Harlequin Rag Sheet Music

Total Page:16

File Type:pdf, Size:1020Kb

Harlequin Rag Sheet Music Harlequin Rag Sheet Music Download harlequin rag sheet music pdf now available in our library. We give you 6 pages partial preview of harlequin rag sheet music that you can try for free. This music notes has been read 2487 times and last read at 2021-09-23 15:38:45. In order to continue read the entire sheet music of harlequin rag you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Piano Solo Ensemble: Mixed Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Harlequin Dances Harlequin Dances sheet music has been read 2806 times. Harlequin dances arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-28 08:56:37. [ Read More ] Harlequin Dances For Brass Band Harlequin Dances For Brass Band sheet music has been read 4621 times. Harlequin dances for brass band arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-28 22:18:02. [ Read More ] Harlequin Duo Duetto D Arlecchino For 2 Flutes Harlequin Duo Duetto D Arlecchino For 2 Flutes sheet music has been read 4874 times. Harlequin duo duetto d arlecchino for 2 flutes arrangement is for Early Intermediate level. The music notes has 2 preview and last read at 2021-09-28 21:49:15. [ Read More ] Harlequin Duo Duetto D Arlecchino For 2 Clarinets Harlequin Duo Duetto D Arlecchino For 2 Clarinets sheet music has been read 6381 times. Harlequin duo duetto d arlecchino for 2 clarinets arrangement is for Early Intermediate level. The music notes has 2 preview and last read at 2021-09-27 22:19:06. [ Read More ] Harlequin For Cor Anglais And Guitar Mp3 Harlequin For Cor Anglais And Guitar Mp3 sheet music has been read 2696 times. Harlequin for cor anglais and guitar mp3 arrangement is for Intermediate level. The music notes has 1 preview and last read at 2021-09-28 09:29:41. [ Read More ] Harlequin Duo Duetto D Arlecchino For 2 Alto Saxophones Harlequin Duo Duetto D Arlecchino For 2 Alto Saxophones sheet music has been read 3554 times. Harlequin duo duetto d arlecchino for 2 alto saxophones arrangement is for Early Intermediate level. The music notes has 2 preview and last read at 2021-09-26 20:57:49. [ Read More ] Harlequin Duo Duetto D Arlecchino For Flute And Alto Flute Harlequin Duo Duetto D Arlecchino For Flute And Alto Flute sheet music has been read 3136 times. Harlequin duo duetto d arlecchino for flute and alto flute arrangement is for Early Intermediate level. The music notes has 2 preview and last read at 2021-09-28 11:05:20. [ Read More ] Harlequin Duo Duetto D Arlecchino For Violin And Viola Harlequin Duo Duetto D Arlecchino For Violin And Viola sheet music has been read 2696 times. Harlequin duo duetto d arlecchino for violin and viola arrangement is for Early Intermediate level. The music notes has 2 preview and last read at 2021-09-28 21:55:00. [ Read More ] Harlequin Duo Duetto D Arlecchino For Viola And Cello Harlequin Duo Duetto D Arlecchino For Viola And Cello sheet music has been read 2828 times. Harlequin duo duetto d arlecchino for viola and cello arrangement is for Early Intermediate level. The music notes has 2 preview and last read at 2021-09-28 23:19:18. [ Read More ] Harlequin Duo Duetto D Arlecchino For Soprano And Alto Recorders Harlequin Duo Duetto D Arlecchino For Soprano And Alto Recorders sheet music has been read 2773 times. Harlequin duo duetto d arlecchino for soprano and alto recorders arrangement is for Early Intermediate level. The music notes has 2 preview