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Figura 1. Teatri Di Venezia, Venezia Venezia 1868: L’Anno Di Ca’ Foscari a Cura Di Nico Stringa E Stefania Portinari
Figura 1. Teatri di Venezia, Venezia Venezia 1868: l’anno di Ca’ Foscari a cura di Nico Stringa e Stefania Portinari I teatri a Venezia nel 1868 Maria Ida Biggi (Università Ca’ Foscari Venezia, Italia) Abstract In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independ- ence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed. Keywords Theatres. Venice. 1868. La Fenice. Teatro San Benedetto then Rossini. Teatro Apollo. Teatro Malibran. Teatro San Samuele. Giuseppe Bertoja. Pietro Bertoja. La condizione dei teatri nel 1868 a Venezia risente hanno sempre tenuto sotto particolare controllo i degli effetti della situazione economica della città teatri e quanto in essi andava rappresentandosi. -
Programa-Ernani.Pdf
Socios Fundadores Alicia Bourdieu de Menéndez Behety Alejandro H. Dagnino Horacio C. M. Fernández Félix C. Luna Juan Archibaldo Lanús Frank Marmorek Horacio A. Oyhanarte Comisión directiva Presidente / Director general Frank Marmorek Secretario Juan Lasheras Shine Tesorero Enrique Rebagliati Vocal Fernando Romero Carranza Revisor de cuentas Horacio C. M. Fernández Director de elencos Claudio Ratier Gerente de administración y finanzas Cecilia Cabanne Gerente de producción Alejandro Farías Gerente de comunicación y marketing Carla Romano Atención de socios Lorena Mangieri Edición de publicaciones Graciela Nobilo Prensa OCTAVIA Comunicación y Gestión Cultural Buenos Aires Lírica es una asociación civil sin fines de lucro. Buenos Aires Lírica es miembro de OPERA America. Círculo de mecenas Tradicionales Frank Marmorek Abarrategui, Martín Erize, Mónica Margarita Ullmann de Marmorek Adjoyan, Carlos Faifman, Judith V. Alberti, Edgardo Marcelo Fernández Escudero, Josué Círculo de amigos Alvarez, Alicia Graciela Fernández, Horacio Alvarez, Jorge Ferreirós, Alicia Benefactores Angió, Alicia Ferreria, José Luis Luna, María Angió, Jorge Ferreyra, Mario Félix Mitre, María Elena Antequera, Susana Fiorito, Guillermo Arango, Meik Fliess, Reni Protectores Araujo de Asencio, Medalla Forchieri, Aníbal Arauz, María Antonieta Galanternik, Rafael Bade de Lanusse, Sofía Ares, Alejandro Garamendy, Arturo Brull, Ana Arzeno, María Susana García Vega, Susana Cordero, Alejandro Atucha, Luisa Gelly Cantilo, Alberto Lasheras Shine, Juan Lagioia, Andrea Betro, Ricardo -
04-14-2018 Luisa Miller Mat.Indd
GIUSEPPE VERDI luisa miller conductor Opera in three acts Bertrand de Billy Libretto by Salvadore Cammarano, production Elijah Moshinsky based on the play Kabale und Liebe by Friedrich von Schiller set and costume designer Santo Loquasto Saturday, April 14, 2018 lighting designer 12:30–4:00 PM Duane Schuler revival stage director Gregory Keller The production of Luisa Miller was made possible by a generous gift from Catherine and Ephraim Gildor The revival of this production is made possible by a gift from Rolex and Mrs. Jayne Wrightsman general manager Peter Gelb music director designate Yannick Nézet-Séguin 2017–18 SEASON The 91st Metropolitan Opera performance of GIUSEPPE VERDI’S This performance luisa miller 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 miller generous long-term Plácido Domingo support from The Annenberg luisa Foundation, The Sonya Yoncheva Neubauer Family Foundation, the laura Vincent A. Stabile Rihab Chaieb** Endowment for Broadcast Media, rodolfo and contributions Piotr Beczała from listeners worldwide. wurm Dmitry Belosselskiy Visit List Hall at the first intermission for count walter the Toll Brothers- Alexander Vinogradov Metropolitan Opera Quiz. federica Olesya Petrova This performance is also being broadcast a peasant live on Metropolitan Patrick Miller Opera Radio on SiriusXM channel 75. Saturday, April 14, 2018, 12:30–4:00PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. -
