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Thoughts on Diegetic Music in the Early Operas of Zandonai1
DAVID ROSEN THOUGHTS ON DIEGETIC MUSIC IN THE EARLY OPERAS OF ZANDONAI1 Diegetic music – «music that (apparently) issues from a source within the narrative» (Gorbman, 23)2 – plays an important role in Zandonai’s early operas: not only does it appear frequently, but it often pushes the action forward, eliciting responses from the characters who hear it. And some of its uses are unusual, if not unprecedented. In this essay I focus on Il grillo del focolare but make cross-references to diegetic music in L’uccellino d’oro, Conchita, and Melenis as well. Readers unfamiliar with these operas may want to consult plot summaries, for example, in Dryden (469-79). Table 1 lists the passages referred to in this essay. 1 I want to express my thanks to the Centro internazionale di studi «Riccardo Zan- donai», especially to Diego Cescotti, Irene Comisso, and Federica Fortunato for assistance of all sorts before, during, and after the conference. Thanks go also to Gary Moulsdale for his comments on an earlier version of this text, to Ann Beck- man and other friends on WM-L (my favorite online opera discussion group) for answering some questions about precedents for certain uses of diegetic music, and to Carol Rosen for having translated into Italian the version of this essay that I delivered at the conference. 2 Citations refer to the Selective Bibliography at the end of this essay. The category ‘diegetic music’ thus includes both ‘musica in scena’ and ‘musica di scena’ (for the distinction see, for example, Girardi, 101-102). That is, it may include music emanating from offstage (whether in the wings or from the orchestra pit) or on- stage in full view of the audience. -
Cavalleria Rusticana Pagliacci
Pietro Mascagni - Ruggero Leoncavallo Cavalleria rusticana PIETRO MASCAGNI Òpera en un acte Llibret de Giovanni Targioni -Tozzetti i Guido Menasci Pagliacci RUGGERO LEONCAVALLO Òpera en dos actes Llibret i música de Ruggero Leoncavallo 5 - 22 de desembre Temporada 2019-2020 Temporada 1 Patronat de la Fundació del Gran Teatre del Liceu Comissió Executiva de la Fundació del Gran Teatre del Liceu President d’honor President Joaquim Torra Pla Salvador Alemany Mas President del patronat Vocals representants de la Generalitat de Catalunya Salvador Alemany Mas Mariàngela Vilallonga Vives, Francesc Vilaró Casalinas Vicepresidenta primera Vocals representants del Ministerio de Cultura y Deporte Mariàngela Vilallonga Vives Amaya de Miguel Toral, Antonio Garde Herce Vicepresident segon Vocals representants de l'Ajuntament de Barcelona Javier García Fernández Joan Subirats Humet, Marta Clarí Padrós Vicepresident tercer Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta quarta Vocals representants de la Societat del Gran Teatre del Liceu Núria Marín Martínez Javier Coll Olalla, Manuel Busquet Arrufat Vocals representants de la Generalitat de Catalunya Vocals representants del Consell de Mecenatge Francesc Vilaró Casalinas, Àngels Barbarà Fondevila, Àngels Jaume Giró Ribas, Luis Herrero Borque Ponsa Roca, Pilar Fernández Bozal Secretari Vocals representants del Ministerio de Cultura y Deporte Joaquim Badia Armengol Santiago Fisas Ayxelà, Amaya de Miguel Toral, Santiago de Director general -
Operas Performed in New York City in 2013 (Compiled by Mark Schubin)
Operas Performed in New York City in 2013 (compiled by Mark Schubin) What is not included in this list: There are three obvious categories: anything not performed in 2013, anything not within the confines of New York City, and anything not involving singing. Empire Opera was supposed to perform Montemezzi’s L'amore dei tre re in November; it was postponed to January, so it’s not on the list. Similarly, even though Bard, Caramoor, and Peak Performances provide bus service from midtown Manhattan to their operas, even though the New York City press treats the excellent but four-hours-away-by-car Glimmerglass Festival like a local company, and even though it’s faster to get from midtown Manhattan to some performances on Long Island or in New Jersey or Westchester than to, say, Queens College, those out-of-city productions are not included on the main list (just for reference, I put Bard, Caramoor, and Peak Performances in an appendix). And, although the Parterre Box New York Opera Calendar (which includes some non-opera events) listed A Rite, a music-theatrical dance piece performed at the BAM Opera House, I didn’t because no performer in it sang. I did not include anything that wasn’t a local in-person performance. The cinema transmissions from the Met, Covent Garden, La Scala, etc., are not included (nor is the movie Metallica: Through the Never, which Owen Gleiberman in Entertainment Weekly called a “grand 3-D opera”). I did not include anything that wasn’t open to the public, so the Met’s workshop of Scott Wheeler’s The Sorrows of Frederick is not on the list. -
