DOCSLIB.ORG

Diplomová Práce

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Diplomová Práce JANÁ ČKOVA AKADEMIE MÚZICKÝCH UM ĚNÍ V BRN Ě Hudební fakulta Katedra zp ěvu Studijní obor: Zp ěv Rozbor postavy Madam Flory z opery Giana Carla Menottiho Médium Diplomová práce Autor práce: BcA. Markéta Viterová Vedoucí práce: doc. Alena Va ňáková Oponent práce : PhDr. Alena Borková Brno 2011 Bibliografický záznam VITEROVÁ, Markéta. Rozbor postavy Madam Flory z opery Giana Carla Menottiho Médium [Character analysis of Madame Flora in opera Medium by Gian Carlo Menotti]. Brno: Janá čkova akademie múzických um ění v Brn ě, Hudební fakulta, Katedra zp ěvu, 2011, 52 s. Vedoucí diplomové práce doc. Alena Va ňáková. Anotace Diplomová práce Rozbor postavy Madam Flory z opery Giana Carla Menottiho Médium se zabývá dramatickým i hudebním rozborem postavy Madam Flory p řevážn ě v uvedení opery v roce 2009 Komorní operou HF JAMU a porovnává je s dalšími zpracováními tohoto nám ětu, jakožto i okolnostmi vedoucími ke vzniku tohoto díla a reáliemi ze života autora. Annotation Diploma thesis Character analysis of Madame Flora in opera Medium by Gian Carlo Menotti deals with the dramatic and musical analysis of the character Madame Flora mainly in the 2009 opera introduction by the Komorní opera HF JAMU and compares it with other adaptation of this theme, as well as the circumstances leading to the creation of this work and the realities in the life of the author. Klí čová slova Médium, Menotti, Madam Flora, Americká opera, Verismus, Powers, Höngen, Forrester. Keywords Medium, Menotti, Madame Flora, American opera, Verismo, Powers, Höngen, Forrester. Prohlášení Prohlašuji, že jsem tuto diplomovou práci vypracovala samostatn ě a uvedla v ní veškerou literaturu a další zdroje informací, které jsem p ři práci použila. V Brn ě, 20. srpna 2011 Markéta Viterová 3 Pod ěkování Na tomto míst ě bych ráda pod ěkovala doc. Alen ě Va ňákové, která mi byla při psaní této diplomové práce velice nápomocná svými p řipomínkami i trp ělivostí. 4 OBSAH Úvod …………………………………………………………………………...…6 1. Gian Carlo Menotti ………………………………………………….…..….7 2. Opera Médium ……………………………………………………………..10 2. 1 Okolnosti vzniku opery ……………………………………………....10 2. 2 Obsah opery …………………………………………………………..11 3. Inscenace Komorní opery HF JAMU, režie K. Belcredi, 2009 ……14 3. 1 Překlad ………………………………………………………… ……..15 3. 2 Režie… ………………………………………………………………...15 3. 3 Scéna ……………………………………………………………….….18 3. 4 Kostýmy a lí čení ………………………………………………………19 4. Dramatický rozbor role Madam Flory …………………………………21 4. 1 Madam Flora v pr ůběhu opery ……………………………………..21 4. 2 Vztah Madam Flory k ostatním postavám …………………………24 4. 2. 1 Madam Flora a Toby………………………………………….24 4. 2. 2 Madam Flora a Monika ……………………………………….26 4. 2. 3 Madam Flora a zákazníci……………………………………. 27 4. 3 Moje pojetí role Madam Flory v inscenaci Komorní opery HF JAMU…………………………………………………………………………28 5. Hudební rozbor partu Madam Flory a problémové pasáže………..31 6. Filmové zpracování, režie G. C. Menotti, 1951……………………….35 7. Televizní inscenace, režie O. Schenk, 1964…………………………..39 8. Televizní produkce, režie P. Morin, 1977.……………………………..42 Záv ěr…………………………………………………………………………….44 Soupis informa čních zdroj ů……….………………………………….…….46 Seznam ilustrací………………………………………………………………47 Seznam p říloh……………………………………………………………….