSLIB.ORG

INDICE IX Premessa Dei Curatori X Ill Abbreviazioni Bibliografiche XXXTII

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
INDICE IX Premessa Dei Curatori X Ill Abbreviazioni Bibliografiche XXXTII INDICE IX Premessa dei curatori XIll Abbreviazioni bibliografiche XXXTII Nota al testo TESTO E TRADUZIONE 3 Sigla 9 Libro terzo 63 Libro quarto COMMENTO 125 Libro terzo 242 Libro quarto PREMESSA DEI CURA TORI Questa volume prosegue illavoro iniziato nel 2004 secondo i cri­ teri e le intenzioni esposte nella Premessa del Curatore al volume I. Abbiamo cercato di tener conto della letteratura critica piu re­ cente, rna gia al momenta di andare in stampa siamo consapevoli di un numero notevole di pubblicazioni significative che non ab­ biamo potuto integrare nella nostra discussione, e che ci sarebbe­ ro state utili1• Come ncl caso del primo volume, i curatori sono grati a molte persone per aiuti, consigli e anticipazionP. II commento al libro III e opera di A.B., quello allibro fV di G.R. Alessandro Barchiesi, G ianpiero Rosati Arezzo e Firenze, settembre 2006 1 Una list a di ccrto poco csaustiva comprcndc ad cscmpio H. Bcrnsdorff, Kunst· werke uml Vt•m·tmdlungt'll. Vier Siudit.•ll :u1brer Darstdlung im Wlerk 0VIih, Fmnk­ fun am Main 2000 !Studien zur klassischen Philologic 117); P. Hardie. «Ovidiun middles», in S. Kyriakidis - F. De Martino (ctld.). Mttldle.< in Latin Poetry, 13uri zoo4, pp. 1 5 1-82; C. Momuschi. II wnpo in Ovidio, f'i rcnzc 2005; A.D. Nikolopou­ los. Ovidiu s Polytropos. Metanarrativt.·lit Ov1a's Mclamorphoscs, 1-lildcshcim-Zlirich­ New York 2004 (Spudasmala 98); V. RimeU, Ovid's Lovt•rs: Dt.•sm•, Dl//t.•rt.'ll<'<', a11cl tbt• Put•tic lmagtiwtioll, Cambritlge 2oo6;). Sunders, Adaptatio11 and Appropriation, London-New York 1005. lmpon ami sono anchc lc reccnsioni e discussioni tiel vo· lumc OCT di Tarmnt che hanna inizimo ad apparirc (p. cs. Galasso 2006; M. Pos­ sanza, BMCR zoos.o6.27; S.J.I-Icyworth, CR 57· 2007, in stumpa l. 1 Un gmzic (in parccchi casi duplicc) a G . Agosti. F. Bcssonc, S. C:1sali. A. Cucchia­ rclli, G.B. D'Aicssio, .J. Farrell, M. Fucccchi, L. Galasso. G.K. Galinsky. L. Gravc­ rini , P. Hardie. S.J. Heyworth, S. Hintls. G.O. Hutchinson, E..J. Kenney. t\. Kuu­ ncr, G. Lcmini, S. Murchcsi, S. Mauiacci, L. Micozzi. G. Mos1. C.B. Rose, U. Schmitzer. F. S1clb. A. S~ramagl ia , R. T •manl, E. Tomasin. ABBREVIAZIONI BIBLIOGRAFICHE Accorinti 2004 D. Accorinti, Non nodi Panopoli. Le Dionisiache. XL-XL VllJ, Mi­ lano 2004. Agosti 2004 G. Agosti, Nonno di Panopoli. Le Dionisiache. XXV-XXXIX, Mi­ lano 2004. Ajootian 1990 A. Ajootian, «Hermaphrodites», in UMC V 1, 1990, pp. z68-8 5. von Albrecht 1966 M. von Albrecht - M. Haupt- R. Ehwald, Melamorphosen , I-II, Dublin-Ziirich 1966. von Albrecht- Zinn 1968 M. von Albrecht- E. Zinn (edd.), Ovid, Darmstadt 1968 (Wege der Forschung 92). Anderson 1997 W.S. Anderson (cd.), Ovid's Metamorphoses, Books 1-5, Norman­ London 1997. Andre 1975 J. Andre, Ovide helleniste et linguiste, <<RPh» XLIX 197 5, pp. 191 -5. ANRW Au/stieg und Niedergang der rjjmischen Welt, Berlin-New York 1972 sgg. Austin 1964 R.G. Austin, P. Vergili Maronis Aeneidos fiber secundus, Oxford 1964. Baldo 1986 G. Baldo, 11 codic e epico nelle Metamorfosi di