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VIVA VERDI a Small Tribute to a Great Man, Composer, Italian
VIVA VERDI A small tribute to a great man, composer, Italian. Giuseppe Verdi • What do you know about Giuseppe Verdi? What does modern Western society offer everyday about him and his works? Plenty more than you would think. • Commercials with his most famous arias, such as “La donna e` nobile”, from Rigoletto, are invading the air time of television… • Movies and cartoons have also plenty of his arias… What about stamps from all over the world carrying his image? • There are hundreds of them…. and coins and medals… …and banknotes? Well, those only in Italy, that I know of…. Statues of him are all over the world… ….and we have Verdi Squares and Verdi Streets And let’s not forget the many theaters with his name… His operas even became comic books… • Well, he was a famous composer… but it’s that the only reason? Let’s look into that… Giuseppe Fortunino Francesco Verdi Born Joseph Fortunin François Verdi on October 10, 1813 in a village near Busseto, in Emilia Romagna, at the time part of the First French Empire. He was therefore born French! Giuseppe Verdi He was refused admission by the Conservatory of Milan because he did not have enough talent… …that Conservatory now carries his name. In Busseto, Verdi met Antonio Barezzi, a local merchant and music lover, who became his patron, financed some of his studies and helped him throughout the dark years… Thanks to Barezzi, Verdi went to Milano to take private lessons. He then returned to his town, where he became the town music master. -
Media Release
Media Release FOR IMMEDIATE RELEASE: July 16, 2019 Contact: Edward Wilensky (619) 232-7636 [email protected] San Diego Opera’s 2019-2020 Season Opens with Verdi’s masterpiece Aida Verdi specialist Michelle Bradley to make Company debut as Aida Theatrical Concert Opera will use sets, costumes, and lighting with the San Diego Symphony, San Diego Opera Chorus, and principal singers on stage Tenor Carl Tanner makes welcome return as Radames San Diego, CA – Verdi’s beloved opera Aida opens San Diego Opera’s 2019-2020 season in an entirely new theatrical concert performance utilizing set elements, costumes, lighting, and featuring the San Diego Symphony and San Diego Opera chorus onstage, alongside some of the greatest interpreters of Verdi’s music performing today. Aida opens on October 19, 2019 for four performances. Additional performances are October 22, 25, and 27 (matinee), 2019. All evening performances for the 2019-2020 season will begin at 7:30 PM for the convenience of our audiences. The matinee will remain at 2 PM. Assembled for the opening opera of the season is an exciting cast of singers including the Company debut of soprano Michelle Bradley as Aida who is quickly becoming one of the most sought after Verdi sopranos performing today. Making a welcome return to San Diego Opera in the role of Radames is tenor Carl Tanner who was last heard in San Diego Opera’s 2018 production of Turandot as Calaf. Also making house debuts are mezzo-soprano Olesya Petrova as Amneris and baritone Nelson Martinez as Amonasro. Bass Mikhail Svetlov returns to sing the King of Egypt, having last been heard as Ambimelech in 2013’s Samson and Delilah. -
Anna Netrebko Has Redefined What It Means to Be an Opera Star, Becoming Perhaps the Most Celebrated Soprano in the World
mli^o=jrpf`=mofwb=i^rob^qb=OMOMW=^kk^=kbqob_hl= “A soprano with star power in the best sense, a charismatic expressivity that pervades every element of her performance.” – Anthony Tomassini, New York Times The reigning prima donna of the 21st century, Anna Netrebko has redefined what it means to be an opera star, becoming perhaps the most celebrated soprano in the world. In live performance and on award-winning recordings, her portrayals of opera’s most iconic heroines have already made an indelible mark. Now, as she ventures into bolder, more dramatic repertoire, she continues to reach new heights. From singing at the opening ceremony of the 2014 Winter Olympics to becoming the first classical artist named to TIME magazine’s list of the world’s 100most influential people, Anna serves as opera’s leading global ambassador and is widely recognized as one of today’s most compelling, committed performing artists in any genre. Offstage, on social media, she shares her infectious joie de vivre–along with her love of family, fashion, and food–inspiring people to live their most colorful lives and to celebrate what makes them unique. Now at the peak of her powers, Anna is drawing on the exceptional maturation of her voice to conquer the most demanding roles of her career. Her title role debut in Giovanna d’Arcoat the 2013 Salzburg Festival, and the concurrent release of her Verdi album on Deutsche Grammophon, marked the major turning point when she began to leave behind the lighter, more lyric roles for which she had first become known. -
