Operas Performed at the Teatro San Cassiano

Total Page:16

File Type:pdf, Size:1020Kb

Load more

O P E R A S P E R F O R M E D AT T H E T E AT R O S A N C A S S I A N O

Teatro San Cassiano (1637): historically-informed visualisation (world’s first) Image by Secchi Smith, © Teatro San Cassiano

Operas performed at the Teatro San Cassiano

Aſter Franco Mancini, Maria Teresa Muraro, Elena Povoledo, I T e atri del Veneto - Venezia, vol 1, Venice, Regione del Veneto – Corbo e Fiore, 1995, pp. 144-147, revised, completed and amended in the light of the consulted bibliography and sitography, as specified below. Year given in Gregorian calendar and not more veneto.

  • No. Year
  • Title
  • Librettist
  • Composer

F. Manelli F. Manelli F. Cavalli

Notes

  • 1
  • 1637

1638 1639 1640 1641

L’ A ndromeda

B. Ferrari
2

La maga fulminata Le nozze di T e ti e di Peleo Gli amori d ’ A pollo e di Dafne La Didone

B. Ferrari

  • 3
  • O. Persiani

G. F. Busenello G. F. Busenello G. Faustini G. Faustini G. Faustini G. Faustini G. Faustini G. A. Cicognini N. Minato

  • 4
  • F. Cavalli

  • 5
  • F. Cavalli

  • 6
  • 1642

1643 1644 1645 1645 1649 1650 1651

La virtù d e ’ strali d’amore L ’ Egisto

F. Cavalli

  • 7
  • F. Cavalli

8

L ’ Ormindo

F. Cavalli
9

La Doriclea

F. Cavalli
10 11

Il Titone

F. Cavalli

Giasone

F. Cavalli
12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36

L ’ Orimonte

F. Cavalli

L’ A rmidoro

B. Castoreo F. Piccoli
F. Cavalli
1658 1658 1659 1666 1666 1679-80 1680 1683 1683 1690 1691

L ’ incostanza trionfante overo il Theseo Antioco

P. A. Ziani

  • F. Cavalli
  • N. Minato

Elena

  • N. Minato
  • F. Cavalli

Il Giasone

G. A. Cicognini M. Noris
F. Cavalli

La Zenobia

G. A. Boretti P. A. Ziani A. Vitali

Candaule

A. Morselli A. Medolago A. Morselli A. Morselli G. Pancieri G. Pancieri G. B. Neri

T o miri T e mistocle in bando L ’ innocenza risorta overo Etio Il gran macedone L’Almerinda

A. Gianettini P. A. Ziani G. Boniventi G. Boniventi F. Navarra G. M. Ruggieri T. Albinoni T. Albinoni T. Albinoni T. Albinoni M. A. Ziani M. A. Ziani M. A. Ziani A. Pollarolo A. Pollarolo T. Albinoni
1696 1696 1696 1697

Basilio re d’Oriente La Clotilde

G. B. Neri

Zenone imperator d’Oriente Il Tigrane re d ’ A rmenia

A. Marchi G. C. Corradi G. C. Corradi F. Silvani

1697 (-98?) Primislao primo re di Boemia

1698 1698 1699 1699 1700 1701

L ’ ingratitudine castigata L ’ Egisto re di Cipro

G. C. Corradi

Gl’amori fra gl’odii o sia il Ramiro in Norvegia  M. A. Remena Il T e odosio

V. Grimani G. C. Corradi A. Zeno

L’ A risteo Griselda

1702

L ’ ingratitudine castigata

F. Silvani

Operas performed at the T e atro San Cassiano — 1637-1702 — 1

  • No. Year
  • Title
  • Librettist

F. Silvani

Composer

T. Albinoni Various

Notes

37 38 39 40
1702

L’arte in gara con l’arte La pastorella al soglio Gli imenei stabiliti dal caso

  • 1702
  • G. C. Corradi

  • F. Silvani
  • 1702-03

1703
F. Gasparini F. Gasparini

Il miglior d’ogni amore per il peggiore d’ogni odio

F. Silvani

  • 41
  • 1703

1704 1704 1705 1705 1705 1705 1706 1706 1707 1707 1707 1707 1707-08 1708 1708 1709 1709

Il più fedele fra i vassalli La fede tradita e vendicata La maschera levata al vitio La Fredegonda Il principato custodito dalla frode Antioco

  • F. Silvani
  • F. Gasparini

F. Gasparini F. Gasparini F. Gasparini F. Gasparini F. Gasparini F. Gasparini F. Gasparini A. Lotti
42 43 44 45 46 47 48 49 50 51
F. Silvani F. Silvani F. Silvani F. Silvani A. Zeno; P. Pariati A. Zeno; P. Pariati A. Zeno; P. Pariati P. Pariati

