DOCSLIB.ORG

The Clarinet and the Italian Opera Composers of The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Clarinet and the Italian Opera Composers of The THE CLARINET AND THE ITALIAN orchestra. As a young composer he wrote two of which were for flute, two clarinets, the canzonetta “Or che la notte,” for so- horn and orchestra and one for flute, clari- TH OPERA COMPOSERS OF THE 19 prano, clarinet and piano, dedicated to net, horn and orchestra. One of these was CENTURY* Lady Teresina Spadaro; the Piccola com- performed in an academy of the Collegio posizione (Concertino) for clarinet and di Musica di Napoli in December 1817: by Adriano Amore orchestra; the Larghetto in Fa maggiore […]signor Mercadante conducted as for two flutes, basset horn, two horns and Concertmaster and was the composer of (English translation by Antonio Pas- bassoon and two Studi (1821), of which six nice pieces, written with bright imagi- saro) the Primo for solo clarinet and the Sec- nation, correct style and a rare purity of ondo for clarinet and bass, both composed taste. The audience appreciated mostly a ontrary to common thought, al- for his friend, the clarinetist Francesco great Concerto for four wind instruments most every Italian opera composer Benigni, who played in the ’30s in differ- which gave to the young Mercadante the of the 19th century wrote instru- ent orchestras in Bergamo. In dedicating honor of the press. Cmental music and particularly music for these studies to him, Donizetti writes his The compositions written by Giovanni the clarinet. Some of them even learned its surname incorrectly (per l’amico Beg- Pacini (1796–1867) belong to his artistic technique—like Vincenzo Bellini, Save- nigni), while in the second it is correct (a maturity. Except for the youthful Pot- rio Mercadante and Francesco Morlacchi. Benigni). On the title pages of both manu- pourrì for clarinet, two violins and cello, Others, through different orchestral and scripts, there is the addition, added later published in 1824, all the other composi- chamber music compositions, could taste by another hand “Proprietà di L. Benigni” tions date back to the period when he was its timbral and technical qualities, and (Property of L. Benigni). Probably he is chapel master and director of the Istituto later reusing them in their opera composi- Luciano Benigni, a son or a relative of Musicale in Lucca. In these situations he tions. Many opera composers also wrote Francesco, active in 1886 as first clarinet composed the Laudamus and Gratias for music for the clarinet in order to satisfy in the orchestra of the Basilica of Gandino baritone, obbligato clarinet and orchestra, virtuoso friends or primarily for didactic (Bergamo). the Quoniam in La, for bass, clarinet and purposes. Even though of German origin, orchestra, the Concertone for oboe, clari- To this last group belongs all the mu- Giovanni Simone Mayr (1763–1845) net, trumpet, trombone with orchestra. In sic composed by Bonifazio Asioli (1769– must be remembered among the most the last years of his life he composed the 1832) for his School of Music of Correg- prolific Italian composers of music for very good Divertimento for clarinet, cello gio (Reggio Emilia). For the teacher of the clarinet. As a matter of fact, he said: and piano. This was performed for the first clarinet Fortunato Palazzi he composed “Rightly I must be remembered as an Ital- time in an academy given on October 19, the Breve Metodo, while for the pupils ian, not as a German composer.” Today we 1865, at the Theatre of Buti (Pisa) by the of the same school he wrote the Sestetto have more than 100 compositions written clarinetist Luigi Angeli (1828–1877), the for harpsichord (or piano), clarinet, horn, by him for the clarinetists of the Cappella cellist Tesi and the pianist Leonetta Giulli, bassoon, viola and cello, the Sestetto for Musicale in Bergamo, of which he was for whom it was explicitly composed. two violins, clarinet, horn, viola and