Il Barbiere Di Siviglia
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Music 3003 – Music of the Classic Era, Spring 2020 Prof
Music 3003 – Music of the Classic Era, Spring 2020 Prof. David Smey Class 11 – Tuesday, March 3 In this session we dove into Mozart’s first “all-time great” opera, Le Nozze di Figaro (The Marriage of Figaro, 1786). First, we did a little background: Mozart and Opera In the 18th Century opera is the most glamorous and potentially lucrative area of music- making. Mozart and his father are sophisticated members of the industry, so from childhood onwards Mozart frequently tries his hand at making operas. It is difficult to get a good count of how many opera projects Mozart tries, because some are left incomplete and others are one-act miniatures that don’t seem to “count,” but it looks like you could say that he writes about 22 of them. Wikipedia list Collaboration with Lorenzo da Ponte Mozart’s first big success in the opera house comes early in his Vienna years, with Die Entführung aus dem Serail in 1783. (This is the “Turkish” opera we were looking at last week.) For his next big project he teams up with a new librettist in town, an Italian named Lorenzo da Ponte. Da Ponte is a fascinating figure. He was born in the Jewish ghetto of Ceneda, Italy, and when he was a young boy his father decided that the whole family should convert to Christianity. (At this time there were many rules that limited the way Jews could participate in society, so converting was a common strategy. Later in history Felix Mendelssohn’s family will do the same thing.) The Catholic priests recognized Lorenzo’s talent, and he eventually became a priest himself and a poet who had a deep love for the Italian language. -
Musica Lirica
Musica Lirica Collezione n.1 Principale, in ordine alfabetico. 891. L.v.Beethoven, “Fidelio” ( Domingo- Meier; Barenboim) 892. L.v:Beethoven, “Fidelio” ( Altmeyer- Jerusalem- Nimsgern- Adam..; Kurt Masur) 893. Vincenzo Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Aragall- Zaccaria; Abbado) 894. V.Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Monachesi.; Abbado) 895. V.Bellini, “Norma” (Caballé- Domingo- Cossotto- Raimondi) 896. V.Bellini, “I Puritani” (Freni- Pavarotti- Bruscantini- Giaiotti; Riccardo Muti) 897. V.Bellini, “Norma” Sutherland- Bergonzi- Horne- Siepi; R:Bonynge) 898. V.Bellini, “La sonnanbula” (Sutherland- Pavarotti- Ghiaurov; R.Bonynge) 899. H.Berlioz, “La Damnation de Faust”, Parte I e II ( Rubio- Verreau- Roux; Igor Markevitch) 900. H.Berlioz, “La Damnation de Faust”, Parte III e IV 901. Alban Berg, “Wozzeck” ( Grundheber- Meier- Baker- Clark- Wottrich; Daniel Barenboim) 902. Georges Bizet, “Carmen” ( Verret- Lance- Garcisanz- Massard; Georges Pretre) 903. G.Bizet, “Carmen” (Price- Corelli- Freni; Herbert von Karajan) 904. G.Bizet, “Les Pecheurs de perles” (“I pescatori di perle”) e brani da “Ivan IV”. (Micheau- Gedda- Blanc; Pierre Dervaux) 905. Alfredo Catalani, “La Wally” (Tebaldi- Maionica- Gardino-Perotti- Prandelli; Arturo Basile) 906. Francesco Cilea, “L'Arlesiana” (Tassinari- Tagliavini- Galli- Silveri; Arturo Basile) 907. P.I.Ciaikovskij, “La Dama di Picche” (Freni- Atlantov-etc.) 908. P.I.Cajkovskij, “Evgenij Onegin” (Cernych- Mazurok-Sinjavskaja—Fedin; V. Fedoseev) 909. P.I.Tchaikovsky, “Eugene Onegin” (Alexander Orlov) 910. Luigi Cherubini, “Medea” (Callas- Vickers- Cossotto- Zaccaria; Nicola Rescigno) 911. Luigi Dallapiccola, “Il Prigioniero” ( Bryn-Julson- Hynninen- Haskin; Esa-Pekka Salonen) 912. Claude Debussy, “Pelléas et Mélisande” ( Dormoy- Command- Bacquier; Serge Baudo). 913. Gaetano Doninzetti, “La Favorita” (Bruson- Nave- Pavarotti, etc.) 914. -
RENATA TEBALDI Soprano
