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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. -
Das Tragico Fine Auf Venezianischen Opernbühnen Des Späten 18
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Heidelberger Dokumentenserver Das tragico fine auf venezianischen Opernbühnen des späten 18. Jahrhunderts Textband Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Ruprecht-Karls-Universität Heidelberg Zentrum für Europäische Geschichts- und Kulturwissenschaften Musikwissenschaftliches Seminar vorgelegt bei Prof. Dr. Silke Leopold von Katharina Kost November 2004 INHALT DANKSAGUNG............................................................................................. IV TEIL I: DIE FRAGE EINLEITUNG .................................................................................................................... 2 Die Geschichte des tragico fine in der italienischen Oper des 18. Jahrhunderts – Forschungsüberblick ........................................................................................................ 2 Tragico fine zwischen 1695 und 1780 ......................................................................... 4 Bislang in der Forschung berücksichtigte Aspekte im Repertoire ab 1780 .................. 9 Fragestellung und Vorgehensweise ................................................................................ 15 Die Eingrenzung des Repertoires .............................................................................. 15 Das Repertoire im Überblick ..................................................................................... 18 Untersuchung anhand von Vergleichen – Dramaturgie -
La Pantomima Del Grande Castrato E Le Sue Risultanze Coreutiche: L’Ezio Di Marchesi E Lefèvre*
Philomusica on-line 16 (2017) La pantomima del grande castrato e le sue risultanze coreutiche: l’Ezio di Marchesi e Lefèvre* Andrea Chegai Università di Roma “La Sapienza” [email protected] § Non è frequente che i coreografi § Choreographers writing about settecenteschi scrivano di melodramma melodrama and their opinions on e si pronunzino sui cantanti, o vice- singers and virtuosi are uncommon versa. La formazione professionale e la in the Eighteenth Century. The concezione del teatro da parte di professional training of dancers and ballerini e coreografi ci appare distinta choreographers and their conception e autonoma rispetto a quella dei grandi of theatre appear autonomous virtuosi del dramma per musica. La compared to those of the great reciproca influenza, che vi fu, pare virtuosi of the dramma per musica. quindi circoscriversi in Italia alla Their reciprocal influence, which was condivisione dei soggetti fra i due however present, seems therefore to generi di spettacolo e alla contiguità be limited in Italy to the sharing of temporale di atti d’opera ed entr’acte di subjects between the two kinds of danza. Il caso qui esaminato, che pone spectacle and the temporal contiguity al centro le figure del castrato Luigi of Opera acts and of entr’acte for Marchesi (1754-1829) e del coreografo dance. The case here examined, Domenico Lefèvre (173?-181?), e la centred on the figures of the castrato ricognizione sulla bibliografia critica Luigi Marchesi (1754-1829) and the dell’epoca mettono in luce alcuni non choreographer Domenico Lefèvre trascurabili punti di contatto fra canto (173?-181?), and the survey on the e ballo pantomimo riguardo alla critical bibliography of this period, recitazione scenica e ad alcune reveal some convergences between tipologie di aria d’opera, che ancora a singing and pantomime dance in fine Settecento risentono della stage acting and in some types of diffusione e del ruolo sociale della arie, which are still affected at the danza. -
Iphigénie En Tauride
Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. -
Illuminati Conspiracy Part One: a Precise Exegesis on the Available Evidence
