DOCSLIB.ORG

Lina Cavalieri, the Famous Beauty of the Operatic Stage

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lina Cavalieri, the Famous Beauty of the Operatic Stage LINA CAVALIERI, THE FAMOUS BEAUTY OF THE OPERATIC STAGE BY WILLIAM ARMSTRONG AUTHOR OF "TIIEKLA," "AN AMERICAN NOBLEMAN," ETC. VERY beautiful woman is called is the family name. Her first summer upon only to know her profile, her days were spent in playing in the shadow A full face, and her figure; as long of a massive doorway, under which sol­ as these last she has small reason to dier ancestors of hers—cavalieri—may study anything else. To be a very have ridden into the stone-paved court beautiful woman, and yet to have the beyond in the times of the Ciesars. Her ambition, talent, and determination to be delicate, aristocratic type of beauty, her something more in the world, is to create instinctive and graceful doing of the an unusual situation—a situation such as right thing at the right moment, are Natalina Cavalieri presents to us. birthrights of the girls of the old Roman From the beginning, Mme. Cavalieri's families. One sees in her the late-bloom­ purpose has been as firmly mapped out as ing flower of a long line of cavaliers, a great general, or a plain woman, would whose fortunes, like their hearts, have plan a campaign to conquer distinction. long ago crumbled ; but they left to her At five, she had decided to be either a the one unfailing quality of courage, and great dancer or a prima donna. I'^arly on it she has built up her life. opportunities were not given her ; all that she had were of her own making. For A LIIILU SIXOKU or I'lII'; KOMAX S'IRKKIS years she sang in (-(?/V.f chaiitants. where At five, on a jest a. her mother took her her beauty, and, incidentally, her gay lit­ to the theater to see a comedy; the art tle Neapolitan melodies, conquered every distractions of the Roman begin early. audience that heard her. This was a situa­ Then there fully awakened in her a con­ tion with wdiich most cair chantaut per­ sciousness always present, but suddenly formers would have been idly content ; first realized. That dav, and for long Mme. Cavalieri was not. A\'hen she was afterward, her mind was divided between able to afford it, she began serious mu­ two desires—to be a great dancer and to sical study. For three years she toiled at be a great singer. it, meanwhile doing her cajc singing in Succeeding days went by for her much the evenings; then she made her debut in as they do for other Roman children. grand opera at the San Carlo in Naples, With the rest of the bambini and hamhine as Mimi in " I.a Boheme." with l^onci in of the family she loitered in the Piazza the cast. di Spagna, or climbed up the lengtli of Since then she has sung in opera in the Scala, out of the sunshine into the many countries, but in no case with such breeze and shadow of the Pincio. And unique contrast as last spring in Paris, there, in later years, came her awakening where, once a singer at the Folies-Bergere to the knowledge that she was a woman. music-hall, she returned as prima donna She could no longer sing and dance to at the Opera in Massenet's "Thais." merely a circle of children: for people Engaged for three trial performances, of the great world, and of the little one her success caused her retention there for of Rome, commented in frank, continen­ nine. tal fashion on her grace, on her eyes, on She is a native of Rome, and Cavalieri the line of her profile. She suddenly PRODUCED BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED LIN A CAVALIER! 75 ceased lier dance, and, goinj^' OV^T to the the narrow streets, with the children, and wall in front of the fountain, she rested under the shadow of tlie gateway of home, her head on her arm- slie hurried to tell lier mother of what NATALINA CAVALIERI, WHO FOR THE PAST TWO SEASONS HAS BEEN THE LEADING ITALIAN SOPRANO AT THE METROPOLITAN OPERA-HOUSE IN NEW YORK FTOIII a coh't'^t^hted thotograth by Duponi, New York For a long time she looked out over had been said to her, and of the thoughts Rome witliout seeing it ; when she came that disturbed her. That evening her out of her reverie, tlie dome of St. childhood was ended. The father had Peter's was swimming in the mist of a long been ill; the other children were too rose-colored twilight. Down through young to earn; the mother was helpless. PRODUCED BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED 76 MUNSEY'S MAGAZINE Tliis talent of Natalina'> might