DOCSLIB.ORG

Study Guide 2012 / 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera. We Kevin Mynatt hope you enjoy the show! -PSSOJSV[EVHXSWIIMRK]SYEXXLI3TIVE Kevin G. Mynatt Managing Director Florida Grand Opera 2 Florida Grand Opera // Kevin Mynatt Study Guides // Magic Flute 3 Content 6-9 Attending an Opera 10-13 Florida Grand Opera 14-17 Roots and Development 18-21 On Broadway! 22-29 Close up with Jeanette Vecchione 30-35 The Operatic Voice 36-37 The Magic Flute 38-39 Cast & Characters 40-51 Synopsis 52-55 The Composer 56-59 Librettists So what is Singspiel ? 60-65 Freemasonry 66-71 Mozart’s Music 72-75 The Age of Enlightenment 76-81 Pamina 82-85 Gender in The Magic Flute 86-89 Class in The Magic Flute 90-91 Race in The Magic Flute 92-93 What else happened in that year? 94-97 References 98-101 Credits 102-103 4 Florida Grand Opera // Content Study Guides // Magic Flute 5 © FLORIDA GRAND OPERA © FLORIDA Attending Opera an FGO dress rehearsal 6 Florida Grand Opera // Attending an Opera Study Guides // Magic Flute 7 WHAT WILL YOU SEE IN AN OPERA? OPERA ETIQUETTE: Opera combines colorful sets and costumes, dynamic _Attending an opera is an exciting occasion! You staging, passionate stories, and poetic words with should dress comfortably, but presentably. Many audi- beautiful music. Richard Wagner referred to it as ence members use an opera as an opportunity to dress +IWEQOYRWX[IVOSVEµXSXEPEVX[SVO¶=SYQMKLX in formal attire. [EXGLHERGMRKW[SVHÁKLXMRKGLEVEGXIVWHVIWWMRKMR _Arrive early. Audience members who arrive after the disguises, the tenor wooing the soprano, or unfurling start of the performance are prevented from entering schemes against another character. Operas can be until there is a change of scene. romantic, comedic, tragic, dramatic, or all of the above. Primarily, opera is entertaining! _It is customary to show your appreciation at various times in the performance with applause. The audience will applaud at the beginning of each act as the con- WHAT WILL YOU HEAR IN AN OPERA? ductor enters the orchestra pit, at the ends of partic- Operas are sung in many different languages, the most ularly well-sung arias or choruses, at the close of each common of which are Italian, French, German, and WGIRISVEGXERHHYVMRKXLIÁREPGYVXEMRGEPPEWXLI English. The Magic Flute, however, is sung in German. performers bow. Florida Grand Opera provides supertitles (transla- _If you want to show your admiration even more, you tions of the text projected on a screen above the stage) can call out “Bravo!” for a male singer, “Brava!” for a in English and Spanish. Singers are accompanied by female singer, or “Bravi!” for an ensemble. If you en- the orchestra which can consist of string instruments joyed the entire production, stand and clap during the PMOI ZMSPMRW ZMSPEW GIPPSW ERH HSYFPI FEWWIW [SSH- curtain call to join in a standing ovation. [MRHWPMOIÂYXIWGPEVMRIXWSFSIWERHFEWWSSRWERH FVEWWMRWXVYQIRXWPMOIXVYQTIXWJVIRGLLSVRWXVSQ- _Audience members are expected to turn off all cell bones, and tubas. phones and refrain from using cameras with or with- SYXÂEWLHYVMRKXLITIVJSVQERGI _While concessions are sold in the lobby before the performance and during intermissions, no food or HVMROMWEPPS[IHMRWMHISJXLIXLIEXVI _Be respectful of the musicians and your fellow audience QIQFIVWERHHSRSXXEPOHYVMRKXLITIVJSVQERGI Most importantly, enjoy the opera! 8 Florida Grand Opera // Attending an Opera Study Guides // Magic Flute 9 © FLORIDA GRAND OPERA © FLORIDA FloridaGrand Opera Dr. Arturo di Filippi Florida Grand Opera stands as one of the old- The Greater Miami Opera was founded by Dr. Ar- est performing arts organizations in Florida and turo di Filippi, a voice teacher at the University of in the nation. Florida Grand Opera is one of the 1MEQM8LIÁVWXTVSHYGXMSRLIPHEX1MEQM7IRMSV resident companies of The Adrienne Arsht Cen- High School in 1942, was a single performance of ter for the Performing Arts of Miami-Dade County Leoncavallo’s Pagliacci, performed in English, with where