1958 Eightieth Season 1959 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Fourth Concert Thirteenth Annual Extra Series Complete Series 3252 RENATA TEBALDI Soprano GIORGIO F AVARETTO at the Piano TUESDAY EVENING, FEBRUARY 1 0 , 1959, AT 8:30 HILL AUDITORIUM, ANN ARBOR, M ICHIGAN PROGRAM Aria, "Ab! spietato" from Amadigi HANDEL 1Jna ragazza che non e pazza GALUPPI Caldo sangue SCARLATTI Canzonetta SCARLATTI Ridente la calma MOZART 1J n mota di gioia MOZART La Regata Veneziana ROSSINI Anzoleta prima della regata Anzoleta durante la regata Anzoleta dopo Ia regata Vaga luna che inargenti BELLINI Per pieta bell' idol mio BELLINI INTERMISSION M'ama, non m'ama MASCAGNI Notte RESPIGHI Ninna nanna di 1Jliva . PIZZETTI o luna cbe fa' lume DAVICO A vuccbella TOSTI "Salce, salce" "Ave Maria" } from Otello VERDI London Ifrr Records The Steinway is the official piano of the U11iversity Musical Society A R S LON G A V I T A BREVIS PROGRAM NOTES "Ah, spietato," from Amadigi HANDEL Ah, cruel one, are you not moved by the constant affection that makes me languish for you! Una ragazza che non e pazza GALUPPI A girl who is not crazy knows not to let her chance pass. You know it and you will understand me. Even the little ewe lamb and dove would look for a companion. Why would not a girl! Caldo sangue SCARLATTI Hot hlood, hot blood, that flows over my breast, give testimony of my love and devotion to my father as I die. -
Pentagrammi 29 2019.Indd
N. 29 - CULTURA MUSICA ARTE AMBIENTE SOCIETÀ - APRILE 2019 PENTAGRAMMI PER … NICOLA DE GIOSA A D S «La Puglia è un continente. Montagnosa e rurale nel Subap- pennino dauno, rocciosa e arcaica nel promontorio garganico, si stende in una piana frumentosa nel Tavoliere, si fa siccitosa sulla Murgia, olivicola e mercantile sul mare, per diventare di sughero e neve a sud del capoluogo e tornare friabile e aspra nel Salento.» Con tali affermazioni lo scrittore lucano Raffaele Nigro de- scrive la terra di Puglia, fiorente nella sua biodiversità, struttu- rata creativamente, come le attività che nutre e che la nutrono, commerciali, economiche, culturali, artistiche, … La Puglia ha generato, nelle varie epoche storiche, illustri figli, distintisi, quali personalità dotate di talento e fantasia geniale, e intuizioni originali e innovative, in ambito internazionale. Numerosi sono, pertanto, i musicisti nati in Puglia, nei differenti secoli, e, in particolare, a Bari, anche se vissuti, e talvolta deceduti, in altre città. Nel XVI secolo si annoverano, tra gli altri, i compo- sitori nati a Bari: Stefano Felis, Maestro di Cappella nella Chiesa di San Nicola a Bari, e autore di una «Missa Sancti Ni- cholai»; Pomponio Nenna, il quale, definito dal discepolo Ar- chilei «Homo con cui pare rinascesse e si perfezionasse la mu- sica», sembra sia stato allievo di Felis e, a sua volta, maestro di Carlo Gesualdo Principe di Venosa; Muzio Effrem, che ha tra- scorso due decenni al servizio di Gesualdo di Venosa; il fratello ManlioM li Chieppa,Chi «Agrumeto»,A t 1998,1998 cm.83x83,83 83 polit-lit Alessandro Effrem; Giacomo De Antiquis, il quale fu «Musi- tico, smalto e t.m. -
Aureliano in Palmira Gioachino Rossini (1792-1868) : Felice Romani (1788-1865)
1/3 Data Livret de Aureliano in Palmira Gioachino Rossini (1792-1868) : Felice Romani (1788-1865) Langue : Italien Genre ou forme de l’œuvre : Œuvres musicales Date : 1813 Note : "Dramma serio" en 2 actes créé à Milan, Teatro alla Scala, le 26 décembre 1813. - Livret de Felice Romani d'après "Zenobia di Palmira" d'Anfossi Éditions de Aureliano in Palmira (19 ressources dans data.bnf.fr) Partitions (13) Cavatina del maestro , Gioachino Rossini Quartetto pastorale , Gioachino Rossini Rossini nell' Aureliano in (1792-1868), Paris : Pacini nell'Aureliano in Palmira. (1792-1868), Paris : Pacini Palmira. [Chant et piano] , [s.d.] Composto dal maestro , [s.d.] Rossini. [Chant et accompagnement de piano] Aureliano in Palmira, opéra , Gioachino Rossini Cavatina nell'Aureliano in , Gioachino Rossini in due atti, musica di (1792-1868), Paris : Palmira, musica del (1792-1868), Paris : Pacini Rossini [Partition chant et Schonenberger , [s.d.] maestro Rossini. [Chant et , [s.d.] piano] piano] Terzettino nel Aureliano in , Gioachino Rossini Cavatina nell'Aureliano in , Gioachino Rossini Palmira del maestro (1792-1868), Paris : Pacini Palmira del maestro (1792-1868), Paris : Pacini Rossini. [Chant et piano] , [s.d.] Rossini. [Chant et piano] , [s.d.] Aureliano in Palmira. Mille sospiri e lagrimé. - [7] Aureliano in Palmira , Felice Romani (2019) (1788-1865), Gioachino Rossini (1792-1868), Pesaro : Fondazione Rossini data.bnf.fr 2/3 Data Aureliano in Palmira, opera , Felice Romani Mille sospiri e Lagrime. Air , Gioachino Rossini in 2 atti (1788-1865), Gioachino à 2 v. tiré d'Aureliano in (1792-1868), Paris : [s.n.] , (1855) Rossini (1792-1868), Paris Palmira 1823 : Schonenberger , [1855] (1823) Ecco mi, ingiustinumi. -
Petite Messe Solennelle
