DOCSLIB.ORG

Il Crociato in Egitto ORC 10

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Il Crociato in Egitto ORC 10 MEYERBEER Il Crociato in Egitto ORC 10 in association with Box cover and CD inlays Set design by Alessandro Sanquirico for 1826 production at La Scala, Milan. Arrival of the crusader into the Port of Damiette (akg-images/Pietro Baguzzi) Booklet cover Velluti as Armando, London 1825, watercolour by Chalon (Opera Rara archive) Opposite Giacomo Meyerbeer (Opera Rara archive) –1– GIACOMO MEYERBEER IL CROCIATO IN EGITTO Heroic melodrama in two acts Libretto by Gaetano Rossi Aladino, Sultan of Damietta................................................................Ian Platt Adriano di Montfort, Grand Master of the Knights of Rhodes.............Bruce Ford Armando D’Orville, a Knight of Rhodes..................................Diana Montague Palmide, daughter of the Sultan...................................................Yvonne Kenny Felicia, in the attire of a Knight........................................................Della Jones Alma, confidante of Palmide........................................................Linda Kitchen Osmino, the Grand Vizier..............................................................Ugo Benelli Geoffrey Mitchell Choir Chorus master: Geoffrey Mitchell Royal Philharmonic Orchestra Conductor: David Parry –2– Managing Director: Stephen Revell Producer: Patric Schmid Performing edition for this recording prepared by Robert Roberts Assistant conductors: Paul McGrath, Peter Lipari Répétiteur and recitatives: Rosemary Barnes Italian coach: Gabriella Bullock English libretto: Gwyn Morris Article: Don White Recording engineer: Bob Auger Recorded at CTS Studios, Wembley, London December 1990, February, March and June 1991 –3– CONTENTS Meyerbeer in Italy by Don White..........................................................Page 10 The Story.............................................................................................Page 73 Résumé................................................................................................Page 75 Die Handlung.....................................................................................Page 77 La Trama..............................................................................................Page 79 Libretto...............................................................................................Page 82 –4– CD 1 66’24 Dur Page ACT ONE [1] Patria amata! (chorus) 10’09 82 [2] I doni d’Elmireno (aria Palmide) 3’15 84 [3] Il contento ch’io provo (duet Aladino/Palmide) 3’25 85 [4] Vincitor a questo petto 3’05 86 [5] Ah! Si: tutti miei voti (recit) 3’05 86 [6] Urridi vezzose (chorus) 4’05 89 [7] Cessi o miei fidi (Armando) 1’07 92 [8] O figlio dell’amore 2’54 92 [9] E Palmide! … ella sola (duet) 4’55 94 [10] Ah! Non ti son più cara 2’56 97 [11] Non v’è per noi più speme 4’47 98 [12] Palmide sventurata (recit) 0’37 99 [13] Vedi il legno (chorus) 4’41 99 [14] Popoli dell’Egitto (aria Felicia) 0’53 101 [15] Pace io reco 4’33 101 [16] Ah! Più sorridere 3’35 102 [17] Tu, degli illustri Cavalier 1’28 102 –5– Dur Page [18] Tutto d’intorno (Adriano) 5’09 105 [19] L’anguistia mia (duet Armando/Adriano 5’32 105 CD 2 75’38 [1] Và: già varcasti (duet Armando/Adriano 5’09 110 [2] Non sai quale incanto 5’32 111 [3] Il brando invitto 4’19 114 [4] Oh! Come tutto intorno (recit) 1’45 114 [5] Armando d’Orville! (scene) 4’08 116 [6] Giovinetti Cavalier (trio Palmide/Armando/Felicia) 11’56 120 [7] Armando!... Armando! (recit) 1’55 125 [8] Adriano! Egli stesso! (recit) 1’21 129 [9] Gran Profeta (chorus) 5’29 131 [10] Invitto, illustre Gran Maestro 8’10 132 [11] Sogni e ridenti (canon) 5’16 137 [12] Ite, superbi 3’02 137 [13] All’armi vi/ci chiama 3’51 140 –6– Dur Page ACT TWO [14] Udiste–raccogliete (recit) 2’13 142 [15] Ove, incauta, m’inoltre? (aria Felicia) 2’09 145 [16] Ah! Ch’io l’adoro ancor 5’07 146 [17] Come dolce a lusingarmi 4’03 147 CD 3 70’44 [1] Quanti al gran piano (recit) 0’32 148 [2] O solinghi recessi! (aria 2’28 148 [3] Tutto quì parla ognor 3’53 150 [4] Ma, ciel! S’ei mai perì! 2’21 150 [5] D’una madre disperata 2’28 152 [6] Deh! Mira l’angelo 4’32 152 [7] Con qual gioja 2’47 154 [8] Di natura’e d’amista (recit) 3’26 154 [9] Nel silenzio (chorus) 4’22 161 [10] Dove mi guidi tu? (recit) 1’10 163 [11] In sen del nostro 4’12 165 [12] O cielo clemente (quartet) 7’06 169 [13] Che miro? (quintet) 3’17 170 –7– Dur Page [14] Ah! Questo è l’ultimo 4’01 172 [15] Aladino troppo ardente (recit) 0’47 174 [16] Tutto è finito (aria Adriano) 7’21 175 [17] Suona funerea 6’54 177 [18] Guidati que’perfidi 3’05 178 [19] Ecco, I nostri acciari 1’28 180 [20] Or de’martiri la palma 4’21 181 CD 4 71’13 [1] Or perduto è Aladino (recit) 0’33 181 [2] O tu, divina fè (aria Armando) 2’51 182 [3] Il dì rinascerà 3’05 184 [4] Sollecita, pietosa (recit) 0’34 184 [5] Udite or alto arcano (chorus) 1’43 185 [6] Primiero sul tiranno (recit) 0’59 187 [7] Ah! Che fate? (aria Armando) 2’15 188 [8] Rapito io sento il cor 2’19 189 [9] Verrai meco di Provenza 3’38 190 APPENDIX [10] Eccome alfine (Armando) 3’00 191 [11] Cara mano dell’amore 4’55 193 [12] Popoli dell’Egitto (aria Adriano) 1’30 195 –8– Dur Page [13] Queste destre 2’21 196 [14] Palpitò dolente 3’46 196 [15] Rassicurata da suoi tiranno 3’48 197 [16] Miseri noi! (recit) 0’46 198 [17] D’un genio (aria Alma) 3’31 199 [18] Eccomi giunto omai (aria Armando) 2’50 200 [19] Ah, come rapido 3’26 202 [20] L’aspetto adorabile 2’45 202 [21] Guidati sian que’perfidi 3’06 203 [22] Ecco, i nostri acciari 1’21 205 [23] La gloria celeste 2’56 206 [24] Primiero sul tiranno (scena) 2’13 207 [25] Ravvisa qual’alma (duet Palmide/Armando) 3’14 208 [26] Il tenero affetto 4’48 209 [27] Da queste istante 2’46 210 –9– MEYERBEER IN ITALY By Don White JAKOB LIEBMANN MEYERBEER was born in Berlin, 5 September 1791. His father owned sugar refineries in Berlin and Gorizia. His grandfather was a respected elder of the Jewish community, and a wealthy banker to boot. His home was a meeting place of the cultural and musical elite. It was hardly surprising, in such stimulating surroundings, that the young Meyerbeer should aspire to become as famed as the scientists, writers and musicians who dandled him on their knees. The chosen stage for his prodigious talents was to be the piano, which, by the age of four, he could play by ear. The music teacher of the Prussian Royal Family gave him his first official piano lessons. At eleven, he made his first concert appearance, and he was soon hailed as one of the foremost pianists in Berlin, so technically proficient that the great Clementi himself came out of retirement to teach him. He studied composition with Weber’s brother. None less than the revered Abbé Vogler taught the young man theory at Darmstadt, where he struck up a close friendship with a fellow student, Carl Maria von Weber. By the time he was 18 his first theatrical composition, a divertissement, Der Fischer und das Milkmädchen was given at Berlin’s Royal Theatre on 10 March 1810. In the following 12 months works flowed from his pen: hymns, psalms, religious works, and a grand oratorio, Gott und die Natur, for the Berlin Singakademie (May, 1811). Meyerbeer had attained such great heights by the time he was 20 that it seemed like tempting fate to hope that his success could continue unbroken. –10– And indeed, his first opera, Jephta’s Gelübde (Munich, 1812), was coldly received. ‘More science than melody… an oratorio more than an opera.’ Turning to comic opera, he fared no better with Wirth und Gast at Stuttgart in January 1813. German opera, it was obvious, was not to be the young composer’s metier and, accordingly, he moved to Vienna where, obstinately, he presented a revised version of Wirth und Gast as Alimelek or Die Beiden Kalifen (October 1814). Its new titles helped not a bit. Once again it failed. One of the composer’s earliest biographers, Herman Mendel (Giacomo Meyerbeer, Berlin, 1868) describes the 23-year-old in these days in Vienna as uncertain, tormented by doubt over his abilities, and close to giving up all idea of a musical career. Generously, the veteran composer Salieri gave him consolation and comfort, and suggested that perhaps the young man would benefit from a visit to Italy, where he could better study the art of writing for the voice. Despite this advice, Meyerbeer first travelled to Munich and then to Paris, then considered the musical centre of Europe, on a visit that he later regarded as a most important stage of his musical-dramatic development. As a virtuoso of the piano, he was lionised in the salons of the French capital; Ignaz Moscheles found his playing ‘unsurpassed’. He stayed long enough to compose in 1815 a French opera, Le Bachelier de Salamanque; but its hoped-for production at the Théâtre Feydeau was not to be realised. He travelled to –11– London to hear JB Cramer play, and it was not until early in 1816 that he finally arrived in Italy. This was to be the turning point of his career. In Venice, Jakob – now Giacomo – Meyerbeer heard for the first time Rossini’s Tancredi and was, as the Harmonicon expressed it, ‘transported’. Forty years later he still talked of the lasting influence both Italy and Rossini had on him. Writing in 1856 to the German biographer Dr Jean F Schucht, he recalled: At that time, all Italy was feasting in sweet ecstasy. The whole country had finally found, it seems, a long hoped-for Paradise. All that was needed to complete their happiness was the music of Rossini. In spite of myself, I – like all the rest – was caught up in this gossamer web of sound.
Load more

Recommended publications
  • IL CROCIATO in EGITTO Heroic Melodrama in Two Acts Libretto by Gaetano Rossi
    MEYERBEER Il CrociaOtoRC 10in Egitto in association with Box cover and CD inlays Set design by Alessandro Sanquirico for 1826 production at La Scala, Milan . Arrival of the crusader into the Port of Damiette (akg-images/Pietro Baguzzi) Booklet cover Velluti as Armando, London 1825, watercolour by Chalon (Opera Rara archive) Opposite Giacomo Meyerbeer (Opera Rara archive) –1– GIACOMO MEYERBEER IL CROCIATO IN EGITTO Heroic melodrama in two acts Libretto by Gaetano Rossi Aladino, Sultan of Damietta ................................................................Ian Platt Adriano di Montfort, Grand Master of the Knights of Rhodes .............Bruce Ford Armando D’Orville, a Knight of Rhodes ..................................Diana Montague Palmide, daughter of the Sultan ...................................................Yvonne Kenny Felicia, in the attire of a Knight ........................................................Della Jones Alma, confidante of Palmide ........................................................Linda Kitchen Osmino, the Grand Vizier ..............................................................Ugo Benelli Geoffrey Mitchell Choir Chorus master: Geoffrey Mitchell Royal Philharmonic Orchestra Conductor: David Parry –2– Managing Director: Stephen Revell Producer: Patric Schmid Performing edition for this recording prepared by Robert Roberts Assistant conductors: Paul McGrath, Peter Lipari Répétiteur and recitatives: Rosemary Barnes Italian coach: Gabriella Bullock English libretto: Gwyn Morris Article: Don White Recording
