Biographies Creative Team Christian Capocaccia Chas Rader-Shieber Conductor Stage Director

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Biographies Creative Team Christian Capocaccia Chas Rader-Shieber Conductor Stage Director Christian Capocaccia is artistic director and Chas Rader-Shieber has directed over 30 principal conductor of Syracuse Opera, where productions for the Curtis Opera Theatre. he has led productions of Macbeth, Don Giovanni, His recent work outside of Philadelphia includes The Threepenny Opera, Carmen, Rigoletto, and new productions of Rusalka for Des Moines La bohème. As a guest conductor, he has led Metro Opera; La finta giardiniera for Portland productions for Pittsburgh Opera (L’elisir d’amore, Opera; Artaserse for Pinchgut Opera in Sydney, La traviata), Welsh National Opera (Roberto Australia; and Shining Brow for Arizona Opera. Devereux), Manhattan School of Music (Orlando His work has been seen at the opera companies Paladino), and OperaLombardia (I Capuleti of Los Angeles, San Francisco, Chicago, Santa e i Montecchi, Les Contes d’Hoffmann), Fe, Houston, Glimmerglass, St. Louis, Boston, among others. Philadelphia, Minnesota, and Vancouver; Mr. Capocaccia appears frequently in Staatstheater Darmstadt; the New York City concert with Symphoria, as its associate Opera; Washington National Opera; and the conductor. He has conducted the Pittsburgh Spoleto Festival, among others. Symphony, the Rochester Philharmonic Having made a specialty of 17th- and Orchestra, Moscow Ballet Orchestra, and 18th-century operas, Mr. Rader-Shieber has several orchestras in his native Italy, including directed Mozart’s Idomeneo, La clemenza di Tito, Orchestra di Roma e del Lazio, Orchestra Città Die Zauberflöte, Le nozze di Figaro, Don Giovanni, Aperta, and Orchestra Sinfonica di Pesaro. Il re pastore, and Così fan tutte; Handel’s Giulio Mr Capocaccia has served as assistant Cesare, Semele, Ariodante, Acis and Galatea, conductor of the Dallas Opera, Indiana University Imeneo, Alcina, Xerxes, Partenope, Rinaldo, Opera, and Indiana University New Music Tolomeo, and Flavio; and works of Cavalli, Ensemble; resident conductor of the Fischer Charpentier, Gluck, Monteverdi, and Purcell. Center at Bard College; visiting conductor with In 2020 he directs new productions of Montclair State University’s Opera Department; Vivaldi’s Bajazet for Portland Opera and and assistant professor of conducting at the State Rameau’s Platée for Des Moines Metro Opera. University of New York College at Fredonia. Mr. Rader-Shieber joined the Curtis faculty Born in Rome, Mr. Capocaccia attended in 2009. the Santa Cecilia Music Conservatory. He is graduate of Indiana University Jacobs School of Music and attended the Aspen Music Festival and School as a conducting fellow, studying under David Zinman and Murry Sidlin. 24.

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Imeneo Delights
12 Opera con Brio, LLC March 2013 Opera con Brio Richard B. Beams London Handel Festival, 2013 Handel’s Imeneo Delights Handel’s penultimate opera, Imeneo, received a sparkling performance Rosmene and Clomiri, sent overseas to participate in rites for the in March at the thirty-sixth London Handel Festival, a performance goddess Ceres. Not to worry. Imeneo (disguised as a woman to be that confirmed both the theatrical viability and musical worth of this nearer his beloved Rosmene) had accompanied them and soon defeats neglected Mozartian jewel. Like Mozart’s drama giocoso, Cosi fan the pirates, rescues the sisters and returns them to their native Athens. Tutte, Handel’s “operetta” (as he called it) involves a romantic By operetta convention, Rosmene is honor-bound to marry the man quadrangle revolving around the who rescued her, assuming he so issue of marriage. Since Imeneo chooses – which he does. (The (aka Hymen) is the Greek god of younger sister, Clomiri, is smitten marriage, opportunity abounds for by Imeneo, but to no avail.) mirth and frivolity to mesh with Naturally, the complication is that sentiment, bringing to the fore the Rosmene’s heart belongs to touch of irony latent in the libretto. another, her betrothed, Tirinto. The With Handel’s music expressing only other character in the opera, the emotional depth so often the girls’ pompous father, Argenio, beneath the comic surface, this harangues Rosmene mercilessly lively production wonderfully about her duty. Eventually she caught the “tinta” of the work, as gives in – although it is clear from well as Handel’s tongue-in-cheek Handel’s music that his sympathies attitude towards the libretto.