bas- the conductor. Included among these were Considered one of the best opera com- soon and the 16 Quartetti for clarinet, two many sacred compositions with obbligato posers of the second half of the 19th cen- horns and bassoon. clarinet or basset horn; the Concerto for tury, Amilcare Ponchielli (1834–1886) From Luigi Cherubini (1760-–1842), piccolo, flute, clarinet, basset horn and or- composed also some valuable pieces for a composer active mainly in France, we chestra; the Tema con variazioni for clari- the clarinet. In 1857 he wrote Il Convegno have 2 Morceaux for clarinet and bass net and small orchestra; the Concerto for Divertimento, Op. 76 for two clarinets written in 1822 and 1824 as a sightreading basset horn and orchestra; the 12 Baga- and orchestra, “explicitly composed and piece for the exams at the Conservatory of telles for flute, clarinet and basset horn; dedicated with true affection to the friends Music of Paris – and the Offertorium (Ave the Trio for clarinet, violin and bass; the Alessandro Peri and Massimiliano Sac- Maria gratia plena) for soprano and clari- 2 Sonate for clarinet, violone and piano; chi.” The author also made an arrangement net with accompaniment of two violins, the 6 Fioretti for basset horn, and piano with piano accompaniment, published by viola, cello and double bass. This piece and many Divertimenti, Sonate, Quintetti, Edizioni Lucca in Milan and reprinted in was much appreciated in England where Sestetti and other pieces for solo wind in- 1888 by Edizioni Ricordi (I-Mc). In the during the 19th century it was performed struments with clarinet or clarinets and/or same year he also most likely composed many times by the clarinetists Henry La- basset horn. the Duetto, Op. 78 Paolo e Virginia, for zarus (1815–1895) and Thomas Lindsay All the compositions by Saverio Mer- violin, clarinet and piano, and the Ricor- Willman (1784–1840). cadante (1795–1870) date back to the danze della Traviata Divertimento, Op. Gaetano Donizetti (1797–1848) wrote time when he was a student at the Colle- 82, for flute, oboe, clarinet and piano. many sacred compositions for voices and gio di Musica di Napoli. For some school He composed in 1857 the Quartetto, orchestra with an obbligato clarinet or bas- concerts he composed 3 Quartetti, Op. 50 Op. 110 for flute, oboe, piccolo clarinet in set horn, between 1814 and 1821. Some for flute, clarinet, horn and bassoon, the E-flat and clarinet in B-flat with piano -ac of these compositions are: Qui tollis, for Trio for clarinet, violin and cello, the Con- companiment, performed for the first time tenor, obbligato clarinet and orchestra, certo in E-flat, Op. 76, the Concerto in on September 16, 1857, at the Teatro della Preces meae for tenor, basset horn and B-flat, Op. 101 and the three Concertoni, Concordia in Cremona: ‘‘On that night the skilled orchestra-players Alessandro Peri, time with oboe. pelouze (1777– ?), an amateur clarinetist Tronconi Giuseppe, Massimiliano Sacchi The class of clarinet taught by Petronio and member of the editorial staff of the and Valdemi Antonio performed a quartet Avoni (?-1839) was started in the Liceo Courier Francais. for clarinet, clarone , oboe and flute, a very Musicale in Bologna, only in the school The only composition by Giuseppe beautiful composition by our skilled Maes- year 1811–12, when Rossini had already Verdi (1813–1901) that we know some- tro Amilcare Ponchielli. It was welcomed completed his studies (November 1810) thing about is the Tema originale, per- with many roaring applauses.’’ and had moved to Venice. After 1812 he formed by the clarinetist Giuseppe Mari- In 1873 the composer edited a new ver- composed the septet La Notte, Temporale, gliani in Busseto on October 12, 1834, in sion of this piece with orchestral accom- Preghiera, Caccia for two flutes, clarinet the vocal and instrumental academy per- paniment, performed on the 8th of Septem- and string quartet and the Tema con vari- formed in the living room of the Barezzi ber of the same year in an academy given azioni for flute, clarinet, horn and bassoon. home. at the Conservatory of Milan by the flutist The latter—published for the first time in The compositions for clarinet by Vin- Davide Carcano, oboist Abele Zani and Paris in 1828 by the sons of the publisher cenzo Bellini (1801–1835), written when clarinetists Emilio Porrini (1858–1900) Schott, together with the first five Sonate he was a student and quoted in some 19th and Luigi Maldura (1858- post. 1907). a Quattro for two violins, cello and double century biographies, have probably been Gioacchino Rossini (1792–1868) has bass transcribed for flute, clarinet and bas- lost. always paid great attention to the clarinet, soon by Frédéric Berr (1794–1838)— Among the other compositions writ- not only as a composer but also as a con- was dedicated to his friend Sonda and was ten by “minor” opera composers, there sultant (but actually the director) of the composed almost certainly not in 1812, as are the Sestetto for oboe, two clarinets, Liceo Musicale of Bologna. As a matter stated lately by the same Rossini. Divided horn and two bassoons by Giovanni of fact, in 1841 he asked the singer Do- into two movements, (Andante and Al- Bolzoni (1841–1919); the Divertimento menico Donzelli (1791–1873) to buy in legretto), this work with its brilliant and L’Ommaggio for flute, clarinet, trumpet, Vienna new scores for the pupils of the pleasant writing style testifies to the great two violins, viola and double bass by class of clarinet of his friend Domenico talent of the young Rossini in exploiting Gaetano Braga (1829–1907); the Solo Liverani (1805–1877): the technical and expressive peculiarities for clarinet and other instruments by of the four wind instruments. In ca. 1819 Michele Enrico Carafa (1787–1872); ‘‘You will ask any Maestro or he composed the Variazioni in Sib for clar- the Nonetto for oboe, clarinet, bassoon, connoisseur of music to select some inet and orchestra, written for the profes- horn, piano and string quartet by Nicola pieces for solo clarinet, clarinet and sor of clarinet Alessandro Abate.
Load more

Recommended publications
  • OCTOBER 14, 2014 (1756-1791) Violin Concerto in G, K. 216 I
    ANNUAL CHORUS BENEFIT CONCERT OCTOBER 14, 2014 SEAN GANOUS is a violin major at George Mason University. He is a student of Leonid Sushansky. Sean completed his first two years of study here at NOVA- MUSIC BY Alexandria. He is a member of the Washington Metropolitan Philharmonic WOLFGANG AMADEUS MOZART Orchestra. (1756-1791) Sister and brother CHRISTINE AND DAVID HAGAN rarely played piano duets while they were growing up in Frederick, Maryland. Chris moved to Virginia, and David to Massachusetts, where they pursued separate music careers. In Violin Concerto in G, K. 216 1980 they were asked to play a duo concert in their hometown as a benefit to I. Allegro start a scholarship fund in memory of their first teacher, Sperry Storm. In spite Sean Ganous, violin of living 400 miles apart, they found that they enjoyed being duo pianists so much that they have been commuting and performing ever since. In the Boston area, they have been heard on WGBH radio, at the Art Complex in Solemn Vespers of the Confessor, K. 339 Duxbury and at Jordan Hall. Locally they have appeared on recital series presented by the Performing Arts Association of Alexandria, the Music Dixit Ministry of the First Baptist Church of Alexandria, and Music at Messiah Nancy Denker, soprano Kaylee Shuey, alto Lutheran Church. They have also enjoyed appearing with the NOVA Francisco Robles, tenor Matthew Relton, bass Community Chorus; they performed at the opening of the Schlesinger Center Confitebor with the chorus and NOVA Alexandria Band in Carl Orff’s Carmina Burana. Michelle Lewis, soprano Jane Roningen, alto Alex Thomas, tenor Nicholas King, bass MARK WHITMIRE is Director of NOVA Community Chorus and Professor of Beatus vir Music at Northern Virginia Community College.
