Boston Symphony Orchestra Concert Programs, Season 30,1910-1911, Trip
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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). -
ARSC Journal
HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote- Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner baron--0 habet acht. -
Otello Otello Con El Apoyo De: El Apoyo Con Otello - Giuseppe Verdi
Otello GIUSEPPE VERDI Temporada 2020-2021 Temporada Con el apoyo de: Otello - Giuseppe Verdi Volver al índice Patronato de la Fundación del Gran Teatre del Liceu Comisión ejecutiva de la Fundación del Gran Teatre del Liceu Presidente de honor Presidente President de la Generalitat de Catalunya Salvador Alemany Mas Presidente del patronato Vocales representantes de la Generalitat de Catalunya Salvador Alemany Mas Àngels Ponsa Roca, Lluís Baulenas Cases Vicepresidenta primera Vocales representantes del Ministerio de Cultura y Deporte Àngels Ponsa Roca Amaya de Miguel Toral, Antonio Garde Herce Vicepresidente segundo Vocales representantes del Ayuntamiento de Barcelona Andrea Gavela Llopis Joan Subirats Humet, Marta Clarí Padrós Vicepresidente tercero Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta cuarta Vocales representantes de la Societat del Gran Teatre del Liceu Núria Marín Martínez Javier Coll Olalla, Manuel Busquet Arrufat Vocales representantes de la Generalitat de Catalunya Vocales representantes del Consejo de Mecenazgo Lluis Baulenas Cases, Irene Rigau Oliver, Rosa Tubau LLorià, Luis Herrero Borque, Elisa Durán Montolío Angels Barbara Fondevila Secretario Vocales representantes del Ministerio de Cultura y Deporte Joaquim Badia Armengol Javier García Fernández, Amaya de Miguel Toral, Joan Francesc Director General Marco Conchillo, Santiago de Torres Sanahuja Valentí Oviedo Cornejo Vocales representantes del Ayuntamiento de Barcelona Marta Clari Padrós, Josep Maria -
The Pennsylvania State University Schreyer Honors College
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC THE VOCAL TECHNIQUE OF THE VERDI BARITONE JOHN CURRAN CARPENTER SPRING 2014 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music with honors in Music Reviewed and approved* by the following: Charles Youmans Associate Professor of Musicology Thesis Supervisor Mark Ballora Associate Professor of Music Technology Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT I wrote this thesis in an attempt to provide useful information about the vocal technique of great operatic singers, especially “Verdi baritones”—singers specializing in dramatic lead roles of this voice-type in Giuseppe Verdi’s operas. Through careful scrutiny of historical performances by great singers of the past century, I attempt to show that attentive listening can be a vitally important component of a singer’s technical development. This approach is especially valuable within the context of a mentor/apprentice relationship, a centuries-old pedagogical tradition in opera that relies heavily on figurative language to capture the relationship between physical sensation and quality of sound. Using insights gleaned from conversations with my own teacher, the heldentenor Graham Sanders, I analyze selected YouTube clips to demonstrate the relevance of sensitive listening for developing smoothness of tone, maximum resonance, legato, and other related issues. ii TABLE OF CONTENTS Acknowledgements ................................................................................................................. -
Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO
PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, April 21, 2016, at 8:00 Saturday, April 23, 2016, at 8:00 Tuesday, April 26, 2016, at 7:30 Falstaff, Lyric comedy in three acts Music by Giuseppe Verdi Libretto by Arrigo Boito, after William Shakespeare’s The Merry Wives of Windsor and parts of Henry IV Riccardo Muti Conductor CAST Sir John Falstaff ............................................................................Ambrogio Maestri baritone Ford, husband of Alice ................................................................................. Luca Salsi baritone Fenton ................................................................................................................Saimir Pirgu tenor Doctor Caius ................................................................................................... Saverio Fiore tenor Bardolfo, follower of Falstaff ...............................................Anicio Zorzi Giustiniani tenor Pistola, follower of Falstaff..................................................................... Luca Dall’Amico bass Mrs. Alice Ford .................................................................................Eleonora Buratto soprano Nannetta, daughter of Alice and Ford ..................................................Rosa Feola soprano Mrs. Quickly ................................................................... Daniela Barcellona mezzo-soprano -
Otello Otello Amb El Suport De: Otello - Giuseppe Verdi
Otello GIUSEPPE VERDI Temporada 2020-2021 Temporada Amb el suport de: Otello - Giuseppe Verdi Tornar a l'índex Patronat de la Fundació del Gran Teatre del Liceu Comissió Executiva de la Fundació del Gran Teatre del Liceu President d'honor President President de la Generalitat de Catalunya Salvador Alemany Mas President del patronat Vocals representants de la Generalitat de Catalunya Salvador Alemany Mas Àngels Ponsa Roca, Lluís Baulenas Cases Vicepresidenta primera Vocals representants del Ministerio de Cultura y Deporte Àngels Ponsa Roca Amaya de Miguel Toral, Antonio Garde Herce Vicepresidenta segona Vocals representants de l'Ajuntament de Barcelona Andrea Gavela Llopis Joan Subirats Humet, Marta Clarí Padrós Vicepresident tercer Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta quarta Vocals representants de la Societat del Gran Teatre del Núria Marín Martínez Liceu Vocals representants de la Generalitat de Catalunya Javier Coll Olalla, Manuel Busquet Arrufat Lluís Baulenas Cases, Irene Rigau Oliver, Rosa Tubau LLorià, Vocals representants del Consell de Mecenatge Àngels Barbarà Fondevila Luis Herrero Borque, Elisa Durán Montolío Vocals representants del Ministerio de Cultura y Deporte Secretari Javier García Fernández, Amaya de Miguel Toral, Joan Francesc Joaquim Badia Armengol Marco Conchillo, Santiago de Torres Sanahuja Director general Vocals representants de l'Ajuntament de Barcelona Valentí Oviedo Cornejo Marta Clari Padrós, Josep Maria Vallès Casadevall Vocal representant -
Leoncavallo Ruggero
LEONCAVALLO RUGGERO Compositore italiano (Napoli 8 III 1857 - Montecatini 9 VIII 1919) RRIITTRRAATTTTOO DDEELL CCOOMMPPOOSSIITTOORREE 635 Studiò musica, prima privatamente con i maestri Siri e A. Simonetti, poi al conservatorio di Napoli con B. Cesi (pianoforte), M. Ruta (armonia), L. Rossi (composizione). Mandato dal padre a Bologna a studiare giurisprudenza, formò invece la sua cultura letteraria alle lezioni del Carducci e nel 1878, a 20 anni, si laureò in lettere. Ebbe indole avventurosa e vita irrequieta. A 20 anni, trovate sbarrate a Milano le porte di editori ed impresari raggiunse in Egitto uno zio che si faceva chiamare Leoncavallo-bey e che lo fece nominare maestro di camera di Mahmud Hamid, fratello del viceré, che lo avrebbe voluto capo delle bande militari egiziane. Dopo una fuga avventurosa, a fatica riuscì a mettersi in salvo a Porto Said, travestito da arabo, e a raggiungere poi Marsiglia. Passato a Parigi, visse dando lezioni, suonando il pianoforte nei caffè- concerto, e scrivendo canzoni per le cantanti di second'ordine. La fortuna gli venne incontro nelle vesti del baritono V. Maurel, che prese a proteggerlo e lo presentò a Milano a G. Ricordi, dal quale ottenne un assegno di L. 200 mensili per un anno, onde musicare il già approntato libretto I Medici, primo della trilogia italiana (Crepusculum), che avrebbe dovuto comprendere anche Savonarola e Cesare Borgia. Il suo disegno di comporre una trilogia musicale sul fenomeno grandioso del Rinascimento politico italiano, Leoncavallo lo aveva già manifestato a Wagner in occasione della presentazione di Rienzi a Bologna. Ma lo strepitoso successo di Cavalleria rusticana di Mascagni (17 V 1890) lo indusse a sceneggiare un fatto d'amore e di sangue svoltosi sotto i suoi occhi in Calabria, quando aveva quindici anni, e portato davanti al padre, presidente della corte di giustizia. -