…48 Přílohy…………………………………………………………………….……..49 5 ÚVOD Dílo Giana Carla Menottiho nepat ří u nás k hudební klasice tak, jak je tomu na západ od našich hranic. Ale oproti let ům d řív ějším se za čínají - alespo ň na programech operních recitál ů - stále čast ěji části jeho hudebních titul ů objevovat. Jsem dodnes velice vd ěč ná, že jsem se mohla blíže seznámit alespo ň s jednou jeho operou, a to práv ě s Médiem. Téma této diplomové práce jsem si zvolila proto, že se mi období práce na Médiu stalo jedním z nejhez čích. A č tato inscenace p ůvodn ě měla být absolventským projektem pro Veroniku Demelovou v roli Madam Flory, kterou jsem m ěla alternovat, nakonec všechna p ředstavení i poslední týdny zkoušek se musely obejít bez její ú časti. V pr ůběhu příprav Veronika ze zdravotních d ůvod ů projekt opustila a pro mne se tak Médium stalo sice velice náro čným a vy čerpávajícím úkolem, ale především velkou zkušeností. Nemoc kolegyn ě všem p řinesla spoustu problém ů, ale hlavn ě mi poskytla jednu velkou výhodu v podob ě intenzivních zkoušek. V dnešní usp ěchané a finan čními prost ředky zna čně limitované dob ě není obvyklé, aby si p ěvci či herci mohli roli perfektn ě zažít ješt ě p řed premiérou, tak jak se to pošt ěstilo mn ě. Nezapomenutelná práce se mi stala novým koní čkem v podob ě vlastního objevování Menottiho dalších oper i podrobností z jeho života. Touto diplomovou prací jsem cht ěla nabídnout bližší pohled na Madam Floru jako na skv ěle napsanou postavu, plnou úzkostí a traumat tak, jak jsem si ji p ředstavovala já ve zpracování, ve kterém jsem m ěla možnost ú činkovat, a porovnat ji s pojetím trojice interpretek téže postavy v rozmezí šedesáti let. 6 1. GIAN CARLO MENOTTI U skladatele, narozeného 7. července 1911 v italském m ěste čku Cadegliano, se již v raném d ětství projevilo výrazné hudební nadání. Krom ě psaní písní se v jedenácti letech pokusil i o svou první operu . Ve třinácti byl p řijat na milánskou konzervato ř a z té pak pokra čoval získávat znalosti do USA na Curtis Institute of Music 1 ve Philadelphii u Rosaria Scalera, kde po dostudování v roce 1933 i sám vyu čoval. Jeho první významná opera buffa Amelia al ballo ( Amélie jde na ples, 1937 ) vzbudila po premié ře ve Philadelphii takový ohlas, že o necelý rok pozd ěji ji uvedla slavná Metropolitní opera v New Yorku. Její úsp ěch vynesl autorovi zakázku na zkomponování rozhlasové opery pro NBC. Tak vzniklo jednoaktové dílko The Old Maid and the Thief ( Stará panna a lupi č, 1939 ). Po ope ře The Island God ( Bůh ostrova, 1942 ) si u Menottiho objednává Alice M. Ditson Foundation Columbia University operu pro komorní obsazení The Medium ( Médium, 1946 ). Toto dvouaktové drama se v newyorkském Ethel Barrymore Theatre do čkalo v sezón ě 1947/48 skv ělých 211 repríz. Nadšení divák ů se ješt ě zv ětšilo, když byla vedle Média jako protipól hrána komická opera o jednom aktu The Telephone, or L’Amour a Trois ( Telefon aneb láska ve třech, 1947 ). Jedním z dalších velmi cen ěných Menottiho d ěl je hudební drama ve t řech d ějstvích, inspirované byrokratickou mašinérií The Consul (Konzul, 1950 ). Opera obdržela dv ě významná vyznamenání – Pulitzerovu cenu za rok 1949 a cenu Drama Critics‘ Circle v roce 1950. Konzul nebyl jedinou operou, která p řinesla skladateli slavnou Pulitzerovu cenu. Jako další bylo v roce 1955 ocen ěno i drama s náboženským motivem The Saint of Bleecker Street ( Svatá z Bleecker Street, 1954 ). Menottiho opery dále jsou nap ř. Maria Golovin ( 1958 ), Labyrinth (Labyrint, 1963 ), L’ultimo selvaggio ( Poslední divoch, 1963 ), Tamu-Tamu (1973 ), The Hero ( Hrdina, 1976 ), La loca ( Cár, 1979 ), Goya ( 1986 ), The Wedding ( Svatba, 1988 ). 