Don Quichotte Opera CHICAGO

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MUSIC Don Quichotte Opera CHICAGO Sat, November 19– Wed, December 07, 2016 Venue Lyric Opera of Chicago, Civic Opera Building, 20 N Upper Wacker Dr, Chicago, IL 60606 View map Phone: 312-332-2244 Admission Buy tickets More information Lyric Opera of Chicago “Don Quichotte” by Jules Massenet combines atmospheric Credits music with his own matchless theatrical flair to conjure a Produced by the San Diego Opera. Spain that abounds with energy and spirit, beauty, and hope. Photo by Ken Howard More than half a century before Man of La Mancha, Massenet brought Cervantes’s universally beloved dreamer Don Quixote to the operatic stage. Inspired by the greatest of all Spanish novels, Don Quichotte is the story of an eccentric idealist and self-proclaimed knight errant who tilts at windmills and fights for the honor of his lady Dulcinée. Legendary bass Ferruccio Furlanetto bringing this signature role to vivid life with Sir Andrew Davis conducting in a production that is as gorgeous to see as it is to hear. DON QUICHOTTE ■ Performed in French with projected English translations. ■ Running time: 2 hours 30 minutes including one intermission. In a small Spanish town a beautiful young woman, Dulcinée, is wooed by many men, but she hopes to meet a noble knight. The aging Don Quichotte and his servant, Sancho Pança, arrive in the town. Enchanted by Dulcinée, Quichotte offers to serve her. She asks him to bring back a necklace that bandits stole from her. Along the way, he mistakes windmills for giants interfering with his quest and battles against them. Meeting the bandits, he touches their hearts and they gladly give back the necklace. Quichotte returns it to Dulcinée, who laughs at his proposal of marriage but later admits that she feels unworthy of Quichotte’s devotion. On a mountain path Quichotte is resting as Sancho comforts him. He dies thinking of Dulcinée. Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C. 20009 | Tel: (202) 728-2334 View this event online: https://www.spainculture.us/city/chicago/don-quichotte-opera/ Created on 10/01/2021 | Page 1 of 1.

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Don Quichotte Don Quixote Page 1 of 4 Opera Assn
San Francisco War Memorial 1990 Don Quichotte Don Quixote Page 1 of 4 Opera Assn. Opera House This presentation of "Don Quichotte" is made possible, in part, by a generous gift from Mr. & Mrs. Thomas Tilton Don Quichotte (in French) Opera in five acts by Jules Massenet Libretto by Henri Cain Based on play by Jacques Le Lorrain, based on Cervantes Conductor CAST Julius Rudel Pedro Mary Mills Production Garcias Kathryn Cowdrick Charles Roubaud † Rodriguez Kip Wilborn Lighting Designer Juan Dennis Petersen Joan Arhelger Dulcinée's Friend Michael Lipsky Choreographer Dulcinée Katherine Ciesinski Victoria Morgan Don Quichotte Samuel Ramey Chorus Director Sancho Pança Michel Trempont Ian Robertson The Bandit Chief Dale Travis Musical Preparation First Bandit Gerald Johnson Ernest Fredric Knell Second Bandit Daniel Pociernicki Susanna Lemberskaya First Servant Richard Brown Susan Miller Hult Second Servant Cameron Henley Christopher Larkin Svetlana Gorzhevskaya *Role debut †U.S. opera debut Philip Eisenberg Kathryn Cathcart PLACE AND TIME: Seventeenth-century Spain Prompter Philip Eisenberg Assistant Stage Director Sandra Bernhard Assistant to Mr. Roubaud Bernard Monforte † Supertitles Christopher Bergen Stage Manager Jamie Call Thursday, October 11 1990, at 8:00 PM Act I -- The poor quarter of a Spanish town Sunday, October 14 1990, at 2:00 PM INTERMISSION Thursday, October 18 1990, at 7:30 PM Act II -- In the countryside at dawn Saturday, October 20 1990, at 8:00 PM Act III -- The bandits' camp Tuesday, October 23 1990, at 8:00 PM INTERMISSION Friday, October 26 1990, at 8:00 PM Act IV -- The poor quarter Act V -- In the countryside at night San Francisco War Memorial 1990 Don Quichotte Don Quixote Page 2 of 4 Opera Assn.