Politique,, Littéraire Et Artistique Echos Et Nouvelles
QUARANTE—DEUXIÈME ANNÉE — N° 2116 Bureaux : R -e de Lorraine, 22 Mardi 31 Janvier 1899 JOURNAL JOURNAL HEBDOMADAIRE Politique,, Littéraire et _Artistique PARAISSANT LE MARDI ABONNEMENTS: EÉDA.VrION ET ADMINIST4ATION INSERTIONS : 22 — Rue de Lorraine — 22 MONACO — FRANCE — ALGÉRIE — TUNISIE Réclames, 50 cent. la ligne ; Annonces, .25 cent. Un an, 12 fr. ; Six mois, 6 fr. ; Trois mois, 3 fr. Tous les ouvrages français et étrangers dont il est envoyé Pour les autres insertions, on traite de gré à gré Pour l'ÉTRANGER, les frais de poste en sus deux exemplaires sont insérés dans le journal Les Abonnements partent des ler et 16 de chaque mois Les manuscrits non insérés seront rendus S'adresser au Gérant, 22, rue de Lorraine PARTIE NON OFFICIELLE du Casino au grand complet. Sous la direction de vement les diverses Sociétés artistiques de la Prin- M. Vigna, d'abord, on a exécuté le Coeur de Fin- pauté. gal, le beau poèmê symphonique de Celega, puis C'est la section de musique de la Société des Ré- Echos et Nouvelles sous la direction de M. Léon Jehin, la transcrip- gates qui se fera entendre aux concerts de jeudi et DE LA PRINCIPAUTÉ tion sur Moïna, le magnifique opéra de M. Isidore dimanche prochain. de Lara, et enfin la marche du Tannhatiser. Lundi dernier, le Prince Albert a fait une com- A l'issue du concert, Madame la Princesse s'est Samedi prochain, s'ouvrira au théâtre de Monte munication à l'Académie des Sciences, sur sa retirée, après avoir exprimé ses félicitations aux Carlo, la sensationnelle série des représentations campagne de 1898 dans les mers polaires. -
Mark Schubin's Media-Technology and Opera Chronology - National Opera Center - 2013 October 29
Mark Schubin's Media-Technology and Opera Chronology - National Opera Center - 2013 October 29 Origin of modern opera, modern science, and modern communications satellites: - 1520-1591: Vincenzo Galilei: father of modern acoustics, sung drama, and Galileo (whom he taught experimentation); after reading Galilei’s 1581 music-theory book, Johannes Kepler formulates 3 rd law of planetary motion, leading to modern satellites Telephony: - 1821: After a demonstration of Charles Wheatstone's "enchanted lyre," Repository of Arts predicts wired opera broadcasts - 1848: “Telakouphanon” (acoustic telephone) service delivering opera to homes for a fee predicted in Punch - 1849: Antonio Meucci, technical director of Havana Opera's Teatro Tacón (and former stagehand and effects technician at Florence's Teatro della Pergola) begins experiments on sound transmission by electricity via wire; continues them in NYC - 1876: The New York Times predicts box-office drop at Academy of Music if opera available to homes via telephone - 1877: Aria transmitted Providence to Boston; Punch's Almanack for 1878 predicts telephone delivery of opera to homes - 1878: Don Pasquale carried by telephone lines in Bellinzona, Switzerland from opera-house auditorium to nearby room - 1880: Microphone developed specifically for opera at David Moseley & Sons, Manchester, England; Edward P. Fry probably 1st person to listen to opera at home via telephone (applauds what he likes); opera carried 80 km from Zürich to Bâle - 1882: Scotland’s National Telephone Company allows home/office -
Milton Cross Born in Manhattan on 16 April 1897, Milton Cross Was One of Radio’S First Full- Time Announcers, and Remained So Until His Death on 3 January 1975