    [Show full text]
  • Quaderni Musicali Marchigiani 14
    Quaderni Musicali Marchigiani 14 a cura di Concetta Assenza Pubblicazione dell’A.Ri.M. – Associazione Marchigiana per la Ricerca e Valorizzazione delle Fonti Musicali QUADERNI MUSICALI MARCHIGIANI 14/2016 a cura di Concetta Assenza ASSOCIAZIONE MARCHIGIANA PER LA RICERCA E VALORIZZAZIONE DELLE FONTI MUSICALI (A.Ri.M. – onlus) via P. Bonopera, 55 – 60019 Senigallia www.arimonlus.it [email protected] QUADERNI MUSICALI MARCHIGIANI Volume 14 Comitato di redazione Concetta Assenza, Graziano Ballerini, Lucia Fava, Riccardo Graciotti, Gabriele Moroni Realizzazione grafica: Filippo Pantaleoni ISSN 2421-5732 ASSOCIAZIONE MARCHIGIANA PER LA RICERCA E VALORIZZAZIONE DELLE FONTI MUSICALI (A.Ri.M. – onlus) QUADERNI MUSICALI MARCHIGIANI Volume 14 a cura di Concetta Assenza In copertina: Particolare dell’affresco di Lorenzo D’Alessandro,Madonna orante col Bambino e angeli musicanti, 1483. Sarnano (MC), Chiesa di Santa Maria di Piazza. La redazione del volume è stata chiusa il 30 giugno 2016 Copyright ©2016 by A.Ri.M. – onlus Diritti di traduzione, riproduzione e adattamento totale o parziale e con qualsiasi mezzo, riservati per tutti i Paesi. «Quaderni Musicali Marchigiani» – nota Lo sviluppo dell’editoria digitale, il crescente numero delle riviste online, l’allargamento del pubblico collegato a internet, la potenziale visibilità globale e non da ultimo l’abbattimento dei costi hanno spinto anche i «Quaderni Musicali Marchigiani» a trasformarsi in rivista online. Le direttrici che guidano la Rivista rimangono sostanzialmente le stesse: particolare attenzione alle fonti musicali presenti in Regione o collegabili alle Marche, rifiuto del campanilismo e ricerca delle connessioni tra storia locale e dimensione nazionale ed extra-nazionale, apertura verso le nuove tendenze di ricerca, impostazione scientifica dei lavori.
    [Show full text]
  • Henryk Górecki's Spiritual Awakening and Its Socio
    DARKNESS AND LIGHT: HENRYK GÓRECKI’S SPIRITUAL AWAKENING AND ITS SOCIO-POLITICAL CONTEXT By CHRISTOPHER W. CARY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Christopher W. Cary ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Christopher Caes, who provided me with a greater understanding of Polish people and their experiences. He made the topic of Poland’s social, political, and cultural history come alive. I would like to acknowledge Dr. Paul Richards and Dr. Arthur Jennings for their scholarly ideas, critical assessments, and kindness. I would like to thank my family for their enduring support. Most importantly, this paper would not have been possible without Dr. David Kushner, my mentor, friend, and committee chair. I thank him for his confidence, guidance, insights, and patience. He was an inspiration for me every step of the way. Finally, I would like to thank Dilek, my light in all moments of darkness. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii ABSTRACT....................................................................................................................... vi CHAPTER 1 INTRODUCTION ........................................................................................................1 Purpose of the Study.....................................................................................................1
    [Show full text]
  • Tebaldo E Isolina