mean of the nest, she was the mainstay and salvation. su|)|ioi't of tlie liome. A little later siie made her debut at a cafe chantant. it was the beginning of IIi;k I'IRSr .SLOTESS 1\ P,\R1S a new life—not the one she liad dreamed Her early public career in liome was for herself, but she ai'cepted it; for tlie a pleasing success of the usual kind. It otlier one slie was willing to wait. From was not until later, after singing in vari­ tliat dav on. until her brothers and sisters ous other cities, tliat she first went to gri'w old enough to trv their wings out Paris. There the adorable cliarm of her MME. CAVALIKRI AS ELENA IN BOITO S 'MEFISTOFELE From a rOpyrlgiitcJ fJioto!:,'riiph hy Ihipout. .Wrc York PRODUCED BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED UNA CAVATJERI 77 youth, the insinuating swing of her Italian melodies, the naive sim­ plicity of her songs, and the classic heauty of the singer, swept the town. From then on. Mine. Cavalieri knew what such a triumpli could bring. Its material meaning, to her, was that now at last she could leave be­ hind her the career in which she had won her success, and study to reach a higher level of art. I'\)r three years, wherever she went to fulfil lier cafe chant ant engagements, she took with her the teacher she had chosen—Mme. Mariani-Masi., for whom Amilcare Pon- chielli wrote " F-a Gio- conda," and to whom he dedicated his mas­ terpiece. It takes much strength of cliaracter and no small amount of self- reliance to give up a successful career to em­ bark on an untried one. In those days of study, and since, Mme. Cav­ alieri has learned the prima donna parts in " 'I'raviata," " Faust," " Romeo et Juliette," " Carmen," " jNIefisto- fele," " Pagliacci," " Cavalleria Rusti- CAV.-\HERI AS VIOLETTA IN THE FIRST ACT cana," " La Boheme," OF " LA TRAVIATA ' " Tosca," the " Manon From a tkoio^o-ath by Reutlhiger, Paris Lescaut" of Puccini, and the "Manon" of Massenet; "Thais," acci." hi the jireseiit season, u[) to the " Fedora," and " I.es Contes d'Hoffman," time of writing, the only addition to her in which last she has sung both Olxmpia list has been the name-part of Cilea's and Antonia. " Adriana Lecouvreur." She made her New York debut in the title-role of Giordano's " Fedora" on HOW SHE WORKS OUT HER ROLES December 5, 1906. During that winter The dramatic side of her art Mme. she also appeared as Manon Lescaut (Cavalieri has never studied, in the tradi­ in the Puccini opera, Tosca. Mimi in tional sense of the word. Her somewhat " La Boheme," and Nedda in " Pagli- daring theory is that one should act natu- PRODUCED BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED 78 MUNSEY'S MAGAZINE rally, and that study of the accepted changeable sensations. The short six sort only results in acting unnaturally. w-eeks of rest in summer—rest mainly in Her plan is to read the book of the opera, the sense of being away from the theater and whatever literature may exist on the —are weeks of desire to get back to an subject; after that she thinks over what absorbing interest for which there is no she has read, and goes on for rehearsal. substitute. She forms her conceptions not so much Another phase of Mme. Cavalieri's by reason as by instinct—the instinct of nature is contradictory of the established a woman's sympathy and psvchological traditions of the operatic prima donna. power. .She finds in lier own nature the W'lien tilings go wrong, tliere follows no l)est key to the problems of an operatic \-iolent assertion tliat slie will go liome lieroine's personality; and when a sensi­ and refuse to sing. There is perhaps a tive woman can discover witliin herself brief exclamation, then all is ([uiet, and an element that yields response to the ])resently her temper slips into its normal nature slie is jjortraying, who may sav groove again. that her way of portraving it is not tlie right one? •I'lIK POWKR OF FF.MIMXK CH.ARM Such a metliod might well be dis­ 'l"he one cliarm that is, if jjossible, more astrous to one not naturally endowed with essential to a beautiful woman than to Mine. Cavalieri's remarkal)le gift as a any other, is the art of jtleasing. With­ temperamental actress. The extent of out it. she can never captivate a class most that gift was most strikingly shown, per- important to her enduring success—her liaps, when she a])peared as Tosra at the own sex; and she can never hold the op­ Metro])olitan, a little mijre than a year posite one, for man looks on a beautiful ago.