Altrincham Choral Society Rossini Petite Messe Solennelle Steven Roberts Conductor Lydia Bryan Piano Jeffrey Makinson Chamber organ Emma Morwood Soprano Carolina Krogius Mezzo-soprano John Pierce Tenor Thomas Eaglen Bass Royal Northern College of Music Saturday 13th November 2010 Altrincham7.30 Choral p.m. Society Altrincham Choral Society Brenda Adams Bill Hetherington Ian Provost Joy Anderson Jane Hollinshead Linley Roach * Sara Apps Catherine Horrocks * Doris Robinson * Pat Arnold * Valerie Hotter Kate Robinson Ann Ashby Gail Hunt Christine Ross Joyce Astill * Rosemary Hurley Jenny Ruff Kate Barlow Karen Jarmany Stephen Secretan Janet Bedell Elizabeth Jones # Fiona Simpson Laura Booth Rodney Jones Isabel Sinagola Frances Broad * John King-Hele * Susan Sinagola Anne Bullock George Kistruck Isobel Singleton Anthony Campion Elisabeth Lawrence Colin Skelton * John Charlton * Jan Lees Audrey Smallridge # Barbara Clift * John Lees David Swindlehurst Barbara Coombs * Gill Leigh Audrey Taylor * Michael Cummings Keith Lewis Brian Taylor Adrienne Davies Annie Lloyd-Walker Elizabeth Taylor Jacqueline Davies Emma Loat Adrienne Thompson Marie Dixon Rosie Lucas * Ted Thompson * Jean Drape * Sarah Lucas Pamela Thomson Richard Dyson Gavin McBride Jane Tilston Kathy Duffy Helen McBride Jean Tragen Liz Foy Tom McGrath Gill Turner Joyce Fuller Hazel Meakin Elaine Van Der Zeil Rima Gasperas Cathy Merrell Joyce Venables ++ Estelle Goodwin Catherine Mottram Catherine Verdin Bryan Goude * Pamela Moult Christine Weekes Ann Grainger John Mulholland Geryl Whitaker -
The Barber of Seville
The Barber of Seville Education Kit Opera Australia The Barber of Seville 2019 Education Kit WELCOME In 2019, we are delighted to present The Barber of Seville as Opera Australia’s Schools Tour in Victoria. Singing and drama play an inspiring role in the education of children. We aim to foster a love of the performing arts in people of all ages, engaging them in a combination of music, singing, drama and design. Opera involves its audience visually, aurally and emotionally. For over 20 years, Opera Australia has maintained a strong commitment to bringing high calibre opera into schools; and our Schools Tours have developed a reputation for being some of the finest incursion performances in Australia. This year, 70,000 children will experience the excitement of opera in their own school. We trust that The Barber of Seville inspires your students, and that their engagement with the performing arts encourages their creativity, imagination and learning. Rory Jeffes Chief Executive Officer Opera Australia 1 The Barber of Seville 2019 Education Kit Contents ABOUT OPERA AUSTRALIA ...................................................................................................................... 3 ABOUT OPERA ......................................................................................................................................... 4 OPERA: A HISTORY ............................................................................................................................. 4 THE OPERATIC VOICE ............................................................................................................................ -
Gioachino Rossini (1792–1868)
4 CDs 4 Christian Benda Christian Prague Sinfonia Orchestra Sinfonia Prague COMPLETE OVERTURES COMPLETE ROSSINI GIOACHINO COMPLETE OVERTURES ROSSINI GIOACHINO 4 CDs 4 GIOACHINO ROSSINI (1792–1868) COMPLETE OVERTURES Prague Sinfonia Orchestra Christian Benda Rossini’s musical wit and zest for comic characterisation have enriched the operatic repertoire immeasurably, and his overtures distil these qualities into works of colourful orchestration, bravura and charm. From his most popular, such as La scala di seta (The Silken Ladder) and La gazza ladra (The Thieving Magpie), to the rarity Matilde of Shabran, the full force of Rossini’s dramatic power is revealed in these masterpieces of invention. Each of the four discs in this set has received outstanding international acclaim, with Volume 2 described as “an unalloyed winner” by ClassicsToday, and the Prague Sinfonia Orchestra’s playing described as “stunning” by American Record Guide (Volume 3). COMPLETE OVERTURES • 1 (8.570933) La gazza ladra • Semiramide • Elisabetta, Regina d’Inghilterra (Il