DOCSLIB.ORG

La Finta Giardiniera Karthäuser • Ovenden • Penda • Chappuis • Rivenq • Im • Nagy Freiburger Barockorchester René Jacobs Franz Liszt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Finta Giardiniera Karthäuser • Ovenden • Penda • Chappuis • Rivenq • Im • Nagy Freiburger Barockorchester René Jacobs Franz Liszt LA FINTA GIARDINIERA KARTHÄUSER • OVENDEN • PENDA • CHAPPUIS • RIVENQ • IM • NAGY FREIBURGER BAROCKORCHESTER RENÉ JACOBS FRANZ LISZT Sommaire Contents / Inhalt Plages CD / Tracklisting / Index 3 La finta giardiniera - Silke Leopold 7 Un opéra de Mozart ...encore jamais joué sur aucune scène - René Jacobs 9 Une version retrouvée - Milada Jonášová 15 Synopsis 38 La finta giardiniera - Silke Leopold 17 A Mozart opera “not yet seen on any stage” - René Jacobs 19 Contemporary Prague copies - Milada Jonášová 24 Synopsis 39 La finta giardiniera - Silke Leopold 27 Eine Mozart-Opera „...noch auf keiner Bühne erschienen” - René Jacobs 29 Die Náměšť -Fassung - Milada Jonášová 35 Die Handlung 40 Textes chantés et traductions 43 Sung texts & translations / Libretto und Übersetzungen Notes / Anmerkungen 97 Les interprètes / The performers / Die Besetzung 98 CD 1 1 | Ouverture 4’22 17 | Recitativo Podestà: Evviva, evviva! 1’02 2 | ATTO PRIMO 5’05 Scena nona Scena prima Serpetta: In questa casa non si può più stare No.1 Introduzione 18 | No.9a Cavatina Serpetta: Un marito oh dio, vorrei 2’18 Ramiro, Podestà, Sandrina, Nardo, Serpetta: Che lieto giorno Recitativo Nardo: Come in questa canzone 3 | Recitativo Podestà, Ramiro, Serpetta, Nardo, Sandrina: 1’56 No.9b Cavatina Nardo: Un marito, oh dio, vorresti Viva, viva il buon gusto 19 | Recitativo Serpetta, Nardo: Bravo, signor buffone 1’17 4 | No.2 Aria Ramiro: Se l’augellin se n’ fugge 3’59 20 | No.10 Aria Serpetta: Appena mi vedon 3’19 5 | Scena seconda 2’19 21 | Scena decima 4’59 Recitativo Podestà, Serpetta, Nardo, Sandrina: Presto, Nardo No.11 Cavatina Sandrina: Geme la tortorella 6 | No.3 Aria Podestà: Dentro il mio petto io sento 5’04 22 | Recitativo Arminda, Sandrina: Questa sarà la bella giardiniera 2’01 7 | Scena terza 3’12 Scena undicesima Recitativo Sandrina, Nardo: Della nemica sorte Contino, Arminda: Vi son io 23 | No.12 Finale I (Setteto) Contino, Sandrina: Numi! Che incanto è questo 3’23 Scena quarta Ramiro, Nardo, Sandrina: Gl’uomini s’han da amar Scena dodicesima 8 | No.4 Aria Sandrina: Noi donne poverine 3’37 Arminda, Ramiro, Contino, Sandrina: Ecco il liquor, prendete 9 | Recitativo Ramiro: Sarei felice appieno 1’05 24 | Scena tredicesima 2’52 Scena quinta Podestà, Sandrina, Contino, Arminda, Ramiro: Che silenzio! Nardo: Io per me non capisco Scena quattordicesima 10 | No.5 Aria Nardo: A forza di martelli 3’18 Podestà, Serpetta, Nardo: Che tratto è questo 3’28 11 | Scena sesta 1’45 25 | Scena quindicesima Recitativo Podestà, Arminda, Serpetta: Mia cara nipotina Sandrina, Contino, Serpetta, Podestà, Nardo, Arminda, Ramiro: Ma voi che pretendete 12 | Scena settima 2’59 No.6 Aria Contino: Che beltà, che leggiadria 26 | Arminda, Ramiro, Podestà, Serpetta, 3’01 13 | Recitativo Contino, Arminda, Podestà, Serpetta: Sposa Arminda 3’31 Nardo, Sandrina, Contino: Perfido! Indegno 14 | No.7 Aria Arminda: Si promette facilmente 3’48 15 | Scena ottava 2’24 Recitativo Podestà, Contino: Che dite, signor Conte 16 | No.8 Aria Contino: Da scirocco a tramontana 3’55 3 CD 2 1 | ATTO SECONDO 3’24 14 | Scena dodicesima 5’31 Scena prima No.19a Recitativo Contino: Ah non partir... m’ascolta Recitativo