Concert: Ithaca College Symphony Orchestra Ithaca College Symphony Orchestra
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 3-11-2012 Concert: Ithaca College Symphony Orchestra Ithaca College Symphony Orchestra Jeffery Meyer Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Symphony Orchestra and Meyer, Jeffery, "Concert: Ithaca College Symphony Orchestra" (2012). All Concert & Recital Programs. 705. http://digitalcommons.ithaca.edu/music_programs/705 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Digital Commons @ IC All Programs Concert & Recital Programs 3-11-2012 Concert: Ithaca College Symphony Orchestra Ithaca College Symphony Orchestra Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Symphony Orchestra Jeffery Meyer, conductor Jessica Julin, soprano Norwalk Concert Hall Sunday, March 11, 2012 7:15 p.m. Program Carnival Overture, Op. 92 Antonin Dvoràk (1841-1904) Three Great Heroines of Opera Tu che le vanità Giuseppe Verdi from Don Carlo (1813-1901) Sola, perduta, abbandonata Giacomo Puccini from Manon Lescaut (1858-1924) Mercè, dilette amiche Giuseppe Verdi from I Vespri Siciliani Jessica Julin, soprano Intermission Symphony No. 4 in F minor, Op. 36 Piotr Ilyich Tchaikovsky I. -
Press Release Philharmonia Records Verdi
Philharmonia Records c/o Opernhaus Zürich Bettina Auge Pressereferentin Falkenstrasse 1 CH-8008 Zürich T + 41 44 268 64 34 [email protected] Zürich, 8. September 2017 Philharmonia Records presents: Giuseppe Verdi – Ouvertures and Preludes Giuseppe Verdi composed over 30 operas, though only about half of them are still regularly staged. For the latest studio recording with the Philharmonia Zürich, Fabio Luisi has cho- sen overtures and preludes from Verdi’s whole creative period. Next to popular masterpieces like the overture to «La forza del destino», the selection ranges from the earliest works by Verdi, which strongly remind of Rossini and Donizetti, over exceptional preludes he wrote for «Macbeth» or «La traviata» for example, to rarely performed overtures such as «I vespri sicil- iani» or «La battaglia di Legnano». A special highlight on this recording is the long version of the overture to «Aida», which is never heard in combination with opera. Furthermore, the ballet music for the French version of «Don Carlos» also found its way onto the album. Thus, the compilation unites pieces that belong to the day-to-day repertoire of the Philharmonia Zurich with those that are also rarities to orchestra musicians. Available worldwide as of now. CD 1 CD 2 1) La forza del destino 1) Luisa Miller 2) Aida 2) La battaglia di Legnano 3) Don Carlos 3) Il corsaro 4) Un ballo in maschera 4) I masnadieri 5) I vespri siciliani 5) Macbeth 6) La traviata 6) Giovanna d’Arco 7) Stiffelio 7) Ernani 8) Jerusalem 9) Nabucco 10) Un giorno di regno 11) Oberto Running time: 127.44 min Please find enclosed your personal review copy. -
La Traviata March 5 – 13, 2011
O p e r a B o x 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 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
Verdi's Simon Boccanegra: a Survey of the Discography
