Pathways for Understanding; La Boheme
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10-12-2019 Turandot Mat.Indd
Synopsis Act I Legendary Peking. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to the king, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful reverence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. Three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor. Act II Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality. In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded. -
04-05-2019 Traviata Eve.Indd
GIUSEPPE VERDI la traviata conductor Opera in three acts Nicola Luisotti Libretto by Francesco Maria Piave, production Michael Mayer based on the play La Dame aux Camélias by Alexandre Dumas fils set designer Christine Jones Friday, April 5, 2019 costume designer 8:00–11:05 PM Susan Hilferty lighting designer New Production Kevin Adams choreographer Lorin Latarro The production of La Traviata was made possible by a generous gift from The Paiko Foundation Major additional funding for this production was received from Mercedes T. Bass, Mr. and Mrs. Paul M. Montrone, and Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,020th Metropolitan Opera performance of GIUSEPPE VERDI’S la traviata conductor Nicola Luisotti in order of vocal appearance violet ta valéry annina Anita Hartig Jane Bunnell flor a bervoix giuseppe Kirstin Chávez Marco Antonio Jordão the marquis d’obigny giorgio germont Jeongcheol Cha Artur Ruciński baron douphol a messenger Dwayne Croft* Ross Benoliel dr. grenvil Kevin Short germont’s daughter Selin Sahbazoglu gastone solo dancers Scott Scully Garen Scribner Martha Nichols alfredo germont Stephen Costello Friday, April 5, 2019, 8:00–11:05PM JONATHAN TICHLER JONATHAN / MET OPERA A scene from Chorus Master Donald Palumbo Verdi’s La Traviata Musical Preparation J. David Jackson, Joshua Greene, Vlad Iftinca*, and Zalman Kelber* Assistant Stage Directors Jonathon Loy, Sarah Ina Meyers, and Kathleen Smith Belcher Stage Band Conductor Gregory Buchalter Italian Coach -
Archivio Evan Gorga
Archivio Evan Gorg a Inventario 415 A cura di Soprintendenza archivistica per il Lazio ASR - Sezione Archivi di famiglie e di persone responsabile: Michele Di Sivo editing 2019: Paolo Buonora Inventario A Lettera s.d. Fogli informativi dei convittori con giudizi finali. cc. ? A Stampato 2 cc. 1953 Programma invito al II saggio scolastico del Collegio di musica per il 18 giugno 1953. 2 copie. A 1 Lettera 1 c. corrispondenza 1889 marzo 4 Lettera di invito ad un ballo indirizzata "Preg.mo signore" firmata Adele Gualdi A 2 Biglietto 1 c. accordature s.d. Richiesta per l'accordatura di un pianoforte indirizzata a Gorga da L. Gulli A 3 Biglietto 1 c. accordature marzo 27 Richiesta per l'accordatura di un pianoforte nella sala Dante indirizzata a Gorga Decio Pinelli A 4 Lettera 2 cc. corrispondenza 1917 febbraio 8 Lettera indirizzata "Egregio Sig. Gorga" su carta intestata "Castel S. Angelo. Roma" relativa alla collezione firmata U. Fleres Carta intestata "Castel S. Angelo. Roma". A 5 Lettera 2 cc. corrispondenza 1904 luglio 11, Contessa (?) Lettera indirizzata "Carissimo Evan" da Vincenzo Lazzari (?) Annotazione a matita rossa [di Gorga] "Serafini ?" A 6 Lettera 2 cc. corrispondenza 1900 dicembre 29, Novaline (?) Lettera indirizzata "Carissima…" firmata "Vittorio" pag. 3 A 7 Lettera 2 cc. corrispondenza [1900 dicembre 29 o 30]Mantova, corso Vittorio Emanuele 26 Lettera indirizzata "Carissimo buon amico" [Gorga] firmata Montini (?) Si fa riferimenton ad un avvenimento descritto nella lettera indirizzata "Carissima" del 29 dicembre 1900 A 8 Lettera 2 cc. corrispondenza s.d. Lettera indirizzata a Gorga firmata Trentini (?) o Trontini o Montini A 9 Lettera 2 cc. -
Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R. -
Finding Value in Standard Classical Vocal Repertoire As a Twenty-First-Century Teacher-Performer
Belmont University Belmont Digital Repository Recital Papers School of Music Spring 5-11-2021 Performing with Purpose: Finding Value in Standard Classical Vocal Repertoire as a Twenty-first-century Teacher-performer Hallie Bisaga [email protected] Follow this and additional works at: https://repository.belmont.edu/music_recitals Part of the Music Performance Commons Recommended Citation Bisaga, Hallie, "Performing with Purpose: Finding Value in Standard Classical Vocal Repertoire as a Twenty-first-century Teacher-performer" (2021). Recital Papers. 14. https://repository.belmont.edu/music_recitals/14 This Scholarly Project is brought to you for free and open access by the School of Music at Belmont Digital Repository. It has been accepted for inclusion in Recital Papers by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. PERFORMING WITH PURPOSE: FINDING VALUE IN STANDARD CLASSICAL VOCAL REPERTOIRE AS A TWENTY-FIRST-CENTURY TEACHER-PERFORMER By HALLIE BISAGA A RECITAL PAPER PROPOSAL Submitted in partial fulfillment of the requirements for the degree of Master of Music in Vocal Performance in the School of Music of the College of Music and Performing Arts Belmont University NASHVILLE, TENNESSEE May 2021 4/27/21 Contents Acknowledgements Presentation of Material Introduction ..............................................................................................................1 Early Italian Vocal Music ........................................................................................5 -