1 Milton Cross Born in Manhattan on 16 April 1897, Milton Cross was one of radio’s first full- time announcers, and remained so until his death on 3 January 1975. His association with the Saturday afternoon radio broadcasts of the Metropolitan Opera’s matinee performances began literally with the first such broadcast: a performance of Hänsel and Gretel that aired on Christmas afternoon, December 25, 1931. Although Christmas Day fell on a Friday that year, the National Broadcasting Company decided to continue broadcasting Metropolitan Opera performances over its Blue Network (which later became the American Broadcasting Company, the corporate name of the ABC network) every Saturday afternoon, a holiday from work for most American men and women. In addition to his 43 consecutive seasons as radio’s Voice of the Metropolitan Opera,” Milton Cross served as an announcer for a variety of other radio programs including “The Magic Key of RCA” (a music program sponsored by RCA Victor), “Information Please” (an early quiz show), “Coast to Coast on a Bus” (a children’s show featuring child performers), and “The Chamber Music Society of Lower Basin Street” (a highly popular jazz-and-blues program). He also narrated a number of film shorts (five- to fifteen-minute sound films that were shown between feature films in movie theaters), as well as educational and entertainment recordings for children, including “Peter and the Wolf” (Musicraft Records, 1949) and “The Magic of Music” (Cabot Records, 1964). Were either of your parents, or any of your siblings, involved in music? Not professionally, no. My father, Robert Cross, and my mother, Margret, who was called “Maggie” within the family, had six children, and I was the fifth of their brood of six. -
Downloadable PDF
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/437 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Verdi in Victorian London Massimo Zicari https://www.openbookpublishers.com © 2016 Massimo Zicari This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Massimo Zicari, Verdi in Victorian London. Cambridge, UK: Open Book Publishers, 2016. http://dx.doi.org/10.11647/OBP.0090 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/isbn/9781783742134#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active on 28/6/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/isbn/9781783742134#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
“Svesti La Giubba,” Or, Uncloaking the Genesis of Pagliacci
ANDREAS GIGER “Svesti la giubba” “Svesti la giubba,” or, Uncloaking the Genesis of Pagliacci ANDREAS GIGER Sooner or later, every man invents for himself a story he believes to be his life. The premiere of Pagliacci on 21 May 1892 made The story of the opera has proven to be pro- Ruggero Leoncavallo a famous man overnight foundly moving. Set in two acts as a play within at the age of thirty-five. His first opera, a play, it centers on the itinerant troupe of Chatterton, had languished unperformed in the Canio, his wife Nedda, Tonio, and Peppe, who archives of Luigi Trebbi and Achille Tedeschi have arrived at the Calabrian village of Montalto since 1876, and his second, I Medici, nearly to present their commedia dell’arte. The ac- complete, had been dropped by its publisher tors will play the traditional characters of Ricordi in favor of Puccini’s revised Edgar in Pagliaccio, Columbina, Pulcinella (called 1891. The success of Pagliacci was somewhat Taddeo), and Arlecchino. In act I, Canio discov- unexpected, but it has endured. In 1907, fifteen ers through the treachery of Nedda’s spurned years after the premiere, Pagliacci became the admirer, Tonio, that Nedda has been secretly first opera to be recorded in its entirety, and to meeting with her young lover, Silvio. Over- this day it remains one of the most frequently whelmed with grief and jealousy, Canio sings performed.1 his famous aria “Vesti la giubba” at the close of act I. When the “Commedia” is performed that evening (act II), Canio as Pagliaccio cannot I would like to thank Lorenza Guiot and Francesco Braghetta for their help in obtaining and transcribing some maintain his role in the farce of discovering of the sources used for this article and the anonymous Colombina in a tryst with Arlecchino, and de- reviewers for their helpful feedback.