Load more

Recommended publications
  • Approvatoilbilancio2012
    COMUNE DI ONANO www.comune.onano.vt.it Supplemento al numero 9/10 del Periodico IL CENTRO ITALIA- Agosto 2012 - Editore S.Ed Editrice Srl Viterbo Ogni anno è sempre più difficile chiu- trattenute sindacali ecc… . dere in pareggio il Bilancio di Previ- La crisi colpisce anche Onano Non è stato facile chiudere il bilancio sione del nostro piccolo Comune; o in questione perché dovete sapere che meglio è sempre più difficile porta- i trasferimenti dello Stato dal 2009 re in pareggio i bilanci di previsione ad oggi sono diminuiti di oltre € negli Enti Locali, specialmente se di Approvato il bilancio 2012 35.000, non ci sono più tagli di bosco piccole dimensioni come il nostro. In fittizi in bilancio se non sbaglio quel- parole povere i nostri governanti non lo messo nel 2008 è ancora da vende- hanno il coraggio di chiudere i Piccoli re!, i servizi a domanda individuale Comuni, ma fanno in modo e maniera non sono stati aumentati sebbene ab- che questi ultimi si auto estinguano biano avuto un enorme incremento di per mancanza di fondi. Forse il Legi- spesa. slatore non capisce o meglio non vuo- Afronte di tutto ciò questa maggio- le capire, che le spese più oculate, ranza non ha minimamente au- parsimoniose, controllate, sviscerate, mentato il ruolo d’acqua, la tassa scrupolose, ponderate, vengono effet- sui rifiuti, irpef e, ad oggi, neanche tuate proprio dai Piccoli Comuni in l’IMU. E’ bene evidenziare che i Comuni li- quanto, coscienti e consapevoli che Il campo sportivo sarà finalmente dotato di unʼadeguata gradinata con campienza non hanno moltissime risorse econo- di circa 170 posti a sedere mitrofi hanno tutti aumentato qual- miche a disposizione, con quelle po- che ruolo avanti citato per far qua- normative nazionali che ridimensio- al 4% nel 2014.
    [Show full text]
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh.
    [Show full text]
  • New Findings and Perspectives Edited by Monica Dall’Asta, Victoria Duckett, Lucia Tralli Researching Women in Silent Cinema New Findings and Perspectives
    in Silent Cinema New Findings and Perspectives edited by Monica Dall’Asta, Victoria Duckett, lucia Tralli RESEARCHING WOMEN IN SILENT CINEMA NEW FINDINGS AND PERSPECTIVES Edited by: Monica Dall’Asta Victoria Duckett Lucia Tralli Women and Screen Cultures Series editors: Monica Dall’Asta, Victoria Duckett ISSN 2283-6462 Women and Screen Cultures is a series of experimental digital books aimed to promote research and knowledge on the contribution of women to the cultural history of screen media. Published by the Department of the Arts at the University of Bologna, it is issued under the conditions of both open publishing and blind peer review. It will host collections, monographs, translations of open source archive materials, illustrated volumes, transcripts of conferences, and more. Proposals are welcomed for both disciplinary and multi-disciplinary contributions in the fields of film history and theory, television and media studies, visual studies, photography and new media. http://creativecommons.org/licenses/by-nc-nd/3.0/us/ # 1 Researching Women in Silent Cinema: New Findings and Perspectives Edited by: Monica Dall’Asta, Victoria Duckett, Lucia Tralli ISBN 9788898010103 2013. Published by the Department of Arts, University of Bologna in association with the Victorian College of the Arts, University of Melbourne and Women and Film History International Graphic design: Lucia Tralli Researching Women in Silent Cinema: New Findings and Perspectives Peer Review Statement This publication has been edited through a blind peer review process. Papers from the Sixth Women and the Silent Screen Conference (University of Bologna, 2010), a biennial event sponsored by Women and Film History International, were read by the editors and then submitted to at least one anonymous reviewer.