COPERTINE Layout 1
DYNAMIC 33643 LIVE RECORDING NABUCCO 1 NABUCCO i sono opere che rivestono un ruolo senza saperlo - ciò che Manzoni aveva fatto fondamentale nella storia di un auto- in letteratura con i Promessi Sposi: creare C re, un valore che spesso va molto al cioè un linguaggio - nel suo caso specifico di là della loro pura e semplice qualità musi- un linguaggio musicale - che potesse esse- cale. Nabucco è senza dubbio una di que- re capito e apprezzato da tutti, dall’umile ste opere, non solo perché assicurò a Verdi artigiano appena alfabetizzato all’uomo di il primo autentico grande successo di pub- cultura, dal semplice orecchiante al musici- blico, ma anche perché segnò una svolta sta professionista. decisiva nelle vicende dell’opera italiana del Le vicende che portarono alla creazione del primo Ottocento, dando inizio a quel filone Nabucco sono ampiamente note. Il libretto epico-popolare che tanta parte doveva di Temistocle Solera era stato in origine avere negli eventi del Risorgimento. Con offerto al compositore tedesco Otto Nicolai, Nabucco, Verdi trovò finalmente sé stesso, a quel tempo attivo in Italia e assai popolare dotandosi, per così dire, dei mezzi linguisti- grazie ai successi delle opere Enrico II ci ed espressivi destinati a farlo diventare, (Trieste, 1839) e Il Templario (Torino, 1840). nel giro di un decennio, il dominatore incon- Grazie all’intervento dell’impresario Merelli, trastato delle scene musicali italiane. Nel tuttavia, Nicolai accettò di scambiare il 1842, anno del Nabucco, Bellini era morto libretto del Nabucco (da lui giudicato un da sei anni, mentre Rossini aveva smesso di centone di “rabbia, invettive, spargimento di comporre opere dal 1829. -
Giuseppe Verdi'nin Aida Operasinin Incelenmesi
T.C. İSTANBUL ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ SAHNE SANATLARI ANASANAT DALI OPERA SANAT DALI Yüksek Lisans Tezi GIUSEPPE VERDI’NİN AIDA OPERASININ İNCELENMESİ HAZIRLAYAN: BİNNAZ TÜTER DANIŞMANIN ADI: Prof. Dr. MÜFİT BAYRAŞA İstanbul-2010 İÇİNDEKİLER İÇİNDEKİLER ........................................................................................................ i ÖZ ..........................................................................................................................ii ABSTRACT ......................................................................................................... iii I. BÖLÜM: XIX. YÜZYILDA İTALYA’DA ROMANTİK OPERA ve VERDI 1.1. XIX. Yüzyılda İtalya’da Romantik Opera....................................................... 1 1.2. Giuseppe Verdi’nin Hayatı ............................................................................. 2 1.3. Giuseppe Verdi’nin Müzikal Üslubu ............................................................ 16 1.3.1. Giuseppe Verdi’nin Eserleri .............................................................. 17 1.4. Giuseppe Verdi Kronolojisi .......................................................................... 20 II. BÖLÜM: AIDA OPERASININ DRAMATİK ANALİZİ 2.1. Aida Operasının Besteleniş Süreci ................................................................ 23 2.2. Aida Operasının Konusunun İncelenmesi ..................................................... 34 III. BÖLÜM: AIDA OPERASININ MÜZİKAL ANALİZİ 3.1. Aida Operasının Müzikal Yapısının İncelenmesi ........................................... -
Ernani Příběh Lásky, Cti a Boje O Moc!