and last read at 2021-09-27 00:49:20. [ Read More ] Harlequin Duo Duetto D Arlecchino For Alto And Tenor Recorders Harlequin Duo Duetto D Arlecchino For Alto And Tenor Recorders sheet music has been read 3334 times. Harlequin duo duetto d arlecchino for alto and tenor recorders arrangement is for Early Intermediate level. The music notes has 2 preview and last read at 2021-09-28 20:43:48. [ Read More ] Harlequin Arlecchino For Cor Anglais English Horn And Guitar Harlequin Arlecchino For Cor Anglais English Horn And Guitar sheet music has been read 3081 times. Harlequin arlecchino for cor anglais english horn and guitar arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-09-28 00:40:52. [ Read More ] Harlequin For Flute And Guitar Harlequin For Flute And Guitar sheet music has been read 3290 times. Harlequin for flute and guitar arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-09-27 10:33:25. [ Read More ] Harlequin For Bassoon And Guitar Harlequin For Bassoon And Guitar sheet music has been read 2586 times. Harlequin for bassoon and guitar arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-09-28 21:26:22. [ Read More ] Harlequin In Two Poles For Guitar Solo Harlequin In Two Poles For Guitar Solo sheet music has been read 2025 times. Harlequin in two poles for guitar solo arrangement is for Advanced level. The music notes has 2 preview and last read at 2021-09-28 21:17:50. [ Read More ] Harlequin For Alto Saxophone And Guitar Harlequin For Alto Saxophone And Guitar sheet music has been read 2531 times. Harlequin for alto saxophone and guitar arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-09-27 23:09:04. [ Read More ] Harlequin For Soprano Recorder And Guitar Mp3 Harlequin For Soprano Recorder And Guitar Mp3 sheet music has been read 2520 times. Harlequin for soprano recorder and guitar mp3 arrangement is for Intermediate level. The music notes has 1 preview and last read at 2021-09-27 06:31:58. [ Read More ] Harlequin For Soprano Recorder And Guitar Harlequin For Soprano Recorder And Guitar sheet music has been read 2663 times. Harlequin for soprano recorder and guitar arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-09-29 03:03:48. [ Read More ] Powered by TCPDF (www.tcpdf.org).
Recommended publications
  • La Suite Del Grande Arlecchino 1A
    La Suite del Grande Arlecchino 1a. - Introduzione ca. Mario Totaro 2006/2007 1 Lastra media A Simone Brunetti Perc. I Lastra grave Perc. II 3 3 Grancassa Perc. III 5 Timpani 3 3 Perc. I [Lastra grave] Perc. II 3 [G.Cassa] Perc. III 3 3 Liberamente Flauto in Sol 10 3 3 3 3 Fl. 3 3 [Fl. in sol] 3 5 3 3 3 3 Fl. attacca: morendo 1b. - Primo quadro: La Nascita di Arlecchino (Processione, Caduta dell'Angelo e Apparizione del Demonio) SIPARIO 1 Bacchette da vibrafono dure 2 T. Blocks 2 Bongos Perc. II 2 Tom-toms 2 Congas A PRECEDUTO DA UN SACERDOTE, APPARE UN 7 3 3 3 Fl. in sol T.B. B. P. II T.T. C. CORTEO, RIVOLTO VERSO L'ALTO, FORMATO DA CREATURE MITOLOGICHE, SACRE E PROFANE (DIONISO, PERSEO ECC.) 14 3 3 3 3 3 3 Fl. in sol 3 3 3 T.B. B. P. II T.T. C. B 20 3 35 3 3 3 3 3 Fl. in sol 3 3 5 5 5 5 5 5 Cl. basso T.B. B. P. II T.T. C. 2b. - Secondo quadro: La Fame di Arlecchino (Pantomima) ARLECCHINO (ANCORA ZANNI CON COSTUME BIANCO) SCOPRE DI AVERE FAME CON URLA, PIANTI E CONVULSIONI Clar. Piccolo Mib flatterz. 1 6 Clarinetto 3 3 6 3 Corni in Fa con sord. Tromba in Do con sord. Trombone A lamentoso 6 6 Ob. 3 3 3 3 6 [Cl. Picc.] Cl. 3 33 6 6 Cl. basso Fg. 6 3 flatterz. 6 Tr.