Ramiro, Arminda: Non fuggirmi spietata No.19b Aria Contino: Già divento freddo, freddo Scena seconda 15 | Scena tredicesima 2’10 Contino, Arminda: Ah che son disperato Recitativo Nardo, Ramiro, Podestà, Serpetta: Oh poveretto me! 2 | No.13 Aria Arminda: Vorrei punirti indegno 3’50 Scena quattordicesima 3 | Scena terza 2’47 Serpetta, Nardo: Va’ pur, ma questa volta Recitativo Contino, Serpetta: Ah costei non è donna 16 | No.20 Aria Serpetta: Chi vuol godere il mondo 3’38 Scena quarta 17 | Scena quindicesima 3’32 Serpetta, Nardo: Quanto lo compatisco No.21 Aria Sandrina: Crudeli, oh dio! 4 | No.14 Aria Nardo: Con un vezzo all’italiana 3’01 Recitativo Sandrina: Dove son! 5 | Recitativo Serpetta: Costui mi dà piacer 3’16 18 | No.22 Cavatina Sandrina: Ah dal pianto 2’41 Scena quinta Recitativo Sandrina: Ma qui niuno m’ascolta Sandrina, Contino: Che strano caso è il mio! 19 | Scena sedicesima 3’50 6 | No.15 Aria Contino: Care pupille belle 5’31 No.23 Finale II (Setteto) Contino, Nardo, Sandrina, 7 | Scena sesta 1’45 Arminda: Fra quest’ombre Recitativo Podestà, Sandrina: Va’, Conte disgraziato 20 | Ramiro, Podestà, Arminda, Contino, Serpetta, 3’49 8 | No.16 Aria Sandrina: Una voce sento al core 5’43 Nardo, Sandrina: Qui fermate 9 | Scena settima 1’46 21 | Sandrina, Contino, Podestà, Ramiro, Arminda, Serpetta, 5’54 Recitativo Podestà, Arminda, Ramiro: Ah che son stato un sciocco! Nardo: Mio Tirsi, deh senti 10 | No.17 Aria Podestà: Una damina 2’58 11 | Scena ottava 0’48 Recitativo Ramiro, Arminda: Sappi Arminda, ben mio Scena nona Ramiro: Eppur dalla costanza 12 | No.18 Aria Ramiro: Dolce d’amor compagna 4’40 13 | Scena decima 4’02 Recitativo Podestà, Arminda, Serpetta, Contino: Credimi nipotina Scena undicesima Sandrina, Contino, Arminda, Serpetta, Podestà: Io lo difendo 4 CD 3 1 | ATTO TERZO 2’41 Scena prima Recitativo Serpetta, Nardo: Sentimi, Nardo mio Scena seconda Nardo, Contino, Sandrina: Dovrò dunque languire... 2 | No.24a Aria Nardo: Mirate che contrasto 2’45 No.24b Duetto Contino, Sandrina: Da bravi seguitate 3 | Scena terza 2’03 Recitativo Podestà, Serpetta: Oh, l’ho pensata bene Scena quarta Podestà, Armind, Ramiro: Vedete che sfacciata 4 | No.25 Aria Podestà: Mio padrone 3’15 5 | Scena quinta 1’26 Recitativo Arminda, Ramiro: Ramiro, orsù, alle corte Scena sesta Ramiro: E giunge a questo segno 6 | No.26 Aria Ramiro: Va’ pure ad altri in braccio 3’08 7 | Scena settima 4’47 No.27a. Recitativo Sandrina, Contino: Dove mai son! 8 | No.27b Duetto Contino, Sandrina: Tu mi lasci? 6’48 9 | Scena ultima 1’51 Recitativo Podestà, Nardo, Arminda, Serpetta, Contino, Sandrina, Ramiro: Ma nipote mia cara 10 | No.28 Finale III (Coro) Tutti: Vivo pur la giardiniera 1’23 5 Sandrina (Violante) Sophie Karthäuser, soprano Freiburger Barockorchester Contino Belfiore Jeremy Ovenden, tenor Flutes Susanne Kaiser, Daniela Lieb Oboes Annkathrin Brüggemann, Maike Buhrow Arminda Alex Penda, soprano Clarinets Lorenzo Coppola, Tindaro Capuano Cavaliere Ramiro Marie-Claude Chappuis, mezzo-soprano Bassoons Javier Zafra, Benny Aghassi Podestà Nicolas Rivenq, baritone Horns Bart Aerbeydt, Gilbert Cami Farras Serpetta Sunhae Im, soprano Trumpets Friedemann Immer, François Petit-Laurent Roberto (Nardo) Michael Nagy, bass Timpani Charlie Fischer Violins 1 Anne Katharina Schreiber Brian Dean, Martina Graulich, Gerd-Uwe Klein Kathrin Tröger, Eva Borhi Violins 2 Beatrix Hülsemann, Daniela Helm, Christa Kittel Brigitte Täubl, Peter Barczi Violas Christian Goosses, Werner Saller Annette Schmidt, Raquel