K 200. výročí narození skladatele Giuseppe Verdi (1813–1901) Ernani Příběh lásky, cti a boje o moc! Opera o čtyřech jednáních z roku 1844 Libreto Francesco Maria Piave (1810–1876) podle tragédie Victora Huga (1802–1885) Hernani, ou l'Honneur castillan (Hernani aneb Kastilská čest) z roku 1830 HUDEBNÍ NASTUDOVÁNÍ TOMÁŠ BRAUNER DIRIGENT TOMÁŠ BRAUNER / JAN ŠRUBAŘ REŽIE MARIÁN CHUDOVSKÝ SCÉNA JAROSLAV VALEK KOSTÝMY PETER ČANECKÝ POHYBOVÁ SPOLUPRÁCE IGOR VEJSADA SBORMISTR JURIJ GALATENKO DRAMATURGIE DANIEL JÄGER Osoby a obsazení: Ernani, bandita Luciano Mastro / Branko Robinšak / Gianluca Zampieri Don Carlo, španělský král Aleš Jenis / Jakub Kettner Don Ruy Gomez de Silva, španělský grand Martin Gurbal' / Bogdan Kurowski Elvira, jeho neteř a snoubenka Frédérique Friess / Olga Romanko / Jana Šrejma Kačírková Giovanna, její chůva Anna Nitrová / Erika Šporerová Don Riccardo, králův podkoní Ondřej Koplík / Václav Morys Jago, podkoní Dona Ruye Gomeze de Silva Jaroslav Kosec / Václav Živný Dále účinkuje sbor a orchestr opery NDM – koncertní mistři Vladimír Liberda a Petr Kupka Uvádíme v italském originále s českými titulky Premiéry 10. a 12. října 2013 v 18.30 hodin v Divadle Antonína Dvořáka 1 Asistentka režie Bohuslava Kráčmarová OBSAH OPERY Asistent dirigenta Jan Novobilský Vedoucí hudební přípravy Jana Hajková Hudební příprava Ivana Hotárková První jednání – Bandita Jan Novobilský Inspicientka Bohuslava Kráčmarová Loupežnická banda se utábořila v horách v Aragonii. Bandité popí- Text sleduje Hana Navrátilová její a opěvují nezávislý život. Jejich vůdce Ernani je zavržený šlechtic, České titulky Marie Kronbergerová jehož otce, aragonského vévodu, zabil člen španělské královské ro- Daniel Jäger diny. Ernani vypráví, že jeho milá Elvira má být provdána za svého Obsluha titulků Jarmila Šebková pěstouna a strýce, vévodu Dona Ruye Gomeze de Silva. -
04-21-2018 Luisa Miller Mat.Indd
Synopsis Act I: Love Luisa, daughter of an old soldier, is in love with a young man she knows as Carlo, but who is actually Rodolfo, the son of the local lord, Count Walter. The two lovers proclaim undying fidelity, but Miller, Luisa’s father, is dubious. His fears are confirmed when Walter’s retainer, Wurm, who also loves Luisa and hopes to marry her, reveals Rodolfo’s identity. In his castle, Walter, informed of Rodolfo’s love for a commoner, resolves to end their relationship. Instead, he hopes to have his son marry a widowed duchess, Federica. When Rodolfo is alone with Federica, he reveals that he loves another, but the duchess, who has been infatuated with him since childhood, refuses to break their engagement. Back in the village, Miller tells Luisa that Rodolfo has deceived her and is about to contract a wealthy marriage. The young man, however, comes to plead his sincerity. When Walter storms in and insults Luisa, Miller defends her. The count orders both Luisa and her father consigned to prison, but Rodolfo secures their freedom by threatening to reveal how his father, with Wurm’s assistance, murdered his cousin to gain his present position. Act II: The Intrigue Luisa learns that her father has been jailed for insulting Walter. Wurm appears and tells her that the only way she can save Miller is to write a letter confessing that she never loved Rodolfo and sought him only for his rank and wealth, while her true love was for Wurm. He then compels her to go to the castle and declare her love for him before the duchess. -
Grandi Prime Alla Fenice
Grandi prime alla Fenice Il Teatro La Fenice, eretto da una società di palchettisti ex-proprietari del Teatro di San Benedetto, si presentò fin da subito come il teatro ufficiale dell'aristocrazia veneziana: tale status si rifletteva anche nella sua elegante apparenza architettonico- decorativa. Inaugurato nel 1792 con il dramma per musica I Giuochi d’Agrigento del celebre Giovanni Paisiello su libretto di Alessandro Pepoli e il balletto Amore e Psiche di Onorato Viganò, musicato da Giulio Viganò, il nuovo teatro assunse immediatamente una posizione di assoluta preminenza nella città lagunare, riservandosi il genere in musica al tempo più prestigioso, l'opera