Verdi’s Simon Boccanegra: A survey of the discography by Ralph Moore I think of Simon Boccanegra as something of a connoisseur’s opera, insofar as it surely contains some of Verdi’s most inspired music, yet has from its premiere rightly been criticised for its labyrinthine plot – a caricature of typically operatic complications – and its consequent lack of accessibility for audiences. For that reason, the first version soon fell out of favour after its 1857 premiere, but Verdi, no doubt with justification, thought highly enough of the music to undertake a revision twenty-three years later with the help of Arrigo Boito, and the result, the 1881 version, is the one almost invariably performed today. The most important addition was the Council Chamber Scene; the opera would be much the poorer without it, but Verdi also revised a good deal of the music to render it far more ductile and atmospheric. The opera presents an admixture of personal and political turmoil such as we encounter in other mature operas like Les vêpres siciliennes and Don Carlos, but also capitalises on two archetypal themes very prevalent in Verdi’s operas and to which he frequently returned, both of which prompted the best of his music: the depiction of a loving but tortured father-daughter relationship of the kind we also see in Luisa Miller, Rigoletto and Aida and his concern for statesmanship, as exhibited in the appeals for peace, patriotism and brotherhood, rallying calls stretching right back to his earliest operas, such as Nabucco, I Lombardi, Attila and La battaglia di Legnano. -
A Letter by the Composer About "Giovanni D'arco" and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid
Performance Practice Review Volume 3 Article 10 Number 1 Spring A Letter by the Composer about "Giovanni d'Arco" and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Chusid, Martin (1990) "A Letter by the Composer about "Giovanni d'Arco" and Some Remarks on the Division of Musical Direction in Verdi's Day," Performance Practice Review: Vol. 3: No. 1, Article 10. DOI: 10.5642/perfpr.199003.01.10 Available at: http://scholarship.claremont.edu/ppr/vol3/iss1/10 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Tempo and Conducting in 19th-century Opera A Letter by the Composer about Giovanna d'Arco and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid Vcnezia 28 Marzo 1845 Venice 28 March 1845 Carissimo Romani My very dear Romani Ti ringrazio dei saluti mandalimi dalla Thank you for conveying Mme Bortolotti.1 Tu vuoi che t'accenni aleune Bortolotti's greetings. You want me cose sul la Giovanna? Tu non ne to point out some things about abbisogni, e sai bene inlerpretare da te; Giovanna? You don't need them, and ma se ti fa piacere che te ne dica are well able to interpret by yourself; qualcosa; cccomi a saziarti [?]. -
Verdi String Quartet Program Notes
Verdi, Giuseppe (1813-1901) String Quartet in E minor Allegro Andantino Prestissimo Scherzo Fuga. Allegro assai mosso Giuseppe Verdi was not a composer readily associated with chamber music—or instrumental music of any kind. He is most famous for transforming Italian opera from a vehicle that displayed vocal technique into an epic and dramatic art form rivalling the innovations of his German contemporary, Richard Wagner. Born in what was then French-controlled northern Italy, Verdi studied music in Milan, and first ventured into opera in 1839 with the moderately successful Oberto. Even greater fame came with his third opera, Nabucco, which led to an impressive string of triumphs. By the early 1870s, Verdi was at the height of his career, producing his newest operas Don Carlos and Aida. The latter work had received its world premiere in Cairo in late 1871, and was subsequently working its way through the major Italian opera houses under Verdi’s supervision. In March of 1873, Aida was scheduled to be performed in Naples, and Verdi was on hand working to adapt this large-scale work for the Teatro di San Carlo. But just before the première, the soprano Teresa Stolz, who had sung the part of Aida in every Italian performance thus far, became ill. As there was no understudy for the challenging new role, the Naples première had to be postponed for some weeks. With free time on his hands, Verdi decided to occupy himself by composing a string quartet, a genre he had never before attempted. The work received its première in a surprise performance for Verdi’s friends in his Naples hotel suite on April 1. -
From the Glicibarifono to the Bass Clarinet.Pdf