it presents its Miami performances in the Dr. di Filippi singing the role of Canio. In 1945, Dr. Ziff Ballet Opera House. Fort Lauderdale perfor- di Filippi appeared in a production of Il trovatore at mances are given at the Broward Center for the Ft. Lauderdale Central High School, representing Performing Arts. Florida Grand Opera was formed XLI ÁVWX TVSHYGXMSR SJ XLI8LI 3TIVE +YMPH -RG in June 1994 by the merger of Greater Miami Op- Florida Grand Opera has a rich history of present- era, founded in 1941, and The Opera Guild Inc. of ing internationally acclaimed artists such as Robert Fort Lauderdale, founded in 1945. 1IVVMPP (SVSXL] /MVWXIR 6MGLEVH 8YGOIV 6IREXE Tebaldi, Roberta Peters, Franco Corelli, Renata 10 Florida Grand Opera // Florida Grand Opera Study Guides // Magic Flute 11 7GSXXS 1SRXWIVVEX 'EFEPPI .SR :MGOIVW 7LIVVMPP At the core of Florida Grand Opera’s mission is a Milnes, Nicolai Gedda, Birgit Nilsson, Anna Moffo, commitment to training emerging opera profes- Plácido Domingo, Beverly Sills, Joan Sutherland, sionals and educating young people about opera Evelyn Lear, James Morris, Thomas Stewart, Diana while embracing the diverse cultural heritage of the Soviero, Justino Diaz, Simon Estes, Elizabeth Fu- South Florida community. Each year, established tral, Helen Donath, Deborah Voigt, and Fernando education programs, including the School Dress de la Mora. Luciano Pavarotti made his American Rehearsal Program and the company’s education debut in 1965 with the company’s production of festivals expose thousands of children and students Lucia di Lammermoor. to opera’s many facets. Florida Grand Opera’s re- nowned artist training program, the Young Artist In April, 2007, Florida Grand Opera presented the Studio, nurtures gifted young singers and provides critically acclaimed world premiere of David Carl- XLIQ [MXL XLI WOMPPW ERH I\TIVMIRGIW RIGIWWEV] son’s Anna Karenina with libretto by Colin Graham. to move beyond their training at universities and Anna Karenina was commissioned as a co-produc- music conservatories into successful careers in the tion by Florida Grand Opera, Michigan Opera The- professional opera world. atre, and Opera Theatre of Saint Louis. In May 1997, the Company presented the world premiere of Bal- seros, an opera by Robert Ashley with libretto by world renowned Cuban writer María Irene Fornés. Balseros was commissioned as a co-production by Florida Grand Opera, Miami-Dade Community College and the South Florida Composers Alliance. Another world premiere was Robert Ward’s Min- utes Till Midnight in 1982. American premieres in- clude Gioachino Rossini’s Bianca e Falliero and the ÁREPVIZMWIHZIVWMSRSJ%PFIVXS*VERGLIXXM¸W'VMWXS- foro Colombo. 12 Florida Grand Opera // Florida Grand Opera Study Guides // Magic Flute 13 ©NICKU Opera’s Roots & Development Mozart. Weber Wagner Where did opera come from? What prompted com- L’Orfeo. Following L’Orfeo’s success, the art form posers to create it? Poets, musicians, architects, art- spread rapidly amongst composers, artists, and po- ists, philosophers, mathematicians, and many other ets. The Baroque form consisted of sung recitatives XLMROIVWLEHFIGSQISFWIWWIH[MXLEVIGVIEXMSRSJ by soloists which would move the plot or story line, XLI+VIIOGYPXYVIHYVMRKXLI-XEPMER6IREMWWERGI arias in which the soloist would explore an emo- In the 1500’s, a certain group of composers from tion, and choruses where the rest of the characters the Camerata Fiorentina, or Florentine Academy, commented on the action. Composers began to FIKERXSJSGYWSRXLIVITVSHYGXMSRSJ+VIIO(VE- create duets, trios, and other ensemble numbers ma. The Camerata believed that several factors with multiple soloists, allowing for more character were extremely important in recreating these dra- interaction and more dynamic plot lines. As the mas: the sung text must be understood, the music Classical period began, the chorus of an opera be- WLSYPHVIÂIGXXLIGEHIRGIWSJWTIIGLVEXLIVXLER
Recommended publications
  • Köchel Numbers

