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La Traviata Synopsis 5 Guiding Questions 7
1 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of La Traviata Synopsis 5 Guiding Questions 7 The History of Verdi’s La Traviata 9 Guided Listening Prelude 12 Brindisi: Libiamo, ne’ lieti calici 14 “È strano! è strano!... Ah! fors’ è lui...” and “Follie!... Sempre libera” 16 “Lunge da lei...” and “De’ miei bollenti spiriti” 18 Pura siccome un angelo 20 Alfredo! Voi!...Or tutti a me...Ogni suo aver 22 Teneste la promessa...” E tardi... Addio del passato... 24 La Traviata Resources About the Composer 26 Online Resources 29 Additional Resources Reflections after the Opera 30 The Emergence of Opera 31 A Guide to Voice Parts and Families of the Orchestra 35 Glossary 36 References Works Consulted 40 2 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. Meet the Characters / The Story/ Resources Fostering familiarity with specific operas as well as the operatic art form, these sections describe characters and story, and provide historical context. Guiding questions are included to suggest connections to other subject areas, encourage higher-order thinking, and promote a broader understanding of the opera and its potential significance to other areas of learning. Guided Listening The Guided Listening section highlights key musical moments from the opera and provides areas of focus for listening to each musical excerpt. -
INTRODUCTION and LITERATURE REVIEW a Subject
CHAPTER 1: INTRODUCTION AND LITERATURE REVIEW A Subject for Our Time I want plots that are great, beautiful, varied, daring ... daring to an extreme, new in form and at the same time adapted to composing. If a person says I have done thus and so because Romani, Cammarano, and others did so ... then we no longer understand each other. Precisely because of the fact that those great men did it that way, I should like to have something different done. I shall have La Dame aux Camélias performed in Venice. It will perhaps be called La Traviata. A subject from our own time. Another person would perhaps not have composed it because of the costumes, because of the period, because of a thousand other foolish objections. I did it with particular pleasure. Everybody cried out when I proposed to put a hunchback on the stage. Well, I was overjoyed to compose Rigoletto, and it was just the same with Macbeth, and so on ...1 The plot of La traviata centres on its eponymous heroine Violetta and the development of her character whose posizione must be projected musically.2 Verdi used the term posizione to describe the plot-and-character-driven gesture which must be ‘articulated musically’.3 According to Gilles de Van, it ‘arises from a particular moment in the plot; a situation [posizione] almost invariably corresponds to a phase in 1 Werfel, Franz and Stefan, Paul, Verdi: The Man in His Letters, trans. Edward Downes (New York: Vienna House, 1973), p. 373. 2 The term posizione and other Italian terms and expressions will be found in the Glossary at the end of this thesis. -
'Il Trovatore'. Photo © 2007 Ken Howard
IIll TTrroovvaaTToorree Priti Gandhi as Inez (left) and Paoletta Marrocu as Leonora in the San Diego Opera production of Verdi's 'Il Trovatore'. Photo © 2007 Ken Howardhttp://www.mvdaily.com/articles/2007/04/il-trovatore1.htm A Letter to the Teachers Dear Teachers, Opera Colorado is pleased to provide engaging educational programs and performances for students across Colorado. What follows is a guide that we hope you and your students find useful, as we explore Giuseppe Verdi’s Il Trovatore. In the spirit of exploration, we have included various lessons that connect Il Trovatore with different subjects of learning. The lessons reference the new Colorado Department of Education’s Academic Standards: specifically, focusing on the fourth grade expectations. This does