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MASSENET and HIS OPERAS Producing at the Average Rate of One Every Two Years
M A S S E N E T AN D HIS O PE RAS l /O BY HENRY FIN T. CK AU THO R O F ” ” Gr ie and His Al y sia W a ner and H W g , g is or ks , ” S uccess in Music and it W How is on , E ta , E tc. NEW YO RK : JO HN LANE CO MPANY MCMX LO NDO N : O HN L NE THE BO DLEY HE D J A , A K N .Y . O MP NY N E W Y O R , , P U B L I S HE R S P R I NTI N G C A , AR LEE IB R H O LD 8 . L RA Y BRIGHAM YO UNG UNlVERS lTW AH PRO VO . UT TO MY W I FE CO NTENTS I MASSENET IN AMER . ICA. H . B O GRAP KET H II I IC S C . P arents and Chi dhoo . At the Conservatoire l d . Ha D a n R m M rri ppy ys 1 o e . a age and Return to r H P a is . C oncert a Successes . In ar Time ll W . A n D - Se sational Sacred rama. M ore Semi religious m W or s . P ro e or and Me r of n i u k f ss be I st t te . P E R NAL R D III SO T AITS AN O P INIO NS . A P en P ic ure er en ne t by Servi es . S sitive ss to Griti m h cis .
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"Gioconda" Rings Up-The Curtain At
Vol. XIX. No. 3 NEW YORK EDITED ~ ~ ....N.O.V.E.M_B_E_R_2_2 ,_19_1_3__ T.en.~! .~Ot.~:_:r.rl_::.: ... "GIOCONDA" RINGS "DON QUICHOTTE"HAS UP- THE CURTAIN AMERICANPREMIERE AT METROPOLITAN Well Performed by Chicago Com pany in Philadelphia- Music A Spirited Performance with Ca in Massenet's Familiar Vein ruso in Good 'Form at Head B ureau of Musical A m erica, of the Cas t~Amato, Destinn Sixt ee nth and Chestn ut Sts., Philadel phia, Novem ber 17. 1913.. and Toscanini at Their Best T HE first real novelty of the local opera Audience Plays Its Own Brilliant season was offered at the Metropolitan Part Brilliantly-Geraldine Far last Saturday afternoon, when Mas senet's "Don Quichotte" had its American rar's Cold Gives Ponchielli a premiere, under the direction of Cleofonte Distinction That Belonged to Campanini, with Vanni Marcoux in the Massenet title role, which he had sung many times in Europe; Hector Dufranne as Sancho W ITH a spirited performance of "Gio- Panza, and Mary Garden as La Belle Dul conda" the Metropolitan Opera cinea. The performance was a genuine Company began its season last M'o;day success. The score is in Massenet's fa night. The occasion was as brilliant as miliar vein: It offers a continuous flow of others that have gone before, and if it is melody, light, sometimes almost inconse quential, and not often of dramatic signifi not difficult to recall premieres of greater cance, but at all times pleasing, of an ele artistic pith and moment it behooves the gance that appeals to the aesthetic sense, chronicler of the august event to record and in all its phases appropriate to the the generally diffused glamor as a matter story, sketched rather briefly by Henri Cain from the voluminous romance of Miguel de of necessary convention, As us~al there Cervantes.