Ambleto Statira Sidonio T a ican re della Cina L’amor generoso Achille placato Anfitrione

  • U. Rizzi
  • F. Gasparini

F. Gasparini A. Lotti
A. Zeno
52 53 54 55 56 57 58
U. Rizzi

  • P. Pariati
  • F. Gasparini

A. Lotti

Teuzzone

A. Zeno

Flavio Anicio Olibrio Astarto

A. Zeno; P. Pariati A. Zeno; P. Pariati A. Zeno; P. Pariati A. Zeno; P. Pariati
F. Gasparini T. Albinoni C. F. Pollarolo

Il falso Tiberino Engelberta

F. Gasparini; T. Albinoni

59 60 61
1709

La principessa fedele Ciro

  • A. Piovene
  • F. Gasparini

T. Albinoni F. Gasparini
1709-10 1710
P. Pariati

Sesostri re d’Egitto La ninfa Apollo

A. Zeno; P. Pariati F. de Lemene

“scherzo scenico pastorale per musica”

  • 62
  • 1710
  • F. Gasparini;

A. Lotti

63 64 65 66 67 68 69 70 71
1710 1710 1711

L’amor tirannico Il tiranno eroe T a merlano

  • D. Lalli
  • F. Gasparini

  • T. Albinoni
  • V. Cassani

A. Piovene A. Zeno; P. Pariati A. Zeno
F. Gasparini F. Gasparini F. Gasparini T. Albinoni
1711

Costantino

1712 1712 1712-13 1713 1717 1718 1718 1724 1724

Merope Le gare generose I veri amici

A. Zaniboni F. Silvani; D. Lalli F. Silvani
A. Paulati

La verità nell’inganno L’ A rgippo

F. Gasparini

  • G. Porta
  • D. Lalli

72 73 74 75

Farnace

  • D. Lalli
  • C. F. Pollarolo

G. M. Orlandini G. M. Orlandini A. Scarlatti

Antigona

B. Pasqualigo B. Pasqualigo G. Papis (?)

Antigona

“intermezzo in musica”

Despina e Niso

Operas performed at the T e atro San Cassiano — 1702-1724 — 2

  • No. Year
  • Title
  • Librettist

P. Metastasio A. Marchi P. Metastasio F. Silvani

Composer

T. Albinoni T. Albinoni T. Albinoni T. Albinoni L. Tavelli

Notes

76 77 78 79 80 81
1724-25

Didone abbandonata Alcina delusa da Ruggero L ’ impresario delle Canarie L ’ inganno innocente Amor e sdegno

1725

“intermezzo in musica”

1725 1725-26

  • 1726
  • M. Boccardi

  • A. Salvi
  • 1727

Il Bertarido re d e ’ Longobardi Griselda

G. Boniventi T. Albinoni B. Cordans G. Giacomelli
82 83 84 85

  • 1728
  • A. Zeno

1728

Ormisda

A. Zeno
1728-29 1729

Gianguir

A. Zeno

La generosità di Tiberio

  • N. Minato
  • S. Lapis; B.

Cordans

86 87
1729 1730

Adelaide

A. Salvi A. Zeno
G. M. Orlandini

La fede in cimento

F. Gasparini; S. Lapis

“intermezzo in musica”

88 89 90 91
1730 1735 1736 1736-37 1737 1737 1742 1742 1743 1743 1743 1744

La donna nobile L’ A nagilda

  • Unknown
  • G. M. Orlandini

A. G. Pampani L. A. Predieri G. Giacomelli J. A. Hasse
A. Zaniboni F. Silvani

La Zoe L’ A rsace

A. Salvi
92 93 94 95 96 97 98 99

Demetrio

P. Metastasio A. Salvi

Lucio Papirio Barsina

N. Porpora

  • F. Silvani
  • G. A. Paganelli

G. Chinzer

Atalo

F. Silvani

Engelberta

  • A. Zeno
  • G. Paganelli

G. Carcani

Ambleto

A. Zeno; P. Pariati B. Vitturi

La forza del sangue La libertà nociva Madama Ciana L’ambizione delusa La finta cameriera La forza d’amore Lo scialacquatore alla fiera

G. A. Paganelli R. di Capua G. Latilla
G. Barlocci G. Barlocci F. Vanneschi G. Barlocci P. Panicelli A. Borghesi
100 1744