    Francesco Morlacchi (1784–1841) Tebaldo e Isolina Laura Polverelli • Sandra Pastrana • Anicio Zorzi Giustiniani Raúl Baglietto • Gheorghe Vlad • Annalisa D’Agosto Camerata Bach Choir, Poznań • Virtuosi Brunensis Antonino Fogliani CD1 78:11 * Ecco i bellici concenti 5:46 (Geroldo, Coro, Isolina, Ermanno, Francesco 1 Sinfonia Andantino scherzoso – Allegro 7:02 Tebaldo, Boemondo, Clemenza) MORLACCHI Act I CD2 64:47 (1784–1841) 2 No. 1. Introduzione: Da’ tuoi figli, dagli amici 7:56 Act II (Coro, Clemenza, Geroldo, Ermanno) 3 Recitativo: Cavalieri, oh! di quanto 2:12 No. 8. Scena ed Aria: Tebaldo e Isolina (Ermanno, Geroldo, Clemenza) 1 Oh, Sigerto!… Sigerto! 5:44 No. 2. Coro e Cavatina: (Isolina, Clemenza) Melodramma romantico in two acts (1822–25) (Dresden version, 1825) 4 Bella stella mattutina – 4:01 2 Ah! che intesi! me infelice!... 5:09 Libretto by Gaetano Rossi (1774–1855) Oh! come lieto il cor (Isolina, Clemenza, Coro, Ermanno) (Coro, Isolina) 3 Cara figlia!... 5:55 5 Ah lusinghiera imagine 5:01 (Ermanno, Isolina, Coro) Boemondo .......................................................................................... Anicio Zorzi Giustiniani, Tenor (Isolina, Coro) No. 9. Scena, Coro ed Aria: 6 Recitativo: Cavalieri, una figlia 2:50 4 Oh sposa!... Oh figlia!... – 4:09 ............................................................................................ Tebaldo Laura Polverelli, Mezzo-soprano (Isolina, Ermanno, Clemenza, Geroldo) Volto è all’occaso il dì Ermanno ................................................................................................Raúl
    [Show full text]
  • EJ Full Draft**
    Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today.
    [Show full text]
  • C:\My Documents II\09Th Conference Winternitz\Abstract Booklet\01Title
    THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY and THE METROPOLITAN MUSEUM OF ART Music in Art: Iconography as a Source for Music History THE NINTH CONFERENCE OF THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY, COMMEMORATING THE 20TH ANNIVERSARY OF DEATH OF EMANUEL WINTERNITZ (1898–1983) New York City 5–8 November 2003 Cosponsored by AUSTRIAN CULTURAL FORUM NEW YORK http://web.gc.cuny.edu/rcmi CONTENTS Introduction 1 Program of the conference 4 Concerts Iberian Piano Music and Its Influences 12 An Evening of Victorian Parlour Music 16 Abstracts of papers 23 Participants 41 Research Center for Music Iconography 45 Guidelines for authors 46 CONFERENCE VENUES Baisley Powell Elebash Recital Hall & Conference Room 9.204 The City University of New York, The Graduate Center, 365 Fifth Avenue Uris Auditorium The Metropolitan Museum of Art, 1000 Fifth Avenue Austrian Cultural Forum 11 East 52nd Street Proceedings of the conference will be published in forthcoming issues of the journal Music in Art. ********************************************************************************* Program edited and conference organized by ZDRAVKO BLAŽEKOVIĆ THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY The Barry S. Brook Center for Music Research and Documentation The City University of New York, The Graduate Center 365 Fifth Avenue New York, NY 10016-4309 Tel. 212-817-1992 Fax 212-817-1569 eMail [email protected] © The Research Center for Music Iconography 2003 The contents was closed on 21 September 2003 MUSIC IN ART: ICONOGRAPHY AS A SOURCE FOR MUSIC HISTORY After its founding in 1972, the Research Center for Music Iconography used to annually organize conferences on music iconography. The discipline was still young, and on the programs of these meetings – cosponsored by the Répertoire International d’Iconographie Musicale and held several times under the auspices of the Greater New York Chapter of the American Musicological Society – there were never more than a dozen papers.