Massadas Violoncellos Guido Larisch, Stefan Mühleisen, Michal Stahel Double basses Frank Coppieters, Andy Ackerman Fortepiano Sebastian Wienand Harpsichord Wiebke Weidanz Conductor René Jacobs 6 français telle mésalliance ne pourrait qu’inciter son fiancé (à elle), le non moins arrogant chevalier La finta giardiniera Armidoro, à refuser de l’épouser ; c’est enfin aussi l’histoire d’une paysanne, Sandrina, qui a, Silke Leopold elle aussi, des vues sur le marquis. Il faut attendre que Cecchina se révèle n’être autre que la baronne Mariandel, enlevée alors qu’elle n’était encore qu’un bébé, pour voir les conflits se résoudre à la satisfaction générale et l’action se conclure par un double mariage. Compte tenu du succès que La buona figliola de Piccinni connut à travers l’Europe entière, il n’est guère Depuis la naissance de l’opéra bouffe en 1740, ce genre scénique et musical avait vu se étonnant que d’autres librettistes aient suivi ce modèle en créant des rôles semblables à celui développer divers rôles et scènes-types, garants d’un succès assuré quelle que soit l’action et de Cecchina, conjuguant à part égale l’innocence naturelle et la noblesse et dans lesquels pouvant être insérés dans n’importe quel libretto, comme autant d’éléments interchangeables. la musique pouvait effacer les frontières sociales. À côté de Cecchina, la marquise Lucinda, En matière de schématisme dramaturgique, l’opéra bouffe rattrapa rapidement l’opéra avec sa furieuse aria de vengeance, et son fiancé Armidoro, dont le rôle de castrat permettait seria, le public s’intéressant moins à la nouveauté de l’argument qu’à la question de savoir d’introduire l’atmosphère de l’opéra seria dans l’opéra bouffe, apparaissent comme des comment l’histoire, rebattue et connue entre toutes, de l’amour et de ses égarements allait, personnages d’un autre temps, d’une époque révolue. dans ce cas précis, pouvoir faire l’objet d’un récit neuf et surprenant. De tels stéréotypes ne Mozart, qui avait là pour la première fois depuis trois ans l’occasion d’écrire un nouvel opéra, sont pas inhabituels dans les différents genres dramatiques, en particulier dans le domaine se mit à la tâche avec une ardeur non dissimulée. Pour la première fois depuis son enfance, il non strictement littéraire ; la commedia dell’arte, plus récemment aussi le western ou le soap- s’attaquait à nouveau à un opéra bouffe, qui posait en matière de composition des exigences opera fondent leur existence sur cette fiabilité immuable du déroulement de l’action, qui bien différentes de celles d’un opéra seria. Si dans l’opéra seria, il s’agissait avant tout de la permet au spectateur de supporter les événements les plus surprenants, les suspenses les plus représentation musicale des affects, des sentiments et des états d’âme, l’opéra bouffe avait insoutenables et les situations les plus dangereuses. En recourant à la
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • The Trial and Death of Socrates : Being the Euthyphron, Apology, Crito, and Phaedo of Plato