  • 101
  • 1744-45
  • R. di Capua

  • G. Latilla
  • 102

103
1744-45

  • 1745
  • B. Galuppi

  • 104 1745
  • G. Orlandini;

various

105 106 1746 107 1746
1745

I rigiri delle cantarine La vedova accorta La fata meravigliosa Alcibiade

  • B. Vitturi
  • F. Maggiore

F. Bertoni G. Scolari G. Carcani
A. Borghesi (?) Unknown

  • 108 1746
  • G. Roccaforte

  • P. Metastasio
  • 109 1746-47

Il Catone in Utica

L. Vinci; (N. Jommelli)

110 111
1747 1747 1748 1748

Caio Marzio Coriolano Arminio

Z. Seriman A. Salvi
P. Pulli B. Galuppi V. Ciampi G. Pampani
112 113

L’Adriano

P. Metastasio P. Metastasio

La clemenza di Tito

Operas performed at the T e atro San Cassiano — 1724-1748 — 3

  • No. Year
  • Title
  • Librettist

F. Passarini Unknown

Composer

B. Galuppi P. Auletta

Notes

114 115
1748 1748

Clotilde

“intermezzo in musica”

for Clotilde

Il conte immaginario

116 117
1748-49 1749

Camilla regina d e ’ Volsci Il vello d’oro

  • S. Stampiglia
  • Various

G. Palazzi; M. Zanetti (?)
G. Scolari

  • 118
  • 1749

La commedia in commedia

G. G. Barlocci; F. Vanneschi (?)
R. di Capua
119 120 121
1749 1749 1749

T r a due litiganti il terzo gode Il finto principe

G. B. Lorenzi C. Goldoni G. M. Buini
G. B. Pescetti Various

Il protettore alla moda

G. M. Buini; B. Galuppi

  • 122
  • 1750

Alcimena principessa dell’isole fortunate ossia l’amore fortunato ne’ suoi disprezzi

  • P. Chiari
  • B. Galuppi

“farsa per musica” -

intermezzo for Alcimena

123 124
1750 1750

Il ciarlatano fortunato nelle sue imposture

Unknown F. Silvani
Unknown

Ernelinda

F. Gasparini; A. Vivaldi; B. Galuppi

“intermezzo in musica”

for Ernelinda

125 126
1750 1750

La preziosa ridicola

  • M. Trotti
  • G. M. Orlandini

Il mondo alla roversa, ossia le donne che comandano

  • C. Goldoni
  • B. Galuppi

  • 127
  • 1750-51

La mascherata

  • C. Goldoni
  • G. Cocchi (?);

B. Galuppi (?)

128 129 130 131
1751 1751 1752 1752 1752 1753 1753 1753

Le donne vendicate Griselda

C. Goldoni A. Zeno
G. Cocchi G. Latilla

Venceslao

  • A. Zeno
  • A. G. Pampani

G. Scarlatti G. Latilla

L’Adriano in Siria L’olimpiade

P. Metastasio P. Metastasio P. Metastasio P. Metastasio
132 133 134 135

Alessandro nell’Indie Semiramide riconosciuta Il pazzo glorioso

G. Latilla G. Cocchi
C. Goldoni (aſter A. G. Cocchi Villani)

136 137 138
1753-54 1754

De gustibus non est disputandum La maestra

C. Goldoni A. Palomba
G. Scarlatti G. Cocchi
1763

La morte di Dimone o sia l’innocenza vendi- cata

J. J. F. von Kurz; G. A. Tozzi Bertati

  • 139
  • 1764

Li creduti spiriti

J. J. F. von Kurz; G. J. G. Naumann;

  • Bertati
  • various

140 1764

Achille in Sciro

P. Metastasio P. Chiari
F. Bertoni F. Bertoni F. Bertoni T. Traetta G. M. Rutini A. Boroni

  • 141
  • 1764

1765 1765 1765 1765

L ’ ingannatore ingannato L’olimpiade

142 143 144 145
P. Metastasio P. Metastasio F. Casorri A. Bianchi

Semiramide L’amore industrioso Le villeggiatrici ridicole

Operas performed at the T e atro San Cassiano — 1748-1765 — 4

  • No. Year
  • Title
  • Librettist

F. Casorri -

Composer

G. M. Rutini Unknown

Notes

146 147
1765 1765

I matrimoni in maschera Gli amori di Zeffiro

“ballo” by G. Fabiani (choreographer)

“ballo” by G. Fabiani (choreographer)

  • 148
  • 1765

La ghirlanda incantata

  • -
  • Unknown

149 150 151
1766 1766 1766 1769

La buona figliuola supposta vedova La notte critica

  • A. Bianchi
  • G. Latilla

A. Boroni G. Sciroli Unknown
C. Goldoni G. Migliavacca P. Candoni

Solimano

“farsa” in “lingua veneziana”

152

Il contratto malizioso o sia sior Bastian Marzer

“farsa per musica” “farsa per musica” “farsa per musica” “farsa per musica” “farsa per musica” “farsa per musica” “farsa per musica” “farsa per musica”

153 154 155 156 157 158 159
1770 1770 1771

La villeggiatura di Mestre La marenda alla Zuecca La serenata in tartana La ritornata dalla villeggiatura di Mestre La fiera