Mala Vita Melodramma in Tre Atti
MALA VITA MELODRAMMA IN TRE ATTI versi di Nicola Daspuro musica di Umberto Giordano testi a cura di Agostino Pio Ruscillo COMUNE di FOGGIA Teatro comunale «U. Giordano» 2002 AVVERTENZA INDICE Ripubblichiamo qui senza varianti, se non di ordine tipografico, il libretto stampato in occasione della prima rappresentazione dell’opera; di seguito la descrizione del frontespizio: MALA VITA / MELODRAMMA IN TRE ATTI / versi di / N. DASPURO / musica di / UMBERTO GIORDANO / R. Teatro Argentina / Sta- INTRODUZIONE gione Carnevale-Quaresima 1892 / IMPRESA DEL MARCHESE Mala vita di Daspuro-Giordano: melodramma GINO MONALDI / [fregio] / MILANO / EDOARDO SONZOGNO, EDI- TORE / 14 - Via Pasquirolo - 14 / 1892. tardoromantico nel contenitore del teatro musicale verista 5 Durante la fase di collazione tra il libretto (LI) e lo spartito (SP) della Indicazioni bibliografiche 19 riduzione per canto e pianoforte (a cura di Alessandro Longo, Mila- no, Sonzogno, 1892) sono state registrate varianti significative e se- Note al testo 21 gnalate opportunamente nelle Note al libretto. LIBRETTO Elenco dei personaggi 31 Atto primo 33 Atto secondo 53 Atto terzo 71 Note al libretto 81 Grafica di copertina: Free point Impaginazione: RAgo Interpreti della rappresetnzione in epoca moderna © 1892, EDOARDO SONZOGNO (Foggia, Teatro «U. Giordano», 12 e 14 dicembre 2002) 95 © 2002, CASA MUSICALE SONZOGNO di Piero Ostali Via Bigli, 11 – 20121 Milano INTRODUZIONE Mala vita di Daspuro-Giordano: melodramma tardoromantico nel contenitore del teatro musicale verista. «Cominciato Napoli 8 Dicembre 1890».1 Con questa frase il ventitreenne Umberto Giordano, neodiplomato in compo- sizione presso il Conservatorio di S. Pietro a Majella di Napo- li, nella classe del maestro Paolo Serrao,2 segna indelebilmente il manoscritto degli abbozzi di Mala vita. -
1718Studyguidetosca.Pdf
TOSCA An opera in three acts by Giocomo Puccini Text by Giacosa and Illica after the play by Sardou Premiere on January 14, 1900, at the Teatro Constanzi, Rome OCTOBER 5 & 7, 2O17 Andrew Jackson Hall, TPAC The Patricia and Rodes Hart Production Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Floria Tosca, a celebrated singer Jennifer Rowley* Mario Cavaradossi, a painter John Pickle* Baron Scarpia, chief of police Weston Hurt* Cesare Angelotti, a political prisoner Jeffrey Williams† Sacristan/Jailer Rafael Porto* Sciarrone, a gendarme Mark Whatley† Spoletta, a police agent Thomas Leighton* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY SETTING: Rome, 1800 ACT I - The church of Sant’Andrea della Valle quickly helps to conceal Angelotti once more. Tosca is immediately suspicious and accuses Cavaradossi of A political prisoner, Cesare Angelotti, has just escaped and being unfaithful, having heard a conversation cease as she seeks refuge in the church, Sant’Andrea della Valle. His sis - entered. After seeing the portrait, she notices the similari - ter, the Marchesa Attavanti, has often prayed for his release ties between the depiction of Mary Magdalene and the in the very same chapel. During these visits, she has been blonde hair and blue eyes of the Marchesa Attavanti. Tosca, observed by Mario Cavaradossi, the painter. Cavaradossi who is often unreasonably jealous, feels her fears are con - has been working on a portrait of Mary Magdalene and the firmed at the sight of the painting. -
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida. -
La Bohème Program Notes (Michigan Opera Theatre) Christy Thomas Adams, Ph.D
La bohème Program Notes (Michigan Opera Theatre) Christy Thomas Adams, Ph.D. University of Alabama School of Music Since its premiere at the Teatro Regio in Turin in 1896 under the baton of the young Arturo Toscanini, Giacomo Puccini’s La bohème has become one of the world’s most frequently performed operas. It is the first of Puccini’s most celebrated works, which also include Tosca (1900), Madama Butterfly (1904), and Turandot (1924), and along with these helped secure his position as the leading Italian opera composer of the era and as Giuseppe Verdi’s presumed successor. In staging canonic operas like La bohème, a major challenge facing opera directors today is how to make these operas fresh, engaging, and relevant. One approach is that of Regietheater or director’s theater, in which an opera’s setting is updated by adding, removing, or altering non-musical elements—for example, situating La bohème