http://www.conspiracyarchive.com/NWO/Illuminati.htm Illuminati Conspiracy Part One: A Precise Exegesis on the Available Evidence - by Terry Melanson, Aug. 5th, 2005 Illuminati Conspiracy Part Two: Sniffing out Jesuits A Metaprogrammer at the Door of Chapel Perilous In the literature that concerns the Illuminati relentless speculation abounds. No other secret society in recent history - with the exception of Freemasonry - has generated as much legend, hysteria, and disinformation. I first became aware of the the Illuminati about 14 years ago. Shortly thereafter I read a book, written by Robert Anton Wilson, called Cosmic Trigger: Final Secret of the Illuminati. Wilson published it in 1977 but his opening remarks on the subject still ring true today: Briefly, the background of the Bavarian Illuminati puzzle is this. On May 1, 1776, in Bavaria, Dr. Adam Weishaupt, a professor of Canon Law at Ingolstadt University and a former Jesuit, formed a secret society called the Order of the Illuminati within the existing Masonic lodges of Germany. Since Masonry is itself a secret society, the Illuminati was a secret society within a secret society, a mystery inside a mystery, so to say. In 1785 the Illuminati were suppressed by the Bavarian government for allegedly plotting to overthrow all the kings in Europe and the Pope to boot. This much is generally agreed upon by all historians. 1 Everything else is a matter of heated, and sometimes fetid, controversy. It has been claimed that Dr. Weishaupt was an atheist, a Cabalistic magician, a rationalist, a mystic; a democrat, a socialist, an anarchist, a fascist; a Machiavellian amoralist, an alchemist, a totalitarian and an "enthusiastic philanthropist." (The last was the verdict of Thomas Jefferson, by the way.) The Illuminati have also been credited with managing the French and American revolutions behind the scenes, taking over the world, being the brains behind Communism, continuing underground up to the 1970s, secretly worshipping the Devil, and mopery with intent to gawk. -
Musik in Venedig Und Mailand Im Zeichen Napoleons
Musik in Venedig und Mailand im Zeichen Napoleons Kompositionen von und um Giovanni Simone Mayr Musik- und Kulturleben im Spannungsfeld politischer Macht Habilitationsschrift zur Erlangung der Venia Legendi für das Fach Musikwissenschaft der Katholischen Universität Eichstätt-Ingolstadt vorgelegt von Iris Winkler aus Bochum Prof. Dr. Wolfgang Schönig Dekan der Philosophisch-Pädagogische Fakultät Katholische Universität Eichstätt-Ingolstadt Mitglieder des Fachmentorats: Prof. Dr. Peter Brünger, Vors. Musikpädagogik und Musikdidaktik Philosophisch-Pädagogische Fakultät Katholische Universität Eichstätt-Ingolstadt Prof. Dr. Heinz Hürten Geschichtswissenschaft Geschichts- und Gesellschaftswissenschaftliche Fakultät Katholische Universität Eichstätt-Ingolstadt Prof. Dr. Christoph Louven Musikwissenschaft Fachgebiet Musik und Musikwissenschaften Universität Osnabrück Prof. Dr. Reinhard Wiesend Musikwissenschaft Universität Mainz Prof. Dr. Michael Zimmermann Kunstgeschichte Sprach- und Literaturwissenschaftliche Fakultät Katholische Universität Eichstätt-Ingolstadt 2 In memoriam John Stewart Allitt 3 Inhalt Einleitung 6 I. Einführung in die Thematik 13 Napoleon-Rezeption und Napoleons Musikrezeption: Die Basis der Bewertung 13 Napoleon und die Kunst der Repräsentation 18 Napoleon und die Gewalt der Musik – Chantons du nouvel Alexandre 19 II. Facetten des kulturellen Lebens im „napoleonischen“Venedig 30 Politische Verhältnisse 38 Huldigungen, Huldigungsmusiken, Huldigungsprogramme 43 Huldigungskantaten in Venedig vor, nach und um Napoleon 48 -
FIORI DEL PARNASO Ritratti Di Artisti Della Scena Reggiana (Archivio Vivi)
Testi: dott. Paola Meschini dott. Luciana Bonilauri Ufficio Stampa: dott. Rita Pansa Realizzazione: Liliana Corvo Annunziata Di Somma Silvia Lo Rillo Laura Vacondio Fotografie: Giuliano Ferrari Stampa: Grafitalia Ministero per i Beni e le Attività culturali ARCHIVIO DI STATO DI REGGIO EMILIA Inventari e cataloghi collana diretta da Paola Meschini FIORI DEL PARNASO Ritratti di artisti della scena reggiana (Archivio Vivi) Reggio Emilia, 2010 I TEATRI Le prime notizie dell’esistenza di un luogo deputa- to alle rappresentazioni teatrali a Reggio Emilia risalgono alla seconda metà del ‘500, quando fu adibita a “luogo teatrale” la sala delle adunanze del Pubblico Consiglio nel vecchio palazzo comunale, ormai non più sede degli uffici del Comune; questo si era trasferito nel nuovo edi- ficio antistante al vecchio, nella parte meridionale della attuale piazza Prampolini. Funzionava, contemporaneamente alla “stanza delle Commedie”, e con analoga destinazione a luogo teatrale, un altro sito della Comunità: la vicina costru- zione delle vecchie beccherie, andata da poco in