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
    [Show full text]
  • Uniting Commedia Dell'arte Traditions with the Spieltenor Repertoire
    UNITING COMMEDIA DELL’ARTE TRADITIONS WITH THE SPIELTENOR REPERTOIRE Corey Trahan, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: Stephen Austin, Major Professor Paula Homer, Committee Member Lynn Eustis, Committee Member and Director of Graduate Studies in the College of Music James Scott, Dean of the School of Music James R. Meernik, Acting Dean of the Toulouse Graduate School Trahan, Corey, Uniting Commedia dell’Arte Traditions with the Spieltenor repertoire. Doctor of Musical Arts (Performance), May 2012, 85 pp., 6 tables, 35 illustrations, references, 84 titles. Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. The spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s spieltenor benefit from consulting the commedia dell’arte’s traditions? To answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. The spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. In addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five spieltenor roles.
    [Show full text]
  • Ferruccio Busoni – the Six Sonatinas: an Artist’S Journey 1909-1920 – His Language and His World
    Ferruccio Busoni – The Six Sonatinas: An Artist’s Journey 1909-1920 – his language and his world Jeni Slotchiver This is the concluding second Part of the author’s in-depth appreciation of these greatly significant piano works. Part I was published in our issue No 1504 July- September 2015. t summer’s end, 1914, Busoni asks for artists in exile from Europe. Audiences are A a year’s leave of absence from his in thin supply. He writes to Edith Andreae, position as director of the Liceo Musicale June 1915, “I didn’t dare set to work on in Bologna. He signs a contract for his the opera… for fear that a false start American tour and remains in Berlin over would destroy my last moral foothold.” Christmas, playing a Bach concert to Busoni begins an orchestral comp- benefit charities. This is the first all-Bach osition as a warm-up for Arlecchino, the piano recital for the Berlin public, and Rondò Arlecchinesco. He sets down ideas, Dent writes that it is received with hoping they might be a useful study, if all “discourteous ingratitude.” Busoni outlines else fails, and writes, “If the humour in the his plan for Dr. Faust, recording in his Rondò manifests itself at all, it will have a diary, “Everything came together like a heartrending effect.” With bold harmonic vision.” By Christmastime, the text is language, Busoni clearly defines this complete. With the outbreak of war in composition as his last experimental work. 1914 and an uncertain future, Busoni sails The years give way to compassionate to New York with his family on 5 January, reflection.
    [Show full text]
  • Charles Koechlin's Silhouettes De Comã©Die for Bassoon and Orchestra: an in Depth Study
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Charles Koechlin's Silhouettes de Comédie for Bassoon and Orchestra: An in Depth Study Amelia Fannin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CHARLES KOECHLIN’S SILHOUETTES DE COMÉDIE FOR BASSOON AND ORCHESTRA: AN IN DEPTH STUDY By AMELIA FANNIN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2009 The members of the committee approve the treatise of Amelia Fannin defended on April 29, 2009. __________________________ Jeffrey Keesecker Professor Directing Treatise __________________________ Richard Clary Outside Committee Member __________________________ Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members. ii I would like to thank my husband, family, and teachers for their patience and support. iii TABLE OF CONTENTS Abstract ............................................................................................................ v 1. BIOGRAPHY ................................................................................................ 1 2. EARLY COMPOSITIONS FOR BASSOON ................................................ 15 3. THE SILHOUETTES DE COMÉDIE ............................................................ 19 4. ANALYSIS OF EACH MOVEMENT IN CULTURAL
    [Show full text]
  • Influence of Commedia Dell‟Arte on Stravinsky‟S Suite Italienne D.M.A