in 21st-century rather than 19th-century Paris and transforming Rodolfo and Mimì from a painter and seamstress to graffiti and tattoo artists. Reactions to such approaches are typically mixed: some laud them as visionary ways to reframe familiar works for contemporary audiences, while others criticize them as “Eurotrash,” mere window dressings that privilege a director’s vision over the composer’s. However, in his new production for the Michigan Opera Theatre, Yuval Sharon has taken a different approach, one that will force us to hear and experience this canonic opera anew while lovingly retaining the traditional setting of Puccini’s beloved work. Rather than changing the setting, this new production changes how we progress through what is otherwise a traditional staging: La bohème’s familiar narrative is presented in reverse order, beginning with Act IV and moving through Acts III and II before concluding with Act I. -
Ceriani Rowan University Email: [email protected]
Nineteenth-Century Music Review, 14 (2017), pp 211–242. © Cambridge University Press, 2016 doi:10.1017/S1479409816000082 First published online 8 September 2016 Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti* Davide Ceriani Rowan University Email: [email protected] The world premiere of Pietro Mascagni’s Cavalleria rusticana on 17 May 1890 immediately became a central event in Italy’s recent operatic history. As contemporary music critic and composer, Francesco D’Arcais, wrote: Maybe for the first time, at least in quite a while, learned people, the audience and the press shared the same opinion on an opera. [Composers] called upon to choose the works to be staged, among those presented for the Sonzogno [opera] competition, immediately picked Mascagni’s Cavalleria rusticana as one of the best; the audience awarded this composer triumphal honours, and the press 1 unanimously praised it to the heavens. D’Arcais acknowledged Mascagni’smeritsbut,inthesamearticle,alsourgedcaution in too enthusiastically festooning the work with critical laurels: the dangers of excessive adulation had already become alarmingly apparent in numerous ill-starred precedents. In the two decades prior to its premiere, several other Italian composers similarly attained outstanding critical and popular success with a single work, but were later unable to emulate their earlier achievements. Among these composers were Filippo Marchetti (Ruy Blas, 1869), Stefano Gobatti (IGoti, 1873), Arrigo Boito (with the revised version of Mefistofele, 1875), Amilcare Ponchielli (La Gioconda, 1876) and Giovanni Bottesini (Ero e Leandro, 1879). Once again, and more than a decade after Bottesini’s one-hit wonder, D’Arcais found himself wondering whether in Mascagni ‘We [Italians] have finally [found] … the legitimate successor to [our] great composers, the person 2 who will perpetuate our musical glory?’ This hoary nationalist interrogative returned in 1890 like an old-fashioned curse. -
MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY.......................................................................................................... -
Dossier-Pedagogique-Opera Boheme PUCCINI
La politique éducative et culturelle de l’académie d’Aix-Marseille Domaine musique – Chorégies d’Orange Document pédagogique associé 2011-2012 La Bohème de Giacomo Puccini, livret de Luigi Illica et Giuseppe Giacosa Dossier pédagogique réalisé par Françoise CARRET, professeur d’Education Musicale, responsable du service éducatif associé au Chorégies d’Orange. SOMMAIRE 1 - OUVERTURE 1.1 Présentation 1.2 Puccini : Eléments biographiques 2 – DES SOURCES A L’ECRITURE DU LIVRET 2.1 Scènes de la vie de bohème d’Henry Murger 2.2 Les librettistes 2.3 L’écriture du livret 3 – L’ŒUVRE ET LE SENS 3.1 Synopsis 3.2 Thématiques 4 - CONTEXTE ESTHETIQUE 4.1 Bohème & Scapigliatura 4.2 Du réel à la fiction ou le Réalisme de La Bohème 4.3 Le Naturalisme dans l’air du temps 4.4 La Bohème, opéra vériste ? 5 - APPROCHE MUSICIENNE DE L’OEUVRE 5.1 La production de 1896 5.2 Les voix de La Bohème 5.3 L’Orchestre de La Bohème Document pédagogique / La Bohème, G. Puccini 6 - GUIDE D’ECOUTE 6.1 Premier tableau : Dans la mansarde 6.2 Deuxième tableau : Au quartier latin 6.3 Troisième tableau : La barrière d’Enfer 6.4 Quatrième tableau : Dans la mansarde 7-SOURCES 7.1 Sources bibliographiques 7.2 Sources discographiques Giacomo Puccini (1712 – 1781) ancêtre du compositeur de La Bohème 2 Page Académie d’Aix-Marseille La politique éducative et culturelle Septembre 2011 de l’académie d’Aix-Marseille Isabelle TOURTET Domaine Musique- Dispositifs partenariaux Document pédagogique Document pédagogique / La Bohème, G. Puccini 1- OUVERTURE 1.1 Présentation A la fin du XIXème siècle en Europe, le monde de l’opéra s’est diversifié : de nombreux courants esthétiques s’opposent, se croisent ou se mélangent, romantisme, vérisme, symbolisme, naturalisme, en dépit des incompatibilités théoriques.