barbiere di Siviglia) • Otello • Le siège de Corinthe • Sinfonia in D ‘al Conventello’ • Ermione COMPLETE OVERTURES • 2 (8.570934) Guillaume Tell • Eduardo e Cristina • L’inganno felice • La scala di seta • Demetrio e Polibio • Il Signor Bruschino • Sinfonia di Bologna • Sigismondo COMPLETE OVERTURES • 3 (8.570935) Maometto II (1822 Venice version) • L’Italiana in Algeri • La Cenerentola • Grand’overtura ‘obbligata a contrabbasso’ • Matilde di Shabran, ossia Bellezza, e cuor di ferro • La cambiale di matrimonio • Tancredi CD 4 COMPLETE OVERTURES • 4 (8.572735) Il barbiere di Siviglia • Il Turco in Italia • Sinfonia in E flat major • Ricciardo e Zoraide • Torvaldo e Dorliska • Armida • Le Comte Ory • Bianca e Falliero 8.504048 Booklet Notes in English • Made in Germany ℗ 2013, 2014, 2015 © 2017 Naxos Rights US, Inc. -
Press Kit: the Barber of Seville
Press Kit: The Barber of Seville Press Release José Maria Condemi Bio Bryan Nies Bio Synopsis Images: Krassen Karagiozov (as Figaro in The Barber of Seville) José Maria Condemi (stage director) Bryan Nies (conductor) News Release Press contacts: Virginia Perry, 408.437.4463 or 650.799.1341 [email protected] Elizabeth Santana, 408.437.2229 [email protected] FOR IMMEDIATE RELEASE: December 13, 2010 “Give Us More Barbers!” – Beethoven The Barber of Seville Opera San José presents Rossini’s comic masterpiece SAN JOSÉ, CA— Opera San José continues its 27th Season with Rossini’s delightful comic opera, The Barber of Seville. The charming tale of a clever young woman, her eager lover, and their resourceful accomplice, Figaro, The Barber of Seville is a tuneful testament to all that’s wonderful about fun and romance. Eight performances are scheduled from February 12 through 27 at the California Theatre, 345 South First Street in downtown San José. Tickets are on sale at the Opera San José Box Office, by phone at (408) 437-4450 or online at www.operasj.org. This production of The Barber of Seville is made possible, in part, by a Cultural Affairs Grant from the City of San José. The madcap story unfolds fast and furious in 18th-century Seville, Spain. Young Rosina is a wealthy orphan and the ward of a grasping old codger, Dr. Bartolo, who is plotting to marry her not only for her beauty, but for her substantial dowry. However, Rosina has two things on her side: the handsome Count Almaviva, who has fallen in love with her, and the town barber, Figaro, her conniving accomplice, who through clever disguises and quick wit succeeds in securing victory for the young couple. -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
William Kentridge Brings 'Wozzeck' Into the Trenches
William Kentridge Brings ‘Wozzeck’ Into the Trenches The artist’s production of Berg’s brutal opera, updated to World War I, has come to the Metropolitan Opera. By Jason Farago (December 26, 2019) ”Credit...Devin Yalkin for The New York Times Three years ago, on a trip to Johannesburg, I had the chance to watch the artist William Kentridge working on a new production of Alban Berg’s knifelike opera “Wozzeck.” With a troupe of South African performers, Mr. Kentridge blocked out scenes from this bleak tale of a soldier driven to madness and murder — whose setting he was updating to the years around World War I, when it was written, through the hand-drawn animations and low-tech costumes that Metropolitan Opera audiences have seen in his stagings of Berg’s “Lulu” and Shostakovich’s “The Nose.” Some of what I saw in Mr. Kentridge’s studio has survived in “Wozzeck,” which opens at the Met on Friday. But he often works on multiple projects at once, and much of the material instead ended up in “The Head and the Load,” a historical pageant about the impact of World War I in Africa, which New York audiences saw last year at the Park Avenue Armory. Mr. Kentridge’s “Wozzeck” premiered at the Salzburg Festival in 2017. Zachary Woolfe of The New York Times called it “his most elegant and powerful operatic treatment yet.” At the Met, the Swedish baritone Peter Mattei will sing the title role for the first time; Elza van den Heever, like Mr. Kentridge from Johannesburg, plays his common-law wife, Marie; and Yannick Nézet- Séguin, the company’s music director, will conduct. -
Kenneth E. Querns Langley Doctor of Philosophy
Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c.