    [Show full text]
  • Italian Mastermind: Puccini Part 2
    Week 14: Italian Mastermind: Puccini Part 2 1. What opera by Puccini premiered at the Grand Theatre de Monte Carlo on March 27, 1917? A: La rondine La rondine (The Swallow) was initially conceived as an operetta, but Puccini eliminated spoken dialogue, rendering the work closer in form to opera. A modern reviewer described La rondine as "a continuous fabric of lilting waltz tunes, catchy pop-styled melodies, and nostalgic love music," while characterizing the plot as recycling characters and incidents from works like 'La traviata' and 'Die Fledermaus’.” Final scene of Act 3 of a 2009 Metropolitan Opera production of La rondine: https://www.youtube.com/watch?v=zSklQLkoymE La rondine had its Cincinnati Opera debut in 1973 and was last seen in 1984. 2. Il trittico is composed of three one-act operas, each concerning the concealment of a death, which one is not a part of it? A. II tabarro B. Suor Angelica C. Il Purgatorio D. Gianni Schicchi In 1918, Il trittico (The Triptych) premiered in New York in December 14, 1918. This work is composed of three one-act operas, each concerning the concealment of a death: a horrific episode (Il tabarro) in the style of the Parisian Grand Guignol, a sentimental tragedy (Suor Angelica), and a comedy (Gianni Schicchi). Initially, Puccini had planned each opera to reflect on Dante’s Divine Comedy, but decide to base it only on Gianni Schicchi. Ermonela Jaho sings ‘Senza mamma” from Royal Opera House’s 2015 production of Suor Angelica: https://www.youtube.com/watch?v=ZTB2OvpC1W0 Il tabarro had its Cincinnati Opera debut in 1975 and was last seen in 1982.
    [Show full text]
  • Retratos Fotográficos E Representação Feminina Nos Tempos Da Belle Èpoque
    História (São Paulo) DOI:10.1590/1980-436920140002000021 Lina Cavalieri, musa da Belle Époque: representações da feminilidade em cartões-postais Lina Cavalieri, muse of the Belle Epoque: representations of feminineness in postcards ________________________________________________________________________________ Marco Antonio STANCIK Universidade Estadual de Ponta Grosa , Ponta Grossa, PR, Brasil. Contato: [email protected] Resumo: O ensaio analisa as representações da cantora de ópera Lina Cavalieri (1874-1944) transmitidas por intermédio de cartões-postais fotográficos produzidos nos tempos da Belle Époque, em contraposição com sua trajetória nos palcos. Observa-se que seus retratos evidenciam estereótipos de fragilidade e dependência feminina vigentes no período, apesar de produzidos ao longo de uma trajetória que os negava em determinados aspectos. Contudo, e paradoxalmente, também estabelecem diálogo com tendências favoráveis a uma nova ética sexual e à ampliação dos espaços de atuação e de afirmação feminina na cena pública. Palavras-chave: Lina Cavalieri; retratos fotográficos; cartões-postais; Belle Époque; gênero. Abstract: The essay analyzes representations of opera singer Lina Cavalieri (1874-1944) that were disseminated by photographic postcards created at the time of the Belle Epoque, which are compared with her career on the stage. Was observed that her portraits had been associated with stereotypes of fragility and female dependence, although them were produced during her time at the stage, when tended to occasionally
    [Show full text]
  • Luxury Estate in Umbria
    Rif. 0457 Lionard S.p.A. Italy, 50123 Florence - Via de’ Tornabuoni, 1 - Ph. +39 055 0548100 | Italy, 20121 Milan - Via Borgonuovo, 20 20121 - Ph. +39 02 25061442 VAT Nr. 01660450477 www.lionard.com - [email protected] Lionard Luxury Real Estate Via de’ Tornabuoni, 1 50123 Florence Italy Tel. +39 055 0548100 Umbria Perugia Luxury Estate in Umbria DESCRIPTION It is difficult to resist the fascination of this wonderful farm. The first historic documents relate to 1370 when the castle was involved in bitter disputes before being destroyed in 1395. Some years later the first reconstruction began, completed in the second half of the XVII century with the addition of the main villa annex. A meeting place for Marianna Baccinetti, wife of Ettore Florenzi, and King