Ovidio, <<MD» XVI 1986, pp. 109·31. Baldo 1995 G. Baldo, Dall'Eneide aile Metamorfosi: il cOl/ice epico di Ovidio, Padova 199 5. XVI t\BBREVIAZIO NI lliBU cx;Rt\FICHE ABBREVIAZIONI BliJ Licx;RJ\fo iC:HE XVII Barchiesi I 992 Brink I97I A. Barchiesi, P. Ovidii Nason is epistulae Hero1dum 1-3, firenze I 992. C.O. Brink, Horace 011 Poetry: The Ars Poetica, Cambridge 1971. Barchiesi I 997 Brink 1982 A. Barchiesi, «Poeti epici e narratori», in G. Papponetti (ed.), Me· C.O. Brink, Horace 011 Poetry: Epistles Book 11, Cambridge 1982. tamorfosi, Sulmona I 997· pp. I 2 I -4 1. Brown I987 Barchiesi I 999 RD. Brown, Lucretiui on Love and Sex. A Commentary on De Re­ A. Barchiesi, «Venus' Masterplor: Ovid and the Homeric H ymns», rum Natura IV roJo-1287, Leiden-New York 1987. in Hardie-Barch iesi - Hinds I999· pp. I I 2-26. Brown 2002 Barchiesi 2005 M.K. Brown, The Narratives of Konon, Leipzig 2002. A. Barchiesi, Ovidio. Metamorfosi, 1, Milano 2005. Burkert I 977 Barkan I986 W. Burkert, Griecbische Religion der archaischen und klassischen L. Barkan, Th e gods made flesh. Metamorphosis and the pursuit of Epoche, Stuttgart 1977· paganism, New Haven-London I986. Cameron 2004 Bernardini et alii I 995 A. Cameron, Greek mythography in the Roman world, Oxford­ P.A. Bernardini - E. Cingano - B. Genti]i - P. Giannini, Pindaro. New York 2004. Le Pitiche, Milano I995· Campbell 2003 Bernbeck 1967 G. Campbell, Lucretius on creation and evolution: A Commentary E.J. Bern beck, Beobachtungen zur Darstellungsarl in Ovids Meta­ on De Rerum Natura 5-7TZ-II04, Oxford 2003. morphosen, Miinchen I 967. Cancik 1967 Bessone I997 H. Cancik, Spiegel der Erkenntnis (Zu Ovrd, Met. l/1 JJ9·J ro), f. Bessone, P. Ov1di Nason is 1-leroidum epistula XII, Firenze I 997· «AU» X I , 1967. pp. 42·53· Bettini I986 Carpenter- Faraone 199 3 M. Bettini, Antropologia e cultura romano, Roma I986. T.H. Carpenter- C.A. Faraone, Masks of Dionysus, Ithaca-Lon­ Bettini- Pellizer 2003 don 1993· M. Bettini- E. Pellizer, If milo di Narciso, Torino 2003. Casali I995 Boardman 1997 S. Casali, P. Ovidi Nason is /-leroidum epistula IX, Firenze 199 5. J. Boardman, «Ketos», in LIMC VUT I, 1997. pp. 731 -6. Casanova-Robin 2003 Bocciolini Palagi 2001 H. Casanova-Robin, Diane et Actr!on, Paris 2003. L. Bocciolini Palagi , Amato e l'iniziazione dionisiaca, «Maia>> Llll Gissola I 97 5 200I , pp. 565 -81. F . Gissola, Imri omerici, Milano 1975 ( I 9997). Bomer CIL F. Bomer, P. Ovidius Naso, Metamorphosen, 1-VI, Heidelberg Corpus lnscriptionum Latina rum, Berolini 186 3 sgg. 1969-86; Addenda und Corrigenda (ed. U. Schmitzer), Heidelberg Clarke 1991 2006. ] .R. Clarke, The house.r of Roman Italy, roo B.C.-A.D. ZJO. Ritual, Bonadeo 2003 space, and decoration, Berkeley I 99 1. A. Bonadeo, Milo e natura allo speccbio: l'eco nel pensiero greco e Clausen 1994 Iatino , Pisa 2003. W. Clausen, Virgil. Eclogues, Oxford I994· Boyd 2002 Cole 2004 B.W. Boyd (cd.), Brill's Companion to Ovid, Leiden-Boston-Koln T. Cole, Ovid, Varro, and Castor of Rbodes: the cbronological arcbi­ 2002. tecture ofOvid's Metamorphoses, «HSCPh» CII 2004, pp. 3 5 5-422. Bretzigheimer 1994 Coleman 199 3 G. Bretzigheimer, Diana in Ovids Metamorphosen, «Gymnasium» K. Coleman, Launching into l-liJtory: Aquatic Displays