    [Show full text]
  • Henryk Górecki
    regarded in his native Poland as a composer of uncommon individuality, Henryk Górecki Górecki is now beginning to be acknowledged in the West as a major figure of considerable stature whose music transcends cultural and political boundaries. © Adrian Thomas, 1990 Henryk Mikolaj Górecki photo © Gerry Hurkmans __An introduction to Górecki’s music by Adrian Thomas__ Henryk Mikolaj Górecki belongs to the generation of Polish composers (which includes his exact contemporary Penderecki) that found itself poised to take full advantage of the post-Stalin thaw of the mid-1950s. A plethora of youthful works from 1955-59 saw the composer ranging freely from the exuberant and dynamic vitality of the _Songs of Joy and Rhythm_ op.7 (1956, rev.1960) through to experimental scores owing more to Webern and Boulez. Henceforth, the evolution of Górecki’s musical language has been a consistent search for the most truthful expression of his musical roots. It quickly becomes apparent that Górecki holds Poland’s musical past, its church and its folk culture in unwavering awe; for him they are the unchallengeable rock on which both his and his country’s identity and true heritage are securely founded. From the combustive, flamboyant energy of the orchestral _Scontri_ (_Collisions_) op.17 (1960) to the reflective lamentations of his best-known work, the _Third Symphony_ op.36 (1976) and on to his most recent chamber works such as the string quartet _Already it is Dusk_ op.62 (1988) and his piece written in memoriam Michael Vyner, _Good Night_ (1990), it is this deeply-felt awareness of his roots that gives his music a directness and emotional impact all its own.
    [Show full text]
  • Leggi Un Estratto
    UNIVERSITÀ DEGLI STUDI DI PERUGIA SEZIONE DI MUSICOLOGIA - DIP. DI LINGUE E LETTERATURE QUADERNI DI «ESERCIZI. MUSICA E SPETTACOLO» 19 collana diretta da Biancamaria Brumana Caro suono lusinghier… Tutti i libretti di Francesco Morlacchi I. Studi a cura di Biancamaria Brumana Morlacchi Editore Progetto di ricerca realizzato con il sostegno della Ricerche iconografiche: Biancamaria Brumana (Le opere) Emidio De Albentiis (I teatri) Redazione e impaginazione: Attilio Bartoli Langeli Biancamaria Brumana Gioia Filocamo Agnese Tomassetti RISTAMPE: 1. 2. 3. ISBN: 978-88-6074-541-5 copyright © 2013 by Morlacchi Editore, Perugia. Tutti i diritti riservati. È vietata la riproduzione, anche parziale, con qualsiasi mezzo effettuata, non autorizzata. [email protected] | www.morlacchilibri.com. Chiuso in redazione il 20 febbraio. Finito di stampare nel mese di febbraio 2013 da Digital Print-Service, Segrate. INDICE Introduzione, di Biancamaria Brumana ............................. 7 Due ritratti di Francesco Morlacchi, di Emidio De Albentiis ............... 21 L E OPERE articoli di Biancamaria Brumana, Galliano Ciliberti, Gioia Filocamo, Gabriella Meattini Il poeta disperato (G. Ciliberti) .................................. 25 Il ritratto o sia La forza dell’astrazione (G. Filocamo) ................... 29 Corradino (B. Brumana) ....................................... 37 Enone e Paride (B. Brumana) ................................... 48 Oreste (B. Brumana) .......................................... 56 La principessa per ripiego (B. Brumana)
    [Show full text]
  • Le Opere Europee 1800-1899 Michele Girardi (In Fieri, 20 Gennaio 2019)