    [Show full text]
  • G010003126831D Se Tu Conoscessi Semiramide, Sventurata La Diresti, Non Rea
    G010003126831D Se tu conoscessi Semiramide, sventurata la diresti, non rea. Kenntest du Semiramis, würdest du sie unglücklich nennen, nicht schuldig. Nessuno amò la povera regina, nessuno! Niemand liebt die arme Königin, nicht einer! Ella è sola, si sente sola nel suo vasto impero, come un’isola deserta sul mare. Sie ist allein, sie fühlt sich einsam in ihrem unermesslichen Imperium, wie eine verlassene Insel im Meer. Ognuno in lei vede e desidera la regina; Die Königin ist es, die alle in ihr sehen und begehren: nessuno ha amato la donna. Keiner liebt die Frau allein. Semiramide. Racconto babilonese (Anton Giulio Barrili, 1873) Semiramide. Racconto babilonese (Anton Giulio Barrili, 1873) If you knew Semiramis, you would call her unfortunate, not guilty. Si tu connaissais Sémiramis, tu la jugerais malheureuse, et non point coupable. No one loves the poor queen, no one! Personne n’aima la pauvre reine, personne! She is alone, she feels alone in her vast empire, Elle est seule, elle se sent seule dans son vaste empire, like a desert island in the sea. comme une île déserte au milieu de la mer. It is the queen that everyone sees in her and desires; Chacun voit et désire en elle la reine ; no one loved the woman. Mais jamais la femme ne fut aimée. Semiramide. Racconto babilonese (Anton Giulio Barrili, 1873) Semiramide. Racconto babilonese ( Anton Giulio Barrili, 1873 ) 3 S emiramide La Signora Regale ANTONIO CALDARA (1670–1736) SEMIRAMIDE IN ASCALONA | 1725 GIOVAN BATTISTA BORGHI (1738– 1796) LA MORTE DI SEMIRAMIDE | 1791 1 Introduzione *
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]
  • L'autorité, 5 Octobre 1895, Pp
    REVUE DE PARIS, 4 décembre 1831, pp. 14–27. Chaque fois qu’à l’horizon de la pensée on voit apparaître une grande conception, riche de tout ce qu’une époque a ajouté de développemens au fonds commun des traditions, et néanmoins portant en elle le germe d’une époque nouvelle, il se fait une secousse, un ébranlement qui se communique à toute la sphère de l’art. Les esprits qui vivent dans cette sphère ressentent tous cette impulsion; mais les uns, d’abord en petit nombre, pressés par un vague instinct de progrès, se prêtent avec enthousiasme à ce mouvement; les autres, et ceux-ci forment la majorité, à qui rien n’est plus cher que le repos, s’efforcent de paralyser cette impulsion, craignant d’être troublés dans la jouissance de leur statu quo. L’art se partage alors en deux camps, et cette lutte de positif et de négatif, d’action et de résistance, se prolonge jusqu’à ce que le génie imprime à ces oscillations un mouvement régulier, et attire à lui tout l’ensemble des intelligences par sa seule force d’attraction. Cela a lieu dans les sciences, dans la littérature et dans les arts. Le dernier ouvrage de M. Meyerbeer vient d’opérer une crise semblable dans le domaine de la musique. Je ne m’attacherai pas ici à énumérer une à une les beautés de détail qu’il renferme. Je m’occuperai principalement de la question d’art que Robert-le-Diable vient de soulever. Mais comme il ne suffit pas d’une seule composition, quelque grande qu’elle soit, pour pouvoir se rendre // 15 // compte de la portée d’un homme; comme on ne peut apprécier la part qui lui appartient dans la régénération, si l’on n’étudie sa pensée dans tout le cours de sa vie d’artiste, si l’on n’interroge son talent à chacune de ses périodes, et dans ses transformations diverses, nous jetterons un coup d’œil rapide sur la carrière musicale de M.