in the Early CI I994· pp. 506-46. Empire, <~TRS» LXXXIII 1993. pp. 48-74. XVIII ABBREV!AZIONI BIBLIOGRAFICHE ABBREVIAZIONI BlBLIOGRJ\FICHE XJX Conte 1986 Feldherr 1997 G.B. Conte, The rhetoric ofimitation, Ithaca 1986. A. Feldherr, Metamorphosis and sacrifice in Ovid's Thebannarrati­ Courtney 1993 ve, «MD» XXXVIIl 1997, pp. 2 5-5 5. E. Courtney, The fragmentary Latin Poets, Oxford 1993 . Feraboli - Flores - Scarcia 1996 Danielewicz 1990 S. Feraboli-E. Flores - R. Scarcia, Manilio. Astronomica, I, Mila­ ]. Danielewicz, Ovid's hymn to Bacchus (Met. 4, 1 1 ss.): tradition no 1996. and originality, «Euphrosyne» XVIII 1990, pp. 73 -84. feraboli - Flores - Scarcia 2001 De Grillo et alii 1986 S. Feraboli - E. Flores - R. Scarcia, Man ilio. Astronomica, II, Mi­ B. De Grino- R. Olmos - J. Arce- L.J. Balmaseda, «Atlas», in lano 2001. UMCIII I, 1986, pp. 2-16. FGrH/st Denniston 1939 Die Fragmente der griechischen Historiker, hrsg. von F. Jacoby, J.D. Denniston, Euripides. Electra, Oxford 1939. Berlin-Leiden 1923-58. Di Benedetto 2004 Fontenrose '959 V. DiBenedetto, Euripide. Le Baccanti, Milano 2004. J. Fontenrose, Python, Berkeley-Los Angeles 1959. Dodds 1960 Forbes Irving 1990 E.R. Dodds, Euripides. Bacchae, Oxford 1960. P. Forbes Irving, Metamorphosis in Greek myths, Oxford 1990. Due 1974 Fordyce 1961 0. Due, Changing Forms. Studies in the Metamorphoses of Ovid, C.]. Fordyce, Catullus, Oxford 1961. Copenhagen 1974. Fowler 2000 Duke 1971 D. Fowler, Roman constmctions, Oxford 2000. T.T. Duke, Ovid's PyramusandThisbe,«CJ»LXVI 1971, pp. 320-7. Fowler 2002 EM D. Fowler, Lucretius on Atomic Motion. A Commentary on De Re­ Etymologicum Magnum, rec. T. Gaisford, Oxford 1848, Amster­ rum Natura 2. I·JJ2, Oxford 2002. dam 1962. Frankel 1945 EO H. Frankel, Ovrd. A poet between two worlds, Berkeley-Los Ange­ Enciclopedia Oraziana, Roma 1996-98. les 1945 (Suther Classical Lectures 18). EV Frentz 1967 Enciclopedia Virgiliana, Roma 1984-91. W. Frentz, Mythologisches in Vergrls Georgica, Meisenheim am Fabre-Serris 1995 Glan 1967. J . Fabre-Serris, Mythe et poesie dans les Metamorphoses d'Ovide, Frisk 1970 Paris 1995. H. Frisk, Grieschisches Etymologisches Worterbuch, 11, Heidel­ Fantham 1998 berg 1970. E. Fantham, Ovid. Fasti Book IV, Cambridge 1998. Gartner 2005 Famuzzi - Hunter 2002 ] .F. Gartner, Ovid, Epistulae ex Ponto, Book r, Oxford 2005. M. Fantuzzi- R. Hunter, Muse e mode/li, Roma-Bari 2002. Galasso 199 5 Fedeli 1980 L. Galasso, P. Ovidii Nason is Epistulamm ex Ponto fiber II, Firen­ P. Fedeli, Properzio. II primo libro delle Elegie, Firenze 1980. ze 1995· Fedeli 1985 Galasso 2000 P. Fedeli, Propenio.Illibro teno delle Elegie, Bari 1985. L. Galasso, «Commento», in Ovidio. Opere II. Le Metamorfosi, Fedeli 2005 Torino 2000. P. Fedeli, Properzio. Elegie, Libro II , Cambridge 2005 (ARCA 45). Galasso 2oo6 Feeney 1991 L. Galasso, Una fungo fedelta: Richard Tarrant e le Metamorfosi di D.C. Feeney, The gods in epic, Oxford 1991. Ovrdio, «MD» LVI 2006, pp. 10 5-36. XX ABBREVIAZIONI BIBLIOGRAFICHE ABB REVIAZIONI BlBLIOGRM' lCHE XXI Galinsky 1975 mations: Essays on Ovid's Metamorphoses and its reception, Cam­ G.K. Galinsky, Ovid's Metamorphoses: An introduction to the ba­ bridge 1999. sic aspects, Berkeley-Los Angeles 1975 .
