DOCSLIB.ORG

Arturo Chacón-Cruz, Tenor / Kirill Kuzmin, Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arturo Chacón-Cruz, Tenor / Kirill Kuzmin, Piano Arturo Chacón-Cruz, Tenor / Kirill Kuzmin, Piano NOVEMBER 13, 2020 Available on demand through December 12, 2020 Who’s Who ARTURO CHACÓN-CRUZ (MEXICO) TENOR HGO Studio alumnus Arturo Chacón-Cruz, first prize and Audience Choice Award winner in HGO’s 2003 Eleanor McCollum Competition Concert of Arias, returns to HGO after last appearing here as the Duke of Mantua in Rigoletto (2020). He was slated to perform the title role in Werther for HGO during the 2020–21 season, but the production was canceled due to COVID-19. Other credits at HGO include Edmondo/Lamplighter in Manon Lescaut (2006); Pinkerton in performances of Madame Butterfly (2004–05); and Tybalt in Romeo and Juliet, Alpheus in Lysistrata, High Priest of Neptune in Idomeneo, and Ruiz in Il trovatore (all in 2005). The 2019–20 season saw him performing the role of Ismaele in Nabucco with Palau de les Arts Reina Sofia, and Don José in Carmen with the Tampere Opera. His recent roles include Faust in La damnation de Faust with Teatro Colón; Rafael Ruiz in El gato montés with LA Opera; Rodolfo in Luisa Miller with Gran Teatre del Liceu in Barcelona; the title role of The Tales of Hoffmann at Teatro Regio di Torino; Alfredo Germont in La traviata with the Arena di Verona, the Royal Opera House Muscat, Bolshoi Opera, Teatro dell’Opera di Roma, Palau de les Arts Reina Sofia in Valencia, and Bavarian State Opera; and The Duke of Mantua in Rigoletto with Hamburg State Opera, the Budapest Summer Festival, Teatro di San Carlo, LA Opera, and Arena di Verona. Recent collaborations with star directors Sofia Coppola (La traviata) and Woody Allen (Gianni Schicchi) resulted in inter- national acclaim and sold-out performances in Los Angeles, Valencia, and Rome. Chacón-Cruz has a new Christmas album, A Christmas Wonderland, and recently announced a new mariachi album, De mi casa a tu casa. KIRILL KUZMIN (RUSSIA) PIANO HGO Studio alumnus Kirill Kuzmin is currently principal coach at HGO and a music staff member at The Glimmerglass Festival. In the 2019–20 season, Kuzmin served on HGO’s music staff for productions of Saul and Aida. Previous HGO credits include Eugene Onegin (also as diction coach), Le nozze di Figaro, Faust, Giulio Cesare (also as continuo player), and West Side Story, as well as two of Wagner’s monumental Ring cycle operas, Siegfried and Götterdämmerung. He also served as principal coach for HGO’s world premiere of Ricky Ian Gordon and Royce Vavrek’s The House Without a Christmas Tree and was involved in the world premiere of David Hanlon and Stephanie Fleischmann’s After the Storm. In the summer of 2020, he had been engaged to serve as principal coach for the production of Die Feen at the Glimmerglass Festival, but it was canceled due to COVID-19. Program Caruso Lucio Dalla (1943-2012) Parlami d’amore, Mariù Cesare Andrea Bixio (1896-1978) Musica proibita Stanislao Gastaldon (1861-1939) What a Wonderful World Bob Thiele (1922-1996) and George David Weiss (1921-2010) Hallelujah Leonard Cohen (1934-2016) Bésame mucho Consuelo Velázquez (1916-2005) Júrame María Grever (1885-1951) El triste Roberto Cantoral from Four Songs, Op. 1 (1935-2010) No puede ser Pablo Sorozábal from La tabernera del puerto (1897-1988) Del cabello más sutil Fernando Jaumandreu Obradors (1897-1945) Pourquoi me réveiller Jules Massenet from Werther (1842-1912) Cielo e mar Amilcare Ponchielli from La gioconda (1834-1886) Nessun dorma Giacomo Puccini from Turandot (1858-1924) Credits Ben Doyle Video Director Performing artists, stage directors, and choreographers are represented by the American Molly Dill Producing Director Guild of Musical Artists, the union for opera professionals in the United States. Daniel James Video Producer Stage crew personnel provided by IATSE, Local #51. Michael James Clark Lighting Designer Wardrobe personnel provided by Theatrical Wardrobe Union, Local #896. Kristen Burke Stage Manager Jeremy Johnson English Subtitles The entire staff of HGO contributed to the success of this production. For a full Dotti Staker Hair & Makeup listing of the company’s staff, please visit HGO.org/about-us/people. Video Production Streaming Partner Produced in association with Austin Opera.