not mean, however, that these lessons should be limited to this age group. While we would be very pleased if you used these lessons in the exact format provided, we encourage you to expand, alter, and adapt these lessons so that they best fit your students’ abilities and development. After all, the teacher knows their student’s needs best. We would appreciate your feedback on our teacher evaluation form found at the end of this guide, and we hope that you enjoy all that Opera Colorado has to offer! Ciao! - Cherity Koepke - Director of Education & Community Programs - Meghan Benedetto - Manager of Education & Community Programs - Amelia Newport - Education Intern 2 Contact us to learn more! Opera Colorado’s Education & Community Programs department offers many more programs to assist your students as they continue to discover the world of opera. We have programs that take place at the Ellie Caulkins Opera House as well as programs that we can bring directly to your classroom. -
TRACING OPERATIC PERFORMANCES in the LONG NINETEENTH CENTURY Practices, Performers, Peripheries
9 DocMus Research Publications TRACING OPERATIC PERFORMANCES IN THE LONG NINETEENTH CENTURY Practices, Performers, Peripheries Edited by Anne Kauppala, Ulla-Britta Broman-Kananen and Jens Hesselager 9 DocMus Research Publications ULLA-BRITTA BROMAN-KANANEN is a university HANNELE KETOMÄKI received her Doctor of Music degree researcher at the Sibelius Academy (University of the Arts from the Sibelius Academy in 2012. Her study examines Helsinki). In 2010–2013 she worked on the project “The Oskar Merikanto's national ideals and his activities in the Finnish Opera Company (1873–1879) from a Microhistorical music festivals by the Finnish Kansanvalistusseura. She Perspective: Performance Practices, Multiple Narrations is the manager of Academic Development at the Sibelius and Polyphony of Voice”, and later in “Opera on the Move: Academy (University of the Arts Helsinki). Transnational Practices and Touring Artists in the Long 19th Century Norden”. HILARY PORISS is Associate Dean of Academic and Faculty Affairs, and Associate Professor of Music in the College of GÖRAN GADEMAN has been since 2006 the dramaturgist Arts, Media and Design at Northeastern University. Her and casting coordinator and since 2007 associate professor research interests include the 19th-century Italian and French at the Gothenburg Opera. In his doctoral thesis he studied re- opera performance culture and aesthetics. She has authored alism and opera (Realismen på Operan, Stockholm University, Changing the Score: Arias, Prima Donnas, and the Authority 1996). His book Operabögar (Gay Opera Lovers) appeared in of Performance (2009) and co-edited Fashions and Legacies 2004. He also contributed to the New Swedish Theatre History of Nineteenth-Century Italian Opera (2010) and The Arts of (2007). -
Chorus. Harmonize Your Message and Brand with the All-New Hagadone H1
chorus. Harmonize your message and brand with the all-new Hagadone H1. With the fl exibility to coordinate solutions across printed and electronic media and the range to help you plan your next step, we are the one-stop resource for all of your marketing, branding, collateral, and e-solutions needs. Let us help your business grow in new and exciting ways. Download your FREE 274 Pu‘uhale Road, Honolulu, Hawai‘i 96819 QR code 808.847.5310 | H1SourceMarketing.com reader for your mobile phone at hagadoneprinting.com/ market/qr ad_hot.indd 1 1/6/11 8:17 AM LA TRAVIATA HOT Cast Artistic Team SPONSORS Season Sponsors Luz del Alba Tyrone Paterson Hawaii State Foundation on Culture and the Arts Violetta Valéry Conductor National Endowment Eric Margiore for the Arts Henry G. Akina Alfredo Germont Orchestra Director Atherton Family Foundation Jake Gardner The Cades Foundation Giorgio Germont Peter Dean Beck Cooke Foundation, Limited