From the Glicibarifono to the Bass Clarinet: A Chapter in the History of Orchestration in Italy* Fabrizio Della Seta From the very beginnings of opera, the work of the theatre composer was carried out in close contact with, if not founded upon, the performer. At least until half-way through the nineteenth century, a composer would be judged in large part on his ability to make best use of the vocal resources of the singers for whom he was writing in a given season, to model his music on their individual qualities in the same way as (in terms of an often- repeated image) a tailor models the suit to the contours of his client's body, or (to use a more noble comparison) as a sculptor exploits the particular material characteristics of a block of marble. Even Verdi at the time of his greatest prestige, when he was in a position to impose his dramatic ideas in an almost dictatorial manner, drew inspiration from the abilities of respected performers, e.g. from Teresa Stolz for Aida or Giuseppina Pasqua for Falstaff. To a less decisive extent, but according to a concept similar in every respect, the same principle had been applied to the instrumental aspect of opera since the early decades of the eighteenth century, when the orchestra began to assume growing importance in the structure of a work. Often the presence in the theatre orchestra of a gifted instrumentalist would lead the composer to assign to him a prominent solo, almost always as if competing with voice as an obbligato part, and there were cases in which instrumentalist and composer coincided, as happened in certain operas by Handel. -
Verdi Rigoletto
VERDI ◆ RIGOLETTO DMITRI HVOROSTOVSKY DE 3522 NADINE SIERRA FRANCESCO DEMURO ANDREA MASTRONI OKSANA VOLKOVA CONSTANTINE ORBELIAN, conductor DELOS DE DELOS DE GIUSEPPE VERDI (1813-1901) RIGOLETTO 3522 3522 RIGOLETTO, the Duke’s jester: Dmitri Hvorostovsky, baritone GILDA, his daughter: Nadine Sierra, soprano THE DUKE OF MANTUA: Francesco Demuro, tenor VERDI SPARAFUCILE, an assassin: Andrea Mastroni, bass VERDI MADDALENA, his sister: Oksana Volkova, contralto ◆ ◆ RIGOLETTO Kaunas City Symphony Orchestra RIGOLETTO Men of the Kaunas State Choir Constantine Orbelian, conductor CD 1 (1–18) Total Time: 59:28 CD 2 (1–22) Total Time: 67:36 ORIGINAL ORIGINAL DIGITAL DIGITAL Special thanks go to Algimantas Treikauskas, General Director of the Kaunas City Symphony Orchestra— GIUSEPPE VERDI (1813-1901) as well as his staff—for their invaluable help in producing this recording. Also much appreciated are the invaluable contributions of Artistic Consultant John Fisher and pianist/ RIGOLETTO vocal coach Svetlana Efimova. Opera in three acts Recorded at Kaunas Philharmonic July 1–9, 2016 Libretto: Francesco Maria Piave, after the Producers: Vilius Keras and Aleksandra Kerienė play Le roi s’amuse by Victor Hugo Recording Engineer: Vytautas Kederys Editing/mastering: Vilius Keras and Aleksandra Kerienė Program notes and synopsis: Lindsay Koob RIGOLETTO, the Duke’s jester: MATTEO BORSA, a courtier: Booklet editors/proofers: Lindsay Koob, Anne Maley, David Brin Dmitri Hvorostovsky, baritone Tomas Pavilionis, tenor Art Design/Layout: Lonnie Kunkel Photo Credits: -
Carlo Maria PARAZZOLI
VINCENZO GIOVAGNORIO Sindaco della Citta' di Tagliacozzo CHIARA NANNI Assessore alla cultura della Citta' di Tagliacozzo JACOPO SIPARI DI PESCASSEROLI Direttore Artistico ALESSANDRO ZERELLA Segretario Artistico SILVANO FUSCO Direttore di Produzione Sono orgoglioso di presentare al pubblico il programma del Festival FRANCESCO D’OVIDIO Responsabile Relazioni Intenrazionali GIANLUCA RUBEO Consigliere di Indirizzo Internazionale di Mezza Estate 2018, giunto alla XXXIV edizione. DANILO IACOBONI Consigliere di Comunicazione Un cartellone di appuntamenti di assoluto prestigio e di particolare in collaborazione con: importanza a cui hanno lavorato fin dallo scorso autunno l’Assessore ACCADEMIA NAZIONALE DI SANTA CECILIA alla Cultura Chiara Nanni, il Direttore Artistico Jacopo Sipari di FONDAZIONE FESTIVAL PUCCINIANO ENTE LUGLIO MUSICALE TRAPANESE Pescasseroli e tutti i collaboratori. TEATRO NAZIONALE DI BELGRADO - SERBIA TEATRO NAZIONALE DI TBILISI – GEORGIA Le dovute attestazioni, per la qualità degli spettacoli e per le nume- TEATRO NAZIONALE DI CLUJ – NAPOCA – ROMANIA DOKUZ EYLUL UNIVERSITY STATE CONSERVATORY DI SMIRNE rosissime presenze di pubblico della passata edizione, sono giunte ISTANBUL STATE SYMPHONY ORCHESTRA dal Ministero del Beni e delle Attività culturali e del Turismo, dalla TEATRO DI STATO DI STARA ZAGORA – BULGARIA ORCHESTRA FILARMONICA DI BRASOV - ROMANIA Regione Abruzzo e da altre importanti Fondazioni e Associazioni. ORCHESTRA DELLA RADIO E TELEVISIONE DI SERBIA Ciò significa che l’impegno profuso dall’Amministrazione comunale