Load more

Recommended publications
  • Libretto Nabucco.Indd
    Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane.
    [Show full text]
  • Milan and Seregno
    MILAN AND SEREGNO LIDA EMILIANA MELETAKI VICTORIA MILIARAKI NIKOLETA XENAKI C’3 MILAN Milan is the capital of Lombardy and the second most populous city in Italy after Rome. It is located in the north- western section of the Po Valley, approximately halfway between the river Po to the south and the foothills of the Alps with the great lakes (Lake Como, Lake Maggiore, Lake Lugano) to the north, the Ticino river to the west and the Adda to the east. MUSEUMS Some of the most popular museums are: • Pinacoteca di Brera • The Last Supper • Fondazione Prada • Museo del Novecento • Mudec • Museo Civico di Storia Naturale di Milano • Museo Poldi Pezzoli • Villa Necchi Campiglio PINACOTECA DI BRERA FONDAZIONE PRADA MONUMENTS/LANDMARKS Santa Maria delle Grazie This church was built between 1466 and 1490 by Giuniforte Solari and later partly modified by Bramante who re- designed the apse, the Tribuna, the Cloister and the Old Sacristy. In the Refectory there is one of the most famous paintings of Leonardo da Vinci: the “Last Supper”. The works of the fresco started in 1495 and finished in 1498. Monumental Cemetery Carlo Maciachini built the Monumental Cemetery between 1863 and 1866 at Porta Volta. Villa Reale (Royal Villa) One of the most important Milanese neo- classical buildings, the Royal Villa, was built in 1790 by Leopoldo Pollak. It has been the residence of Napolen and Josephine and also of Eugene Beauharnais and the General Radetzky. Pilasters and columns decorate all the building that is surrounded by an English- style garden. The insides are finely decorated with candelabras, sculptures, frescoes and other decorations typical of Lombard neo- classicism.
    [Show full text]
  • 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.
    [Show full text]
  • La Gioconda (Review) William Ashbrook
    La Gioconda (review) William Ashbrook The Opera Quarterly, Volume 18, Number 1, Winter 2002, pp. 128-129 (Review) Published by Oxford University Press For additional information about this article https://muse.jhu.edu/article/25455 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 128 recordings La Gioconda. Amilcare Ponchielli La Gioconda: Giannina Arangi-Lombardi Isepo/Singer: Giuseppe Nessi Laura: Ebe Stignani Zuane/Singer: Aristide Baracchi La Cieca: Camilla Rota Orchestra and Chorus of La Scala, Milan Enzo Grimaldo: Alessandro Granda Lorenzo Molajoli, conductor Barnaba: Gaetano Viviani Naxos Historical 8.110112–14 (3 CDs) Alvise Badoero: Corrado Zambelli This is the complete Gioconda from 1931, recorded by Italian Columbia, but never issued in the United States during the 78 r.p.m. era. Here it is, vividly remastered by Ward Marston, with bonus tracks consisting of eight arias and two duets featuring the soprano Giannina Arangi-Lombardi, whom Max de Schauensee always referred to as “the Ponselle of Italy.” I have a special aVection for La Gioconda, as it was my first opera, seen when I was seven. Three things made an unforgettable impression on me. Hearing big voices live had quite an impact, since before then I had heard opera only on acoustic records (I still think that Julia Claussen, the Laura of that occasion, could sing louder than anyone I have heard since); although the plot made no sense to me, the Dance of the Hours seemed perfectly logical; and I got cold chills from the moment the big ensemble was launched at the end of act 3.
    [Show full text]
  • El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
    Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini.
    [Show full text]
  • Info Tickets
    Tickets SALES CALENDAR Macbeth, Messa da Requiem, Ernani, Fuoco di gioia, Concerto Valerij Gergiev (Parco Ducale) from 28 August 2020 online from 29 August 2020 Quartetto Prometeo, Gala Verdiano (Teatro Regio di Parma) from 10 September 2020 online from 11 September 2020 PROMOTIONS AND REDUCTIONS Subscribers to Festival Verdi 2019 can book tickets for Macbeth, Messa da Requiem and Ernani with a 10% reduction from July 1 to 17 at the Teatro Regio ticket office, by calling 0521 203999 or by sending an email to biglietteria@teatroregioparma. Reserved tickets (one for each season ticket) can be paid from August 26 to September 3, at the ticket office following requests order of arrival. Subscribers to the Festival Verdi 2019 are also reserved a 10% reduction for tickets for the symphonic concert directed by Valerij Gergiev, the concert of Quartetto Prometeo and the Gala verdiano, which will be put on sale from August 28, 2020. Subscribers to the Festival Verdi 2019 will be able to purchase a pre-emption subscription to the Festival Verdi 2021 in the terms that will be indicated subsequently. Subscribers to the Opera Season 2020 will be able to claim the right of first refusal to purchase tickets for all shows on August 26 and 27, 2020 24 TICKETS Macbeth, Messa da Requiem Ernani, Valerij Gergiev Full price S.T. holder*/Under 30 Stall - I sector € 110,00 € 99,00 Stall - II sector € 55,00 € 49,50 Gala Verdiano Full price S.T. holder*/Under 30 Stall € 75,00 € 67,50 Central Box € 70,00 € 63,00 Off-Centre Box € 65,00 € 58,50 Side Box € 60,00 € 54,00 Gallery € 35,00 € 31,50 Quartetto Prometeo Full price S.T.