    Köchel Numbers

    Köchel numbers I have long associated Mozart's works with the numbers from the Köchel catalogue, so that, for example, the number 465 instantly evokes in my mind the slow chromatic introduction to the C major "Dissonance" quartet. During our first year in Canada, my wife and I lived at a house bearing the number 899, a disappointingly unevocative number, I thought, since I knew that Köchel’s catalogue ends at 626 with the Requiem. Then we moved to our present address, 529 Piccadilly Street. The number 529 was equally unevocative; a consultation of Alfred Einstein’s Mozart biography revealed it to correspond merely to an isolated song, unknown to me. Compounding my frustration was the fact that the number of the next door house is 533, the Köchel number of my beloved Mozart piano sonata, the contrapuntal two movement sonata in F. I was further chagrined to find that just down the street there are three successive houses bearing numbers corresponding to some of my favourite works, 499 (D major "Hoffmeister" quartet) 511 (A minor rondo for piano) and 515 (C major quintet)—the presence of an intervening side street explains the incongruous jump from 499 to 511. I remained unhappy with my house number until it struck me after a while (no Ramanujan am I) that 529 is the square of the prime number 23, Alban Berg's "magic" number, which pops up in many of his compositions (for example, the number of bars in each movement of his "Lyric Suite" is a multiple of 23). Stimulated by these revelations, it suddenly occurred to me that my initial house number 899 was less dull than I had first thought, mathematically at least: it's the product of 29 and 31, a pair of "twin" primes.
  • The Magic Flute Synopsis

    The Magic Flute Synopsis

    Mozart’s The Magic Flute Synopsis ACT I Three ladies in the service of the Queen of the Night save the fainting Prince Tamino from a serpent (“Zu Hülfe! zu Hülfe!”). When they leave to tell the queen, the bird catcher Papageno bounces in and boasts to Tamino that it was he who killed the creature (“Der Vogelfänger bin ich ja”). The ladies return to give Tamino a portrait of the queen’s daughter, Pamina, who they say is enslaved by the evil Sarastro, and they padlock Papageno’s mouth for lying. Tamino falls in love with Pamina’s face in the portrait (“Dies Bildnis ist bezaubernd schön”). The queen, appearing in a burst of thunder, is grieving over the loss of her daughter; she charges Tamino with Pamina’s rescue (“Zum Leiden bin ich auserkoren”). The ladies give a magic flute to Tamino and silver bells to Papageno to ensure their safety, appointing three spirits to guide them (“Hm! hm! hm! hm!”). Sarastro’s slave Monostatos pursues Pamina (“Du feines Täubchen”) but is frightened away by the feather-covered Papageno, who tells Pamina that Tamino loves her and intends to save her. Led by the three spirits to the Temple of Sarastro, Tamino is advised by a high priest that it is the queen, not Sarastro, who is evil. Hearing that Pamina is safe, Tamino charms the animals with his flute, then rushes to follow the sound of Papageno’s pipes. Monostatos and his cohorts chase Papageno and Pamina but are left helpless by Papageno’s magic bells. Sarastro, entering in great ceremony (“Es lebe Sarastro”), promises Pamina eventual freedom and punishes Monostatos.
  • Il Favore Degli Dei (1690): Meta-Opera and Metamorphoses at the Farnese Court