Luigi I of Baviera, the farm was the scene of a tender friendship which lasted for more than forty years. The King would journey to Ascagnano every year especially to be with his beloved Marianna. The property is composed of a nucleus of antique structures located on a suggestive plateau allowing it to dominate the whole of the upper Valle del Tevere. The farm, comprising the castle with seventeenth century villa annex, farm houses and farmsteads with land, a working farm business and Lionard S.p.A. Italy, 50123 Florence - Via de’ Tornabuoni, 1 - Ph. +39 055 0548100 | Italy, 20121 Milan - Via Borgonuovo, 20 20121 - Ph. +39 02 25061442 VAT Nr. 01660450477 www.lionard.com - [email protected] English pure blood horse breeding facilities, all surrounded by over 560 hectares of land. The zootechnical structures for horse breeding were created at the beginning of the seventies and are composed of various buildings used for services and accommodation, storage and 50 horse boxes.
    [Show full text]
  • Manon Lescaut
    Synopsis Act I A square in Amiens. Edmondo, a songwriter, and his student companions flirt with some girls. His friend, des Grieux, also a student, stays apart from them. A carriage arrives, bringing Geronte, a tax collector, and Lescaut, a soldier, who is accompanying his younger sister, Manon. Des Grieux falls in love with her at first sight, finds out that her father is sending her to a convent, and makes plans to prevent this happening. But Geronte, with Lescaut’s connivance, intends to abduct Manon. Edmondo overhears his plans and warns des Grieux, who escapes with Manon to Paris. Lescaut consoles Geronte by telling him that Manon will not stay long with a student and that he will bring her back to him. Act II A house in Paris. Manon has left des Grieux and is living a life of luxury with Geronte. She’s bored, and her brother promises to arrange for des Grieux to visit her. Some singers serenade Manon with a madrigal written by Geronte. Then she dances and sings for him and his friends. When they leave, she tells Geronte that she will follow shortly, but des Grieux appears, and Manon starts to seduce him. Geronte interrupts their lovemaking, chillingly threatens the two of them, and leaves, telling them he will return soon. Lescaut runs in, warning the lovers that Geronte is going to have Manon arrested and that she must escape. She delays, trying to collect her jewelry, but is arrested before she can get away. Act III Outside a prison in Le Havre, by the harbor.
    [Show full text]
  • The Impact of Jules Massenet's Operas in Milan
    THE IMPACT OF JULES MASSENET’S OPERAS IN MILAN, 1893–1903 Matthew Martin Franke A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2014 Approved by: John L. Nádas Anne MacNeil Severine Neff David Garcia Bryan Gilliam © 2014 Matthew Martin Franke ALL RIGHTS RESERVED ii ABSTRACT Matthew Martin Franke: The Impact of Jules Massenet’s Operas in Milan, 1893–1903 Under the direction of John L. Nádas The reception of French opera in Italy in the late nineteenth century has received little scholarly attention. This dissertation attempts to fill at least part of that gap through studying the reception of three operas by Jules Massenet (1842–1912), the most internationally successful French composer of the fin de siècle, in Milan, the capital of the Italian music publishing industry. Massenet’s Italian reception demonstrates that opera’s relationship to Italian identity politics in the late nineteenth century was far more complex than has been previously imagined. Massenet’s operas, performed in Italian translation, occupied an ambiguous middle ground in Italian identity politics. Italian critics described Massenet’s operas as purely French, as contributing to Italian musical culture, and as inherently cosmopolitan works. Critics thus translated Massenet’s operas into Italian culture, whether as role models for or foils to Italian musical developments. Massenet also participated directly in Italian musical culture, visiting Milan frequently to supervise productions of his operas and serving as a judge in an Italian competition for new operas.