    [Show full text]
  • Giacomo Puccini Krassimira Stoyanova
    Giacomo Puccini Complete Songs for Soprano and Piano Krassimira Stoyanova Maria Prinz, Piano Giacomo Puccini (1858-1924) 5 Ave Maria Leopolda (Giacomo Puccini) Conservatory. It is introduced by solemn organ harmonies (Milan, 20 May 1896) with strong treble line. The melody is shaped by slow Songs This short song is a setting of one of the composer’s letters lingering inflections of considerable emotional intensity. The Giacomo (Antonio Domenico Michele Seconda Maria) Gramophone Company (Italy) Ltd. The tone of this song, to the conductor Leopoldo Mugnone (who conducted hymn moves on to a more questioning phase, and concludes Puccini (1858-1924) was born into a family with long musical by the famous librettist Illica, a man of exuberant and violent Manon Lescaut and La Bohème in Palermo). It is a jocular with a smooth organ postlude. The tune was used by the traditions. He studied with the violinist Antonio Bazzini passions, celebrates the positivism of the late 19th century. salutation, offering greetings to his spouse Maria Leopolda, composer in his first opera Le Villi (1883) as the orchestral (1818-1897) and the opera composer Amilcare Ponchielli The text reflects that, although life is transient, we sense the from the dark Elvira (Bonturi, Puccini’s wife) and the blonde introduction to No. 5 and the following prayer Angiol di Dio. (1834-1886), and began his career writing church music. existence of an ideal that transcends it, conquering oblivion Foschinetta (Germignani, Puccini’s stepdaughter), who He is famous for his series of bold and impassioned operas and death. The musical setting is confident and aspirational, send kisses and flowers.
    [Show full text]
  • Stephen Medcalf Stage Director
    Stephen Medcalf Stage Director Stephen Medcalf’s current and future engagements include UN BALLO IN MASCHERA and DIE WALKÜRE Grange Park Opera, LEONORE and IDOMENEO Buxton Festival, HERCULANUM Wexford Festival Opera, MANON LESCAUT Palau de les Arts Reina Sofía in Valencia and Asociación Bilbaina de amigos de la Ópera in Bilbao, FALSTAFF Accademia della Scala on tour to Royal Opera House Muscat in Oman and AIDA and ARIODANTE Landestheater Niederbayern. Recent new productions include NORMA Teatro Lirico Cagliari, AIDA The Royal Albert Hall, A VILLAGE ROMEO AND JULIET and Foroni’s CRISTINA REGINA DI SVEZIA Wexford Festival, FALSTAFF Teatro Farnese, Parma, ALBERT HERRING, ARIADNE AUF NAXOS and DEATH IN VENICE Salzburger Landestheater, LA FINTA GIARDINIERA Landestheater Niederbayern, EUGENE ONEGIN, LA BOHEME FANCIULLA DEL WEST and CAPRICCIO Grange Park Opera, Bellini’s IL PIRATA and Menotti’s THE SAINT OF BLEECKER STREET Opéra Municipal Marseille, LUCREZIA BORGIA, LUISA MILLER, MARIA DI ROHAN, Gluck’s ORFEO ED EURYDICE and Mascagni’s IRIS Buxton Festival, CARMEN and AIDA Teatro Lirico di Cagliari, CARMEN Teatro Nacional de São Carlos, Cesti’s LE DISGRAZIE D’AMORE Teatro di Pisa and a revival of his DIE ZAUBERFLÖTE Palau de les Arts Reina Sofía in Valencia. Career highlights include PIKOVAYA DAMA Teatro alla Scala, LE NOZZE DI FIGARO Glyndebourne Opera House (televised and released on video/DVD), MANON LESCAUT and DIE ZAUBERFLÖTE (released on DVD) Teatro Regio di Parma, and DIE ENTFUHRUNG AUS DEM SERAIL for Teatro delle Muse, Ancona, which was subsequently seen at the Teatro Massimo, Palermo, Teatro Lirico di Cagliari and the Theatre Festival of Thessaloniki.