Load more

Recommended publications
  • Závěrečné Práce
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Zpěv J. A. Hasse – La Clemenza di Tito Diplomová práce Autor práce: BcA. Pavel Valenta Vedoucí práce: doc. Mgr. MgA. Monika Holá Ph.D. Oponent práce: PhDr. Alena Borková Brno 2013 Bibliografický záznam VALENTA, Pavel. J. A. Hasse – La Clemenza di Tito. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, rok 2013. 49 s. Vedoucí diplomové práce odb. as. Mgr. MgA. Monika Holá, Ph.D. Anotace Diplomová práce „J. A. Hasse – La Clemenza di Tito“ pojednává o Hasseho opeře s původním názvem „Tito Vespasiano, ovvero La Clemenza di Tito“ z roku 1735. Obsahuje životopisy jejích tvůrců Johanna Adolfa Hasseho (hudba) a Pietra Metastasia (libreto) a historické okolnosti vzniku opery. Součástí je pojednání o novodobé světové premiéře opery v roce 2010 v zámeckém divadle v Českém Krumlově a dramaturgický rozbor titulní role císaře Tita Vespasiana. Annotation Diploma thesis „J. A. Hasse – La Clemenza di Tito” deals with Hasse’s opera with original title “Tito Vespasiano, ovvero La Clemenza di Tito“ from 1735. Thesis include biographies of composer J. A. Hasse and librettist P. Metastasio and historical circumstances of the genesis of the opera. Also included information about its modern world premiere in castle theatre in Cesky Krumlov in 2010 and dramatical analysis of the role of Tito Vespasiano. Klíčová slova Tito Vespasiano, La Clemenza di Tito, opera, Johann Adolf Hasse, Pietro Metastasio, barokní divadlo, Český Krumlov, analýza role Keywords Tito Vespasiano, La Clemenza di Tito, Opera, Johann Adolf Hasse, Pietro Metastasio, Baroque Theatre, Český Krumlov, analysis of the role Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu.
    [Show full text]
  • Ian Page Conducts UK Premiere of Hasse's Piramo E Tisbe with His
    Ian Page conducts UK premiere of Hasse’s Piramo e Tisbe with his ensemble The Mozartists and soloists Chiara Skerath, Kiandra Howarth and Gwilym Bowen Chiara Skerath, Ian Page and The Mozartists © Ben Ealovega Hasse Piramo e Tisbe ¦ 28 March ¦ Cadogan Hall, 7:30pm Ian Page and The Mozartists present the UK premiere of Hasse’s two-act opera Piramo e Tisbe at Cadogan Hall on 28 March. They will be joined by two of their recently announced Associate Artists, Chiara Skerath and Gwilym Bowen (who will be making his company debut), and Australian soprano Kiandra Howarth. Ian Page will give a pre-concert talk to introduce the opera and explore its background. Piramo e Tisbe was first performed in Vienna in the autumn of 1768, just over 250 years ago, yet has never received a performance in the UK until now. In a letter to a friend, Hasse commented that the opera was “among the best works I have written…while composing it I always felt inspiration”. The story of Piramo e Tisbe is drawn from Book Four of Ovid’s Metamorphoses, and tells the tragic story of two young lovers’ failed attempt to elope. Ian Page writes: “We performed an aria from Piramo e Tisbe at our 1768 retrospective concert at Wigmore Hall last January, and we were all overwhelmed by the beauty of the music. It prompted me to explore the rest of the opera in more detail, and the more I familiarised myself with it the more straightforward the decision became to perform the complete work.