1 Na doporu čení A. Toscaniniho, který byl rodinným p řítelem 7 Menottiho dílo neoslovovalo jen dosp ělého diváka, ale i publikum dětské. Váno ční pohádkový p říb ěh o chromém pasá čkovi a t řech králích Amahl and the Night Visitors ( Amahl a no ční návšt ěvníci, 1951 ) se stal první americkou televizní operou. I v dalších letech skladatel stále pokra čoval ve tvorb ě pro d ěti. Za zmínku ur čit ě stojí Help, help, the Globolinks! ( Pomoc, pomoc, Globolinkové!, 1968 ) o obyvatelích vesmíru nebezpečných jenom lidem, kte ří nemají rádi hudbu. Dále pak nap ř. The Trial of the Gypsy ( Cikánova zkouška, 1978 ), Chip and his Dog ( Chip a jeho pes, 1979 ), The Bride from Pluto ( Nev ěsta z Pluta, 1982 ) a The Boy who Grew too Fast ( Chlapec, který rostl p říliš rychle, 1982 ). Opera nebyla jediným Menottiho zájmem, ale v ěnoval se nap ř. i komponování orchestrálních skladeb, kantát a písní. Ke všem svým operám a i pro jiné autory (nap ř. pro Samuela Barbera) psal libreta, vyzkoušel práci scénáristy, producenta a dokonce režiséra 2. Dále pak více než dvacet let p ůsobil jako pedagog a osv ědčil se i jako schopný organizátor a ředitel hudebního festivalu Due Mondi v italském Spoletu, který pomáhal k uvedení díl ům novým i již zapomenutým. Zatímco nep řestával tvo řit pro jevišt ě, rozhlas či televizi, rozší řil festival o další dv ě místa konání - USA a Austrálii. Jeho napln ěný život se uzav řel 1. února 2007 3 v devadesáti p ěti letech v Monte Carlu. I p řesto, že za sv ůj život obdržel dvakrát cenu kritik ů, byla Menottiho hudba často jejich ter čem. Kritikou byla posuzována jako p říliš sentimentální a líbivá. Sou časní skladatelé k ní byli ješt ě p řísn ější. Igor Stravinskij se k Menottiho hudební řeči stav ěl velmi odmítav ě a skladatel Luigi Nono dokonce odmítl uvést své skladby s ním na stejném programu. Ale ani tehdejší kritika Menottimu nemohla up řít zásluhu na popularizaci sou časné americké opery. V Menottiho operách, které nem ůžou zap řít vliv italského verismu, proti sob ě stojí často až obludn ě vedené charaktery - je zvláštní, že je většinou p ředstavují ženy - karikující p ředevším mravy americké spole čnosti, 2 Nap ř. v roce 1974 Menotti režíroval mnichovské uvedení Média v hlavní roli se So ňou Červenou. 3 Datum úmrtí v programu k inscenaci KO JAMU je chybn ě uvedeno jako 1. 2. 1997. 8 a čistý pohled dít ěte. T řeba práv ě proto, že v každém z nás je kus ďábla i and ěla, se Menotti drží mezi nej čast ěji uvád ěnými autory 20. století. Je velká škoda, že české operní scény se mu stále vyhýbají. Nejblíže uvedeným představením Menottiho opery bylo uvedení Konzula v Bratislav ě v roce 1966 4. 4 Premiéra 2. 6. 1966 Slovenské národné divadlo Bratislava Dostupné z WWW: http://www.theatre.sk/uploads/files/THEISA%20subory/Inscenacie.htm 9 2.
Load more

Recommended publications
  • 8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
    8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time.