    [Show full text]
  • Gender and Family Representations from the Nineteenth Century to Present Time
    ORGANIZING COMMITTEE Ângela Salgueiro, IHC-CEHFCi-UÉ-NOVA FCSH Daniel Alves, IHC-NOVA FCSH Elisabetta Girotto, IHC-NOVA FCSH Maria Ana Bernardo, CIDEHUS-UÉ Madalena Melo, CIDEHUS-UÉ Maria de Fátima Nunes, UÉ and IHC-CEHFCi-UÉ Maria Inácia Rezola, ESCS-IPL and IHC-NOVA FCSH Gender and Family representations from the Nineteenth Century to Present Time International Interdisciplinary Conference Évora, 10-11 October, 2019 VENUE REGISTRATION FEES COLÉGIO DO ESPÍRITO SANTO STUDENTS: 10€ PROGRAMME AND MORE INFORMATION UNIVERSIDADE DE ÉVORA OTHER RESEARCHERS: 30€ HTTPS://GENDERREPRESENTATIONS2019.WORDPRESS.COM LARGO DAS COLEGIAIS 2 7000-803 ÉVORA, PORTUGAL REGISTRATION DEADLINE CONTACT (entry through Rua do Cardeal Rei, 6) UNTIL SEPTEMBER 20, 2019 [email protected] Financed by Fundação para a Ciência e a Tecnologia (UID/HIS/04209/2019), under the Scientific Community Support Programme (FACC) | Design: Ricardo Naito, based in “Beale Street Blues” (1943) by Palmer C. Hayden, after the image available at: https://catalog.archives.gov/id/559068 ORGANIZATION Instituto de História Contemporânea (IHC-NOVA FCSH) CIDEHUS-UE ORGANIZING COMMITTEE Ângela Salgueiro, IHC-CEHFCi-UE-NOVA FCSH Daniel Alves, IHC-NOVA FCSH Elisabetta Girotto, IHC-NOVA FCSH Maria Ana Bernardo CIDEHUS-UE Madalena Melo CIDEHUS-UE Maria de Fátima Nunes, Universidade de Évora and IHC-CEHFCi-UE Maria Inácia Rezola, ESCS-IPL and IHC-NOVA FCSH SCIENTIFIC COMMITTEE Anne Cova, ICS-UL Gilda Nicolai, UniTus Giulia Stripoli, IHC-NOVA FCSH Irene Vaquinhas, CHSC/FL-UC Irene
    [Show full text]
  • Adriana Lecouvreur
    FRANCESCO CILEA adriana lecouvreur conductor Opera in four acts Gianandrea Noseda Libretto by Arturo Colautti, based production Sir David McVicar on the play Adrienne Lecouvreur by Eugène Scribe and Ernest Legouvé set designer Charles Edwards Saturday, January 12, 2019 costume designer 1:00–4:20 PM Brigitte Reiffenstuel lighting designer New Production Adam Silverman choreographer Andrew George The production of Adriana Lecouvreur associate director Justin Way was made possible by a generous gift from The Sybil B. Harrington Endowment Fund Co-Production of the Royal Opera House, Covent Garden, London; Gran Teatre del Liceu, Barcelona; Wiener Staatsoper; San Francisco Opera; and general manager L’Opéra National de Paris Peter Gelb jeanette lerman-neubauer This production was first seen at the Royal Opera music director Yannick Nézet-Séguin House, London, on November 18, 2010. 2018–19 SEASON The 77th Metropolitan Opera performance of FRANCESCO CILEA’S This performance is being broadcast adriana live over The Toll Brothers– Metropolitan Opera lecouvreur International Radio Network, sponsored by Toll Brothers, conductor America’s luxury Gianandrea Noseda homebuilder®, with generous long- in order of vocal appearance term support from mlle. jouvenot the Annenberg Sarah Joy Miller Foundation and GRoW @ Annenberg, michonnet The Neubauer Family Ambrogio Maestri Foundation, the Vincent A. Stabile poisson Endowment for Tony Stevenson* Broadcast Media, and contributions mlle. dangeville from listeners Samantha Hankey worldwide. quinault Visit List Hall at the Patrick Carfizzi first intermission for the Toll Brothers– Metropolitan the abbé of cha zeuil Opera Quiz. Carlo Bosi This performance is the prince of bouillon also being broadcast Maurizio Muraro live on Metropolitan Opera Radio on adriana lecouvreur SiriusXM channel 75.