    Influence of Commedia dell‟Arte on Stravinsky‟s Suite Italienne D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Doctor of Musical Arts In the Graduate School of The Ohio State University By Sachiho Cynthia Murasugi, B.M., M.A., M.B.A. Graduate Program in Music The Ohio State University 2009 Document Committee: Kia-Hui Tan, Advisor Paul Robinson Mark Rudoff Copyright by Sachiho Cynthia Murasugi 2009 Abstract Suite Italienne for violin and piano (1934) by Stravinsky is a compelling and dynamic work that is heard in recitals and on recordings. It is based on Stravinsky‟s music for Pulcinella (1920), a ballet named after a 16th century Neapolitan stock character. The purpose of this document is to examine, through the discussion of the history and characteristics of Commedia dell‟Arte ways in which this theatre genre influenced Stravinsky‟s choice of music and compositional techniques when writing Pulcinella and Suite Italienne. In conclusion the document proposes ways in which the violinist can incorporate the elements of Commedia dell‟Arte that Stravinsky utilizes in order to give a convincing and stylistic performance. ii Acknowledgments I would like to express my sincere gratitude to my advisor, Dr. Kia-Hui Tan and my committee members, Dr. Paul Robinson, Prof. Mark Rudoff, and Dr. Jon Woods. I also would like to acknowledge the generous assistance of my first advisor, the late Prof. Michael Davis. iii Vita 1986………………………………………….B.M., Manhattan School of Music 1988-1989……………………………….…..Visiting International Student, Utrecht Conservatorium 1994………………………………………….M.A., CUNY, Queens College 1994-1995……………………………………NEA Rural Residency Grant 1995-1996……………………………………Section violin, Louisiana Philharmonic 1998………………………………………….M.B.A., Tulane University 1998-2008……………………………………Part-time instructor, freelance violinist 2001………………………………………….Nebraska Arts Council Touring Artists Roster 2008 to present………………………………Lecturer in Music, Salisbury University Publications “Stravinsky‟s Suite Italienne Unmasked.” Stringendo 25.4 (2009):19.
    [Show full text]
  • Ferruccio Busoni Biography
    Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso.
    [Show full text]
  • Schreker's Die Gezeichneten
    "A Superabundance of Music": Reflections on Vienna, Italy and German Opera, 1912-1918 Robert Blackburn I Romain Rolland's remark that in Germany there was too much music 1 has a particular resonance for the period just before and just after the First World War. It was an age of several different and parallel cultural impulses, with the new forces of Expressionism running alongside continuing fascination with the icons and imagery ofJugendstil and neo-rornanticism, the haunting conservative inwardness of Pfitzner's Palestrina cheek by jowl with rococo stylisation (Der Rosenkavalier and Ariadne auf Naxos) and the search for a re- animation of the commedia dell'arte (Ariadne again and Busoni's parodistic and often sinister Arlecchino, as well es Pierrot Lunaire and Debussy's Cello Sonata). The lure of new opera was paramount and there seemed to be no limit to the demand and market in Germany. Strauss's success with Salome after 1905 not only enable him to build a villa at Garmisch, but created a particular sound-world and atmosphere of sultriness, obsession and irrationalism which had a profound influence on the time. It was, as Strauss observed, "a symphony in the medium of drama, and is psychological like all music". 2 So, too, was Elektra, though this was received more coolly at the time by many. The perceptive Paul Bekker (aged 27 in 1909) was among the few to recognise it at once for the masterpiece it is.3 In 1911 it was far from clear that Del' Rosenkavalier would become Strauss' and Hofinannsthal's biggest commercial success, nor in 1916 that Ariadne all! Naxos would eventually be described as their most original collaboration.' 6 Revista Musica, Sao Paulo, v.5, n.
    [Show full text]
  • Bio English Large
    FRANCESCO PITTARI After his studies in violin and composition, he studied singing getting the Diploma at Salerno Conservatory of Music, Italy. He made his debut in Salerno, 2006, in Macbeth by Giuseppe Verdi. He chooses to play character roles performing in the greatest Italian theatres: the Verona Arena, Carlo Felice theatre in Genoa, San Carlo theatre in Naples, Giuseppe Verdi theatre in Salerno, Arena Flegrea in Naples and «La Verdi» Auditorium in Milan. He had the chance to work under the baton of eminent orchestra conductors such as Daniel Oren, Michail Jurowsky, Janos Acs, Yves Abel, Antonio Pirolli, Bruno Aprea, Gianpaolo Bisanti, Kery- Lynn Willson, and Giovanni Di Stefano. He took part in productions of renowned directors like Gigi Proietti, Andreas Homoki, Massimo Ranieri, Gianfranco de Bosio, Marco Gandini, Beppe de Tommasi, Renzo Giacchieri, Enrico Stinchelli, Michele Mirabella, and Massimo Gasparon. After his debut in Macbeth, he took part as guest to numerous productions throughout important Italian Foundations. He also played the role of Arlecchino in I pagliacci by Leoncavallo and Edmondo in Manon Lescaut by Puccini. In 2007, he performed in: l’Amour des trois oranges by Prokofief and La forza del destino by Verdi at Carlo Felice theatre in Genoa; La Traviata by Verdi San Carlo theatre in Naples. Besides, he played the role of Spoletta in La Tosca by Puccini at Arena Flegrea in Naples. In 2008, he took part at La Sonnambula and La bohème by Puccini conducted by Daniel Oren at Giuseppe Verdi theatre in Salerno and Stabat Mater by Bononcini in Naples. In 2010, he performed in Un ballo in Maschera de Verdi.