G. Dolfin G. Dolfin G. Dolfin G. Dolfin G. Dolfin Unknown Unknown
S. Perillo Unknown Unknown S. Perillo (?) Unknown Unknown Unknown G. Astarita
1771 1772 1772 1773

Le putte della Zuecca La serva astuta

160 1773

Le finezze d’amore o sia la farsa non si fa ma  G. Bertati (?) si prova

“farsa per musica” “farsa per musica”

  • 161
  • 1773

1773

Amore in puntiglio

Unknown Unknown
J. M. Pfeiffer

  • Unknown
  • 162

La costanza d’amore o sia l’inganno per necessità

“farsa per musica” “farsa per musica”

163 164 165 166
1774 1774 1775 1775

Li cavalieri lunatici

Unknown Unknown R. Calzabigi Unknown
G. Rust

Le nozze concluse alla Zueccha La critica teatrale

Unknown G. Astarita

Li due amanti in inganno

G. Rust; M. Rauzzini

167 168 169 170 171
1776 1776 1776 1777 1777 1779 1780 1780 1781

Il baron di Lago Nero Il Giove di Creta Li tre vagabondi Il convitato di pietra L ’ idolo cinese

Unknown P. Pisoni
M. Mortellari G. Rust
Unknown P. Pariati (?) Unknown Unknown Unknown Unknown N. Tassi
S. Perillo G. Callegari G. Rust
172 173 174 175

L ’ isola d’amor

A. Sacchini A. Gagni

“farsa per musica”

Le nozze alla Mira Le donne rivali

“intermezzo in musica”

D. Cimarosa A. Gagni

“intermezzo in musica” for five voices

L’amor per rigiro

“intermezzo in musica”

176 177
1781 1781

Il matrimonio per inganno

  • G. Bertati (?)
  • P. Anfossi

“intermezzo in musica” for four voices

Rosina consolata o sia l’innocenza protetta

  • P. A. Bagliacca
  • G. Valentini

“intermezzo in musica”

178 179
1782 1783

Li tre difettosi rivali in amore Le due finte gemelle

  • G. Prettini
  • Unknown

“intermezzo in musica” for four voices

  • G. Petrosellini
  • N. Piccinni

“intermezzo in musica” “intermezzo in musica”

180 1783 181 1784

I matti gloriosi

Unknown Unknown
A. Gagni L. Baini

Il parigino in Italia

Operas performed at the T e atro San Cassiano — 1765-1784 — 5

  • No. Year
  • Title
  • Librettist

Unknown Unknown Unknown Unknown G. Neri

Composer

L. Baini

Notes

“intermezzo in musica”

182 183 184 185 186 187 188 189
1784 1784 1787 1787 1788 1791 1791 1792

Il finto parigino

“intermezzo in musica”

Il matrimonio inaspettato Le stravaganze in campagna Li tre Orfei

G. Paisiello A. Brunetti M. Bernardini P. Guglielmi G. Astarita G. Giordani G. Astarita

L ’ impostor punito I capricci in amore Don Mirtillo contrastato

Unknown Unknown G. Palomba

Il medico parigino o sia l’ammalato per amore

“farsa per musica”

190 1792

L ’ ultima che si perde è la speranza

F. S. Zini (?) -
M. Bernardini (?)

“ballo” by D. Ballon (choreographer)

  • 191
  • 1793

Attila

V. Trento
192 193
1793 1793

La cifra

L. Da Ponte A. Valli
A. Salieri

Le trame amorose

F. Paër (o G. Paisiello?)

194 195 196
1794 1794 1794

Il mercato di Monfregoso L’amante statua

Recommended publications
  • Conference Abstracts

    Conference Abstracts

    Society for Seventeenth-Century Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF 17TH­CENTURY MUSIC Abstracts of Presentations at the Fifth Annual Conference 10­13 April 1997, Florida State University, Tallahassee Index of Presentations Program and Abstracts Program Committee Index of Presentations: Candace Bailey, A Reassessment of Matthew Locke's Keyboard Suites Gregory Barnett, Corrente da piedi, Corrente da orecchie: Two Faces of the Sonata da camera Jennifer Williams Brown, "Innsbruck, ich muss dich lassen": Tracing Orontea's Footprints Joanna Carter, Selle as Music Tutor: A Model for Music Education at Lateinschulen in Northern Germany Stewart Carter, Instructions for the Violin from an Overlooked Source: Bartolomeo Bismantova's Compendio musicale (1677) Tim Carter, Re­Reading Poppea: Some Thoughts on Music and Meaning in Early Seventeenth­ Century Italian Opera Georgia Cowart, Carnival, Commedia dell'arte and the Paris Opéra in the Late Years of the Sun King Michael Robert Dodds, Transposition in Organ­Choir Antiphony in the Mid and Late Seicento Frederick K. Gable, Eine so viel als die Andere: Rhythm and Tempo in Seventeenth­Century German Chant Beth L. Glixon, Vettor Grimani Calergi as Consumer and Patron of Opera Akira Ishii, Re­Evaluation of Minoriten 725 as a Source for the Works of Johann Jacob Froberger YouYoung Kang, Revisiting Seventeenth­Century Counterpoint Kathryn Lowerre, The Sweets of Peace: Reconstructing and Interpreting Europe's Revels (London, 1697) Stephen R. Miller, On the Significance of 'Stile antico' Catherine Moore, Thundering Vortex: The 1631 Eruption of Vesuvius Commemorated in Madrigal Poetry Christopher Mossey, Characteristics of Roles and the Role of Character in Librettos by Giovanni Faustini Janet Pollack, Parthenia: The "Maydenhead of Musicke" as an Epithalamion Kerala J.
  • Winged Feet and Mute Eloquence: Dance In