    LIBRARY UNIVERSITY OF CALIFORNIA SAN DIEGO /?. (Boffcen THE TRIAL & DEATH OF SOCRATES *O 5' dve^Tcurroj /3toj ov /Siwrds cu>0p(j!nrip ' An unexamined life is not worth living.' (PLATO, Apol. 38 A. ) THE TRIAL AND DEATH OF SOCRATES BEING THE EUTHYPHRON, APOLOGY, CRITO, AND PH^EDO OF PLATO TRANSLATED INTO ENGLISH BY F. J. CHURCH, M.A. LONDON MACMILLAN AND CO. AND NEW YORK 1895 [ All rights reserved.] First Edition printed 1880 Second Edition, Golden Treasury Series, 1886 Reprinted 1887, 1888, 1890, 1891, 1892, March and September 1895 PREFACE. THIS book, which is intended principally for the large and increasing class of readers who wish to learn something of the masterpieces of Greek literature, and who cannot easily read them in Greek, was originally published by Messrs. Macmillan in a different form. Since its first appearance it has been revised and corrected throughout, and largely re- written. The chief part of the Introduction is new. It is not intended to be a general essay on Socrates, but only an attempt to explain and illustrate such points in his life and teaching as are referred to in these dialogues, which, taken by themselves, con- tain Plato's description of his great master's life, and work, and death. The books which were most useful to me in writing it are Professor Zeller's Socrates and the Socratic Schools, and the edition of the VI PREFACE. Apology by the late Rev. James Riddell, published after his death by the delegates of the Clarendon Press. His account of Socrates is singularly striking.
    [Show full text]
  • Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
    HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer.
    [Show full text]
  • American Spiritual Program Spring 2009
    American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall
    [Show full text]
  • The Pomegranate Cycle
    The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory.
    [Show full text]
  • The Poverty of Socratic Questioning: Asking and Answering in the Meno
    University of Cincinnati University of Cincinnati College of Law Scholarship and Publications Faculty Articles and Other Publications College of Law Faculty Scholarship 1994 The oP verty of Socratic Questioning: Asking and Answering In The eM no Thomas D. Eisele University of Cincinnati College of Law, [email protected] Follow this and additional works at: http://scholarship.law.uc.edu/fac_pubs Part of the Legal Education Commons Recommended Citation Eisele, Thomas D., "The oP verty of Socratic Questioning: Asking and Answering In The eM no" (1994). Faculty Articles and Other Publications. Paper 36. http://scholarship.law.uc.edu/fac_pubs/36 This Article is brought to you for free and open access by the College of Law Faculty Scholarship at University of Cincinnati College of Law Scholarship and Publications. It has been accepted for inclusion in Faculty Articles and Other Publications by an authorized administrator of University of Cincinnati College of Law Scholarship and Publications. For more information, please contact [email protected]. THE POVERTY OF SOCRATIC QUESTIONING: ASKING AND ANSWERING IN THE MEND Thomas D. Eisele* I understand [philosophy 1 as a willingness to think not about some­ thing other than what ordinary human beings think about, but rather to learn to think undistractedly about things that ordinary human beings cannot help thinking about, or anyway cannot help having occur to them, sometimes in fantasy, sometimes asa flash across a landscape; such things, for example, as whether we can know the world as it is in itself, or whether others really know the nature of one's own experiences, or whether good and bad are relative, or whether we might not now be dreaming that we are awake, or whether modern tyrannies and weapons and spaces and speeds and art are continuous with the past of the human race or discontinuous, and hence whether the learning of the human race is not irrelevant to the problems it has brought before itself.