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Cervantes the Cervantes Society of America Volume Xxvi Spring, 2006
Bulletin ofCervantes the Cervantes Society of America volume xxvi Spring, 2006 “El traducir de una lengua en otra… es como quien mira los tapices flamencos por el revés.” Don Quijote II, 62 Translation Number Bulletin of the CervantesCervantes Society of America The Cervantes Society of America President Frederick De Armas (2007-2010) Vice-President Howard Mancing (2007-2010) Secretary-Treasurer Theresa Sears (2007-2010) Executive Council Bruce Burningham (2007-2008) Charles Ganelin (Midwest) Steve Hutchinson (2007-2008) William Childers (Northeast) Rogelio Miñana (2007-2008) Adrienne Martin (Pacific Coast) Carolyn Nadeau (2007-2008) Ignacio López Alemany (Southeast) Barbara Simerka (2007-2008) Christopher Wiemer (Southwest) Cervantes: Bulletin of the Cervantes Society of America Editors: Daniel Eisenberg Tom Lathrop Managing Editor: Fred Jehle (2007-2010) Book Review Editor: William H. Clamurro (2007-2010) Editorial Board John J. Allen † Carroll B. Johnson Antonio Bernat Francisco Márquez Villanueva Patrizia Campana Francisco Rico Jean Canavaggio George Shipley Jaime Fernández Eduardo Urbina Edward H. Friedman Alison P. Weber Aurelio González Diana de Armas Wilson Cervantes, official organ of the Cervantes Society of America, publishes scholarly articles in Eng- lish and Spanish on Cervantes’ life and works, reviews, and notes of interest to Cervantistas. Tw i ce yearly. Subscription to Cervantes is a part of membership in the Cervantes Society of America, which also publishes a newsletter: $20.00 a year for individuals, $40.00 for institutions, $30.00 for couples, and $10.00 for students. Membership is open to all persons interested in Cervantes. For membership and subscription, send check in us dollars to Theresa Sears, 6410 Muirfield Dr., Greensboro, NC 27410.
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Don Quichotte Fiche Pédagogique
12 > 17 MARS 2019 DON QUICHOTTE OPÉRA PARTICIPATIF Inspiré librement de Don Quichotte de Jules Massenet FICHE PÉDAGOGIQUE SAISON 2018 .19 WWW.OPERALIEGE.BE LE ROMAN DE CERVANTES 400 ANS DE SUCCÈS Don Quichotte est un personnage imaginaire tout droit sorti d’un livre, en deux parties, écrit il y a plus de 400 ans par l’écrivain espagnol Miguel de Cervantes Saavedra (1547-1616). Le titre original, El Ingenioso Hidalgo Don Quijote de la ? Mancha , peut être traduit par «L’ingénieux noble Don Quichotte de la Manche». Considéré comme le premier roman moderne, c’est encore de nos jours un des livres les plus lus au monde! ? L’histoire de Cervantes conte les aventures d’un pauvre hidalgo, dénommé Alonso Quichano, et tellement obsédé par les romans de chevalerie qu’il finit un jour par se prendre pour le chevalier errant Don Quichotte, dont la mission est de parcourir l’Espagne pour combattre le mal et protéger les opprimés. Même s’il est rangé de nos jours parmi les chefs-d’oeuvre classiques, cet ouvrage ? était considéré à l’époque de Cervantes comme un roman comique, une parodie des romans de chevalerie, très à la mode au Moyen Âge en Europe. Il fait également partie d'une tradition littéraire typiquement espagnole, celle du roman picaresque (de l'espagnol pícaro, « misérable », « futé »), genre littéraire dans lequel un héros, pauvre, raconte ses aventures. Gravure de FREDERICK MACKENZIE (1788-1854) représentant CERVANTES Le roman de Cervantes et le personnage de Don Quichotte ont inspiré de nombreux artistes peintres ou sculpteurs et ont donné naissance à de multiples adaptations en films, livres, chansons, opéras, comédies musicales, ballets ou encore pièces de théâtre.