    [Show full text]
  • Das Tragico Fine Auf Venezianischen Opernbühnen Des Späten 18
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Heidelberger Dokumentenserver Das tragico fine auf venezianischen Opernbühnen des späten 18. Jahrhunderts Textband Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Ruprecht-Karls-Universität Heidelberg Zentrum für Europäische Geschichts- und Kulturwissenschaften Musikwissenschaftliches Seminar vorgelegt bei Prof. Dr. Silke Leopold von Katharina Kost November 2004 INHALT DANKSAGUNG............................................................................................. IV TEIL I: DIE FRAGE EINLEITUNG .................................................................................................................... 2 Die Geschichte des tragico fine in der italienischen Oper des 18. Jahrhunderts – Forschungsüberblick ........................................................................................................ 2 Tragico fine zwischen 1695 und 1780 ......................................................................... 4 Bislang in der Forschung berücksichtigte Aspekte im Repertoire ab 1780 .................. 9 Fragestellung und Vorgehensweise ................................................................................ 15 Die Eingrenzung des Repertoires .............................................................................. 15 Das Repertoire im Überblick ..................................................................................... 18 Untersuchung anhand von Vergleichen – Dramaturgie
    [Show full text]
  • Of Titles (PDF)
    Alphabetical index of titles in the John Larpent Plays The Huntington Library, San Marino, California This alphabetical list covers LA 1-2399; the unidentified items, LA 2400-2502, are arranged alphabetically in the finding aid itself. Title Play number Abou Hassan 1637 Aboard and at Home. See King's Bench, The 1143 Absent Apothecary, The 1758 Absent Man, The (Bickerstaffe's) 280 Absent Man, The (Hull's) 239 Abudah 2087 Accomplish'd Maid, The 256 Account of the Wonders of Derbyshire, An. See Wonders of Derbyshire, The 465 Accusation 1905 Aci e Galatea 1059 Acting Mad 2184 Actor of All Work, The 1983 Actress of All Work, The 2002, 2070 Address. Anxious to pay my heartfelt homage here, 1439 Address. by Mr. Quick Riding on an Elephant 652 Address. Deserted Daughters, are but rarely found, 1290 Address. Farewell [for Mrs. H. Johnston] 1454 Address. Farewell, Spoken by Mrs. Bannister 957 Address. for Opening the New Theatre, Drury Lane 2309 Address. for the Theatre Royal Drury Lane 1358 Address. Impatient for renoun-all hope and fear, 1428 Address. Introductory 911 Address. Occasional, for the Opening of Drury Lane Theatre 1827 Address. Occasional, for the Opening of the Hay Market Theatre 2234 Address. Occasional. In early days, by fond ambition led, 1296 Address. Occasional. In this bright Court is merit fairly tried, 740 Address. Occasional, Intended to Be Spoken on Thursday, March 16th 1572 Address. Occasional. On Opening the Hay Marker Theatre 873 Address. Occasional. On Opening the New Theatre Royal 1590 Address. Occasional. So oft has Pegasus been doom'd to trial, 806 Address.
    [Show full text]
  • Transforming Lovers and Memorials in Ovid and Marie De France
    TRANSFORMING LOVERS AND MEMORIALS IN OVID AND MARIE DE FRANCE SunHee Kim Gertz Late medieval authors were fascinated by classical literature, by what for all practical purposes functioned as the literary canon for readers and writers of the twelfth through the fourteenth centuries. As made clear by earlier scholarship — which often, however, interpreted medieval reception of classi­ cal literature as badly understood — medieval writers did not simply honour or completely authorize their predecessors. Indeed, more comfortable with the idea of tradition than slavish imitators Eire, medieval poets transformed classical texts in any number of ways, often feeling at liberty to change even critical narrative elements in the process. They did so, apparently, for differ­ ent purposes, but one of the most interesting, it seems to me, was to explore what writing meant in their own literary circles. Reading and Transformation: Marie de France and Ovid Against what intuitively seems likely, such transformations of classical ma­ terial often occur in narratives that only subtly invoke literary ancestors and that (unlike, for instance, the romans antiques) do not owe an obvious debt of plot and characters to their predecessors. The twelfth-century lais of Marie de France offer particularly good examples, especially since her narra­ tor evinces an awareness of borrowing from the past. Indeed, she announces in the General Prologue that she will avoid mapping her own writing onto Latin (and hence, authoritative) narratives: comen;ai a penser D’aukune bone estoire faixe E de latin en romaunz traire; Mais ne me fust gil aires de pris [. .] Des lads pensai, k’o'iz aveie [.