    [Show full text]
  • Crossing Boundaries Through La Commedia Dell'arte
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2007-08-15 Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arte Janine Michelle Sobeck Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Film and Media Studies Commons, and the Theatre and Performance Studies Commons BYU ScholarsArchive Citation Sobeck, Janine Michelle, "Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arte" (2007). Theses and Dissertations. 1200. https://scholarsarchive.byu.edu/etd/1200 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. ARLECCHINO’S JOURNEY: CROSSING BOUNDARIES THROUGH LA COMMEDIA DELL’ARTE By Janine Michelle Sobeck A thesis submitted to the faculty of Brigham Young University In partial fulfillment of the requirements for the degree of Master of Arts Department of Theatre and Media Arts Brigham Young University December 2007 Copyright © 2007 Janine Michelle Sobeck Al Rights Reserved ii BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL Of a thesis submitted by Janine Michelle Sobeck This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. __________________________ ___________________________________ Date Megan Sanborn Jones,
    [Show full text]
  • Repertoire and Performance History Virginia Opera Repertoire 1974-2020
    Repertoire and Performance History Virginia Opera Repertoire 1974-2020 1974–1975 Initial Projects LA BOHÈME – January 1975 N LA TRAVIATA – June 1975 N 1975–1976 Inaugural Subscription Season TOSCA – October/November 1975 N LUCIA DI LAMMERMOOR – January 1976 N THE BARBER OF SEVILLE – March/April 1976 N 1976–1977 RIGOLETTO – October/November 1976 N IL TROVATORE – January 1977 N THE IMPRESARIO/I PAGLIACCI – March/April 1977 N 1977–1978 MADAMA BUTTERFLY – October/November 1977 N COSÌ FAN TUTTE – January/February 1978 N MARY, QUEEN OF SCOTS – American Premiere– April 1978 N 1978–1979 CARMEN – October/November 1978 N THE DAUGHTER OF THE REGIMENT – January 1979 N DON GIOVANNI – March/April 1979 N 1979–1980 LA BOHÈME – October/November 1979 N A CHRISTMAS CAROL – World Premiere – December 1979 N DON PASQUALE – January/February 1980 N THE TALES OF HOFFMAN – March 1980 N 1980–1981 PORGY AND BESS – October/November 1980 N, R HANSEL AND GRETEL – December 1980 N WERTHER – January/February 1981 N I CAPULETI E I MONTECCHI – March/April 1981 N 1981–1982 FAUST – October/November 1981 N CINDERELLA – December 1981 N LA TRAVIATA – January 1982 N THE MAGIC FLUTE – March 1982 N 1982–1983 DIE FLEDERMAUS – October/November 1982 N, R AMAHAL AND THE NIGHT VISITORS – December 1982 N MACBETH – January 1983 N THE ELIXIR OF LOVE – March 1983 N 1983–1984–Inaugural Subscription Season Richmond NORMA – October 1983 R GIANNI SCHICCHI/SUOR ANGELICA – December 1983 R RIGOLETTO – January 1984 N, R THE GIRL OF THE GOLDEN WEST – February/March 1984 N 1984–1985 THE MARRIAGE
    [Show full text]