seria. Al San Benedetto e ancor più agli altri teatri minori spettava invece il compito di allestire le opere comiche. Tutti i teatri veneziani erano comunque tenuti a rispettare un calendario annuo ben cadenzato: gli spettacoli si articolavano in tre stagioni, autunno (da ottobre a alla metà di dicembre), carnevale (dal 26 dicembre fino a febbraio- marzo) e primavera (aprile-maggio). Gli anni immediatamente successivi all'inaugurazione non furono memorabili quanto la società dei proprietari avrebbe forse sperato, nonostante i frequenti allestimenti di opere appositamente commissionate a compositori di grido come Giovanni Simone Mayr (Saffo, 1794) e Domenico Cimarosa (Gli Orazi e i Curiazi, 1797, rimasta in repertorio per oltre mezzo secolo; Artemisia, 1801, rappresentata postuma, subito dopo la morte repentina del musicista nella città lagunare nei primi giorni dello stesso anno). Delle molte altre novità assolute rappresentate nel primo ventennio d'attività del teatro si segnala soprattutto la presenza di tutte le maggiori voci dell'epoca: Giacomo David, Luigi Marchesi, Angelica Catalani, Gasparo Pacchiarotti, Brigida Banti, Imperatrice Sessi, Giuseppa Grassini, celebre per i suoi flirts, tra cui quello con Napoleone. -
Algunas Pinceladas Sobre La Ópera En Sevilla 1850 - 1900
203 ALGUNAS PINCELADAS SOBRE LA ÓPERA EN SEVILLA 1850 - 1900 Ignacio Otero Nieto IGNACIO OTERO NIETO 205 RESUMEN Con la aparición de la zarzuela moderna al mediar el siglo, se produce en Sevilla, como ocurriera en toda España, una pugna entre ésta y la ópera que estaba sustentada por la nobleza y la aristocracia, mientras que su rival lo era por la clase menos afortunada y popular que, al ser muy superior en número, al final la mantuvo durante más tiempo. Esta vida operística conoció no pocos altibajos ecónomicos al no prestarle la debida atención las personas pudientes, lo que dio lugar a que, de forma aislada, no hubiera representacio- nes algunas temporadas, mientras que la zarzuela hacia su agosto. Palabras clave: Manuel García, Oudrid, zarzuela gitana o andaluza, El tio Canillitas, “zarzuela moderna” Arrieta, Barbieri, Isabel II, ópera espa- ñola, el público de la òpera, Bellini, visita de Verdi, los sombreros y la ópera, Gayarre, Tamberlick, Tamgno, Los Pirineos, de Pedrell – Verdaguer, las Sras. y los sombreros, teatros: San Fernando, Cervantes, Real, y Teatro-Circo de El Duque. SUMMARY When in the middle of the 19th century, the so called “modern zar- zuela” (musical comedy) started to be performanced in Seville, as in other places of Spain, an opposition took place by the followers of the opera: these were mainly members of the nobility, while the followers of the “zarzuela” were the more numerous people of the middle class. Due also to the lack of economic help, opera performances were becoming less frequent, while the “zarzuela” was more and more popular. -
Luisa Miller
5 La Fenice prima dell’Opera 2005-2006 5 2005-2006 Fondazione Stagione 2005-2006 Teatro La Fenice di Venezia Lirica e Balletto luisaGiuseppe Verdi miller iller M uisa L erdi V iuseppe iuseppe g FONDAZIONE TEATRO LA FENICE DI VENEZIA ALBO DEI SOCI FONDATORI ALBO DEI SOCI FONDATORI CONSIGLIO DI AMMINISTRAZIONE Massimo Cacciari presidente Luigino Rossi vicepresidente Cesare De Michelis Pierdomenico Gallo Achille Rosario Grasso Mario Rigo Valter Varotto Giampaolo Vianello consiglieri sovrintendente Giampaolo Vianello direttore artistico Sergio Segalini COLLEGIO DEI REVISORI DEI CONTI Giancarlo Giordano presidente Adriano Olivetti Paolo Vigo Maurizia Zuanich Fischer SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. luisa miller melodramma tragico in tre atti libretto di Salvadore Cammarano musica di Giuseppe Verdi Teatro La Fenice venerdì 19 maggio 2006 ore 19.00 turno A domenica 21 maggio 2006 ore 15.30 turno B martedì 23 maggio 2006 ore 19.00 turno D giovedì 25 maggio 2006 ore 19.00 turno E domenica 28 maggio 2006 ore 15.30 turno C La Fenice prima dell’Opera 2005-2006 5 Giuseppe Verdi in una delle fotografie scattate a Parigi (prima metà anni Cinquanta) da André-Adolphe-Eugène Disdéri (1819-1889). La Fenice prima