    [Show full text]
  • 103 the Music Library of the Warsaw Theatre in The
    A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska.
    [Show full text]
  • Madeline Rüegg the Patient Griselda Myth
    Madeline Rüegg The Patient Griselda Myth Unauthenticated Download Date | 6/17/19 6:41 PM Unauthenticated Download Date | 6/17/19 6:41 PM Madeline Rüegg The Patient Griselda Myth Looking at Late Medieval and Early Modern European Literature Unauthenticated Download Date | 6/17/19 6:41 PM D 188 This book is published in cooperation with the project DramaNet, funded by the European Research Council ISBN 978-3-11-062870-8 e-ISBN (PDF) 978-3-11-062871-5 e-ISBN (EPUB) 978-3-11-062882-1 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2019933417 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Madeline Rüegg, published by Walter de Gruyter GmbH, Berlin/Boston. This book is published with open access at www.degruyter.com. Cover image: photodeedooo/iStock/Thinkstock Typesetting: Integra Software Services Pvt. Ltd. Printing and binding: CPI books GmbH, Leck www.degruyter.com Unauthenticated Download Date | 6/17/19 6:41 PM Acknowledgments Griselda and her myth have constantly bewildered me ever since I first came across her story as an undergrad student attending Dr Katrin Rupp’s seminar on medieval tales of love at Neuchâtel University. My thoughts on the matter later grew thanks to Prof. Lukas Erne and Prof. Elisabeth Dutton, who have both helped me deepen my knowledge of the different English versions.
    [Show full text]
  • Dossier Pédagogique |
    Sommaire Contacts 2 Préparer votre venue 3 Résumé 4 Synopsis 5 Wolfgang Amadeus Mozart (1756-1791) 7 Opera buffa et opera seria 8 La Finta Giardiniera avant Mozart 9 La Finta Giardiniera et la Commedia dell’arte 10 L’orchestre au cours du XVIIIème siècle 11 Guide d’écoute 13 Activités autour de La Finta Giardiniera 26 La musique baroque 28 La voix à l’Opéra 30 Pistes pédagogiques / Histoire des arts 31 Références 32 La Finta Giardiniera à l’Opéra de Lille 33 Le désordre libérateur du désir : note d’intention de David Lescot, metteur en scène. 34 Décor 35 Repères biographiques 36 L’Opéra de Lille. Un lieu, une histoire. 37 Annexes 41 Contacts Service des relations avec les publics : OPERA DE LILLE Claire Cantuel / Agathe Givry / Magali Gaudubois 2, rue des Bons-Enfants 03 62 72 19 13 BP 133 [email protected] 59001 Lille cedex Dossier réalisé avec la collaboration de Nicolas Buytaert, enseignant missionné à l’Opéra de Lille, et de Nicolas Flodrops, chargé de la bibliothèque et des études musicales au Concert d’Astrée. Janvier 2014. 2 Préparer votre venue Ce dossier vous aidera à préparer votre venue avec les élèves. L’équipe de l’Opéra de Lille est à votre disposition pour toute information complémentaire et pour vous aider dans votre approche pédagogique. Si le temps vous manque, nous vous conseillons, prioritairement, de : - lire la fiche résumé et le synopsis détaillé (p. 4 et 5), - faire une écoute des extraits représentatifs de l’opéra (guide d’écoute, p. 10). Si vous souhaitez aller plus loin, un dvd pédagogique sur l’Opéra de Lille peut vous être envoyé sur demande.