    Winged Feet and Mute Eloquence: Dance In

    Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp 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]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice.
  • The Power of Affections: Vocal Music from Seventeenth-Century Italy

    The Power of Affections: Vocal Music from Seventeenth-Century Italy

    presents The Power of Affections: Vocal Music from Seventeenth-Century Italy Wednesday, November 12, 2014 7:30PM Class of 1978 Pavilion, Kislak Center Van Pelt Library, 6th floor Philadelphia, PA 2 PROGRAM Sinfonia from “Tempro la cetra” (Settimo libro di Claudio Monteverdi madrigali, 1619) “Musica dolce” (Gli Amori d’Apollo e di Dafne, 1640) Francesco Cavalli “Ardo, sospiro e piango” (Artemisia, 1657) “Piangete, sospirate” (La Calisto, 1651) Francesco Cavalli “Stral che vola” (Artemisia, 1657) Balletto IV e Corrente a tre (Opera VIII, 1629) Biagio Marini “Delizie d’Amore” (Elena, 1659) Francesco Cavalli “Luci belle” (Elena, 1659) Sonata sopra ‘La Monica’ (Opera VIII, 1629) Biagio Marini “Lucidissima face” (La Calisto, 1651) Francesco Cavalli “Dell’antro magico” (Giasone, 1649) “Addio Roma” (L’incoronazione di Poppea, 1643) Claudio Monteverdi “Lasciate averno, o pene, e me seguite” (Orfeo, 1647) Luigi Rossi Ciaccona (Canzoni overo sonate concertate per chiesa e Tarquinio Merula camera, 1637) “Accenti queruli” (Cantate a voce sola. Libro secondo, 1633) Giovanni Felice Sances Julianne Baird, soprano Rebecca Harris, violin Mandy Wolman, violin Rebecca Cypess, harpsichord and clavicytherium Christa Patton, harp Richard Stone, theorbo 3 PROGRAM NOTES by Carlo Lanfossi The seventeenth-century stage was quite a busy one. Gods, machinery, clunky sets, comici, animals, and dancers surrounded actor-singers. It is no surprise that in most of their early attempts at building a genre crafted on dramatic singing on stage, composers had to ensure singers
  • UCLA Electronic Theses and Dissertations

    UCLA Electronic Theses and Dissertations

    UCLA UCLA Electronic Theses and Dissertations Title Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera Permalink https://escholarship.org/uc/item/9mj7d63c Author Richter, Terri Lynn Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation.
  • Mcdonald, Bernard M. (2010) Cavalli's "Ormindo": Tonality and Sexuality in Seventeenth-Century Venice

    Mcdonald, Bernard M. (2010) Cavalli's "Ormindo": Tonality and Sexuality in Seventeenth-Century Venice

    McDonald, Bernard M. (2010) Cavalli's "Ormindo": tonality and sexuality in seventeenth-century Venice. MMus(R) thesis. http://theses.gla.ac.uk/1958/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Cavalli’s Ormindo: Tonality and Sexuality in Seventeenth-Century Venice by Bernard Michael McDonald Submitted in fulfilment of the requirements of the degree of Master of Music to The Department of Music Faculty of Arts University of Glasgow April 2010 © Bernard McDonald 2010 ABSTRACT Ormindo, the third collaboration between the composer Francesco Cavalli and the librettist Giovanni Faustini, was created for the 1644 carnival opera season at Venice’s Teatro San Cassiano. This thesis, aimed at performers as well as scholars, begins with a brief consideration of the cultural context of early public opera in Venice and the emergence of the musical language of tonality. It goes on to examine how, in setting Faustini’s text, Cavalli represents desire and sexuality, constructs character, and creates a musical narrative. Cavalli’s implementation of the precepts of the seconda prattica is also considered in terms of textural and rhetorical devices.
  • Francesco Cavalli