dell’Opera 2005-2006 5 Sommario 5 La locandina 7 «Ah! Vieni meco…» di Michele Girardi 13 Michele Girardi Luisa e Violetta, eroine borghesi 33 Emanuele d’Angelo Luisa Miller e gli specchiamenti di una drammaturgia pasquale 55 Luisa Miller: libretto e guida all’opera a cura di Marco Marica 113 Luisa Miller: in breve a cura di Gianni Ruffin 115 Argomento – Argument – Synopsis – Handlung 121 Marco Marica Bibliografia 129 Online: Sete di vendetta e … siti verdiani a cura di Roberto Campanella 135 Dall’archivio storico del Teatro La Fenice Giovanni Battista Lasina: un impresario ‘verdiano’ a cura di Franco Rossi Frontespizio del libretto per la prima rappresentazione assoluta (Napoli, Teatro San Carlo, 8 dicembre 1849). -
The First Three Years of 'Trovatore'
Verdi Forum Number 15 Article 3 1-1-1987 The irsF t Three Years of 'Trovatore' Martin Chusid New York University Thomas G. Kaufman Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons Recommended Citation Chusid, Martin and Kaufman, Thomas G. (1987) "The irF st Three Years of 'Trovatore'," Verdi Forum: No. 15, Article 3. Available at: http://scholarship.richmond.edu/vf/vol1/iss15/3 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. The irsF t Three Years of 'Trovatore' Keywords Giuseppe Verdi, Il trovatore This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss15/3 The First Three Years of TROVATORE: A List of Staalngs from 19 January 1853 to 18 January 1856 Martin Chusid and Thomas Kaufman As Pierluigi Petrobelli suggests in the 19 January 1853 to 18 January 1856. first essay of this issue, studies in the A remarkable feature of many of the reception and diffusion of Verdi's operas are earliest stagings of Trovatore is the large relatively few and far between. Several number of individual performances in a have been undertaken by Marcello Conati: single season. At the Teatro Carlo Felice in 19th century stagings of Stiffelio (Quaderno Genoa, for example, during the Carnival 3 of the Istituto di Studi Verdiani, Parma, Lent Season beginning 26 December 1853, 1968); stagings of Aida from 1871-1881 there were fully 38 performances directed (Quaderno 4, 1971); "A chronology of the from the chair of the principal violinist, first performances of Rigoletto" (Bollettino 9 Angelo Mariani, then still playing the violin of the same Institute, 1982); and "Prime while leading the orchestra. -
ACOUSTICS of the FORMER TEATRO "LA FENICE" in VENICE Pagina 1 Di 20
ACOUSTICS OF THE FORMER TEATRO "LA FENICE" IN VENICE Pagina 1 di 20 ACOUSTICS OF THE FORMER TEATRO "LA FENICE" IN VENICE LAMBERTO TRONCHIN Nuclear, Energetic and Environmental Control Engineering Department, University of Bologna, I-40136 Bologna, (Italy) AND ANGELO FARINA, AES Member Department of Industrial Engineering, University of Parma I-43100 PARMA (Italy) The acoustic characteristics of the former "La Fenice" theater has been analyzed. Binaural measurements of the IRs were performed on a large number of measuring points within the hall. Following the recent ISO standard 3382 [1], many mono and binaural acoustical parameters were calculated from the impulse responses, such as reverberation time, clarity, center time, strength, initial time delay gap, inter-aural cross correlation, and others. Finally, the Ando's preferences maps were developed, taking into account two different kind of musical signals. The measurements underlined the peculiar acoustical behavior of the Theater, characterized by a greater initial decay of the reverberant tail, and a subsequent reverberation that allowed a remarkable fusion of the sound and sustain to the musicians. 1. HISTORICAL PREVIEW In 1774, the San Benedetto Theater, which had been Venice's leading opera house for more than 40 years, burned to the ground. No sooner had it been rebuilt than a legal dispute broke out between the company managing it and the owners, the Venier family. The issue was decided in favor of the Veniers, with the result that the theater company decided to build a new opera house of its own on the Campo San Fantin. From the 29 architectural plans which were submitted, the one by Gian Antonio Selva was chosen.