    [Show full text]
  • Informazioni Di Biglietteria
    INFORMAZIONI BIGLIETTERIA BIGLIETTERIA DEL TEATRO REGIO DI PARMA Biglietteria del Teatro Regio di Parma Strada Garibaldi, 16/A - 43121 Parma Tel. 0521 203999 - Fax 0521 504224 [email protected] www.teatroregioparma.it Orario di apertura dal martedì al sabato ore 10.30 - 13.30, 17.00 - 19.00 e un’ora e mezza precedente lo spettacolo. Chiuso la domenica, il lunedì e i giorni festivi. In caso di spettacolo nei giorni di chiusura: domenica un’ora e mezza precedente lo spettacolo lunedì ore 17.00 - 20.30 Il pagamento presso la biglietteria del Teatro Regio di Parma può essere effettuato con denaro contante in euro, con assegno circolare non trasferibile intestato a Fondazione Teatro Regio di Parma, con PagoBancomat, concarte di credito Visa, Cartasì, Diners, Mastercard, American Express. CONVENZIONE TEATRO REGIO DI PARMA E TEATRO CARLO FELICE DI GENOVA La Fondazione Teatro Regio di Parma e la Fondazione Teatro Carlo Felice di Genova hanno siglato una convenzione, con validità dal 1 gennaio al 31 dicembre 2016, che offre agli abbonati di ciascun teatro la possibilità di acquistare biglietti per gli spettacoli dell’altro teatro con una riduzione del 20% sul prezzo intero. L’agevolazione sarà applicata in occasione di tutti gli spettacoli dei due teatri per gli appuntamenti delle stagioni liriche, concertistiche, sinfoniche, di danza e balletto e del Festival Verdi 2016. Agli spettatori interessati sarà suffi ciente mostrare alla biglietteria del teatro, all’atto dell’acquisto del biglietto, almeno una tessera di abbonamento sottoscritta all’altro teatro. Ciascun abbonamento dà diritto a una singola riduzione per spettacolo. AGEVOLAZIONE PARCHEGGIO TOSCHI Gli spettatori della Stagione 2016 del Teatro Regio di Parma potranno benefi ciare di un biglietto per il parcheggio a prezzo ridotto per la sosta dell’autoveicolo presso il Parcheggio Toschi in occasione delle recite d’opera, dei concerti, degli spettacoli teatrali e di danza in programma al Teatro Regio.
    [Show full text]
  • Il "Vivavoce Tour" Di Francesco De Gregori Si Arricchisce Di Nuove
    GIOVEDì 5 FEBBRAIO 2015 Dal 20 marzo Francesco De Gregori sarà in tour nei palasport e nei teatri di tutta Italia con "Vivavoce Tour", spettacolo con cui l'artista presenterà live "Vivavoce", accompagnato dalla sua band formata da Guido Il "Vivavoce Tour" di Francesco De Guglielminetti (basso e contrabbasso), Paolo Giovenchi (chitarre), Lucio Gregori si arricchisce di nuove Bardi (chitarre), Alessandro Valle (pedal steel guitar e mandolino), date ad Avellino, Ferrara, Bassano Alessandro Arianti (hammond e piano), Stefano Parenti (batteria), Elena del Grappa e Bolzano Cirillo (violino e cori), Giorgio Tebaldi (trombone), Giancarlo Romani (tromba) e Stefano Ribeca (sax). Parte il 20 marzo dal PalaLottomatica di Roma Queste le date ad oggi confermate del "Vivavoce Tour": 20 marzo: ROMA - PalaLottomatica LA REDAZIONE 23 marzo: MILANO-ASSAGO - Mediolanum Forum 25 marzo: FIRENZE - Nelson Mandela Forum [email protected] 27 marzo: PORDENONE - Pala Forum SPETTACOLINEWS.IT 28 marzo: BOLOGNA - Unipol Arena 3 aprile: NAPOLI - Pala Partenope 19 aprile: CESENA - Nuovo Teatro Carisport 20 aprile: ANCONA - Teatro Delle Muse 23 aprile: AVELLINO - Teatro Carlo Gesualdo - NUOVA DATA 24 aprile: BARI - Teatro Team 27 aprile: PALERMO - Teatro Politeama 28 aprile: CATANIA - Teatro Metropolitan 30 aprile: CATANZARO - Pala Gallo 6 maggio: CREMONA - Teatro Ponchielli 9 maggio: MANTOVA - Gran Teatro Palabam Pag. 1 / 2 12 maggio: FERRARA - Teatro Comunale - NUOVA DATA 13 maggio: BRESCIA - Pala Banco 14 maggio: BERGAMO - Teatro Creberg 16 maggio: PARMA - Teatro Regio 19 maggio: REGGIO EMILIA - Teatro Romolo Valli 20 maggio: TORINO - Teatro Colosseo 23 maggio: SANREMO (Imola) - Teatro Ariston 25 maggio: GENOVA - Teatro Carlo Felice 26 maggio: VARESE - Teatro di Varese 28 maggio: BASSANO DEL GRAPPA (Vicenza) - Palasport - NUOVA DATA 29 maggio: BOLZANO - Palasport Bolzano (via Resia) - NUOVA DATA Pag.