Any Palet I L’Any Palet, Que Durant Tot El 2017 Faran, D’Aquest, Un Homenatge De Tots I Reivindicarà La Figura Del Tenor I La Per a Tots
ANY PALET 2017 MARTORELL JOSEP PALET 1877 · 1946 140è aniversari del naixement del tenor martorellenc Aquest 2017 es compleixen 140 anys El programa d’activitats que presentem del naixement del tenor Josep Palet, un té, per una banda, la ferma voluntat de MARTORELL 2017 dels cantants més universals de la història donar a conèixer arreu la persona de lírica catalana. Nascut a Martorell l’any Josep Palet i de divulgar-ne el seu 1877, amb tan sols 23 anys debutava llegat. Però, d’altra banda, hi ha la al Gran Teatre del Liceu i iniciava una convicció de voler omplir Martorell carrera internacional que el portaria d’òpera tot sentint les veus del moment per mig món. Afincat a Itàlia des de i, a més, impulsant la carrera de les l’any 1911, el tenor no es va oblidar noves promeses de la lírica. JOSEP PALET 1877 · 1946 mai de Martorell i a la seva mort, l’any A aquesta agenda s’hi sumaran, durant 1946, va ser anomenat Fill Predilecte tot el 2017, iniciatives provinents de di- de la vila. verses entitats i col·lectius de Martorell. L’Ajuntament de Martorell impulsa Propostes que s’uniran a l’Any Palet i l’Any Palet, que durant tot el 2017 faran, d’aquest, un homenatge de tots i reivindicarà la figura del tenor i la per a tots. realçarà novament. Qui és Josep Palet? Josep Palet va néixer a Martorell el 7 Tal va ser el vincle amb la seva vila L’èxit de Palet va ser posseir una veu de juny del 1877. -
Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers
UNDERSTANDING THE LIRICO-SPINTO SOPRANO VOICE THROUGH THE REPERTOIRE OF GIOVANE SCUOLA COMPOSERS Youna Jang Hartgraves Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Jeffrey Snider, Major Professor William Joyner, Committee Member Silvio De Santis, Committee Member Stephen Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hartgraves, Youna Jang. Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers. Doctor of Musical Arts (Performance), August 2017, 53 pp., 10 tables, 6 figures, bibliography, 66 titles. As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.’ This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. -
Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941
Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941 by Elizabeth Crisenbery Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Advisor ___________________________ Benjamin Earle ___________________________ Philip Rupprecht ___________________________ Louise Meintjes ___________________________ Roseen Giles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2020 ABSTRACT Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941 by Elizabeth Crisenbery Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Advisor ___________________________ Benjamin Earle ___________________________ Philip Rupprecht ___________________________ Louise Meintjes ___________________________ Roseen Giles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2020 Copyright by Elizabeth Crisenbery 2020 Abstract Roger Griffin notes that “there can be no term in the political lexicon which has generated more conflicting theories about its basic definition than ‘fascism’.” The difficulty articulating a singular definition of fascism is indicative of its complexities and ideological changes over time. This dissertation offers -
03 Francesca Da Rimini
Press Contacts: Harry Forbes, WNET 212-560-8027 or [email protected] Eva Chien 212-870-4589; [email protected] Press materials; http://pressroom.pbs.org/ or http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS Zandonai’s Masterpiece Francesca da Rimini In Its First Met Revival in 27 Years on THIRTEEN’s Great Performances at the Met Sunday, August 18 at 12 noon on PBS Eva-Maria Westbroek and Marcello Giordani star in the classic tale of doomed love, based on an episode from Dante’s Inferno Riccardo Zandonai's masterpiece Francesca da Rimini , staged by the Met for the first time in more than a quarter of a century, airs on Great Performances at the Met Sunday, August 18 at 12 noon on PBS (check local listings). (In New York, THIRTEEN will air the opera at 12:30 p.m.) Piero Faggioni's production, which sets the action in Renaissance Italy, stars Dutch soprano Eva-Maria Westbroek and Italian tenor Marcello Giordani as Francesca and Paolo, the star-crossed lovers whose doomed romance was immortalized in an episode in Dante's Inferno . Marco Armiliato conducts a cast that also includes the American baritone Mark Delavan as Gianciotto, Francesca's brutal husband, and American tenor Robert Brubaker as the wicked Malatestino. Francesca da Rimini had its Met premiere in 1916 with Frances Alda in the title role, Giovanni Martinelli as Paolo, and Pasquale Amato as Gianciotto. The opera quickly gained a reputation among connoisseurs for its unusual blend of musical styles, joining the melodies of Italian verismo with the colorful harmonic influences of Debussy and the orchestral effects of Richard Strauss. -
