Intolleranza 1960
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F' ~I!~~ Disc Edition TCO93-75
NEW PUBLICATIONS ARTICLES Block. Geoffrey. 'The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal." Journal ofMusicology 11, no. 4 (Fall 1993): 525-544. Brooks,Jeanice R. "Nadia Boulanger and the Salon ofthe Princesse de Polignac." Journal ofthe American Musicological Society 46, no. 3 (Fall 1993): 415-468. Dtimling, Albrecht. "Hearing, Speaking, Singing, Writing: The Meaning of Oral Tradi tion for Bert Brecht." In Music and Gennan Literature: Their Relationship Since the Middle Ages, edited by James M. McGiathery, 31~326. Columbia, SC: Camden House, 1992. Krabbe, Niels. "Pris Kulden, M0rket Og Fordrervet: Requiem for 20'ernes Berlin." In Musikken Har Ordet: 36 Musikalske Studier, redigeret af Finn Gravesen, 133-142. Copenhagen: Gads Forlag, 1993. Lipman, Samuel. ''Wby Kurt Weill?" In Music and More: Essays, 1975-1991. By Samuel Lipman, 3~49. Evanston, IL: Northwestern University Press, 1992. Margry, Karel. "'Theresienstadt' (1944-1945):The Nazi Propaganda Film Depicting the Concentration Camp as Paradise." Historical Journal ofFilm, Radio and Television 12, no. 2 (1992): 145-162. [A Gennan version appeared in: Kamy, Miroslav, ed. 11ieresienstadt: Jn der "Endlosung der Judenfrage." Prag: Panorama, 1992.) Schebera, Ji.irgen. '"Meine Tage in Dessau sind gezahlt .. .': Kurt Weill in Briefen aus seiner Vaterstadt." Dessauer Ka/ender 37 (1993): 18-24. Taruskin, Richard. 'The Golden Age ofKitsch: The Seductions and Betrayals ofWeimar Opera." The New Republic (21 March 1994): 28-36. BOOKS Green, Paul. A Southern life: Letters ofPaul Green: 1916-1981. Edited by Laurence G. Avery. Chapel Hill: University of North Carolina, 1994. Murphy, Donna B. and Stephen Moore. Helen Hayes: A Bio-Bibliography. -
Vocality and Listening in Three Operas by Luciano Berio
Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body. -
Liner Notes, Visit Our Web Site: Recording: March 22, 2012, Philharmonie in Berlin, Germany
21802.booklet.16.aas 5/23/18 1:44 PM Page 2 CHRISTIAN WOLFF station Südwestfunk for Donaueschinger Musiktage 1998, and first performed on October 16, 1998 by the SWF Symphony Orchestra, conducted by Jürg Wyttenbach, 2 Orchestra Pieces with Robyn Schulkowsky as solo percussionist. mong the many developments that have transformed the Western Wolff had the idea that the second part could have the character of a sort classical orchestra over the last 100 years or so, two major of percussion concerto for Schulkowsky, a longstanding colleague and friend with tendencies may be identified: whom he had already worked closely, and in whose musicality, breadth of interests, experience, and virtuosity he has found great inspiration. He saw the introduction of 1—the expansion of the orchestra to include a wide range of a solo percussion part as a fitting way of paying tribute to the memory of David instruments and sound sources from outside and beyond the Tudor, whose pre-eminent pianistic skill, inventiveness, and creativity had exercised A19th-century classical tradition, in particular the greatly extended use of pitched such a crucial influence on the development of many of his earlier compositions. and unpitched percussion. The first part of John, David, as Wolff describes it, was composed by 2—the discovery and invention of new groupings and relationships within the combining and juxtaposing a number of “songs,” each of which is made up of a orchestra, through the reordering, realignment, and spatial distribution of its specified number of sounds: originally between 1 and 80 (with reference to traditional instrumental resources. -
WAGNER Die Walküre
660172-74 bk Walküre US 17/7/06 10:28 Page 16 3 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 29th September 2002 and 2nd January 2003. General Director: Prof. Klaus Zehelein Die Walküre Executive Producers: Dr Reinhard Ermen (SWR Radio), Gambill • Jun • Rootering • Denoke • Behle • Vaughn Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) Staatsoper Stuttgart • Staatsorchester Stuttgart Producer: Thomas Angelkorte Editor: Irmgard Bauer Lothar Zagrosek Engineers: Brigitte Hermann and Karl-Heinz Runde This performance of Die Walküre is the second part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660172-74 16 660172-74 bk Walküre US 17/7/06 10:28 Page 2 Die Walküre Stuttgart Staatsorchester (The Valkyrie) Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history The First Day of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, of Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as Der Ring des Nibelungen conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then (The Ring of the Nibelung) General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival. -