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"Con Mis Propios Ojos Vi a Amadís De Gaula"
Gonzalo Pontón «Con mis propios ojos vi a Amadís de Gaula». Sobre el inicio de la segunda parte del Quijote Boletín de la Biblioteca de Menéndez Pelayo. XCII, 2016, 387-404 «CON MIS PROPIOS OJOS VI A AMADÍS DE GAULA». SOBRE EL INICIO DE LA SEGUNDA PARTE DEL QUIJOTE l caudal inagotable de lecturas, comentarios y apostillas que ha susci- tado el primer capítulo del Ingenioso hidalgo don Quijote de la Man- Echa contrasta, de forma sorprendente, con la relativa escasez de apro- ximaciones que ha merecido el inicio del Ingenioso caballero1. Y digo que sorprende porque el capítulo con que comienza la Segunda parte es, a todas luces, uno de los lugares estratégicos de la novela, tanto desde el punto de vis- ta del autor como del de los lectores. Las líneas con las que Cervantes pone fin a una espera de diez años, las primeras puntadas que vuelve a dar a su historia, «cortada del mismo artífice y del mesmo paño que la primera» (II, prólogo, 677)2, piden mayor atención de la que entiendo se les ha concedido. En las páginas que siguen procuraré poner de manifiesto algunos de sus com- ponentes, tanto por su significación en el capítulo mismo como por su rever- beración en otros puntos de la novela, así como por su relación con lo que ya había sido escrito y publicado. En particular cobrará relieve el pasaje en que don Quijote describe con total seguridad la apariencia física de algunos de sus caballeros favoritos. Pero empecemos por el principio. La frase con que se inaugura la Segunda parte bien puede tenerse por una declaración de intenciones narrativas: arranca con la mención de Cide Hamete («Cuenta Cide Hamete Benengeli...», II, 1, 681), que había quedado olvidado mediada la Primera parte, después del capítulo 27, y al que Cervan- tes va a otorgar un papel clave en la continuación.
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PDF of Who Wrote Don Quixote?
WHO WROTE DON QUIXOTE? FRANCIS CARR To my wife,Antoinette Jane 1 WHO WROTE DON QUIXOTE? by FRANCIS CARR What evidence is there that Miguel de Cervantes wrote Don Quixote? There is no manuscript, no letter, no diary, no will, no document that proves that he wrote this masterpiece. There is no portrait, no marked grave, and no record of any payment for Don Quixote, although it became popular in Spain and abroad during his lifetime. What do we know about Thomas Shelton, whose translation has won the praise of literary historians ever since it appeared in this country in 1612? What do we know of Cid Hamet Benengeli, the Arabian historian, who, we are told by Cervantes, is the real author? Until now no proper attempt has been made to place Don Quixote in the wider context of European literature, of the great works of writers and dramatists of this period. And no-one has studied the Shelton text. which is seldom read today. After an examination of the actual publication of this work in Madrid and in London, revealing a surprising proximity in dates of registration, the story of Don Quixote’s adventures in Spain is looked into, and some surprising details emerge, which show a remarkable understanding of English history and English folklore. The story takes us from La Mancha to Sussex, from Madrid to London, to the court of Queen Elizabeth and King James. Acknowledgements: I am especially grateful to Nicholas Tolman, Andrea Mason and Maria Angell, for their help in translation. I am also grateful to the following .for their advice and assistance: Martin Gwynne, Thomas Bokenham, Peter Welsford, Lavender MacMillan, Mary Brameld, Helena Aikin, Lawrence and Philip Carr-Gomm, Anthony Chamberlaine - Brothers, Lady Mary Jones-Parry, Lord Shawcross, the Sussex Archaeological Society, the Spanish Institute in London, Laurence Gerald and Glen Claston.