Francesca Da Rimini
Riccardo Zandonai Francesca da Rimini CONDUCTOR Opera in four acts Marco Armiliato Libretto by Tito Ricordi, based on the play by PRODUCTION Gabriele d’Annunzio, inspired by Dante’s Inferno Piero Faggioni SET DESIGNER Saturday, March 16, 2013, 12:00 to 3:35 pm Ezio Frigerio COSTUME DESIGNER Franca Squarciapino LIGHTING DESIGNER Gil Wechsler CHOREOGRAPHER The production of Francesca di Rimini Donald Mahler was made possible by a generous gift STAGE DIRECTOR from Mrs. Donald D. Harrington David Kneuss GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2012–13 Season The 41st Metropolitan Opera performance of Riccardo Zandonai’s Francesca This performance da Rimini is being broadcast live over The Toll Brothers– Conductor Metropolitan Marco Armiliato Opera International Radio Network, IN ORDER OF VOCAL APPEARANCE sponsored by Simonetto, a jester Samaritana, her sister Toll Brothers, John Moore* Dina Kuznetsova America’s luxury ® francesca’s companions Paolo Malatesta homebuilder , with Garsenda Marcello Giordani generous long-term Dísella Làrusdóttir Berlingerio, the tower guard support from Biancofiore Stephen Gaertner The Annenberg Caitlin Lynch Foundation, The Altichiara An Archer Neubauer Family Patricia Risley Hugo Vera Adonella Foundation, the paolo’s brothers Renée Tatum** Vincent A. Stabile Giovanni, known as Gianciotto Endowment for Smaragdi, her slave Mark Delavan Broadcast Media, Ginger Costa-Jackson* Malatestino and contributions Robert Brubaker Ostasio, from listeners Francesca’s brother A Prisoner worldwide. Philip Horst Dustin Lucas This performance is Ser Toldo Berardengo, also being broadcast a lawyer CELLO SOLO live on Metropolitan Keith Jameson Jerry Grossman Opera Radio on Francesca SiriusXM channel 74. Eva-Maria Westbroek Saturday, March 16, 2013, 12:00 to 3:35 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. -
Melenis Di Riccardo Zandonai E Melænis Di Sylvio Lazzari
IRENE COMISSO MELENIS DI RICCARDO ZANDONAI E MELÆNIS DI SYLVIO LAZZARI. MODERNITÀ E TRADIZIONE A CONFRONTO L’arco cronologico di Melenis, come soggetto letterario e operisti- co, dalla sua nascita fino al suo eclissarsi nella storia del teatro musicale del secolo scorso è segnato da queste date: 1851, 1912, 1927. Partendo dalla fonte letteraria attraverso un’analisi dei principali livelli strutturali di quest’opera ‘giovanile’ di Zandonai la mia indagine vuole contribuire, da un lato, a rilevare la concezione innovativa che sottende alla personale interpretazione zandonaiana del soggetto fran- cese, dall’altro a coglierne anche le eventuali carenze e i difetti sul piano drammaturgico. L’opera fu rappresentata soltanto due volte: al Teatro Dal Verme di Milano, il 13 novembre del 1912, e al Teatro Costanzi di Roma, odierno Teatro dell’Opera, il 23 marzo del 1913. Per entrambe le rappresentazioni il giudizio della critica, divisa tra elogi entusiastici ed aspre condanne, scindeva il piano musicale da quello letterario esaltando, con riferimento al primo, la resa quasi ‘plastica’ dell’azione attraverso il ricorso a timbri e preziosità orchestrali e rimar- cando, invece, con riferimento al secondo, lacune ed incongruenze del libretto, reputato freddo, dalla trama inconsistente e macchinosa. Le recensioni di entrambe le rappresentazioni mostrano come i rilievi più critici riguardino proprio il libretto, con particolare riferimento alla sua scarsa efficacia sul piano drammaturgico. Così si esprimeva sul punto il critico Alberto Gasco, in seguito alla rappresentazione romana: Il dramma lirico [...] non regge ad una qualsiasi analisi critica. La figura della protagonista riesce incomprensibile e pertanto le sue angosce amo- rose ci sfiorano appena e non mai riescono a commuoverci. -
DONIZETTI L'ange De Nisida
NEW RELEASE - MARCH 2019 DONIZETTI L’Ange de Nisida Opera in four acts Joyce El-Khoury, David Junghoon Kim, Laurent Naouri, Vito Priante, Evgeny Stavinsky Royal Opera Chorus & Orchestra of the Royal Opera House Sir Mark Elder, conductor World Premiere Catalogue number ORC58 Packaging 2CD digipack, 124pp booklet – Note in English - Synopsis in English, French, German and Italian – Libretto in French & English Release date March 2019 CD UPC 792938005829 SD UPC 792938005843 HD UPC 792938005867 Mastered for iTunes UPC 792938005867 HD digital format 24bit 48kHz Sample track Act III Scene 8: 'Je maudis cette alliance / Grâce ô Roi, pour cette offence" (3mins 02secs) Opera Rara presents, 179 years after it was written, the world premiere recording of