    Francesco Cavalli

    V O L U M E I Arias, duets and ensembles from the operas of Francesco Cavalli Edited, and with translations by Oliver Doyle E D I T I O N M V S I C A A N T I C A 1 Edition Mvsica Antica, Rotherhithe, London. © 2021 by Musica Antica Rotherhithe. This book has been made freely available to facilitate the study and performance of Francesco Cavalli’s music. Parts are also available on request; please write to [email protected] for further information. The manuscript sources consulted in the production of this book can be viewed on internetculturale.it, made available in a digitised format by the Biblioteca Marciana, Venice. For more editions of rare music and their performance in London, please visit www.musicaantica.org.uk. 2 Contents (by opera) Editor’s note v La Didone (1641) Padre, ferma i passi (S) 10 L’alma fiacca svanì (S) 16 L’Ormindo (1644) Prologo (S) 1 Tu per me ben felice (A) 20 Volate fuggite – D’Amor non si quereli (S, S, A, T) 25 Giasone (1649) Delizie, e contenti (A) 40 La Rosinda (1651) Vieni, vieni in questo seno (S) 45 La Calisto (1651) Restino imbalsamate (S) 48 Il Ciro (1654) Mia vita, mio bene (S, S, A, T ) 55 L’Erismena (1655) Piante odorose (S) 60 La Statira (1655) Cresce il foco (S) 66 Menfi, mia patria a (S) a 72 Io vivo (S) 78 3 L’Artemisia (1657) Ardo, sospiro e piango (S) 80 Dammi morte (S) 92 L’Elena (1659) Ecco l’idolo mio (S, S) 97 Mia Speranza (S, S) 104 Ercole Amante (1662) Come si beff’ amore (B) 114 Figlio, figlio (S, T) 124 Pompeo Magno (1666) Coetaneo con gli’astri (T) 128 Sonno, placido nume (A) 132 L’Eliogabalo (1667) Misero così va (S) 137 Pur ti stringo (S, S, S, S) 146 Sources 150 4 unless found in the sources consulted.
  • Musique De L'œil

    Musique De L'œil

    ARTAMAG' FOCUS MUSIQUE DE L’ŒIL 13 NOVEMBRE 2015 | JEAN-CHARLES HOFFELÉ La musique se voit dans la peinture vénitienne, mieux, elle se montre, de la trompette de la Gloire de Giuseppe Angeli au « concertino » qui accompagne les joueurs de cartes de Pietro Longhi nommant d’ailleurs son tableau. Instruments pour les scènes mythologiques ou les « moralités », fresques où se mirent la dramaturgie du théâtre d’opéra que Venise invente puis réinvente sans cesse, concerts de cordes et de bois qui rappellent la pratique instrumentale intimement liée aux Ospedali, c’est tout ce répertoire pictural qu’Olivier Lexa parcourt au long des deux cent pages du livre d’art qu’il consacre à ce sujet inusable : « La musique à Venise ». Période : de Monteverdi à Vivaldi ; sujet : toiles, fresques, apparat, pratique domestique, et évidemment opéra où entre décors, costumes, dramaturgie, l’auteur suit l’évolution du goût vénitien. En refermant cet ouvrage magnifique qui va chercher parfois dans les parts les moins courues du répertoire pictural de la Sérénissime, je me dis que le sujet n’avait pas été traité avec tant d’à propos et une si profonde sensibilité. C’est qu’Olivier Lexa « entend » cette peinture musicale dans les deux acceptations du terme. Il est l’auteur de la première biographie française de l’autre père de l’opéra vénitien avec Monteverdi, Francesco Cavalli – en fait pour moi, son véritable créateur – un ouvrage très documenté au style enlevé que l’on retrouve toujours aussi brillant et juste dans le nouveau venu, comme dans le prologue qui pare le magnifique livre-disque concocté par Mariana Florès et Leonardo García Alarcón, où se résume en ses pages les plus éloquentes ou les plus touchantes tout le théâtre lyrique de Cavalli.
  • Transcripts of Dramatic Musical Works in Full Score