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Don Quixote by Manuel Gutiérrez Aragón
Media Representations of Don Quixote by Manuel Gutiérrez Aragón Sonya S. Gupta lamia Millia Islamia Don Quixote de la Mancha is a foundational text of Western literature and can undoubtedly be considered the master narrative of Spanish culture. During the four hundred years of its publication, the novel has not only lent itself to varying critical perspectives, but has also, as Anthony Cascardi puts it "spawned a range of suceessors:.I Cinema is one medium through whieh the text has reaehed mass audienees eutting across cultures and languages. In faet, ever sinee the birth of cinema, the Knight of the Mournful Countenanee has inspired filrnrnakers around the world. Their visions of Miguel de Cervantes' novel and his delusional devotee of ehivalry and romance have brought to the sereen innumerable representations of Don Quixote and Sancho Panza whieh, together with Gustav Doré's rnid _19th century engravings, and later, Picasso' s drawings and the Lladró company' s international line of Quixote figurines, have created a "cumulative I Anthony Cascardi, Cambridge Campanian ta Cervantes, Cambridge, Cambridge Universíty Press, 2002, p.I Sonya S. Gupta iconography,,2 that has shaped the protagonists of the seventeenth century Spanish classic in the popular imagination.3 2 See Augusto Manuel Torres, Conversaciones con Manuel Gutierrez Aragón, 2d ed., Madrid, Fundamentos, 1992, p 218-19. 3 As early as 1902, the French pair of Ferdinand Zecca and Lucien Noguer became the first in bringing Cervantes' text to cinema in a 16 seconds film. Their compatriot George Meliés did it again in his film entitled Les aventures de Don Quichotte (1908/Star Film, 355 feet.
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Colloque Don Quichotte Avant Don Quichotte ? Tirant, 22 (2019), Pp
Colloque Don Quichotte avant Don Quichotte ? ISSN: 1579-7422 Le Huitiesme Livre d’Amadis, ou la fin d’une aventure Amadis of Gaul Book VIII, or the End of an Adventure Véronique Duché (The University of Melbourne) Introduction Nombreux sont les critiques à avoir souligné l’importance des Amadis durant le xvie siè- cle, tant en Espagne qu’en France et dans les autres pays européens.1 En France, les aventures d’Amadis et de ses descendants ont été goûtées par de nombreux lecteurs, au premier titre des- quels le roi François Ier (Rodríguez de Montalvo, 2006 : 58-60) – Henri IV aimait encore se faire lire les exploits de l’invincible chevalier.2 L’influence des Amadis sur le chef d’œuvre de Cervantès est indéniable. Amadís de Gaula constitue en effet la référence la plus apparente et la plus explicite dans toute la première partie de Don Quichotte.3 Si abondantes que soient les allusions au Beau Ténébreux, celles-ci toutefois ne sont pas sans formuler une sévère critique à l’encontre du chevalier, comme l’atteste par exemple le sonnet liminaire « La señora Oriana a Dulcinea del Toboso », où Oriane déplore l’attitude peu 1. Voir entre autres Bideaux (1998), Simonin (2004), Avalle d’Arce (1990), et Eisenberg (1982, 2008). 2. Le compilateur des Perroniana en témoigne, qui fait dire au cardinal Du Perron : « Un jour le feu Roy voulût que je les luy leusse pour l’endormir, et apres avoir leu deux heures, je luy dis, Sire, si l’on sçavoit à Rome que je vous leusse les Amadis, on diroit que nous sommes empeschez apres de grandes choses» (Voir à ce sujet Duché, 2016).
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04-28-2018 Cendrillon Mat.Indd
JULES MASSENET cendrillon conductor Opera in four acts Bertrand de Billy Libretto by Henri Cain, based on production Laurent Pelly the fairy tale by Charles Perrault set designer Saturday, April 28, 2018 Barbara de Limburg 1:00–3:50 PM costume designer Laurent Pelly New Production lighting designer Duane Schuler choreographer The production of Cendrillon was Laura Scozzi made possible by a generous gift from The Sybil B. Harrington Endowment Fund Additional funding for this production was received from Elizabeth M. and Jean-Marie R. Eveillard Cendrillon is produced in association with the Royal Opera House, Covent Garden, London; general manager Peter Gelb Gran Teatre del Liceu, Barcelona; Théâtre Royal de la Monnaie, Brussels; and Opéra de Lille. music director designate Yannick Nézet-Séguin Original production by The Santa Fe Opera 2017–18 SEASON The 5th Metropolitan Opera performance of JULES MASSENET’S This performance cendrillon is being broadcast live over The Toll Brothers– Metropolitan Opera conductor International Radio Bertrand de Billy Network, sponsored by Toll Brothers, in order of vocal appearance America’s luxury ® homebuilder , with pandolfe the fairy godmother generous long-term Laurent Naouri Kathleen Kim support from The Annenberg madame de la haltière the master of ceremonies Foundation, The Stephanie Blythe* David Leigh** Neubauer Family Foundation, the noémie the dean of the faculty Vincent A. Stabile Ying Fang* Petr Nekoranec** Endowment for Broadcast Media, dorothée the prime minister and contributions Maya Lahyani Jeongcheol Cha from listeners worldwide. lucette, known as cendrillon prince charming Joyce DiDonato Alice Coote There is no Toll Brothers– spirits the king Metropolitan Lianne Coble-Dispensa Bradley Garvin Opera Quiz in Sara Heaton List Hall today.