    [Show full text]
  • EJ Full Draft**
    Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today.
    [Show full text]
  • I Costumi Per Le Opere Di Gioachino Rossini Nelle Collezioni Milanesi
    Corso di Laurea in Storia delle arti e conservazione dei beni artistici ordinamento ex D.M. 270/2004 Tesi di Laurea I costumi per le opere di Gioachino Rossini nelle collezioni milanesi Relatore Ch.ma Prof. Maria Ida Biggi Correlatore Ch.ma Prof. Adriana Guarnieri Laureando Beatrice Carrer Matricola 836283 Anno Accademico 2016 / 2017 1. SOMMARIO 2. INTRODUZIONE 3 3. LA CULTURA EUROPEA DI INIZIO OTTOCENTO: TRA NEOCLASSICISMO E ROMANTICISMO 5 4. CENNI BIOGRAFICI DI GIOACHINO ROSSINI 9 5. LE OPERE 17 5.1 LA FARSA 17 5.2 L’OPERA BUFFA 20 5.3 L’OPERA SEMISERIA 28 3.4 L’OPERA SERIA 32 3.5 L’OPERA FRANCESE 52 6. LA SCENOGRAFIA E IL COSTUME A MILANO 57 6.1 LA CRITICA SETTECENTESCA 58 6.2 LA SCENOGRAFIA 61 6.3 I COSTUMI 65 7. BIBLIOTECA NAZIONALE BRAIDENSE 69 7.1 RICCIARDO E ZORAIDE 70 7.2 OTELLO, OSSIA IL MORO DI VENEZIA 74 7.3 L’ITALIANA IN ALGERI 81 7.4 TANCREDI 82 7.5 SEMIRAMIDE 85 7.6 LA DONNA DEL LAGO 87 7.7 MATILDE DI SHABRAN 90 8. BIBLIOTECA DEL MUSEO TEATRALE ALLA SCALA 93 8.1 IL TURCO IN ITALIA 93 8.2 IL BARBIERE DI SIVIGLIA 93 8.3 OTELLO, OSSIA IL MORO DI VENEZIA 95 8.4 MATILDE DI SHABRAN 97 8.5 SEMIRAMIDE 97 8.6 LE SIEGE DE CORINTHE 100 8.7 MOSÈ 103 8.8 GUILLAUME TELL 107 9. CIVICA RACCOLTA DELLE STAMPE ACHILLE BERTARELLI 113 1 9.1 STAMPE DI ATTORI 113 9.2 RACCOLTA DI FIGURINI AD USO DEI TEATRI, GIUSTA IL COSTUME DI TUTTI I TEMPI E TUTTE LE NAZIONI 115 9.3 FIGURINI TEATRALI DI FAUSTO, BARBIERE DI SIVIGLIA, TUTTI IN MASCHERA 117 10.
    [Show full text]
  • LE MIE MEMORIE ARTISTICHE Giovanni Pacini
    LE MIE MEMORIE ARTISTICHE Giovanni Pacini English translation: Adriaan van der Tang, October 2011 1 2 GIOVANNI PACINI: LE MIE MEMORIE ARTISTICHE PREFACE Pacini’s autobiography Le mie memorie artistiche has been published in several editions. For the present translation the original text has been used, consisting of 148 pages and published in 1865 by G.G. Guidi. In 1872 E. Sinimberghi in Rome published Le mie memorie artistiche di Giovanni Pacini, continuate dall’avvocato Filippo Cicconetti. The edition usually referred to was published in 1875 by Le Monnier in Florence under the title Le mie memorie artistiche: edite ed inedite, edited by Ferdinando Magnani. The first 127 pages contain the complete text of the original edition of 1865 – albeit with a different page numbering – extended with the section ‘inedite’ of 96 pages, containing notes Pacini made after publication of the 1865-edition, beginning with three ‘omissioni’. This 1875- edition covers the years as from 1864 and describes Pacini’s involvement with performances of some of his operas in several minor Italian theatres. His intensive supervision at the first performances in 1867 of Don Diego di Mendoza and Berta di Varnol was described as well, as were the executions of several of his cantatas, among which the cantata Pacini wrote for the unveiling of the Rossini- monument in Pesaro, his oratorios, masses and instrumental works. Furthermore he wrote about the countless initiatives he developed, such as the repatriation of Bellini’s remains to Catania and the erection of a monument in Arezzo in honour of the great poet Guido Monaco, much adored by him.