    Transcripts of Dramatic Musical Works in Full Score

    TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS MUSIC DIVISION Compiled by Susan Clermont Senior Music Specialist Library of Congress Music Division A BIBLIOGRAPHY OF TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS This bibliography comprises close to 700 transcripts of dramatic musical works in full score copied from original music manuscripts and early imprints for the Library of Congress’s Music Division between 1903 and 1939. The original sources were located in over three dozen European libraries in Austria, Belgium, France, Great Britain, Germany, Hungary, Italy and Russia. The majority of the operas cited in this document date from the seventeenth and eighteenth centuries; about fifteen percent are reproductions of nineteenth-century works. Also included in this bibliography are transcripts of incidental music for dramas, melodramas, ballets, and pantomimes (see Appendix B). Finally, Appendix C comprises a short list of instrumental works, mostly for viola da gamba, that were transcribed over a two-year period when the parameters of this project were provisionally broadened. In 1902, a new set of guidelines for the systematic development of the newly-reorganized Music Division’s collections was instituted: opera immediately received a considerable share of attention because, “the peculiar condition of opera in the United States seemed to demand that a center of reference and research be created for the students of opera.” [Oscar Sonneck, Dramatic Music: Catalogue of Full Scores…, 1908] Accordingly, a series of “want lists” were compiled; however, when it was determined after a comprehensive search that hundreds of items included on the Music Division’s desiderata list for operas in full score were unprocurable in manuscript or print versions, the option of contracting copyists to generate transcripts was explored.
  • Resurrección De La Ópera Veneciana

    Resurrección De La Ópera Veneciana

    Esta web utiliza 'cookies' propias y de terceros para ofrecerte una mejor experiencia y servicio. Al navegar o utilizar nuestros servicios, aceptas el uso que hacemos de las 'cookies'. Sin embargo, puedes cambiar la configuración de 'cookies' en cualquier momento. Acepto Más información EL AMFITEATRO ROSA MASSAGUÉ @rosamassague Periodista Resurrección de la ópera veneciana La lenta recuperación de las óperas de Francesco Cavalli El festival marsellés 'Mars en baroque' recrea 'L'Oristeo' 4 1 COMENTARIOS 0 FRANÇOIS GUERY Aurora Tirotta (Diomeda), Romain Dayez (Oristeo), Lise Viricel (Euralio) y la orquesta Concerto Soave, en la recreación de la ópera de Pascal Bertin (Oresde), en la recreación de la ópera de Francesco Cavalli 'L'Oristeo', presentada en el teatro La Criée de Marsella. Francesco Cavalli, 'L'Oristeo', presentada en el teatro La Criée de Marsella. LUNES, 21 DE MARZO DEL 2016 ­ 18:48 CET Francesco Cavalli (1602­1676) fue el gran compositor operístico del siglo XVII en una Venecia en decadencia, pero que aún vivía de las rentas del pasado glorioso donde se acababa de inventar la ópera como entretenimiento para todos los públicos sin distinción de clases sociales, lejos de los palacios aristocráticos en los que había nacido el arte del ‘recitar cantando’. El compositor y el libretista Giovanni Faustini, eran los empresarios del teatro de Sant’Apollinare, la primera aventura comercial de la historia de la ópera protagonizada por un músico y un escritor. Cavalli escribió 41 óperas y su fama llegó incluso a París de donde recibió el encargo del cardenal Mazarino para componer una obra, ‘Ercole amante’, dedicada a festejar el enlace de Luis XIV con la infanta española María Teresa de Austria.
  • Aix-En-Provence, 12 Juillet2013

    Aix-En-Provence, 12 Juillet2013

    EROS IN MUSICA DRAMATURGIE ET PRATIQUE MUSICALE CHEZ CAVALLI Aix-en-Provence, 12 juillet 2013 ACTES DE LA JOURNÉE D’ÉTUDE Elena au Festival d’Aix-en-Provence – Juillet 2013 – Photo Pascal Victor / ArtcomArt 1 EROS IN MUSICA DRAMATURGIE ET PRATIQUE MUSICALE CHEZ CAVALLI Organisée en partenariat avec le Festival International d’Art Lyrique d’Aix-en-Provence parallèlement à la production d’Elena de Francesco Cavalli et Nicolò Minato, cette journée d’étude a été l’occasion d’aborder les questions soulevées par l’interprétation contemporaine d’ouvrages lyriques créés au XVIIe siècle à Venise. Opéra du désir, dont la trame se noue et se déroule sous le signe de l’attraction charnelle, Elena fournit la matière à une telle réflexion. Dans quelle mesure les interprètes d’aujourd’hui peuvent-ils et doivent-ils respecter les intentions originelles des auteurs baroques italiens ? Quels sont leurs outils pour traduire l’Eros et la commedia cavallienne en s’adressant au public du XXIe siècle ? Quelques éléments de réponse ont été apportés lors de cette rencontre. Reviving Cavalli on Stage: Dramaturgy and Interpretation (Performance) for the Twenty-First Century Ellen Rosand (Yale University) p. Le théâtre des sens - Représenter Cavalli aujourd’hui Jean-François Lattarico (Université Lyon III Jean Moulin) p. Représenter Elena au XXIe siècle : interprétation et transformation Kristin Kane (Cornell University) p. Elena ou les métamorphoses du ravissement Marion Lafouge (Université de Bourgogne) p. Elena : un kaléidoscope de formes et de styles musicaux
  • VIRTÙ-DE'-STRALI-D'amore-LA.Pdf