    [Show full text]
  • THE BROOKLYN PHILHARMONIA 27Th Season: 1980/1981 LUKAS FOSS, Music Director
    THEOOOPER~ONFORUM November 14, 1980, Spm THE BROOKLYN PHILHARMONIA 27th Season: 1980/1981 LUKAS FOSS, Music Director MEET THE MODERNS 1: MUSIC + DRAMA two one-act operas THE CRY OF CLYTAEMNESTRA THE EGG Music by John Eaton an operatic riddle Libretto by Patrick Creagh Music and Libretto by Gian Carlo Menotti New York premiere New York premiere RICHARD DUNCAN, conductor LUKAS FOSS, conductor Staging by Maurice Edwards Staging by Maurice Edwards Lighting by William Mintzer Lighting by William Mintzer Sound Co-ordinator: Lonnie Juli Costumes by Constance Mellen Cast Cast (in o rder of appearance) (in o rder of appearance) ClytaernJlt'~tra Quec•11 o{ Ar,J~e>S . elcla elson Manuel ................................... Martin Strother lphygene1a eldest dau,J~hter o{ C/ytaemnestra St Simeon Stylites .............................joseph Levitt !111(/ A.I!Cllll£'11111011 . • • • . • . • Sally Wolf BasJIJssa Empress o{ ByzantiUm ( Pnde} . ............ Edith Diggory Agamemnon KJII,JI of ArJioS . • . • • . Tim o ble Areobindus. {avonte o{the Bas111ssa (Lust} .......... Steven Nelson Ody~seus . Ri chard Walker Gourmantus, the cook (Gluttony} . ....... ........ Ted Adkins Menelaus . ·- . Brian Trego Eunuch of the Sacred Cubicle !Slot hi ............ Richard Walker DJOilll'tks . Martin Strother Pachomius. the treasurer (A vance} . .................. Jon Fay TnKer . Steven Nelson Sister of the BasJIJssa !Envyl . ...... ............... Paula Redd Calcha~. HlJih Pnest. joseph Levitt Julian, Capt am o{ the Guard (Anger} (silent role} . .. ..... Brian Trego Acl11llcs . .Jon Fay Beggar Woman . ... .............. Sarah Miller Electra. dauxhter o{ C/ytaem11estra and !Chorusl ............ Axamemncm. as a ch1ld . ................. .. ....... Abby Tate Members of the Basi IIssa's Court Sally Wolf, Martha Waltman Rebecca Field, Glenn Siebert, Colenton Freeman Orestes. so11 o{ Clytaem>lestra and Agamemnon, as a child .
    [Show full text]
  • April 2008 in This Issue
    The Sacred in Opera April 2008 In this Issue... Ruth Dobson For the next two editions of the SIO newsletter, we are taking an in-depth look at one-act Christmas operas which can be easily produced and are appropriate for both children and adults. This issue we will profile Amahl and the Night Visitors, Only a Miracle, St. Nicholas, Good King Wenceslas, and The Shepherd’s Play. The next issue will highlight The Christmas Rose, The Greenfield Christmas Tree, The Finding of the King, The Night of the Star, and others. Thanks to Allen Henderson for sharing his insight into a triology of operas by Richard Shephard, Good King Wenceslas, The Shepherd’s Play, and St. Nicholas, with us in this issue. As great as Amahl and the Night Visitors is, there are these and other works waiting to be discovered by all of us. We hope you will find these suggestions interesting. These operas vary in length from 10 minutes to an hour, and can be presented alone or paired with others. Amahl and the Night Visitors is almost always a successful box office draw. Pairing it with a lesser known work could make for a very enjoyable afternoon or evening presentation and give audiences an opportunity to enjoy other equally wonderful works. Several of these operas use children as cast members, while others call for only adult performers, but all have stories appropriate for children. They are written in a variety of styles and have very different production requirements. Producers would need to take into consideration the ages of the children that are the target audience.
    [Show full text]
  • A Study of Gian Carlo Menotti's Concerto for Violin and Orchestra
    A STUDY OF GIAN CARLO MENOTTI’S CONCERTO FOR VIOLIN AND ORCHESTRA by LAURA ANNE TOMLIN (Under the Direction of Dorothea Link and Levon Ambartsumian) ABSTRACT Gian Carlo Menotti’s Concerto for Violin and Orchestra (1952), although written and premiered in the early 1950s, has been an unduly neglected work due to a number of circumstances, but one that has recently been gaining in popularity. The purpose of this document is to provide a comprehensive guide to the Violin Concerto in the hope that it will help capture the attention of those unaware of its existence and ultimately aide in the concerto’s acceptance into the violinist’s standard repertoire. The Violin Concerto’s historical context is examined in relationship to its compositional style and possible sources of inspiration, and to its neglect in the past and recent surge in popularity in the violin world. A formal and theoretical analysis of Menotti’s concerto, as well as a discussion of its technical challenges from the standpoint of the performer, will provide insight into its composition and interpretative issues. Despite its traditional form, Menotti’s Violin Concerto is an unusual piece in many respects, among which are its intriguing possible biographical components. Composed in 1952 for violinist Efrem Zimbalist, the work, on first hearing, can seem a bit disjointed with elements obviously derived from, or at the very least influenced by, other works. However, on closer examination of the work and of its intended performer, these elements appear to be intentional. For these reasons, in addition to its appeal simply as a composition, Menotti’s Violin Concerto is worthy of further study.