Ricci Francesco Siciliani.Pdf
Franco Carlo Ricci Francesco Siciliani Sessant'anni di vita musicale in Italia Edizioni Scientifiche Italiane Teatro alla Scala Rai Eri 1 Patrocini Ministero dei Beni e delle Attività Culturali Accademia Nazionale di Santa Cecilia Teatro alla Scala di Milano Teatro Comunale di Firenze Teatro San Carlo di Napoli Teatro La Fenice di Venezia Teatro dell'Opera di Roma Federazione Italiana Club Unesco Volume pubblicato con il contributo del Consiglio Nazionale delle Ricerche e con il contributo dei Fondi di Ateneo dell'Istituto di Scienze Umane e delle Arti dell'Università degli Studi della Tuscia-Viterbo Ricci, Franco Carlo Francesco Siciliani (1911-1996). Sessant'anni di vita musicale in Italia Collana: Musica e Musicisti Napoli: Edizioni Scientifiche Italiane, 2003 Roma: Rai Radiotelevisione Italiana, 2003 Teatro alla Scala pp. 756+80 f.t.; 22,2 cm ISBN 88-495-0392-X © 2003 Rai Radiotelevisione Italiana 00195 Roma, viale Mazzini, 14 E-mail: [email protected] © 2003 Edizioni Scientifiche Italiane S.p.A. 80121 Napoli, via Chiatamone, 7 00185 Roma, via dei Taurini, 27 Internet: www.esispa.com E-mail: [email protected] I diritti di traduzione, riproduzione e adattamento totale o parziale e con qualsiasi mezzo (compresi i microfilms e le copie fotostatiche) sono riservati per tutti i Paesi. 2 Sommario Prefazioni LORIN MAAZEL 9 LUCIANO BERIO 12 PREMESSA 13 1. La formazione e gli anni giovanili 21 2. Il periodo bellico 53 3. L'approdo al Maggio Musicale Fiorentino 73 4. I primi Anni Cinquanta 97 5. Médée, Guerra e pace e Agnes von Hohenstaufen 133 6. Ultimi anni al Maggio Musicale Fiorentino 165 7. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Intolleranza 1960
FONDAZIONE TEATRO LA FENICE DI VENEZIA Intertestualità relativa al libretto: Angelo Maria Ripellino, Vivere è stare svegli in Angelo Maria Ripellino, Non un giorno ma adesso, in Poesie prime e ultime, Torino, Aragno, 2006 Lirica 2011 Henri Alleg, La tortura, con uno scritto di J.-P. Sartre, Torino, Einaudi 1958 Roberto Fertonani (a cura di), A coloro che verranno in Per conoscere Brecht, antologia delle opere, Arnoldo Mondadori Editore, Milano 1970 Sentieri esplorativi & Risorse di studio Paul Éluard, Liberté, dal sito internet: http://eddyburg.it/article/articleview/3309/0/25/ Franco Calamandrei (cura di), Julius Fucik, Scritto sotto la forca, Universale Economica, Milano 1951 per studenti di scuola secondaria di II grado, La cancrena, Einaudi, Torino 1959 università, conservatorio, educazione permanente Vladimir Maiakovski, La nostra marcia dal sito internet: http://italpag.altervista.org/6_letteratura/letteratura17.htm Intertestualità relativa ai contesti storici e sociali richiamati dalla composizione di Nono: Documenti audiovisivi: Intolerance, un film di David Wark Griffith con Lilian Gish, Mae Marsh, Robert Harron, Tully Marshall e Howard Gaye. Wark Producing Corporation - USA 1916, Ermitage 2005 Henri Alleg, giornalista francese e direttore di Alger républicain, quotidiano algerino di opposizione, dibatte sul tema della tortura in un’intervista, condotta da Amy Goodman per conto dell’emittente televisiva statunitense Democracy Now (testo in lingua inglese e estratto audiovisivo in http://www.democracynow.org/blog/2010/12/29/watch_amy_goodman_on_cnns_john_king_usa) La battaglia di Algeri, un film di Gillo Pontecorvo con Yacef Saadi, Jean Martin, Michèle Fawzia El Kader, Ugo Paletti e Tommaso Neri. Igor Film e Casbah Film - Italia 1966, Surf Video 2005 Borinage, un documentario di Joris Ivens e Henri Stork - Belgio 1934 (sulla condizione degli emigranti italiani in Belgio) Marcinelle, un film di Andrea e Antonio Frazzi con Claudio Amendola, Maria Grazia Cucinotta, Antonio Manzini e Lorenza Indovina. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
Lou Salomé Un’Introduzione