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Massenet and Opera: Richness and Diversity
jules massenet : thérèse Massenet and opera: richness and diversity Jean-Christophe Branger Massenet (184 2- 1912) is known above all for two works, Manon and Werther , and to these have been added another four: Hérodiade , Thaïs , Don Quichotte and Cendrillon , which are now enjoying renewed popularity. However, his output was much larger than that: twenty-ﬁve complete operatic works have come down to us (not counting Marie-Magdeleine , an oratorio written in 1873 and staged in 1903). But his output has been large - ly neglected because of its singularity: few people realise that Massenet experimented with opera far more than most other composers, thus cre - ating a multi-faceted world all of his own. It was in Massenet’s temperament, no doubt, to feel a constant need for change and renewal, diversity and challenge, and he was generally encouraged in that direction by his publishers and librettists and those close to him. In 1896 he told the periodical Le Temp s: You will notice [...] that my works are taken from very diverse sources. I try to vary their subjects. Manon came after Hérodiade , Esclarmonde fol - lowed Le Cid . I tear myself away from one world to immerse myself imme - diately in another one that is very different, in order to change the course of my ideas. That is the best way to avoid monotony. Massenet thus approached every genre and every register. While Le Roi de Lahore (1877), Hérodiade (1881), Le Cid (1885) and Le Mage (1891) are 40 unquestionably grand operas à la Meyerbeer (including the inevitable bal - let), Ariane (1906), Bacchus (1909), Roma (1912) and Cléopâtre (posthu - mous, 1914) belong rather to an important neo-Gluckist movement, showing a keen interest in Greek and Roman antiquity.
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Is There a Hidden Jewish Meaning in Don Quixote?
From: Cervantes: Bulletin of the Cervantes Society of America , 24.1 (2004): 173-88. Copyright © 2004, The Cervantes Society of America. Is There a Hidden Jewish Meaning in Don Quixote? MICHAEL MCGAHA t will probably never be possible to prove that Cervantes was a cristiano nuevo, but the circumstantial evidence seems compelling. The Instrucción written by Fernán Díaz de Toledo in the mid-fifteenth century lists the Cervantes family as among the many noble clans in Spain that were of converso origin (Roth 95). The involvement of Miguel’s an- cestors in the cloth business, and his own father Rodrigo’s profes- sion of barber-surgeon—both businesses that in Spain were al- most exclusively in the hand of Jews and conversos—are highly suggestive; his grandfather’s itinerant career as licenciado is so as well (Eisenberg and Sliwa). As Américo Castro often pointed out, if Cervantes were not a cristiano nuevo, it is hard to explain the marginalization he suffered throughout his life (34). He was not rewarded for his courageous service to the Spanish crown as a soldier or for his exemplary behavior during his captivity in Al- giers. Two applications for jobs in the New World—in 1582 and in 1590—were denied. Even his patron the Count of Lemos turn- 173 174 MICHAEL MCGAHA Cervantes ed down his request for a secretarial appointment in the Viceroy- alty of Naples.1 For me, however, the most convincing evidence of Cervantes’ converso background is the attitudes he displays in his work. I find it unbelievable that anyone other than a cristiano nuevo could have written the “Entremés del retablo de las maravi- llas,” for example.
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