    [Show full text]
  • Christ and the Soul Are Like Pyramus and Thisbe’: an Ovidian Story in Fifteenth-Century Sermons
    This is a repository copy of ‘Christ and the Soul are like Pyramus and Thisbe’: An Ovidian story in Fifteenth-Century sermons. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/106153/ Version: Accepted Version Article: Delcorno, P (2016) ‘Christ and the Soul are like Pyramus and Thisbe’: An Ovidian story in Fifteenth-Century sermons. Medieval Sermon Studies, 60 (1). pp. 37-61. ISSN 1366-0691 https://doi.org/10.1080/13660691.2016.1225386 This is an Accepted Manuscript of an article published by Taylor & Francis in Medieval Sermon Studies on 14th September 2016, available online: http://www.tandfonline.com/10.1080/13660691.2016.1225386. Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Pietro Delcorno C S P T An Ovidian Story in Fifteenth-Century Sermons Keywords Model sermons; Reception of Ovid; Allegorical interpretation; Passion of Christ; Incunabula Abstract The sophisticated ways in which several fifteenth-century preachers used Ovidian stories and their allegorical interpretations prove that late medieval sermons represent a promising but neglected area for classical reception studies.
    [Show full text]
  • Press Siroe CD Johann Adolf Hasse (1699-1783)
    Press Siroe CD MUSEBAROQUE.FR, 03_11_2014 http://www.musebaroque.fr/hasse-siroe-cencic-decca/ Un chef-d’œuvre en devenir (Hasse, Siroe, Re di Persia, Armonia Atenea, Petrou – Decca) Publié dans : CD / DVD - Critiques - Opéra 3 novembre, 2014 Johann Adolf Hasse (1699-1783) Siroe, Re di Persia Opera seria en 3 actes Max Emanuel Cencic, Siroe Julia Lezhneva, Laodice Mary Ellen Nesi, Emira Lauren Snouffer, Arasse Juan Sancho, Cosroe Franco Fagioli, Medarse Orchestre Armonia Atenea George Petrou, direction 1 Coffret-livret 2 CD, 2h46’25, DECCA, 2014 Après le succès de la tournée « Rokoko » aboutie par l’enregistrement du même nom, Max Emanuel Cencic se tourne à nouveau vers le maître incontesté de l’opera seria Johann Adolf Hasse (1699-1783), le Cher Saxon. Ce compositeur plus que prolifique, puisqu’il n’écrit pas moins de 56 opéras interprétés par les plus grands chanteurs de l’époque, de Farinelli à Faustina Bordoni, qu’il épousa. Ce présent coffret est consacré à l’opéra Siroe, Re di Persia, créé en 1733 à Bologne. L’opéra n’a jamais été rejoué depuis le XVIIIe siècle. Il est, entre autre, repris à l’Opéra Royal de Versailles les 26,28 et 30 novembre 2014 et fera l’objet d’une captation télévisée lors de ces dates. Hasse applique la recette d’un excellent opera seria. L’histoire de Siroe est un subtil mélange d’ingrédients : contexte historique, d’intrigues amoureuses, passion, jalousie et surtout de conspiration. Le Roi des Perses Cosroé (Chosroès III) décide ne pas donner sa succession à son fils aîné Siroe mais à son fils cadet Medarse.
    [Show full text]
  • Arne: Artaxerxes
    ARNE: ARTAXERXES THE MOZARTISTS IAN PAGE 9017_CO_Artex_BOOKLET_COVER_SECTION_FINAL.indd 1 21/12/2020 17:55 Performing edition by Ian Page Recorded at Air Studios, London, UK from 18 to 21 November 2009 and 2 April 2010 Produced and engineered by Philip Hobbs Post-production by Julia Thomas, Finesplice, UK Design by Toucari Live and Debbie Coates Cover image: Wall Carving, Persepolis, Iran © Alamy Photography by Stephen Page, www.fatkoala.biz Orchestra playing on period instruments at A = 430 Hz This recording followed a production of Artaxerxes at the Royal Opera House, Covent Garden in 2009, directed by Martin Duncan and designed by Johan Engels. It was originally released in 2010 on Linn Records. www.signumrecords.com Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact We are extremely grateful to George & Efthalia Koukis and Sherman Lam for making this release possible. Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. Special thanks also to: Alamy, Big Yellow Self Storage, Kate Bingham & Jesse Norman, Anne Bulford OBE & All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted David Smith, Philip Carne MBE & Christine Carne, Michael & Jill Carpenter, David Challen CBE & Elizabeth in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior Challen,
    [Show full text]
  • John Larpent Plays
    http://oac.cdlib.org/findaid/ark:/13030/tf1h4n985c No online items John Larpent Plays Processed by Dougald MacMillan in 1939; supplementary encoding and revision by Diann Benti in January 2018. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2000 The Huntington Library. All rights reserved. John Larpent Plays mssLA 1-2503 1 Overview of the Collection Title: John Larpent Plays Dates (inclusive): 1737-1824 Collection Number: mssLA 1-2503 Creator: Larpent, John, 1741-1824. Extent: 2,503 pieces. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection consists of official manuscript copies of plays submitted for licensing in Great Britain between 1737 and 1824 that were in the possession of John Larpent (1741-1824), the examiner of plays, at the time of his death in 1824. The collection includes 2,399 identified plays as well as an additional 104 unidentified pieces including addresses, prologues, epilogues, etc. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher.