disuso. Essa ospitava, a differenza della “stanza delle Comme- die” (destinata al teatro serio, “ufficiale”), le recite degli istrioni, ovvero degli attori del teatro dell’Arte. In quel periodo, l’élite dirigente dell’aristocrazia di corte e della borghesia frequentava il colto teatro “ufficiale”, mentre il ceto degli artigiani e dei bottegai preferiva il semplice e popolare teatro dell’Arte. La “sala delle Commedie” fu poi, nel corso del secolo XVII, ampliata e adattata a vero e proprio teatro in sen- so moderno, con palcoscenico e palchi. Nel 1740 un in- cendio la distrusse completamente e, con l’occasione, il locale fu venduto al Santo Monte di Pietà, che già occu- pava il palazzo. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Call for Papers Luigi Marchesi (1754-1829), “Ocean of Sopranos”: Career of a Castrato Singer
CALL FOR PAPERS LUIGI MARCHESI (1754-1829), “OCEAN OF SOPRANOS”: CAREER OF A CASTRATO SINGER Bergamo, October 16-17, 2015 CFP deadline: March 30, 2015 Luigi Marchesi was one of the most famous singers of the second half of the Eighteenth Century, acclaimed performer of operas by Pasquale An- fossi, Domenico Cimarosa, Alessandro Tarchi, Johann Simon Mayr, Nic- colò Zingarelli, Antonio Salieri, Giuseppe Sarti, Francesco Bianchi, Josef Mysliveček, etc. The brilliant career of this emblematic castrato spread across Europe: enormous triumphs throughout Italy were followed by travels to St. Peter- sburg, London, Warsaw and Vienna. Thanks to his incredible coloratura, a legendary range, and a dazzling singing technique, Marchesi proved himself to be the perfect performer for extremely virtuosic and heroic roles. With Rubinelli and Pacchierotti he was universally considered one of the most important singers of his time. Marchesi was also fiercely criticized: his style in embellishments and his acting became topics for discussions strongly influenced by the incipient sunset of the castrati era in theatres. Stile Galante (Amsterdam) wishes to dedicate to Luigi Marchesi a two-day international conference, to be held in Bergamo on October 16-17, 2015. CONFERENCE BOARD Nicholas Baragwanath (University of Nottingham) Rosa Cafiero (Università Cattolica di Milano) Damien Colas (CNRS) Paolo Fabbri (Università degli Studi di Ferrara) Giulia Giovani (Centro Studi sulla Cantata Italiana) Claudio Toscani (Università degli Studi di Milano). The international conference Luigi Marchesi, “Ocean of Sopranos”: Career of a Castrato Singer is a part of The Luigi Marchesi Project (<www.luigimarchesimusic.com>). Conference proceedings are going to be published by February 2016. -
MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A. -
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. -
Una Fanatica Per La Musica Di Mayr 2
Una fanatica per la musica di Mayr? Angelica Catalani and Il fanatico per la musica in London in 1824 Alexander Weatherson No one can really be surprised that the outrageous heroine of Che originali - the fantastic Donna Aristea - who sported the headdress of Cleopatra and the sandals of Sofonisba, who swept on the stage in the robes of Semiramide or of Dido or of Ifigenia should have had such an attraction for Angelica Catalani - that irresistible bête noire of the operatic firmament who has come down to us as the one truly insuperable primadonna of the age of Mayr. A legendary soprano who sang more Semiramide, Didos and Ifigenie than anyone in existence, the one gloriously willful icon in a theatre of posture and change. The ultimate Metastasiasta diva par excellence. She timed her appearances with perfection, and not just for Mayr, it was the French Revolution that did it. No one ever sang so many betrayed or dying queens. Her operatic tastes, like her musical garb, however pessimistically they may have been viewed by generations of vocal purists, reflected the popular events of her day. Her career, like that of Donna Aristea was old hat but indisputably topical. She was a final extravagant flower of the ancien régime like Brigida Banti, Gertrud Elisabeth Mara and Giuseppina Grassini and utterly unlike - for example - Giuditta Pasta or Maria Malibran of the romantic era, with whom she overlapped. But was she a fanatic for the music of Mayr? She cultivated fanaticism it is true, she counted upon fanatics to sustain her career and ran a fanatical train of existance.