Fondazione Stagione 2012 Teatro La Fenice di Venezia Lirica e Balletto ou alomé L S Giuseppe Sinopoli Marsilio 0020.sinopoli.indd 1 11/01/12 16.21 Libretto di sala a cura di Sandro Cappelletto copertina e layout Tapiro Camplani+Pescolderung realizzazione editoriale Marsilio Editori ©2012 by Marsilio Editori® s.p.a. in Venezia prima edizione gennaio 2012 www.marsilioeditori.it isbn 88-317-1264 Senza regolare autorizzazione è vietata la riproduzione anche parziale o a uso interno didattico con qualsiasi mezzo effettuata, compresa la fotocopia 0020.sinopoli.indd 2 12/01/12 15.03 indice 5 La locandina 8 Cristiano Chiarot Introduzione 12 Sandro Cappelletto Prefazione 16 Karin Mauksch Lou Salomé Un’introduzione 22 Lou Salomé Oper in 2 Akten 38 Lou Salomé opera in due atti 54 Ulrike Kienzle Giuseppe Sinopoli compositore, direttore d’orchestra, archeologo 62 Karl Dietrich Gräwe Creare un’opera con Sinopoli 66 Dino Villatico Die fröhliche Musik (Tentativo di leggere con gli occhi di Nietzsche la non-Tragedia) 90 Mario Messinis Sinopoli: da Donatoni a Berg 102 Sandro Cappelletto Il protagonista dell’opera? Giuseppe Sinopoli Una conversazione con Franco Ripa di Meana e Lothar Zagrosek 110 Sandro Cappelletto Giuseppe Sinopoli. Una biografia 114 Biografie 122 Orchestra e Coro della Fondazione Teatro La Fenice Venezia 0020.sinopoli.indd 3 11/01/12 16.21 Lou Salomé Fondazione Teatro La Fenice Stagione 2011-2012 Teatro La Fenice sabato 21 gennaio 2012 ore 19.00 turno A in diretta su martedì 24 gennaio 2012 ore 19.00 turno D giovedì 26 gennaio 2012 ore -
News and Events
Volume 15 Number 1 topical Weill Spring 1997 A supplement to the Kurt Weill Newsletter news &news events The Royal National Theatre Ushers in Lady in the Dark &news events Opening Catherine Ashmore (right). Catherine Ashmore Scenes (left), Damm Photos: Van Then and Now . Gertrude Lawrence as Liza in 1941 Maria Friedman as Liza in 1997 (with Richard Hale). (with Hugh Ross). The production by Francesca Zambello is stylish, The show is original and appealing and, as heroines go, so is Maria Friedman. Her Liza Elliott stalks into her restrained, cerebral. Weill’s music is plangent and shrink’s eyrie radiating nervy, brittle assurance, then sinuous, a remarkable synthesis of Weimar jazz and spins rapturously off into the first of the dream- pre-Sondheim querulousness. Maria Friedman, sure- sequences that interrupt the more realistic proceed- ly confirmed now as our supreme musical actress, ings. Our own Tina Brown would have to be promot- negotiates her backward spiral with exuberant grace ed from the chair of the New Yorker to the throne of and wit, swirling in mists and ballgowns, defiantly zip- England to match a fantasy like that. ping on the Schiaparelli frock when she takes off with — Benedict Nightingale, “Freudian drama that does not a movie star hunk (the Victor Mature role is occupied shrink from emotion,” The Times (12 March 1997) by a suitably anaemic grinner, Steven Edward Moore) and even stepping daintily across a tightrope, in Adrianne Lobel has designed a conceptual setting of sail-like Stoppardian vein, to prove she is a “proponent of triangles which introduces a number of staging constraints. -
Selected Vocal Works by Progressive Italian
ABSTRACT Title of Document: SELECTED VOCAL WORKS BY PROGRESSIVE ITALIAN COMPOSERS OF THE TWENTIETH CENTURY: THE CONFLUENCE OF NATIONALISM AND INTERNATIONALISM FROM THE EVE OF WORLD WAR I THROUGH POST-WORLD WAR I1 RECONSTRUCTION Stacey Lynn Mastrian, D.M.A., 2007 Directed By: Professor Dominic Cossa, School of Music This dissertation project explored the non-operatic vocal music (i.e., art song, chamber music, solo works, and other more experimental media) by Italian composers of the 20th century. This body of repertoire suffers from poor availability and quality of scores, recordings, performances, and information. Research took place in the U.S. and Italy-through musical investigations, personal collections and contacts, libraries, and online resources. The project was designed with several parameters in mind: 1. work was centered on the composers who cast the text and the piano or other "accompaniment" in important roles, with correspondingly complex rhythms and harmonies, and who melded cosmopolitan influences with Italianate lyricism, as opposed to those who merely continued in the simplistic, insular manner of their predecessors; 2. settings by Italian composers of texts in other languages were included (Apollinaire, Ibn-Ezra, Machado, Verlaine, etc.) in addition to settings of Italian poetry (d'Annunzio, Pavese, Ungaretti, etc.); 3. works were chosen that were not just for single voice and piano but also utilized other performing forces (i.e., chamber music, electronics.. .). Other selection factors included: score availability;