Mary Chesnut Hicks Scenic & Lighting Designer McInerny Foundation Flora Bervoix Set Transportation Helen E. Rodgers Horizon Lines Kristin Stone Costume Designer Costume Transportation Annina Air Canada Cargo Beebe Freitas Leon Williams Supertitles Baron Douphol Rehearsal Pianist/Co-Chorus A&B Foundation Director Jamie Offenbach Official Airline Continental Airlines Doctor Grenvil Nola A. Nahulu Hotel Laurence Paxton Co-chorus Director Hawaii Prince Hotel Waikiki Gastone Aston Hotels & Resorts Sue Sittko Schaefer John Mount Opera For Everyone Wig & Make-up Designer Marquis d’Obigny Hawaii Hotel and Lodging Association Phil M. Hidalgo Gretchen Mueller Opera Express Giuseppe Stage Manager Leahi Swim School Benoit Weber Hospitality Servant to Flora Honolulu Club Stelio Scordilis Lanai Lectures First Insurance Company Commissioner of Hawaii Ltd. -
The English Trade in Nightingales Ingeborg Zechner
The English Trade in Nightingales Italian Opera in Nineteenth-Century London Ingeborg Zechner Translated from the German by Rosie Ward Published with the support from the Austrian Science Fund (FWF):PUB 390-G26 Open access: Except where otherwise noted, this work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ Deutsche Nationalbibliothek Cataloging-in-publication data: http://dnb.d-nb.de © 2017 by Böhlau Verlag GmbH & Co. KG, Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Translation: Rosie Ward Cover design: Michael Haderer, Wien Layout: Bettina Waringer, Wien Printing and binding: Prime Rate, Budapest Printed on acid-free and chlorine-free bleached paper Printed in the EU ISBN 978-3-205-20554-8 Acknowledgements I would like to thank all those who have enabled and supported the writing of this book, which originated as a PhD dissertation completed at the University of Graz in 2014 and was published as a German monograph by Böhlau Verlag in Vienna in 2017. I therefore owe the deepest gratitude to Rosie Ward, who undertook the translation of the German version with impressive thoroughness and professionalism. In the earlier stages, a John M. Ward Fellowship from Harvard University’s Houghton Library enabled me to access essential sources. I am equally indebted to the ever-helpful Antonella Imolesi of the Biblioteca Forlì, particularly for allowing me to reproduce archival materials. I thank Gabriella Dideriksen, Jennifer Hall-Witt, Roger Parker, Curtis Price and Sven Oliver Müller for their advice and their readiness to share their research experience. -
2013 Prato-Verdi 1813
2013 Prato-Verdi 1813 Ovvero: Cosa c’entra Verdi con Prato di Goffredo Gori Tre voci di Prato (anzi quattro) per Giuseppe Verdi 2013. L’anno dei giganti. Wagner e Verdi. Che verosimilmente nel nu- mero astrologico – se pure non palindromo – di quel tredici e quel due, sta a significare: due volte cento anni da quel 1813, quando in luoghi diversi vennero al mondo due “giganti” della musica. La doppia V di Ri- chard strizza l’occhio ad una presumibile superiorità del tedesco rispetto a “Peppino” l’emiliano, incorniciato nell’iconografia corriva e logora di contadino scontroso e orso peloso, di persona che non scrisse saggi sull’e- stetica del teatro e della musica, come invece magistralmente seppe fare il suo rivale d’Oltralpe. (Che indugiò letterariamente e forse anche troppo sull’antisemitismo,comodo tappeto alla futura ideologia nazista). La dop- pia V, il nostro di Le Roncole-Busseto se la conquistò dal popolo che fece di lui l’icona del Risorgimento e dell’Unità d’Italia: Viva V.E.R.D.I . Certo è che Wagner, quando ci abbaglia con il suono degli dei e ci suggestio- na dentro miti e trascendenze, induce a soggezione assai più di un Verdi coi suoi gobbi, traviate e trovatori. La matassa dell’esegesi verdiana è però solo in apparenza meno complessa di quella wagneriana (si ricordi come Stravinskij salvasse il Verdi “giovane” e rottamasse la maturità di Otello e Falstaff ). Si può dire che l’atteggiamento critico e quello della critica dotta intorno a Verdi è in continua rivisitazione: il teatro di Verdi resta popolare perché racconta degli uomini più che gli dei, degli ideali più che delle idee; è quello del “Va pensiero!”. -