    [Show full text]
  • WOLFGANG AMADEUS MOZART Works for the Stage
    New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 5: OPERAS AND SINGSPIELS VOLUME 8: LA FINTA GIARDINIERA [The Pretended Garden-Girl] SUB-VOLUME 1: ACT I PRESENTED BY RUDOLPH ANGERMÜLLER AND DIETRICH BERKE 1978 International Mozart Foundation, Online Publications V New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications VI New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera CONTENTS Sub-volume 1: Editorial Principles ……………..…………………………………………………….. VII Foreword………….…….. …………….……………………………………………… VIII Facsimile: A page from the currently inaccessible autograph…………………………..
    [Show full text]
  • The Cleveland Opera: ​Don Giovanni at First Baptist Church (April 8)
    The Cleveland Opera: Don Giovanni ​ at First Baptist Church (April 8) by Robert Rollin On Saturday night, April 8, The Cleveland Opera gave an outstanding performance of Mozart’s Don Giovanni at First ​ ​ Baptist Church in Shaker Heights. Despite the venue’s awkward acoustics and lack of a pit for the sizeable orchestra, conductor Grzegorz Nowak led a well-balanced performance that allowed the singers to be heard clearly. The opera flowed beautifully through its many intricate arias, recitatives, and ensembles, and all eight leads were in fine voice. Baritone Lawson Alexander was terrific as Don Giovanni. His powerful, darkly-hued voice brought the character’s callous licentiousness to life. Pacing was excellent during the famous duet “Là ci darem la mano,” when Don Giovanni attempts to seduce the peasant girl Zerlina. Bass Nathan Baer was outstanding as the servant Leporello, especially during the “Catalogue Aria,” when he lists the womanizing title character’s many “conquests” by country. Baer possesses a magnificent voice, although at times it was difficult to hear him over the thick accompaniment. Soprano Dorota Sobieska sparkled as Donna Anna. Her light soprano floated beautifully in the highest range. She and her love interest Don Ottavio (sung by tenor Kyle Kelvington) skillfully negotiated their virtuosic coloratura passages. Rachel Morrison, as Donna Elvira, sang with a gorgeous full tone, as did fellow soprano Susan Fletcher, as Zerlina, while bass Christopher Aldrich depicted Masetto’s peasant background with fine vocal color and strong delivery. Bass Adam E. Shimko, as the Commendatore, was vocally solid but lacked the dark timbre needed for the character.
    [Show full text]
  • BMC 13 - Georg Philipp Telemann (1681-1767): Orchestral Music
    BMC 13 - Georg Philipp Telemann (1681-1767): Orchestral Music Born in Magdeburg in 1681, Telemann belonged to a family that had long been connected with the Lutheran Church. His father was a clergyman, his mother the daughter of a clergyman, and his elder brother also took orders, a path that he too might have followed had it not been for his exceptional musical ability. As a child he showed considerable musical talent, mastering the violin, flute, zither and keyboard by the age of ten and composing an opera (Sigismundus) two years later to the consternation of his family (particularly his mother's side), who disapproved of music. However, such resistance only reinforced his determination to persevere in his studies through transcription, and modeling his works on those of such composers as Steffani, Rosenmüller, Corelli and Antonio Caldara. After preparatory studies at the Hildesheim Gymnasium, he matriculated in Law (at his mother's insistence) at Leipzig University in 1701. That he had little intention of putting aside his interest in music is evident from his stop at Halle, en route to Leipzig, in order to make the acquaintance of the young Handel, with whom he was to maintain a lifelong friendship. It was while he was a student at Leipzig University that a career in music became inevitable. At first it was intended that he should study language and science, but he was already so capable a musician that within a year of his arrival he founded the student Collegium Musicum with which he gave public concerts (and which Bach was later to direct), wrote operatic works for the Leipzig Theater; in 1703 he became musical director of the Leipzig Opera, and was appointed Organist at the Neue Kirche in 1704.
    [Show full text]