    [Show full text]
  • Horne-Part-Ii-A-L.Pdf
    J & J LUBRANO MUSIC ANTIQUARIANS Marilyn Horne in Norma by John Foote: National Portrait Gallery, Washington D.C. Autographs, Prints, & Memorabilia from the Collection of Marilyn Horne Part 2: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full.
    [Show full text]
  • Ictm Study Group on Iconography of the Performing Arts Istituto Per I Beni Musicali in Piemonte
    ICTM STUDY GROUP ON ICONOGRAPHY OF THE PERFORMING ARTS ISTITUTO PER I BENI MUSICALI IN PIEMONTE NEOCLASSICAL REVERBERATIONS OF DISCOVERING ANTIQUITY Twelfth Conference of the ICTM Study Group on Iconography of the Performing Arts Torino, Archivio di Stato, 6–9 October 2014 DIREZIONE REGIONALE PER I BENI CULTURALI E PAESAGGISTICI DEL PIEMONTE Archivio di Stato Istituto per i Beni di Torino Musicaliin Piemonte ICTM STUDY GROUP ON ICONOGRAPHY OF THE PERFORMING ARTS ISTITUTO PER I BENI MUSICALI IN PIEMONTE NEOCLASSICAL REVERBERATIONS OF DISCOVERING ANTIQUITY Twelfth Conference of the ICTM Study Group on Iconography of the Performing Arts Torino, Archivio di Stato, 6–9 October 2014 ICTM STUDY GROUP ON ICONOGRAPHY OF THE PERFORMING ARTS ISTITUTO PER I BENI MUSICALI IN PIEMONTE Conference organized and program book edited by Cristina santarelli & Zdravko Blažeković Conference administrators: SABRINA SACCOMANI & VITTORIA BOVOLO Program committee: Cristina santarelli & Zdravko Blažeković The organizers acknowledge a general support by: Regione Piemonte Compagnia di San Paolo Fondazione CRT Società Italiana di Musicologia Archivio di Stato di Torino Conference venue: Archivio di Stato Piazza Castello, 209 10124 Torino ISTITUTO PER I BENI MUSICALI IN PIEMONTE Via Anton Giulio Barrili, 7 - 10134 Torino Tel. 0113040865 - Fax 0113190277 E-Mail: [email protected] © Istituto per i Beni Musicali in Piemonte and International Council for Traditional Music. The program of the conference was closed on 1 September 2014. Presentations and discussions are recorded for archival purposes. Cover image: Cesare Saccaggi, Alma Natura, ave! (1898), Torino, Galleria Civica d’Arte Moderna e Contemporanea, inv. P/502. INTRODUCTION The discovery of Herculaneum and Pompeii and their subsequent archaeological excavations influenced a renewed interest for antiquity and initiated tremendous changes at the end of the eighteenth century in the lifestyle all over Europe.