    Le opere europee 1800-1899 Michele Girardi (in fieri, 20 gennaio 2019) 1800 (2) Paris Les deux journées 16.I Nicholas Bouilly Luigi Cherubini Théâtre Feydeau melodramma, 3 Paris Le calife de Bagdad Charles Guillaume 16.IX Adrien Boïeldieu OC opera, 1 Etienne 1801 (1) Wien Die Geschöpfe des Prometheus Ludvig van 28.III Salvatore Viganò Hofburgtheater ballo eroico 2p Beethoven 1802 (2) Venezia Le metamorfosi di Pasquale, o 16.I T. San Moisé sia Tutto è illusione nel mondo Giuseppe Foppa Gaspare Spontini farsa giocosa per musica, 1 Venezia Werter e Carlotta Giulio Domenico primavera Vincenzo Pucitta T. San Moisé opera, 1 Camagna 1803 (1) 4.X Paris Anacréon, ou L’amour fugitif R. Mendouze Luigi Cherubini O opéra-ballet 1804 (3) Joseph Marie Paris La petite maison Armand Michel 12.V Gaspare Spontini OC (Feydeau) opéra-comique, 3 Dieulafoy e N. Gersin Dneprovskaja rušalka (L’ondina St Petersburg 17 Ferdinand Kauer Catterino Cavos Bol’šoj Kamenny T. del Dnepr) opera magico-buffa, 3 Victor-Joseph Étienne de Jouy e Paris Milton 12.XI Joseph Marie Gaspare Spontini OC (Favart) fait historique, 1 Armand Michel Dieulafo 1805 (2) Paris Julie, ou Le pot de fleurs 12.III Antoine Gabriel Jars Gaspare Spontini OC (Favart) comédie en prose, mêlée de chants, 1 Wien Fidelio Joseph von Ludvig van 20. I X Theater an der Wien opera, 3 (I vers.) Sonnleithner Beethoven 1806 (2) Paris Les deux aveugles de Tolède 28.I Benoît Marsollier Joseph Méhul OC opera, 1 Joseph von 29 Wien Fidelio Theater an der Wien opera, 3 (IIa vers.) Sonnleithner 2 1807 (3) Mosca Илья-Богатырь (Il’ja il prode) 12.I Ivan Krïlov Catterino Cavos Bol’šoj grande opera magico-buffa, 4 Paris Joseph 17.II Alexandre Duval Joseph Méhul OC drame en prose mêlé de chants, 3 Paris La Vestale 15.XII V.
    [Show full text]
  • Curriculum Vitae
    ANNE CHRISTOPHERSON, D.M.A. CURRICULUM VITA http://www.reverbnation.com/annechristopherson 2951 24th Av S, Apt 305 701-792-2969 Grand Forks ND 58201 [email protected] EDUCATION 2004 THE OHIO STATE UNIVERSITY Doctor of Musical Arts: Vocal Performance Document: The Cliff’s Edge (Songs of a Psychotic): An Introduction to the Art Song of Margaret Garwood Voice: Dr. Robin Rice Vocal Pedagogy: Dr. Karen Peeler Vocal Literature: Dr. Patrick Woliver, Eileen Davis 1992 UNIVERSITY OF COLORADO-BOULDER Master of Music: Vocal Performance Minor Emphasis in Music Theory Inducted into Pi Kappa Lambda Voice/Vocal Pedagogy: Dr. Barbara Doscher Theory: Dr. Steven Bruns 1989 UNIVERSITY OF COLORADO-BOULDER Bachelor of Music: Vocal Performance Inducted into Sigma Alpha Iota Voice: Dr. Barbara Doscher, Carol Ann Modesitt Collaborative Piano: Robert Spillman ACADEMIC TEACHING 1999 - present UNIVERSITY OF NORTH DAKOTA Grand Forks ND 2013-16 Associate Department Chair 2009-11 Developmental Leave 2007-09, 2013-now Coordinator of Applied Voice Studies 2007 Associate Professor of Voice 2006 Granted Tenure 1999-2007 Assistant Professor of Voice Applied Voice Male & Female, Undergraduate & Graduate Applied Vocal Pedagogy Undergraduate & Graduate Diction for Singers Undergraduate Course & Graduate Review Junior Recital B.M. in Music Education and Voice Performance Opera Workshop Scenes Recitals & Chamber Opera Senior Recital B.M. in Voice Performance Song Literature Undergraduate & Graduate Special Topics Vocal Pedagogy Practicum (undergraduate) Vocal Internship & Lecture Recital (graduate) Independent Study M.M. in Vocal Pedagogy and/or Performance Hansen, J. "Voice Classification and the Young Female Voice: Choosing Operatic Repertoire for the Zwischenfach Singer," 2016. Hanson, K. "Musical Theater in Academia: A Preliminary Study of Higher Education Curricula Pertinent to Musical Theater in the United States," 2006.