    [Show full text]
  • Johann Adolf Hasse in Seiner Zeit Bericht Über Das Symposium Vom 23
    Johann Adolf Hasse In seiner Zeit Bericht über das Symposium vom 23. bis 26. März 1999 in Hamburg herausgegeben von Reinhard Wiesend Carus 90.015 07 Inhalt Vorwort 7 Christina Weiss Grußwort anläßlich des Senatsempfangs am 24. März 1999 im Kaisersaal des Hamburger Rathauses 9 Klaus Hortschansky Johann Adolf Hasse - ein Fortschrittlicher? (Öffentlicher Vortrag) 13 Reinhard Wiesend Einführung ^ Reinhard Strohm Der Tod des Autors und die Wiederbelebung der Musik: Opera seria, Moderne und Postmoderne 35 Anja-Rosa Thöming Die historische Opernproduktion bei Hasses Ezio 1730 45 Dale E. Monson The Dramatic Tradition of Hasse's Artaserse, 1730-1740 51 Maria Giovanna Miggiani, Antonella Zaggia Lo starnuto d'Ercole e Eurimedonte e Timocleone: Johann Adolf Hasse, la famiglia d'Este di Modena e il teatrino di marionette dei Labia a Venezia (1745-1748) 69 Panja Mücke Die Festopern im Jagdschloß Hubertusburg: J. A. Hasses Ipermestra am 7. 10. 1751 97 Roland Dieter Schmidt-Hensel Zur Aufführungsgeschichte und Quellenüberlieferung von Hasses Demetrio 105 Alina Zörawska-Witkowska La Zenobia per il teatro reale di Varsavia 119 Ernest Harriss II Johann Adolf Hasse's Aleide al bivio and 'Reform opera' 127 Sieghart Döhring Konstruktion und Emotion: Hasses Piramo e Tisbe 137 Tarcisio Balbo L'aria «Che mai risponderti» nel Demofoonte del Metastasio nelle intonazioni di Gluck, Jommelli, Hasse e Galuppi 155 Michele Calella Hasse und die Tradition des metastasianischen Duetts 165 Marita Petzoldt McCIymonds Style as Sign in Some Opere Serie of Hasse and Jommelli 179 Irina Soussidko, Pavel Loutsker Johann Adolf Hasse in der russischen Musikkultur 193 Wolfgang Hochstein Aufgaben und Probleme bei der Erforschung von Hasses Kirchenmusik 207 Wolfgang Hörn Die Inszenierung des Leidens in Johann Adolf Hasses venezianischen A/1/serere-Einleitungen 227 Hans Joachim Marx Zur Überlieferung der Te Deum-Vertonungen von Johann Adolf Hasse 251 John A.
    [Show full text]
  • View the Program!