    VIRTÙ-DE'-STRALI-D'amore-LA.Pdf

    7 La Fenice prima dell’Opera 2008 7 2008 Fondazione Stagione 2008 Teatro La Fenice di Venezia Lirica e Balletto Francesco Cavalli more A lavirtù de’ strali d’ more a virtù de’ strali d’ de’ a virtù L A avalli C rancesco rancesco F FONDAZIONE TEATRO LA FENICE DI VENEZIA la virtù de’ strali d’amore opera tragicomica musicale in un prologo e tre atti libretto di Giovanni Faustini musica di Francesco Cavalli Teatro Malibran venerdì 10 ottobre 2008 ore 19.00 turni A1-A2 domenica 12 ottobre 2008 ore 15.30 turni B1-B2 martedì 14 ottobre 2008 ore 19.00 turni D1-D2 giovedì 16 ottobre 2008 ore 19.00 turni E1-E2 La Fenice prima dell’Opera 2008 7 «P. F. Caletti, detto il Cavalli», dall’Enciclopedia italiana di scienze, lettere ed arti, Istituto Giovanni Treccani, 35 voll., IX, 1931, p. 545. L’immagine compare per illustrare la voce «Cavalli, Francesco» di Gastone Rossi Doria, ma non v’è certezza che fissi le autentiche fattezze del compositore. La Fenice prima dell’Opera 2008 7 Sommario 5 La locandina 7 «Andiam ch’Amor ci invita ai bacci / andiam ch’Amor ci invita al letto.» di Michele Girardi 13 Ellen Rosand La virtù de’ strali d’Amore 31 Dinko Fabris Di necessità virtù: strali d’Amore e altre impertinenze nelle prime opere veneziane 45 Fabio Biondi La virtù mai tradita di essere ‘autentici’… Qualche osservazione su un’opera di Cavalli che ritorna a Venezia 47 Maria Martino L’esordio operistico dell’avvocato Giovanni Faustini 53 La virtù de’ strali d’Amore: libretto e guida all’opera a cura di Maria Martino 115 La virtù de’ strali d’Amore: in breve a cura di Maria Giovanna Miggiani 117 Argomento – Argument – Synopsis – Handlung 123 Maria Martino Bibliografia 129 Online: Novità nell’aria… a cura di Roberto Campanella 133 Dall’archivio storico del Teatro La Fenice Cavalli torna in repertorio a cura di Franco Rossi Frontespizio del libretto (Venezia, Pietro Miloco, 1642) della Virtù de’ strali d’Amore, rappresentata al S.
  • I Drammi Musicali Di Giovanni Faustini Per Francesco Cavalli

    I Drammi Musicali Di Giovanni Faustini Per Francesco Cavalli

    ALMA MATER STUDIORUM – UNIVERSITÀ DI BOLOGNA Dottorato di ricerca in Musicologia e Beni musicali XIX ciclo I drammi musicali di Giovanni Faustini per Francesco Cavalli Dottorando NICOLA BADOLATO Coordinatore Relatore prof. ANGELO POMPILIO prof. LORENZO BIANCONI Correlatore prof.ssa ANNA LAURA BELLINA Esame finale L-ART/07 Musicologia e Storia della Musica Anno 2007 RINGRAZIAMENTI A conclusione di un triennio di studio, desidero ringraziare innanzitutto Lorenzo Bianconi e Anna Laura Bellina, che con disponibilità, rigore e competenza mi hanno guidato nella ricerca: a loro devo gli ammaestramenti, i suggerimenti, le sollecitazioni, gli stimoli che mi hanno permesso di completare questo studio. Ringrazio di cuore inoltre Carlo Caruso per gli spunti e le occasioni di approfondimento che mi ha fornito nell’ultimo anno di lavoro. Un ringraziamento va inoltre a tutto il Collegio dei docenti del dottorato in Musicologia e Beni musicali, ai coordinatori Paolo Gozza e Angelo Pompilio, a tutti i colleghi che mi hanno accompagnato nel percorso dottorale. Un grazie particolare alla Fondazione Bottrigari di Bologna, che ha sostenuto il primo biennio del mio dottorato. Il lavoro di questi anni non sarebbe stato possibile senza l’appoggio paziente e incondizionato della mia famiglia e di mia moglie Maria. INDICE (1) INTRODUZIONE 1a. Giovanni Faustini e Francesco Cavalli p. 9 1b. Le fonti di Faustini p. 12 1c. Le tecniche di scrittura p. 33 1d. Sulla morfologia delle arie p. 55 (2) I LIBRETTI 2a. Criteri di edizione p. 71 2b. La virtù de’ strali d’Amore (1642) p. 73 2c. L’Egisto (1643) p. 113 2d. L’Ormindo (1644) p.