a Donizetti ‘lost’ masterpiece, restored and brought thrillingly back to life. Written in 1839 for the Theâtre de la Renaissance in Paris, rehearsals started but the theatre went bankrupt and the opera was never performed – until 2018. Taken from two acclaimed concert performances at the Royal Opera House, L’Ange de Nisida is a fascinating and passionate drama, full of exciting vocal writing, composed by Donizetti near to the end of his life. Countess Sylvia de Linarès, mistress to the King of Naples ........................... Joyce El-Khoury Leone de Casaldi, an exiled soldier ...................................................... David Junghoon Kim Don Fernand d’Aragon, King of Naples ............................................................. Vito Priante Don Gaspar, chamberlain to the King of Naples ........................................... Laurent Naouri The Monk / Father Superior …................................................................. Evgeny Stavinsky Royal Opera Chorus Orchestra of the Royal Opera House Sir Mark Elder, conductor Recorded live at Royal Opera House, London, on 18 and 21 July 2018 IN THE PRESS… about the Royal Opera House performances on 18 and 21 July 2018 from which the recording is produced. -
The Thieving Magpie Melodramma in Two Acts Libretto by Giovanni Gherardini After La Pie Vouleuse, by J.M.T
CHAN 3097 Book Cover.qxd 11/4/07 2:32 pm Page 1 THE THIEVING CHAN 3097(2) CHANDOS O PERA IN ENGLISH MAGPIE CHAN 3097(2) PETER MOORES FOUNDATION CHAN 3097 BOOK.qxd 11/4/07 2:35 pm Page 2 Gioachino Rossini (1792–1868) The Thieving Magpie Melodramma in two acts Libretto by Giovanni Gherardini after La Pie vouleuse, by J.M.T. Badouin and Lebrecht Collection Lebrecht Louis-Charles Caigniez English translation by Jeremy Sams Fabrizio Vingradito, a rich farmer .....................................................................Jeremy White bass Lucia, his wife....................................................................................Susan Bickley mezzo-soprano Giannetto, their son, a soldier............................................................................Barry Banks tenor Ninetta, a servant in their house...............................................................Majella Cullagh soprano Fernando Villabella, Ninetta’s father, a soldier..........................................Russell Smythe baritone Gottardo, the village mayor ...............................................................Christopher Purves baritone Pippo, a young peasant, in Fabrizio’s service.........................................Nerys Jones mezzo-soprano Isacco, a pedlar ........................................................................................John Graham-Hall tenor Antonio, the jailer ...............................................................................................Stuart Kale tenor Giorgio, the mayor’s servant..............................................................Toby -
Giacomo Puccini from Wikipedia, the Free Encyclopedia
Giacomo Puccini From Wikipedia, the free encyclopedia Giacomo Puccini Giacomo Antonio Domenico Michele Secondo Maria Puccini ( 22 December 1858 – 29 November 1924) was an Italian composer whose operas are among the important operas played as standards. Puccini has been called "the greatest composer of Italian opera after Verdi". While his early work was rooted in traditional late-19th-century romantic Italian opera, he successfully developed his work in the realistic verismo style, of which he became one of the leading exponents. Family and education Puccini was born Giacomo Antonio Domenico Michele Secondo Maria Puccini in Lucca in Tuscany, in 1858. He was one of nine children of Michele Puccini and Albina Magi. The Puccini family was established in Lucca as a local musical dynasty by Puccini's great-great grandfather – also named Giacomo (1712–1781).This first Giacomo Puccini was maestro di cappella of the Cattedrale di San Martino in Lucca. He was succeeded in this position by his son, Antonio Puccini, and then by Antonio's son Domenico, and Domenico's son Michele (father of the subject of this article). Each of these men studied music at Bologna, and some took additional musical studies elsewhere. Domenico Puccini studied for a time under Giovanni Paisiello. Each composed music for the church. In addition, Domenico composed several operas, and Michele composed one opera. Puccini's father Michele enjoyed a reputation throughout northern Italy, and his funeral was an occasion of public mourning, at which the then-famed composer Giovanni Pacini conducted a Requiem. With the Puccini family having occupied the position of maestro di cappella for 124 years (1740–1864) by the time of Michele's death, it was anticipated that Michele's son Giacomo would occupy that position as well when he was old enough.