    [Show full text]
  • Background Amilcare Ponchielli
    Background Amilcare Ponchielli (1834 - 1886) was born in Paderno, Italy and studied at the Milan Conservatory between the ages of nine and eighteen. While there he composed his first opera, Il Sindaco Babbeo in collaboration with three other students. Following his studies, he worked for a time as an organist in Cremona and later as bandmaster in Piacenza. From 1856 to 1867 six operas preceded the one for which he became world famous, La Gioconda (La Jaconde or Mona Lisa). Il Convegno (the meeting) is a brilliant clarinet duo with band accompaniment. Faint-of-heart would-be soloists need not apply. It demands virtuosity and rigorously rehearsed timing throughout. Though its composition date is uncertain, newspaper reports from as early as 1869 have been found of its performance in Cremona. Raffaella Barbieatro at the Biblioteca Statale reports having uncovered as many as forty-three copies of the original score which is assumed to have been lost or stolen. She suspects that one or two additional manuscripts may still lurk uncatalogued This arrangement is adapted from the Alessandro Vessella manuscript #287 courtesy of the Biblioteca di Archeologia e Storia dell'Arte Roma - Ministero per i Beni e Le Attività Culturali – Italia and the piano reduction by Elio Peruzzi. The parts for the accompanying instruments have been transcribed faithfully from the Vessella manuscript with the single exception that all repeated 32nd notes indicated in the first movement for accompanying clarinets have been changed to 16ths. Alessandro Vessella was conductor of the Banda Municipale di Roma and exerted a lasting influence on the evolution of the instrumentation of the Italian band in the late 19th and early 20th centuries.
    [Show full text]
  • MINISTERO DELL'economia E DELLE FINANZE N.3 Di T. Bucco·
    MINISTERO DELL'ECONOMIA E DELLE FINANZE COMMISSIONE TECNICA PER LA SPESA PUBBLICA Ricerca L'INTERVENTO PUBBLICO A FAVORE DELLO SPETTACOLO IN ITALIA (rapporto intermedio) di T. Bucco· n.3 marzo 2002 CR.5/02 l L 'intervento pubblico a favore dello spettacolo dal vivo in Italia (anni 1995-2000) l. Metodologia di ricerca 2. La situazione attuale: una visione di insieme 2.1 L 'intervento pubblico nel settore: soluzioni adottate a confronto con gli obiettivi prefissati 2.2 Caratteristiche ed andamento della domanda e del!'offerta di spettacolo 2.2.1 L' evidenza relativa alle circoscrizioni territoriali 2.2.2 I livelli di partecipazione 3. Analisi della dinamica degli stanziamenti. Innovazioni normative e procedurali 3.1 La spesa statale: le risorse impegnate:il Fondo unico per lo Spettacolo (FUS) 3.2 I settori: meccanismi e criteri di riparto delle risorse statali 3 .2.1 Musica. Enti lirici. Altre attivita' musicali. 3.2.3 Prosa 3.2.4Danza 3.3 La spesa regionale 3.4 La spesa degli enti locali 4. Le tensioni di riforma 4.1 La trasformazione degli enti lirici in fondazioni e il problema del fund raising: verso nuove modalita' di interazione tra pubblico e privato 4.1.1 La ratio della riforma 4.1.2 I contenuti della normativa: un 'analisi critica 4.2 I disegni di legge per il teatro e la musica : linee innovative emergenti in tema di decentramento delle competenze 5. Confronto internazionale dei volumi di spesa e delle strutture organizzative 5.l Struttura e obiettivi dell'intervento pubblico nel settore nei diversi paesi 5.2 L 'esperienza del Regno Unito 5.3 La lirica italiana sulla scena europea: indicatori di gestione finanziaria e produttiva 6.
    [Show full text]