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN DECEMBER, 1967 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plan • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 CENTRAL OPERA SERVICE COMMITTEE R. L. B. TOBIN, National Chairman The National Council JULIUS RUDEL, Co-Chairman New York City Opera National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN GEORGE HOWERTON E. H. CORRIGAN, JR. ELIHU M. HYNDMAN MRS. NORRIS DARRELL MRS. JOHN R. SAVAGE HOWARD J. HOOK, JR. JAMES SCHWABACHER, JR. Professional Committee MAURICE ABRAVANEL RICHARD KARP Salt Lake City Symphony Pittsburgh Opera KURT HERBERT ADLER PAUL KNOWLES San Francisco Opera University of Minnesota VICTOR ALESSANDRO GLADYS MATHEW San Antonio Symphony Community Opera ROBERT G. ANDERSON MRS. LOUDON MELLEN Tulsa Opera Opera Soc. of Wash., D.C. WILFRED C. BAIN ELEMER NAGY Indiana University Hartt College of Music ROBERT BAUSTIAN MME. ROSE PALMAI-TENSER Santa Fe Opera Mobile Opera Guild MORITZ BOMHARD RUSSELL D. PATTERSON Kentucky Opera Kansas City Lyric Theatre JOHN BROWNLEE MRS. JOHN DEWITT PELTZ Manhattan School of Music Metropolitan Opera PAUL CALLAWAY GEORGE SCHICK Opera Soc. of Wash., D.C. Metropolitan Opera STANLEY CHAPPLE MARK SCHUBART University of Washington Lincoln Center EUGENE CONLEY MRS. L. S. STEMMONS No. Texas State Univ. Dallas Civic Opera WALTER DUCLOUX LEONARD TREASH University of S. California Eastman School of Music PETER PAUL FUCHS LUCAS UNDERWOOD Louisiana State University College of the Pacific ROBERT GAY GID WALDROP Northwestern University Juilliard School of Music BORIS GOLDOVSKY MRS. J. P. WALLACE Goldovsky Opera Theatre Shreveport Civic Opera WALTER HERBERT MRS. PAUL P. WILSON Houston Grand Opera Mid-South Reg.
    [Show full text]
  • Musical Narrative in Three American One-Act Operas with Libretti By
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Musical Narrative in Three American One- Act Operas with Libretti by Gian Carlo Menotti: A Hand of Bridge, The Telephone, and Introductions and Good-Byes Elizabeth Lena Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MUSICAL NARRATIVE IN THREE AMERICAN ONE-ACT OPERAS WITH LIBRETTI BY GIAN CARLO MENOTTI: A HAND OF BRIDGE, THE TELEPHONE, AND INTRODUCTIONS AND GOOD-BYES By ELIZABETH LENA SMITH A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2005 Copyright © 2005 Elizabeth Lena Smith All Rights Reserved The members of the Committee approve the dissertation of Elizabeth Lena Smith defended on March 14, 2005. ___________________________ Jane Piper Clendinning Professor Directing Dissertation ___________________________ Larry J. Gerber Outside Committee Member ___________________________ Michael H. Buchler Committee Member ___________________________ Matthew L. Lata Committee Member ___________________________ Matthew R. Shaftel Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To someone I once knew… iii ACKNOWLEDGEMENTS I wish to extend my appreciation to my advisor Prof. Jane Piper Clendinning for her continuous support and guidance through the preparation of this document as well as related proposals and presentations that preceded it. In every aspect of my doctoral experience, her encouragement and thoughtful counsel has proven invaluable. Also, my gratitude goes to Prof. Matthew Shaftel (whose doctoral seminar inspired this project) and Prof.