    Il Favore Degli Dei (1690): Meta-Opera and Metamorphoses at the Farnese Court

    chapter 4 Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court Wendy Heller In 1690, Giovanni Maria Crescimbeni (1663–1728) and Gian Vincenzo Gravina (1664–1718), along with several of their literary colleagues, established the Arcadian Academy in Rome. Railing against the excesses of the day, their aim was to restore good taste and classical restraint to poetry, art, and opera. That same year, a mere 460 kilometres away, the Farnese court in Parma offered an entertainment that seemed designed to flout the precepts of these well- intentioned reformers.1 For the marriage of his son Prince Odoardo Farnese (1666–1693) to Dorothea Sofia of Neuberg (1670–1748), Duke Ranuccio II Farnese (1639–1694) spared no expense, capping off the elaborate festivities with what might well be one of the longest operas ever performed: Il favore degli dei, a ‘drama fantastico musicale’ with music by Bernardo Sabadini (d. 1718) and poetry by the prolific Venetian librettist Aurelio Aureli (d. 1718).2 Although Sabadini’s music does not survive, we are left with a host of para- textual materials to tempt the historical imagination. Aureli’s printed libretto, which includes thirteen engravings, provides a vivid sense of a production 1 The object of Crescimbeni’s most virulent condemnation was Giacinto Andrea Cicognini’s Giasone (1649), set by Francesco Cavalli, which Crescimbeni both praised as a most per- fect drama and condemned for bringing about the downfall of the genre. Mario Giovanni Crescimbeni, La bellezza della volgar poesia spiegata in otto dialoghi (Rome: Buagni, 1700), Dialogo iv, pp.
  • Performing Michael Haydn's Requiem in C Minor, MH155

    Performing Michael Haydn's Requiem in C Minor, MH155

    HAYDN: The Online Journal of the Haydn Society of North America Volume 9 Number 2 Fall 2019 Article 4 November 2019 Performing Michael Haydn's Requiem in C minor, MH155 Michael E. Ruhling Rochester Institute of Technology; Music Director, Ensemble Perihipsous Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ruhling, Michael E. (2019) "Performing Michael Haydn's Requiem in C minor, MH155," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 9 : No. 2 , Article 4. Available at: https://remix.berklee.edu/haydn-journal/vol9/iss2/4 This Article is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ruhling, Michael E.. “Performing Michael Haydn’s Requiem in C minor, MH155.” HAYDN: Online Journal of the Haydn Society of North America 9.2 (Fall 2019), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2019. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Performing Michael Haydn’s Requiem in C minor, MH155 by Michael E. Ruhling Rochester Institute of Technology Music Director, Ensemble Perihipsous I. Introduction: Historical Background and Acknowledgements. Sigismund Graf Schrattenbach, Prince-Archbishop of Salzburg, died 16 December 1771, at the age of 73. Johann Michael Haydn, who had been in the service of the Prince-Archbishop since 1763, serving mainly as concertmaster, received the charge to write a Requiem Mass for the Prince-Archbishop’s funeral service.
  • The Magic Flute' and It’S Written by a Composer Called Wolfgang Amadeus Mozart