    [Show full text]
  • The Theatre of Shelley
    Jacqueline Mulhallen The Theatre of Shelley OpenBook Publishers To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/27 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Jacqueline Mulhallen has studied and worked as an actor and writer in both England and Australia and won a scholarship to study drama in Finland. She worked as performer and writer with Lynx Theatre and Poetry and her plays Sylvia and Rebels and Friends toured England and Ireland (1987-1997). Publications include ‘Focus on Finland’, Theatre Australia, 1979; (with David Wright) ‘Samuel Johnson: Amateur Physician’, Journal of the Royal Society of Medicine, 1982; ‘Sylvia Pankhurst’s Northern Tour’, www.sylviapankhurst. com, 2008; ‘Sylvia Pankhurst’s Paintings: A Missing Link’, Women’s History Magazine, 2009 and she is a contributor to the Oxford Handbook of the Georgian Playhouse 1737-1832 (forthcoming). Jacqueline Mulhallen The Theatre of Shelley Cambridge 2010 Open Book Publishers CIC Ltd., 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com © 2010 Jacqueline Mulhallen. Some rights are reserved. This book is made available under the Creative Commons Attribution-Non-Commercial-No Derivative Works 2.0 UK: England & Wales License. This license allows for copying any part of the work for personal and non-commercial use, providing author attribution is clearly stated. Details of allowances and restrictions are available at: http://www.openbookpublishers.com As with all Open Book Publishers titles, digital material and resources associated with this volume are available from our website: http://www.openbookpublishers.com ISBN Hardback: 978-1-906924-31-7 ISBN Paperback: 978-1-906924-30-0 ISBN Digital (pdf): 978-1-906924-32-4 Acknowledgment is made to the The Jessica E.
    [Show full text]
  • Paolo Fabbri: Rossini, Donizetti E La Malanotte
    Paolo Fabbri: Rossini, Donizetti e la Malanotte. La carriera del primo Tancredi Schriftenreihe Analecta musicologica. Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom Band 46 (2010) Herausgegeben vom Deutschen Historischen Institut Rom Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat der Creative- Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC BY-NC-ND 4.0) unterliegt. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Rossini, Donizetti elaMalanotte. La carrieradel primo Tancredi Paolo Fabbri Ciò che resta del patrimonio di cimeli, documenti edotazioni bibliografiche di un cantante del primo Ottocento èdisolito disperso in musei ebiblioteche.Inqualche caso,però–adesempio,quelli di Giuditta Pasta, Giovanni BattistaVelluti, Giovanni Battista Rubini –, esso ci ègiunto ancora più omeno sufficientemente compatto in quanto trasmesso per asse ereditario oraccolto da collezionisti. Ad essi può aggiun- gersi quello di un’importante interprete rossiniana quale Adelaide Malanotte,lecui carte confluirono per
    [Show full text]
  • La Sonnambula Fondazione Ravenna Manifestazioni Comune Di Ravenna Ministero Dei Beni E Delle Attività Culturali E Del Turismo Regione Emilia Romagna
    opera Stagione teatrale 2014-2015 TEATRO DANTE ALIGHIERI Vincenzo Bellini La sonnambula Fondazione Ravenna Manifestazioni Comune di Ravenna Ministero dei Beni e delle Attività Culturali e del Turismo Regione Emilia Romagna Teatro di Tradizione Dante Alighieri Stagione d’Opera e Danza 2014-2015 La sonnambula melodramma in due atti libretto di Felice Romani musica di Vincenzo Bellini Teatro Alighieri 27, 29 marzo con il contributo di partner Sommario La locandina ................................................................ pag. 5 Il libretto ....................................................................... pag. 6 Il soggetto .................................................................... pag. 25 Coordinamento editoriale La bella Amina, orfana e sonnambula Cristina Ghirardini di Giulia Vannoni ...................................................... pag. 27 GraficaUfficio Edizioni Fondazione Ravenna Manifestazioni Al di là dell’idillio Si ringrazia il Teatro Comunale Mario di Giulia Vannoni ...................................................... pag. 33 Del Monaco di Treviso per aver concesso il materiale editoriale. Note di regia Le foto di scena sono relative alla di Alessandro Londei ............................................ pag. 39 rappresentazione allestita al Teatro Comunale Mario Del Monaco di Treviso dal 29 settembre al 5 ottobre 2014. Alessandro Sanquirico, © Foto Piccinni Treviso primo scenografo della Sonnambula A p. 25, La Sonnambula del Signor Bellini, di Alessandro Londei ............................................
    [Show full text]