    for the little opera theatre of ny ARTISTIC DIRECTOR PHOTOGRAPHER Philip Shneidman Tina Buckman COMPANY MANAGER GRAPHIC DESIGN Dan O’Neil Hallets Cove Studio FINANCIAL ASSOCIATE ACCOUNTANT Madeline Djerejian Rosen Kuslansky, CPA, PC MARKETING & SPECIAL EVENTS LEGAL Ellen Staller Allen E. Breslow PUBLICITY Michelle Tabnick Communications … BOARD OF DIRECTORS Philip Shneidman, chair Ivana Mestrovic, treasurer Steven Henry Michael Freedman Peter Tear … BOARD OF ADVISORS Timothy T. P. Robbins Virginia Rutledge Jonathan Waterfield MARCH 22–25, 2018 Baruch Performing Arts Center NEW YORK OPERA ALLIANCE lotny.org A TRAGIC INTERMEZZO NEW YORK PREMIERE of creative team CONDUCTOR/HARPSICHORD Elliot Figg PRODUCTION MANAGER Robert Airhart DIRECTOR Philip Shneidman FIGHT DIRECTOR Brad Lemons SET DESIGNERS Neil Patel & ASSISTANT STAGE MANAGER Cate McCrea Jessica Fleischman COSTUME DESIGNER Lara De Bruijn ASSOCIATE PROJECTION DESIGNER John Erickson LIGHTING DESIGNER Grant W.S. Yeager SUPERTITLES Stephanie Beattie PROJECTION DESIGNER an opera by Johann Adolf HASSE Alex Basco Koch ASSISTANT COSTUME DESIGN libretto by Marco COLTELLINI Betsy Rugg-Hinds ASSOCIATE MUSIC DIRECTOR after OVID’s Pyramus and Thisbe Catherine Miller PROPS John Estep PRODUCTION STAGE MANAGER PRODUCTION ASSOCIATE Dalia Sevilla Giles T. Horne WARDROBE Johanna Ring … cast new vintage baroque PIRAMO Kristin Gornstein 1 VIOLINS Toma Iliev, concertmaster Sarah Nelson Craft v Annie Gard, Seula Lee, Simone Slattery, Chiara Fasani Stauffer VIOLA TISBE Kelly Curtin 1 Danika Paskvan Summer Hassan v CELLO Anthony Albrecht PADRE Brian Downen 1 FLUTE Glenn Seven Allen v David Ross with Giovanni Da Silva and Hunter Hoffman OBOES Lindsay McIntosh, Sian Rickets BASSOONS 1 performances on Thurs 3/22 & Sat 3/24 Georgeanne Baker, Ben Matus v performances on Fri 3/23 & Sun 3/25 (mat) THEORBO Arash Noori … SETTING Persia, then and now … • 1 • about the composer & the librettist walls divide.
    [Show full text]
  • PIRAMO E TISBE Roberto Fantini Oboe Paolo Baldani Violoncello
    ÁNTHOS ÁNTHOS Mito e fi ori nelle Metamorfosi di Ovidio Mito e fi ori nelle Tre variazioni (fi losofi che, artistiche, teatrali e musicali) sulla Metamorfosi di Ovidio mostra Fiori. Natura e simbolo dal Seicento a Van Gogh. venerdì 28 maggio 2010 ECO e NARCISO Accademia Malatestiana Paolo Gabellini tenore Marina Maroncelli soprano venerdì 4 giugno 2010 Katia Mattioli violino Yuri Ceccarese fl auto PIRAMO e TISBE Roberto Fantini oboe Paolo Baldani violoncello Filippo Pantieri clavicembalo venerdì 11 giugno 2010 FILEMONE e BAUCI PIRAMO e TISBE in copertina: Sala degli Affreschi Gregorio Pagani, Piramo e Tisbe, 1605 Musei San Domenico - Forlì olio su tela (239 x 180) Galleria degli Uffizi, Firenze. Tutti gli eventi avranno inizio alle ore 16.00 ÁNTHOS Mito e fi ori nelle Metamorfosi di Ovidio Tre variazioni (fi losofi che, artistiche, teatrali e musicali) sulla mostra Fiori. Natura e simbolo dal Seicento a Van Gogh. Dalle Metamorfosi di Ovidio PIRAMO e TISBE Presentazione Umberto Curi Voce recitante Sabina Spazzoli Musiche tratte da ‘Sei Metamorfosi di Ovidio’ di B. Britten Oboe Roberto Fantini Ideazione e testi Andrea Panzavolta PIRAMO E TISBE A parte le lontane origine greche, il precedente più remoto della storia a cui si ispira il dramma di William Shakespeare è un mito, di cui sono protagonisti due giovani babi- lonesi, Piramo e Tisbe. La loro vicenda è descritta con grande delicatezza ed effi cacia patetica nel Libro IV delle Metamorfosi di Ovido. Nella versione contenuta nel poema latino, a causa dell’ostilità insuperabile tra le famiglie di appartenenza, i due amanti riescono a comunicare soltanto attraverso una fessura che si apre nell’alto muro che divide le loro case.
    [Show full text]