    [Show full text]
  • Otto Albrecht Papers Ms
    Otto Albrecht papers Ms. Coll. 1106 Finding aid prepared by John Anderies. Last updated on March 27, 2019. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 March 22 Otto Albrecht papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 6 Administrative Information........................................................................................................................... 7 Related Materials........................................................................................................................................... 7 Controlled Access Headings..........................................................................................................................8 Collection Inventory...................................................................................................................................... 9 I. Personal materials................................................................................................................................ 9 II. Correspondence.................................................................................................................................11
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN MAY-JUNE, 1971 NATIONAL CONFERENCE - WASHINGTON, D.C. - NOVEMBER, 1971 INDEX NEW OPERAS AND PREMIERES 1 NEW OPERA COMPANIES & ARTS COOPERATIVES 3 ART AND ARTS CENTERS 4 GOVERNMENT AND THE ARTS 5 WHAT YOU MUST KNOW ABOUT TAX PROGRAMS 7 NEW TRANSLATIONS, NEW SETS 7 FOUNDATION RESEARCH AND GRANTS 8 PERFORMANCE STATISTICS 8 SINGERS AND ACTORS AS STAGE DIRECTORS 9 EDUCATION, incl. Summer & Arts Admin. Courses 10 ANNIVERSARIES 11 BOOK CORNER; COLLECTIONS 12 COMPETITIONS & WINNERS 14 APPOINTMENTS 15 ANNOUNCEMENTS FROM THE GUILD 17 NEW COS MEMBERS 17 PERFORMANCE LISTING, 1970-71 com. 18 PERFORMANCE LISTING, Summer 1971 19 FIRST PERFORMANCE LISTING, 1971-72 25 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaia • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MELLEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Hartt College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No.
    [Show full text]
  • LEONARD WARREN Kipling Songs and American Ballads That Featured in His Concert Programmes
    NI 7939/40 the theatre and on record readily admitted that it was tremendously impressive. He possessed an extremely dark, virile and weighty central register that was still malleable and able to move up with consummate ease through the passaggio to his remarkable upper extension. His attack on top notes and the ability to sustain them, coupled with a fine legato and informed phrasing, provided him with the ideal voice for the high dramatic baritone roles in Verdi operas. What is surprising is the way he manages to scale down his voice for the Sea Shanties, LEONARD WARREN Kipling songs and American ballads that featured in his concert programmes. It is here, without the constraints of operatic convention, that a listener most readily appreciates his communicative abilities. For this CD compilation Prima Voce has transferred a number of his most outstanding operatic recordings, ably supported by some of his colleagues at the Metropolitan, together with a selection of songs, which catch him in his absolute vocal prime. © 2007 Alan Bilgora BIBLIOGRAPHY W.H Seltsam: Metropolitan Opera Annals (H W Wilson Co. New York 1938-1960) Quaintance Eaton: Opera Caravan (John Calder, London 1957) Mary Ellis Peltz: Behind the Gold Curtain (Farrar Strauss & Co., New York 1950) Ronald L. Davis: Opera in Chicago (Appleton-Century, New York 1966) Arthur Bloomfield: 50 Years of the San Francisco Opera (San Francisco Book Co.,1972) David Hamilaton: Metroplitan Opera Encyclopedia (Simon & Schuster, New York 1987) Eldred A. Thierstein: Cincinatti Opera (Deerstone Books, Michigan 1995) Paul Jackson: Saturday Afternoons at the Old Met (Amadeus Press, Oregan 1997) Peter G.Davis: The American Opera singer (Doubleday, New York 1997) Mary Jane Phillips-Matz: Leonard Warren American Baritone (Amadeus Press, Oregan 2000) V.E.Villamil: From Johnson’s Kids to Lemonade Opera (Northeastern University Press 2004) K.
    [Show full text]
  • A Study of Gian Carlo Menotti's the Consul, the Saint of Bleecker
    A study of Gian Carlo Menotti’s The Consul, The Saint of Bleecker Street, and The Death of the Bishop of Brindisi as humanized by the music, with focus on the tragic characters (Magda Sorel and Mother, Annina and Michele, the Bishop and the children). Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Music Eric Chafe, Advisor In Partial Fulfillment of the Requirements for Master of Fine Arts Degree By Julia R. O’Toole May, 2012 Copyright by Julia R. O’Toole © 2012 I am very grateful to Ed Matthew at G. Schirmer Inc., Associated Music Publishers, Inc., for his assistance in securing the most recent full scores of The Consul and The Saint of Bleecker Street for study, and for his assistance in determining the origin of handwritten notes in those scores. iii ABSTRACT A study of Gian Carlo Menotti’s The Consul, The Saint of Bleecker Street, and The Death of the Bishop of Brindisi as humanized by the music, with focus on the tragic characters (Magda Sorel and Mother, Annina and Michele, Bishop and the children). A thesis presented to the Music Department Graduate School of Arts and Sciences Brandeis University Waltham, MA By Julia R. O’Toole The purpose of this thesis was to examine the ways in which Gian Carlo Menotti engaged voices and instruments to create humanity in the characters through the music, focusing on three tragic operas: The Consul, The Saint of Bleecker Street, and The Death of the Bishop of Brindisi.