    [Show full text]
  • AMS Program & Abstracts
    A MS Program & Abstracts MS Program Essential new scholarship from Ashgate... AMS Program & Abstracts The Music and Art WASHINGTON, D.C., OCTOBER 27–30 2005 of Radiohead Edited by Joseph Tate,ate,ate, Oregon State University ASHGATE POPULAR AND FOLK MUSIC SERIES May 2005 232 pages Perspectives Hardback 0 7546 3979 7 on Gustav Mahler Paperback 0 7546 3980 0 Edited by Jeremy Barham, University of Surrey, UK ‘Speak to Me’: August 2005 628 pages Hardback 0 7546 0709 7 The Legacy of Pink Floyd’s The Dark Side Thomas Tomkins: of the Moon Edited by RRRussellussell RRussell eising,eising,eising, The Last Elizabethan University of Toledo Edited by Anthony Boden,,, with Denis Stevens, David R.A. Evans,Evans,.A. ASHGATE POPULAR AND FOLK MUSIC SERIES September 2005 246 pages PPPetereter James and Bernard RRBernard oseoseose Hardback 0 7546 4018 3 June 2005 387 pages Paperback 0 7546 4019 1 Hardback 0 7546 5118 5 From Renaissance Giacomo Meyerbeer to Baroque and Music Drama in Change in Instruments Nineteenth-Century Paris and Instrumental Music Mark Everist, University in the Seventeenth Century of Southampton, UK Edited by Jonathan Wainwright,ainwright,ainwright, VARIORUM COLLECTED STUDIES SERIES: CS805 University of York, UK and July 2005 460 pages Hardback 0 86078 915 2 PPPetereter Holman,,, University of Leeds, UK July 2005 342 pages Timba: The Sound Hardback 0 7546 0403 9 of the Cuban Crisis VVVincenzoincenzo PPincenzo ernaernaerna D.C. 2005 Washington, Musical Voices of Early SOAS MUSICOLOGY SERIES Modern Women April 2005 370 pages Many-Headed Melodies Hardback 0 7546 3941 X Edited by Thomasin LaMay,,, Goucher College A Briefe Introduction WOMEN AND GENDER IN THE EARLY to the Skill of Song MODERN WORLD April 2005 470 pages by William Bathe Hardback 0 7546 3742 5 Edited by Kevin C.
    [Show full text]
  • Barber of Seville CLASSROOM STUDY GUIDE
    The Barber of Seville CLASSROOM STUDY GUIDE MICHIGAN OPERA THEATRE Department of Education and Community Programs www.MichiganOpera.org Table of Contents Characters & Synopsis...........................................................................................3 The Creators.............................................................................................................6 A Closer Look..........................................................................................................10 Adaptations.........................................................................................................................12 18th Century Opera...........................................................................................................14 Opera in Popular Culture......................................................................................15 Discussion Questions............................................................................................16 In the Classroom.....................................................................................................17 Michigan Opera Theatre......................................................................................23 Contact & Sources................................................................................................25 MICHIGAN OPERA THEATRE 2 THE BARBER OF SEVILLE Characters & Synopsis Characters Rosina, Dr. Bartolo’s ward, mezzo-soprano Figaro, a barber and jack-of- all-trades, baritone Count Almaviva, a local nobleman, tenor
    [Show full text]