TROVATORE-IL.Pdf
5 La Fenice prima dell’Opera 2011 5 2011 Fondazione Stagione 2011 Teatro La Fenice di Venezia Lirica e Balletto Giuseppe Verdi ilTrovatore l trovatore I erdi V iuseppe iuseppe G FONDAZIONE TEATRO LA FENICE DI VENEZIA foto © Michele Crosera Visite a Teatro Eventi Gestione Bookshop e merchandising Teatro La Fenice Gestione marchio Teatro La Fenice® Caffetteria Pubblicità Sponsorizzazioni Fund raising Per informazioni: Fest srl, Fenice Servizi Teatrali San Marco 4387, 30124 Venezia Tel: +39 041 786672 - Fax: +39 041 786677 [email protected] - www.festfenice.com I.P. Il 4 dicembre 2008 il Comitato Portuale di Venezia ha deliberato il rilascio alla società APV Investimenti S.p.A., di proprietà dell’Autorità Portuale di Venezia, di una concessione demaniale (per una durata fino a trenta anni) dell’area denominata «Ex Locomotive». Nell’area, situata a Venezia, compresa tra la Marittima ed il Tronchetto, sorgeranno un garage multipiano, un centro direzionale, un’area commerciale e una struttura alberghiero-ricettiva. Vincitore del Concorso Internazionale di Progettazione è il raggruppamento con capogruppo il Prof. Arch. Mauro Galantino. APV Investimenti sta dando attuazione alla progettazione definitiva. Società dell’Autorità Portuale di Venezia - A Venice Port Authority Company Gestione e sviluppo dei progetti portuali Harbour projects management and developing www.apvinvest.it Società dell’Autorità Portuale di Venezia A Venice Port Authority Company Santa Marta, fabb. 16 – 30123 Venezia Tel. +39 0415334159, Fax +39 0415334180 FONDAZIONE AMICI -
Downloadable PDF
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/437 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Verdi in Victorian London Massimo Zicari https://www.openbookpublishers.com © 2016 Massimo Zicari This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Massimo Zicari, Verdi in Victorian London. Cambridge, UK: Open Book Publishers, 2016. http://dx.doi.org/10.11647/OBP.0090 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/isbn/9781783742134#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active on 28/6/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/isbn/9781783742134#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
Catalogo Nr. 27 Primavera 2004
LIBRERIA MUSICALE GALLINI VIA GORANI 8 - 20123 MILANO (ITALY) - TEL. e FAX. 0272.000.398 CATALOGO NR. 27 PRIMAVERA 2004 INDICE: Lettere autografe ......................................pag. 2 (da nr. 1 a 80) Facsimili di autografi musicali ................pag. 20 (da nr. 81 a 94 ) Biografie ....................................................pag. 22 (da nr. 95 a 159) Libri di argomento musicale ...................pag. 27 (da nr. 160 a 193) Libri su strumenti musicali .....................pag. 30 (da nr. 194 a 209) Cataloghi di dischi ....................................pag. 32 (da nr. 210 a 245) Libretti d’opera ........................................pag. 37 (da nr. 246 a 305) Partiture d’orchestra ................................pag.44 (da nr. 306 a 324) Spartiti d’opera per canto e pf ................pag. 47 (da nr. 325 a 373) Musica per pianoforte/i ............................pag. 52 (da nr. 374 a 540) Musica vocale ............................................pag. 64 (da nr. 541 a 574) LETTERE AUTOGRAFE: - 2 - PRINCIPALI ABBREVIAZIONI: L.A.F. Lettera autografa firmata - Autograph letter signed - Eigenhändiger Brief mit Unterschrift. B.A.F. Biglietto autografo firmato - Autograph card signed - Eigenhändiger Karte mit Unterschrift. L. F. Lettera firmata - Letter signed - Brie von fremder Hand mit eigehändiger Unterschrift. s.l.n.d. Senza luogo nè data - No place no date - Ohne Ort und Datum Pp. Pagina/pagine - Page/pages - Seite/Seiten. MUSICISTI: 1A. (Bologna) Franco ALFANO (Napoli 1876 - San Remo 1954) compositore italiano. Su incarico di Arturo Toscanini e degli eredi di Puccini completò l’opera “Turandot” lasciata incompiuta da Puccini. Diresse per anni fino al 1923 il Liceo musicale di Bologna. L.a.f. “ Franco Alfano” e datata “Bologna 12 marzo 09” a “Carissimo”. Pp. 1 su carta di cm. -
LIBRETTI-111.Pdf
1. Giulio Alary ! 1! 1. Giulio Alary (Mantova 1814 - Parigi 1891) Rosmunda. Melodramma tragico in due atti da rappresentarsi nell’I. e R. Teatro dei sigg. Accademici Immobili in via della Pergola la primavera del 1840. Firenze, G. Galletti [1840]. 24 pp. in-16. Libretto di Cassiano Zaccagnini. Elenco completo degli orchestrali, addetti ai lavori e interpreti (Giuseppina Strepponi nel ruolo di Rosmunda). Prima edizione con gli interpreti della prima rappresentazione, andata in scena il 10 giugno 1840. Cop. edit. con ex-libris Pieri Gerini applicato al piatto sup. Catalogo al piatto inf. Ottimo esemplare, parzialmente intonso. € 120 2. Franco Alfano (Napoli 1875 - Sanremo 1954) Risurrezione. Dramma in quattro atti tratto dal romanzo di Leone Tolstoi. Parole di Cesare Hanau. Musica di Frank Alfano. Milano, Teatro alla Scala, stagione 1905- 06. Milano, Ricordi, T.S. 1906. Prima rappresentazione: Torino, Teatro Vittorio Emanuele, 30 novembre 1904. 50 pp. in-8. Dorso consunto, ma buono. € 20 3. Franco Alfano (Posillipo 1876 - Sanremo 1954) Risurrezione. Dramma in quattro atti tratto dal romanzo di Leone Tolstoi. Parole di Cesare Hanau. Milano, Ricordi [TS: 2/33].Prima rappresentazione: Torino, Teatro Vittorio Emanuele, 30 novembre 1904. Cop. edit. a colori. 46 pp. in-12. Piccole mancanze all’ang. sup. sx delle prime pagine, peraltro buon esemplare. € 10 4. Ferdinando Asioli (Modena 1822 - Modena 1905) Maria de’ Ricci. Melodramma in tre atti di Giovanni Battista Fantuzzi musicato dal Maestro Ferdinando Asioli da rappresentarsi all’I. R. Teatro alla Scala nella stagione di carnevale 1858-59. Milano, tipografia di Paolo Ripamonti Carpano, 1859. 28 pp. in-8. Prima Edizione. -
The First Three Years of 'Trovatore'
Verdi Forum Number 15 Article 3 1-1-1987 The irsF t Three Years of 'Trovatore' Martin Chusid New York University Thomas G. Kaufman Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons Recommended Citation Chusid, Martin and Kaufman, Thomas G. (1987) "The irF st Three Years of 'Trovatore'," Verdi Forum: No. 15, Article 3. Available at: http://scholarship.richmond.edu/vf/vol1/iss15/3 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. The irsF t Three Years of 'Trovatore' Keywords Giuseppe Verdi, Il trovatore This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss15/3 The First Three Years of TROVATORE: A List of Staalngs from 19 January 1853 to 18 January 1856 Martin Chusid and Thomas Kaufman As Pierluigi Petrobelli suggests in the 19 January 1853 to 18 January 1856. first essay of this issue, studies in the A remarkable feature of many of the reception and diffusion of Verdi's operas are earliest stagings of Trovatore is the large relatively few and far between. Several number of individual performances in a have been undertaken by Marcello Conati: single season. At the Teatro Carlo Felice in 19th century stagings of Stiffelio (Quaderno Genoa, for example, during the Carnival 3 of the Istituto di Studi Verdiani, Parma, Lent Season beginning 26 December 1853, 1968); stagings of Aida from 1871-1881 there were fully 38 performances directed (Quaderno 4, 1971); "A chronology of the from the chair of the principal violinist, first performances of Rigoletto" (Bollettino 9 Angelo Mariani, then still playing the violin of the same Institute, 1982); and "Prime while leading the orchestra.