    [Show full text]
  • Amahl and the Night Visitors, Composed for NBC-TV in 1951
    The Pescadero Opera Society presents and the Night Visitors Music and Libretto by Gian Carlo Menotti An Opera in One Act Sung in English Setting: Peasant home Time: Biblical times Characters Amahl (boy soprano) ...............................................................................Bill McIver His Mother (soprano)............................................................... Rosemary Kuhlmann King Melchior (baritone) .......................................................................David Aiken King Balthazar (bass)............................................................................ Leon Lishner King Kaspar (slightly deaf), (tenor)............................................. Andrew McKinley The Page (baritone)..................................................................... Francis Monachino Three Peasants (dancers)......................John Butler, Glen Tetley, Carmen Gutierrez Conducted by Thomas Schipper The Symphony of the Air Orchestra Première performance on NBC Television Opera Theatre on December 24, 1951 This live telecast was given December 25, 1955. 2 Synopsis Amahl, a crippled shepherd boy, about 12 years old, is heard playing a tune on his flute outside of his house. His mother tells him that it’s time to go to bed. He delays as long as possible but, after being scolded by his mother, he finally takes his crutch and hobbles inside. Amahl tells his mother of a large bright star in the sky. She refuses to believe him, complaining that he is always making up tales. After Amahl and his mother go to sleep, voices are heard in the distance. There is a knock at the door and Amahl is sent to see who it is. He hastily returns and informs his mother that there are three kings at the door. Not believing him, she goes to the door herself and is stunned to discover that Amahl is, in fact, telling the truth — there are three kings at the door! The kings request lodging for the evening.
    [Show full text]
  • MENOTTI Cadegliano Viconago (Varese, Italy), 1911 Monte Carlo, 2007
    GIAN CARLO MENOTTI Cadegliano Viconago (Varese, Italy), 1911 Monte Carlo, 2007 Trio for violin, clarinet and piano (1996) Stefano Ferrario, violin Stefano Ricci, clarinet Marco Sollini, piano Poemetti per Maria Rosa: 12 pieces for children (1937) Marco Sollini, piano THE TELEPHONE ou l’amour à trois Cinzia Forte, Marco Camastra, Fabrizio Maria Carminati CREDITS Produced by: Andrea Maria Panzuti Recording place and dates: Donizetti Theatre, Bergamo, Italy - December 31st, 2000 (The telephone); San Marco church, Ponzano di Fermo, Italy: July 16th 2014 (Poemetti) and August 1st 2014 (Trio) Recording and editing (both Bergamo and Ponzano): Raffaele Cacciola, Bartók Studio Technical assistance (Ponzano di Fermo): Michele Mainoldi Instruments: Gran coda Steinway & Sons (mod. D.) from Angelo Fabbrini collection, Pescara Cover image: Nicola Villa, Businessman and shadow, 2008 (courtesy of: Salamon Gallery, Milan) Booklet notes: Andrea Nigromontano Translated by: Alberto Pirovano Jr. Artwork: Studio Bertin, Milan In cooperation with: Armonie della Sera - Chamber Music Festival (www.armoniedellasera.it); Associazione Marche-Musica Grazie anche al Maestro Villa e alla Galleria Salamon, che ci hanno aiutato in questa iniziativa; al Maestro Carminati; al Comune di Ponzano di Fermo. Very grateful to: Mr. Villa and to the Salamon Art Gallery, who have supported in this effort; Maestro Carminati; and to the Municipality of Ponzano di Fermo. surprisingly fresh. It seems created by a young composer materials and is never academic but always sustained “SPOLETO È SOLO innamorata del suo protetto: ma anche una facilità enthusiastic to tread on previously unchartered ground. by strong, communicative writing. Thanks to Menotti, melodica e compositiva che fa pensare a Mozart, o, per Overall, the Trio, commissioned by the Verdher Trio and Opera has reached great fame in the United States.
    [Show full text]