    The Magic Flute' and It’S Written by a Composer Called Wolfgang Amadeus Mozart

    I’VE NEVER BEEN TO THE OPERA BEFORE. WHAT’S IT GOING TO BE LIKE? It’s great fun! You can expect to hear lots of great music and acting. All operas tell a story with performers who act and sing on a stage in costume whilst a band of musicians (aka an orchestra) play along. The opera that you’ll be coming to see is called 'The Magic Flute' and it’s written by a composer called Wolfgang Amadeus Mozart. E WASN'T MOZART AROUND A LONG TIME AGO? IS 'THE MAGIC FLUTE' A T REALLY OLD OPERA? U Yes, Mozart lived over 200 years ago and 'The Magic Flute' was first performed in 1791. However, all the costumes and the set are all brand spanking new and L of course all the people performing aren’t 200 years old! F The costumes, set, lighting and the way the performers act is what’s known as the production, all created by a team of people led by a director. You’ll be coming to see a new production of 'The Magic Flute' today. If you see another C production of 'The Magic Flute' in the future, it’ll look totally different to this one! I G IS THE WHOLE OF 'THE MAGIC FLUTE' SUNG? A Not all of it. 'The Magic Flute' is a type of German opera called a ‘singspiel’ M which means there are several moments where the performers speak instead of singing. E DOES THIS MEAN THAT THE OPERA WILL BE IN GERMAN? H Yes it does! But don’t worry.
  • Antonio Salieri's Revenge

    Antonio Salieri's Revenge

    Antonio Salieri’s Revenge newyorker.com/magazine/2019/06/03/antonio-salieris-revenge By Alex Ross 1/13 Many composers are megalomaniacs or misanthropes. Salieri was neither. Illustration by Agostino Iacurci On a chilly, wet day in late November, I visited the Central Cemetery, in Vienna, where 2/13 several of the most familiar figures in musical history lie buried. In a musicians’ grove at the heart of the complex, Beethoven, Schubert, and Brahms rest in close proximity, with a monument to Mozart standing nearby. According to statistics compiled by the Web site Bachtrack, works by those four gentlemen appear in roughly a third of concerts presented around the world in a typical year. Beethoven, whose two-hundred-and-fiftieth birthday arrives next year, will supply a fifth of Carnegie Hall’s 2019-20 season. When I entered the cemetery, I turned left, disregarding Beethoven and company. Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place. Salieri is one of history’s all-time losers—a bystander run over by a Mack truck of malicious gossip.
  • The Sackbut and Pre-Reformation English Church Music

    The Sackbut and Pre-Reformation English Church Music

    146 HISTORIC BRASS SOCIETY JOURNAL THE SACKBUT AND PRE-REFORMATION ENGLISH CHURCH MUSIC Trevor Herbert n the mid-1530s the household account books of the Royal Court in London showed that as many as twelve trombone players were in receipt of regular fees. If these accounts /signify all expenditure on Court music at that time, it can be estimated that an eighth of the wages bill for this part of its activities went to trombone players. The 1530s were something of a high point in this respect, but it remains the case that for the whole of the 16th century a corps of trombonists were, in effect, salaried members of the royal musical establishment.1 Yet, not a single piece of English music from this period is explicitly linked to the trombone. This in itselfis not significant, as the labelling of parts at this time was rare,2 but the illustration draws historians of brass instruments to a neat focus. Throughout the 16th century trombonists occupied a regular and important place in English musical life. The players were professionals, probably fine and distinguished performers: What did they play and when did they play it? In this article I address some issues concerning the deployment of trombones in the first half of the 16th century. It is worth stressing that musical practice in England in the 16th century was sufficiently different from the rest of Europe to merit special attention. As I explain below, the accession of Henry VII marks what many historians recognize as a watershed in British history. The death of his son Henry VIII in 1547 marks another.
  • Major Themes in the Magic Flute Filled with Ritual and Symbolism

    Major Themes in the Magic Flute Filled with Ritual and Symbolism

    Major Themes in The Magic Flute Filled with ritual and symbolism, Mozart’s final masterpiece is a playful but profound look at man's search for love and his struggle to attain wisdom and virtue. From the virtuosic arias of the Queen of the Night to the folksong-like melodies of the bird catcher Papageno, the full range of Mozart's miraculous talent is on display in this magical fairy-tale opera. That The Magic Flute is a barely veiled Masonic allegory cannot be doubted. It acts, in fact, as a kind of introduction to the secret society. Its story celebrates the main themes of masonry: good vs. evil, enlightenment vs. ignorance, and the virtues of knowledge, justice, wisdom and truth. The evocation of the four elements (earth, air, water and fire), the injunction of silence in the Masonic ritual, the figures of the bird, the serpent and the padlock as well as the ‘rule of three’ all play important roles in the plot or in the musical fabric of the opera (three ‘Ladies’, three ‘Boys’, three loud chords at the beginning of the overture signifying the three ‘knocks’ of the initiates at the temple, three temples, the three flats of E-flat Major which is the primary tonality of the work, etc.) All of these symbols and characteristics come from Egyptian lore and the various original texts of Masonry; hence the opera’s libretto is set in Egypt, although many productions eschew that specification. Sources: operapaedia.org & sfopera.com Definition of Freemasonry (the Masonic order) Freemasonry is a fraternal organization that arose from obscure origins in the late 16th to early 17th century.
  • Framing a Critical, Interdisciplinary Approach to Film: Teaching Amadeus