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The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
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Handel's Oratorios and the Culture of Sentiment By
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Viva!” Is the Final Number of Il Re Pastore (The Shepherd King), Which Mozart Composed in 1775 in Salzburg When He Was Just 19 Years Old
2 Editor’s Note Wolfgang Amadeus Mozart (1756-1791) was one of the most significant composers of the Viennese Classical style and is revered today as one of the greatest composers of all time. Mozart was a tremendously talented composer in the many forms of the Classical era, including operas, symphonies, concertos, chamber works, sonatas, choral works, arias, and songs. His works are highly revered today for their beautiful melodies and rich harmonies. Born in Salzburg, Austria, Mozart’s genius was apparent at a very early age. He became a well-known performer in many European cities by his early teens, eventually serving as concertmaster for the Archbishop of Salzburg. In 1781, after becoming discontented with his low salary and the lack of opportunity for more opera composition in Salzburg, Mozart quit the position and settled in Vienna. Achieving many successes in Vienna, he became known as the finest keyboardist in the city, and he completed a variety of works, including piano concertos and operas. Although he became famous for a while, Mozart’s career and finances gradually declined. He spent his remaining years without the security of a permanent position while struggling for recognition and commissions. “Viva!” is the final number of Il re pastore (The Shepherd King), which Mozart composed in 1775 in Salzburg when he was just 19 years old. Based on the 1751 libretto of Pietro Metastasio, this two-act work is often referred to as a “seranata” because it is a shortened version of an opera seria (serious opera). The production features a small cast of performers and was originally presented with very limited staging.
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A Countertenor's Reference Guide to Operatic Repertoire
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George Frideric Handel (1685-1759) Ellen T
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Handel Arias
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Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
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This Is Normal Text
AN EXAMINATION OF WORKS FOR SOPRANO: “LASCIA CH’IO PIANGA” FROM RINALDO, BY G.F. HANDEL; NUR WER DIE SEHNSUCHT KENNT, HEISS’ MICH NICHT REDEN, SO LASST MICH SCHEINEN, BY FRANZ SCHUBERT; AUF DEM STROM, BY FRANZ SCHUBERT; SI MES VERS AVAIENT DES AILES, L’ÉNAMOURÉE, A CHLORIS, BY REYNALDO HAHN; “ADIEU, NOTRE PETITE TABLE” FROM MANON, BY JULES MASSENET; HE’S GONE AWAY, THE NIGHTINGALE, BLACK IS THE COLOR OF MY TRUE LOVE’S HAIR, ADAPTED AND ARRANGED BY CLIFFORD SHAW; “IN QUELLE TRINE MORBIDE” FROM MANON LESCAUT, BY GIACOMO PUCCINI by ELIZABETH ANN RODINA B.M., KANSAS STATE UNIVERSITY, 2006 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2008 Approved by: Major Professor Dr. Jennifer Edwards Copyright ELIZABETH ANN RODINA 2008 Abstract This report consists of extended program notes and translations for programmed songs and arias presented in recital by Elizabeth Ann Rodina on April 22, 2008 at 7:30 p.m. in All Faith’s Chapel on the Kansas State University campus. Included on the recital were works by George Frideric Handel, Franz Schubert, Reynaldo Hahn, Jules Massenet, Clifford Shaw, and Giacomo Puccini. The program notes include biographical information about the composers and a textual and musical analysis of their works. Table of Contents List of Figures ................................................................................................................................ vi List of Tables ..............................................................................................................................
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European Music Manuscripts Before 1820
EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740 - 1770 Unit Six: Manuscripts, Catalogue No.s 1242 - 2212 Primary Source Media EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740-1770 Unit Six: Manuscripts, Catalogue No.s 1242 - 2212 First published in 2000 by Primary Source Media Primary Source Media is an imprint of the Gale Cengage Learning. Filmed in Portugal from the holdings of The Biblioteca da Ajuda, Lisbon by The Photographic Department of IPPAR. All rights reserved. No part of this publication may be reproduced without prior permission. CENGAGE LEARNING LIBRARY PRIMARY SOURCE MEDIA REFERENCE EMEA GALE CENGAGE LEARNING Cheriton House 12 Lunar Drive North Way Woodbridge Andover SP10 5BE Connecticut 06525 United Kingdom USA http://gale.cengage.co.uk/ www.gale.cengage.com CONTENTS Introduction 5 Publisher’s Note 9 Contents of Reels 11 Listing of Manuscripts 15 3 INTRODUCTION The Ajuda Library was established after the Lisbon earthquake of 1755 near the royal palace of the same name to replace the court library which had been destroyed in the earthquake, and from its creation it incorporated many different collections, which were either acquired, donated or in certain cases confiscated, belonging to private owners, members of the royal family or religious institutions. Part of the library holdings followed the royal family to Brazil after 1807 and several of these remained there after the court returned to Portugal in 1822. The printed part of those holdings constituted the basis of the National Library of Rio de Janeiro.
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Provence, Nireno Giulio Cesare at the Théât
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