    [Show full text]
  • 1 Beauty Italian Style: Gendered Imaginings Of, and Responses To
    Beauty Italian Style: Gendered imaginings of, and responses to stage divas in early post-Unification literary culture* Katharine Mitchell University of Strathclyde, Glasgow In this article I argue that Bartky’s ‘fashion-beauty complex’ - a major articulation of capitalist patriarchy which seeks to glorify the female body, yet covertly depreciates it - gained momentum in Italian culture at the end of the nineteenth century through the emergence of the cosmetic industry and divas’ advertising of beauty products in women’s magazines. Through a close reading of the literary culture (reviews of divas’ performances in women’s and theatre journals, as well as realist fiction), I show that the discursive construction of the Italian diva in this period was gendered: though women writers demonstrate an awareness of, and take pleasure in the diva’s ‘beauty’, but above all celebrate her skills and talents as a performing artist, male writers - without exception - pass comment on the diva’s appearance over and above a critique of her performing skills. This would suggest that ‘the beauty myth’ – the idea that a woman’s value is determined by her appearance – was an integral component of divadom in late nineteenth-century Italy, and, for male journalists and writers, an even more important attribute than the diva’s acting or singing abilities. Keywords: ‘fashion-beauty complex’, women writers, to-be-looked-at-ness, cosmetics industry, definitions of the diva, feminine beauty In La Marchesa Colombi’s domestic novel Un matrimonio in provincia (1885), the middle-class protagonist, Denza, aged sixteen, is told that she is ‘beautiful’ by her stepmother.
    [Show full text]
  • Rehearsal and Concert
    SYMPHONY HALL, BOSTON HUNTINGTON 6- MASSACHUSETTS AVENUES », , . ( Ticket Office, 1492 ) „ , _ Telephones-, . , . ^. „_ _-_„ , Back Bay ^ Administration^ ' I Offices, 3200 \ TWENTY-SEVENTH SEASON, 1907-1908 DR. KARL MUCK, Conductor Prngramm? of tij? Eighteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MARCH 13 AT 2.30 O'CLOCK SATURDAY EVENING, MARCH 14 AT 8.00 O'CLOCK PUBLISHED BY C. A. ELLIS, MANAGER 1346 : piANa Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel ^A^alter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken W^assily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY G. L SCHIRMER & COMPANY, 38 Huntington Avenue, Boston, Mass. 1346 Boston Symphony Orchestra PERSONNEL Twenty -seventh Season, 1907- 1908 n (tf^ic'ktvin^ I Miano Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. 1348 TWENTY-SEVENTH SEASON, NINETEEN HUNDRED SEVEN and EIGHT Eighteenth Rehearsal and Concert* FRIDAY AFTERNOON, MARCH 13, at 2.30.
    [Show full text]