    Framing a Critical, Interdisciplinary Approach to Film: Teaching Amadeus

    Framing a Critical, Interdisciplinary Approach to Film: Teaching Amadeus Nancy Rachel November, University of Auckland Brenda Allen, University of Auckland ow might I interpret the film Amadeus as a Mozart reception doc- ument of the 1980s?” “What does ‘authenticity’ mean in relation to that film’s soundtrack and screenplay?” “How is Salieri char- “Hacterized in the film, and why?” These are the sorts of questions one might wish that students would formulate when considering the popular music biopic (biographical film) Amadeus in relation to music history. The reality can be quite different. Surveys of second year Music History students at the University of Auckland in 2012-2014 show that they tend to view music history as estab- lished fact, and have great difficulty posing complex critical questions and constructing critical, evidence-based arguments. Most writers on the subject of historical literacy agree that the ability to read, write and think critically about a range of media is an especially valuable skill. These abilities not only serve stu- dents’ immediate studies within historical disciplines, but also enable graduates “to negotiate and create the complex texts of the Information Age.”1 This is espe- cially true of music history: one can draw on a broad range of sonic, visual and digital media to answer the increasingly varied questions that music historians address. But how is one to help students prepare for the interdisciplinary skills, attitudes and understandings this requires? How do we best equip students to analyze and read critically the films, YouTube clips, cartoons and diverse other source material they might want and need to study? One useful way to address such questions is for music history teachers to bring co-teachers from other disciplines in to a given music history course: a cartoon historian, for example, or a teacher from film studies, as befits the sub- ject matter.
  • Mozart's Operas, Musical Plays & Dramatic Cantatas

    Mozart's Operas, Musical Plays & Dramatic Cantatas

    Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct.
  • Salzburg, Le 24 D'avril3 Ma Trés Chére Cousine!4 1780 You Answered My

    Salzburg, Le 24 D'avril3 Ma Trés Chére Cousine!4 1780 You Answered My

    0531.1 MOZART TO MARIA ANNA THEKLA MOZART,2 AUGSBURG Salzburg, le 24 d’avril3 Ma trés chére Cousine!4 1780 You answered my last letter5 so nicely that I do not know where to look for words with which to manifest adequately my statement of gratitude, [5] and at the same time to assure you anew of the extent to which I am, madam, Your most obedient servant and most sincere cousin [BD: ALMOST THE WHOLE PAGE IS LEFT BLANK UNTIL THE SIGNATURE COMES:] Wolfgang Amadé Mozart I would have liked to write more, but the space, as you see, [10] is too Adieu, adieu restricted. But now, in joking and earnest, you must surely forgive me this once for not answering your most treasured letter as it deserves, from one word to the next, [15] and allow me to write only what is most necessary; in the coming days I will try to improve my mistakes as much as possible – it is now 14 days since I replied6 to Msr. Böhm7 – my only concern is to know that my letter did not go astray, which I would greatly regret – for otherwise I know only too well that Msr. Böhm is only too busy every day [20] – be it as it may he be, I would be so glib, my dearest squib, as to ask you to convey a thousand compliments – and I wait only for his say-so, and the finished aria8 will be there. – I heard that Munschhauser9 is ill as well; is that true? – that would not be good for Msr.
  • A European Singspiel

    A European Singspiel

    Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel.