Suzanne Adams a Listing of Recordings
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Corso Di Dottorato Di Ricerca in Storia Delle Arti Tesi Di Ricerca
Corso di Dottorato di ricerca in Storia delle Arti ciclo XXI Tesi di Ricerca «THE PHENOMENAL CONTRALTO» Vita e carriera artistica di Eugenia Mantelli SSD: L-ART/07 Musicologia e storia della musica Coordinatore del Dottorato ch. prof. Piermario Vescovo Supervisore ch. prof. Paolo Pinamonti Dottorando Federica Camata Matricola 808540 «THE PHENOMENAL CONTRALTO». VITA E CARRIERA ARTISTICA DI EUGENIA MANTELLI INDICE Introduzione p. 3 1. Biografia di Eugenia Mantelli p. 7 1.1. L’infanzia e gli studi p. 9 1.2. Il debutto al Teatro de São Carlos p. 13 1.3. La carriera internazionale p. 16 1.3.1. 1886: prima tournée in Sudamerica p. 17 1.3.2. 1887: seconda tournée in Sudamerica p. 24 1.3.3. 1889: terza tournée in Sudamerica p. 26 1.3.4. Eugenia Mantelli-Mantovani p. 28 1.3.5. Dal Bolshoi al Covent Garden p. 31 1.3.6. ¡Que viva Chile! Ultime tournée in Sudamerica p. 33 1.4. New York, il Metropolitan e le tournée negli Stati Uniti p. 36 1.4.1. Eugenia Mantelli-De Angelis p. 47 1.5. «Madame Mantelli has gone into vaudeville» p. 51 1.6. Mantelli Operatic Company p. 66 1.7. Attività artistica in Italia p. 69 1.8. Le ultime stagioni portoghesi e il ritiro dalle scene p. 81 1.9. Gli anni d’insegnamento p. 91 1.10.Requiem per Eugenia p. 99 1 2. Cronologia delle rappresentazioni p. 104 2.1. Nota alla consultazione p. 105 2.2. Tabella cronologica p. 107 3. Le fonti sonore p. 195 3.1. -
Cavalleria Rusticana I Pagliacci Usporedno Sa Sve Brojnijim Izvedbama Prvi Su Put Zajedno Izvedeni 22
P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. Foto: Metropolitan opera P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Pietro Mascagni CAVALLERIA RUSTICANA Opera u jednom činu Libreto: Giovanni Targioni-Tozzetti i Guido Menasci prema istoimenoj noveli Giovannija Verge NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Costanzi, Rim, 17. svibnja 1890. Prva hrvatska izvedba: Druga operna stagiona, Zagreb, 29. svibnja 1893. Prva izvedba ansambla Metropolitana 4. prosinca 1891. u Chicagu Premijera ove izvedbe u Metropolitanu: 14. travnja 2015. ZBOR I ORKESTAR METROPOLITANA SANTUZZA Eva-Maria Westbroek ZBORovođa Donald Palumbo TURIDDU Marcelo Álvarez DIRIGENT Fabio Luisi ALFIO George Gagnidze REDATELJ David McVicar LUCIA Jane Bunnell SCENOGRAF Rae Smith LOLA Ginger Costa-Jackson Tekst: talijanski Stanka poslije Cavallerije rusticane. Titlovi: engleski Svršetak oko 22 sata. Ruggero Leoncavallo I PAGLIACCI Foto:Metropolitan opera Opera u dva čina s prologom Libreto: skladatelj NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Dal Verme, Milano, 21. kolovoza 1892. Prva hrvatska izvedba: Treća operna stagiona, Zagreb, 22. travnja 1894. Prva izvedba u Metropolitanu: 11. prosinca 1893. Premijera ove izvedbe u Metropolitanu: 25. travnja 2015. KOSTIMOGRAF Moritz Junge CANIO/PAGLIACCIO Marcelo Álvarez OBLIKOVATELJICA RASVJETE Paule Constable NEDDA/COLOMBINA Patricia Racette KOREOGRAF Andrew George TONIO/TADDEO George Gagnidze KONZULTANT ZA VODVILJ Emil Wolk BEPPE/ARLECCHINO Andrew Stenson SILVIO Lucas Meachem Tekst: talijanski Titlovi: engleski CAVALLERIA RUSTICANA Radnja se događa na Uskrs u sicilijanskom selu. -
1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini. -
Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
Milka Trnina
Èitajte o glazbi i svim Èitajte o glazbi i svim nje-zinim pojavno- njezinim pojavnostima webzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuzici] stima iz pera naših ponajboljih pisaca iz pera naših ponajbo-? Èitajte o glazbi i svim u esejima i èlancima koje možete èitati ljih pisaca u esejima njezinim pojavnostima webzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuzici] na stranicama našeg èasopisa WAM. ? i èlancima koje možete iz pera naših ponajbo- Èitajte o glazbi i svim èitati na stranicama ljih pisaca u esejima njezinim pojavnostima našeg èasopisa WAM. i èlancima koje možete iz pera naših ponaj- èitati na stranicama boljih pisaca u esejima našeg èasopisa WAM. eseji i èlancima koje možete èitati na stranicama našeg èasopisa WAM. 1 Ilustracija Munir Vejzoviæ Marija Barbieri MILKA TRNINA - GREAT TOSCA Èitajte o glazbi i svim Čitajte o glazbi i svim njezinim pojavnostima njezinim pojavnostima iz pera naših ponaj- iz pera naših ponaj- Èitajte o glazbi i svim boljih pisaca u esejima boljih pisaca u esejima njezinim pojavnostima i èlancima koje možete i člancima koje možete iz pera naših ponaj-Èitajte o glazbi i svim èitati na stranicama čitati na stranicama boljih pisaca u esejimanjezinim pojavnostima našeg èasopisa WAM. našeg časopisa WAM. ? webzinoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzii èlancimanoaudijuimuziciwebzinoaudijuimuziciwebzinoaudijuimuziciwebzino koje možeteiz pera naših ponaj- -
Overture Opera Guides
overture opera guides in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago on the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with repertoire being staged by the company at the London Coliseum. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the poetry of the libretto and the nuances of the score, read- ers’ understanding and appreciation of the opera and the art form in general will be enhanced. John Berry Artistic Director, ENO The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in association with English National Opera in 1980. It ran until 1994 and eventu- ally included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, some newly commissioned articles, updated reference sections and a literal translation of the libretto that will enable the reader to get closer to the intentions and meaning of the original. -
ARSC Journal
A PROVISIONAL MAPIESON CYLINDER CHRONOLOGY 1865 - October 23. Lionel S. Mapleson born, London, England, of a line of music librarians going back to the mid-18th century. His uncle was the famed impressario "Colonel" James Henry Mapleson. 1889 - Emigration to New York, having been trained by his music librarian violinist father and having played under Hans Richter as violinist and violist. He joined the orchestra of the then six-year-old Metropolitan Opera and soon assumed the position of Librarian, serving in that capacity for 48 years. 1893 - Marriage to Helen White, a soprano in the Company. 1900 - Following acquisition of an Edison cylinder phonograph (Home - Model A - "suitcase" type), Mapleson undertakes initial recording experiements with Metropolitan Opera artists. Marcella Sembrich during March of this year records the cadenza from Johan Strauss's Friihlingstimmen (in its popular Italian language vocal version, Voci di primavera). Mapleson adds his own announcement at the close. 1901 - January 16. From the Metropolitan Opera prompter's box, Mapleson records Mme. Melba in the Infanta's Alleluia from Massenet's Le Cid, this being the earliest of the extant 2-minute wax cylinders taken by him from actual stage performances. other notable Melba cylinders from that season include items from Lucia di Lammermoor (March 2 and 18), Rom6o et Juliette (March 9, with closing announce ment by Mapleson), La Traviata (March 16), and Faust (March 4 and 28). From this season come also the only extant audio documentations of legendary tenor, Jean de Reszke, in bits from Le Cid (January 19), L 'Africaine (March 15), Les Huguenots (Marchil},Siegfried (March 19), and Lohengrin (March 29--de Reszke's final appearance at the Metroplitan). -
19 Flamenco and the 'Hispanicisation' of Bizet's Carmen in the Belle Époque
C:/ITOOLS/WMS/CUP-NEW/21346472/WORKINGFOLDER/LANGHAM-HYB/9781108481618C19.3D 304 [304–319] 28.2.2020 9:20PM 19 Flamenco and the ‘Hispanicisation’ of Bizet’s Carmen in the Belle Époque michael christoforidis and elizabeth kertesz For over a century flamenco has been closely associated with productions of Carmen around the world, and it has become commonplace to perceive aspects of flamenco in Bizet’s score. Yet this nexus developed only gradu- ally during the first three decades of the opera’s existence. During the Belle Époque the rise of flamenco and its global recognition occurred almost in tandem with Carmen’s establishment in the international operatic repertory. Bizet’s gypsy protagonist expresses herself through song and dance, and she is typically depicted as a flamenco performer, but flamenco as we recognise it today was largely unknown to the composer. None of the song and dance forms employed by Bizet can be classified as flamenco, an art form that was just coalescing in Spain when Carmen was created. The Parisian public had caught glimpses of this new style in some of the dance spectacles of the Second Empire – particularly in the evolving Orientalisation and gypsification of dance styles from the escuela bolera – and through the travel writings and images of Spain being disseminated in the 1860s and 1870s. Seville, the setting for much of the opera, was also crucial to the development of modern flamenco. The rise of cafés cantantes,especially following the establishment of Silverio Franconetti’s first café in 1870, were crucial to flamenco’s professionalisation and dissemination. -
Roger Quilter
ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music. -
Confronting "Carmen" Beyond the Pyrenees: Bizet's Opera in Madrid, 1887-1888
Confronting "Carmen" beyond the Pyrenees: Bizet's Opera in Madrid, 1887-1888 Author(s): Elizabeth Kertesz and Michael Christoforidis Source: Cambridge Opera Journal, Vol. 20, No. 1 (Mar., 2008), pp. 79-110 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/27720432 Accessed: 02-07-2018 18:22 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal This content downloaded from 129.105.215.146 on Mon, 02 Jul 2018 18:22:28 UTC All use subject to http://about.jstor.org/terms Cambridge Opera Journal, 20, 1, 79-110 ? 2008 Cambridge University Press doi: 10.1017/S0954586708002413 Confronting Carmen beyond the Pyrenees: Bizet's opera in Madrid, 1887-1888 ELIZABETH KERTESZ and MICHAEL CHRISTOFORIDIS Abstract: Bizet's Carmen entered Spain's cultural consciousness when it was first staged in Madrid in the 1887?8 season. A public battle for the performance rights in the autumn of 1887 led to competing productions at major theatres: the first in a new Spanish translation at the Teatro de la Zarzuela, and the second in the fully-sung Italian version at the Teatro Real. -
Luigi Mancinelli, Giulio Ricordi Y Francesco Tamagno, Figuras
CUADERNOS DE MÚSICA IBEROAMERICANA. Vol. 33 enero-diciembre 2020, 281-302 ISSN: 1136-5536 | ISSN-e: 2530-9900 https://dx.doi.org/10.5209/cmib.71696 Isabel Rosal Moral Universidad Complutense de Madrid Luigi Mancinelli, Giulio Ricordi y Francesco Tamagno, figuras fundamentales en la recepción del primer Puccini en España: el estreno de Edgar en el Teatro Real (1892)1 Luigi Mancinelli, Giulio Ricordi and Francesco Tamagno, Fundamental Figures in the Reception of Early Puccini in Spain: The Premiere of Edgar at the Teatro Real (1892) Giacomo Puccini (1858-1924) solo estuvo una vez en España. Fue durante los meses de febrero a marzo de 1892, en los que viajó desde Italia a Madrid para supervisar los ensayos de Edgar y asistir a su posterior estreno en el Teatro Real. A diferencia de Giuse- ppe Verdi años antes, Puccini apenas tuvo tiempo para conocer otras ciudades españolas. Los ensayos absorbieron todo su tiempo y, tras el estreno, rápidamente regresó a Milán. Edgar fue la primera ópera de Puccini que consiguió estrenarse fuera de Italia, de ahí su importancia para entender la recepción del músico en el extranjero y, sobre todo, en España. Por todo ello, en este artículo pretendemos estudiar el estreno de la primera ópe- ra de Puccini en España, la recepción de la obra y del compositor italiano en Madrid, así como la estancia del músico en la mencionada ciudad. Palabras clave: estreno operístico, Giacomo Puccini, Edgar (ópera), Teatro Real (Madrid), relaciones musicales España-Italia, recepción operística, producción operística. Giacomo Puccini (1858-1924) only travelled to Spain once. -
La Tradizione Musicale a Bologna
Liceo LAURA BASSI di Bologna Linguistico, Scienze Umane, Economico-Sociale, Musicale LUCIO DALLA Progetto del Liceo Musicale 1LA TRADIZIONE MUSICALE A BOLOGNA STORIA, LUOGHI, PERSONE, SCUOLE, FESTIVAL Il Liceo Musicale è un nuovo e innovativo percorso scolastico indirizzato all'apprendimento tecnico-pratico della musica e allo studio del suo ruolo nella storia e nella cultura, previsto nell'ambito della riforma degli studi musicali, che prevede anche l'innalzamento dei Conservatori di Musica a livello universitario. Dato che il Ministero dell'Istruzione ha disposto un numero molto limitato, a livello nazionale, per l'istituzione dei Licei Musicali, l'attivazione presso il Liceo Laura Bassi è un riconoscimento significativo sia alla lunga storia di eccellenza, vitalità e altissimo impegno in campo musicale e artistico rivestito dalla città di Bologna, sia alla centralità rivestita dal nostro Liceo nel tramandare l'insegnamento della musica da 150 anni. Come dimostra la presenza di numerose Scuole Medie ad Indirizzo Musicale che punteggiano la città e la provincia, Bologna si presenta come un territorio da sempre molto sensibile all'arte musicale, sede di una tradizione multisecolare e scenario per i più grandi compositori d'Europa. La città è sede del Conservatorio G.B. Martini, del Teatro Comunale, dell'Accademia Filarmonica, del Museo Internazionale e Biblioteca della Musica, dell'unico corso universitario di Pedagogia Musicale (DAMS), della prestigiosa stagione concertistica Musica Insieme, tutti enti con i quali il nostro Liceo ha da anni collaborazioni e progetti in comune. Proprio in riconoscimento della ricca tradizione musicale in continua evoluzione e un serio impegno a promuovere la musica come mezzo di sviluppo economico e di inclusione sociale e culturale, Bologna è stata dichiarata dall'Unesco “Città creativa della musica”, prima in Italia e seconda in Europa dopo Siviglia (Spagna), oltre a Glasgow (Scozia) e Gent (Belgio).