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Benedetto Ferrari – Poeta Dei Primi Drammi Per Musica Veneziani1
Musica Iagellonica 2013 ISSN 1233-9679 Anna SZWEYKOWSKA (Kraków) Benedetto Ferrari – poeta dei primi drammi 1 per musica veneziani A Firenze il teatro musicale nacque nel clima di una cultura raffinata, esclu- siva. Le tematiche trattate toccavano problemi d’amore con l’iniziale maiuscola del sostantivo, sviluppato e vissuto entro categorie altamente astratte volte ad instaurare corrispondenze con la cultura letteraria e filosofica dell’élite fiorenti- na. A Venezia dominava invece un ambiente sociale e culturale profondamente diverso. La mancanza di un’università a Venezia costringeva la gioventù a for- marsi presso la vicina Padova, dove gli studi più spesso affrontati erano quelli di diritto, finalizzati ad ottemperare alle necessità di una buona amministrazione della Repubblica. I letterati non potevano contare su un grande mecenatismo locale: il sistema democratico non tollerava né uno sfarzo eccessivo, né un acce- so panegirismo. Per tali ragioni nella città non sussistevano condizioni tipiche cortigiane che permettessero di importarvi direttamente i modelli del teatro musicale fino ad allora sviluppati. Questa forma di teatro fece pertanto la sua apparizione a Venezia con notevole ritardo (due anni più tardi che in Polonia) e in una forma parzialmente diversa. Neppure a Venezia si faceva a meno di un certo tipo di mecenatismo; tuttavia, come era naturale avvenisse in una città 1 Il presente articolo è tratto da un più ampio studio incompiuto dell’Autrice, dedicato ai primi librettisti veneziani. Di tale studio si ripropone in particolare il primo capitolo, riguar- dante l’opera di Benedetto Ferrari, revisionato e integrato dalla redazione. 25 Anna Szweykowska mercantile, tale tipo di patronato non era libero dal calcolo finanziario. -
Il Complesso Barocco Edition
Handel: ADMETO (1726) Full score and piano-vocal Vivaldi: ERCOLE SUL TERMODONTE (1723) Full score and piano-vocal ISMN 979-0-2025-3382-6 Alan Curtis’ 1977 performance in Amsterdam‘s Concertgebouw, This important opera, performed in Rome a year earlier than DVD recorded by EMI with René Jacobs singing the title role, has now itself Il Giustino, was long thought to be lost. Nearly all the arias have Stains / Nesi / Cherici / become historical. Curtis has gone over the work and its sources again however been found, some missing their orchestral accompaniments, Dordolo / Bartoli / Scotting / and come up with new conclusions. Although the opera is published in various locations, and the lost recitatives and other missing parts Il Complesso Barocco / complete, he suggests ways to emend, cut, or compensate for the have been composed by Alessandro Ciccolini. Alan Curtis / directed by weaknesses of the outmoded libretto and restore Admeto to the John Pascoe (Spoleto position it deserves, as musically one of Handel’s greatest operas. Festival, 2006) Dynamic (2007) D. Scarlatti: TOLOMEO E ALESSANDRO (1711) Full score and piano-vocal Universally admired for his keyboard music, the vocal music of CD Domenico Scarlatti has until very recently been largely ignored. Hallenberg / Ek / Tolomeo e Alessandro was known only from a manuscript of Act I Invernizzi / Baka / Milanesi / in a private collection in Milan. Recently the entire opera turned up Nesi / Il Complesso Traetta: BUOVO D’ANTONA (1758) Full score and piano-vocal NEW in England and surprisingly revealed that Domenico was after all Barocco / Alan Curtis A charmingly light-hearted libretto by the well-known Venetian CD a very fi ne dramatic composer, perhaps even more appealingly so Universal Music Spain / playwright Carlo Goldoni, was set to music by the as-yet- Trogu-Röhrich / Russo- than his father Alessandro. -
Venezia from the Streets to the Palaces
Miller Theatre at Columbia University 2012-13 | 24th Season Opening Night Venezia from the Streets to the Palaces Wednesday, September 12, 8:00 p.m. Friday, September 14, 8:00 p.m. Miller Theatre at Columbia University 2012-13 | 24th Season Opening Night Ve n e z i a from the Streets to the Palaces Le Poème Harmonique Wednesday, September 12, 8:00 p.m. Friday, September 14, 8:00 p.m. “Dormo Ancora” Claudio Monteverdi (1567-1643) Sonata Concertate in Stil Moderno Dario Castello (c. 1590-c. 1658) “Lamento della Ninfa” Monteverdi Bergamasca: La Barchetta passaggiera Francesco Manelli (1594-1697) Chi non sà come Amor Benedetto Ferrari (c. 1603-1681) Son ruinato Ferrari Villanella ch’all’acqua vai Anonimo Canzonetta: “Sguardo lusinghiero” Manelli Jacarà: Aria alla napolitana Manelli Ciaccona: Acceso mio core Manelli This program is performed without intermission and runs approximately 80 minutes. Miller Theatre at Columbia University 2012-13 | 24th Season Le Poème Harmonique Claire Lefilliâtre soprano Jan Van Elsacker tenor Serge Goubioud tenor Geoffroy Buffièrebass Johannes Frisch violin Lucas Peres lirone Françoise Enock violone Joël Grare percussion Jean-Luc Tamby colascione and guitar Vincent Dumestre theorbo and baroque guitar Production Credits Vincent Dumestre Music Director Benjamin Lazar Stage Director Patrick Naillet Stage Manager, Le Poème Harmonique Eleanora Pacetti Language Coach Brenna St. George Jones Director of Production John F. Lynch Stage Manager Van Orilia Master Electrician Acknowledgments For the creation of the program ‘Venezia dalle calli ai palazzi’, Le Poème Harmonique was subsidized by the Orange Foundation and the Jean Vilar Theatre (Vitry-sur- Seine). Please note that photography and the use of recording devices are not permitted. -
Fundraising and Publicity for Operas in Seventeenth-Century Venice Sandy Thorburn
Document generated on 10/02/2021 3:36 p.m. Canadian University Music Review Revue de musique des universités canadiennes What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice Sandy Thorburn Volume 23, Number 1-2, 2003 Article abstract Commercial operas of seventeenth-century Venice, the earliest public operas, URI: https://id.erudit.org/iderudit/1014523ar are generally described as rigorously literary from 1637-1660. Various tools, DOI: https://doi.org/10.7202/1014523ar including sets, machines, and musical forms helped audiences from various classes and places understand this Venetian Carnevale entertainment. The See table of contents goal—to create a commercial entertainment industry that reflected and highlighted the wonders of Venice—was identified early in the history of Venetian commercial opera. This paper seeks to define the extent to which Publisher(s) nascent commercial enterprises like newspapers, the mail, publishing, and advertising defined the content and nature of these early operatic works. Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Thorburn, S. (2003). What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice. Canadian University Music Review / Revue de musique des universités canadiennes, 23(1-2), 166–200. https://doi.org/10.7202/1014523ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2004 (including reproduction) is subject to its terms and conditions, which can be viewed online. -
A Study of Monteverdi's Three Genera from the Preface to Book Viii of Madrigals in Relation to Operatic Characters in Il
A STUDY OF MONTEVERDI’S THREE GENERA FROM THE PREFACE TO BOOK VIII OF MADRIGALS IN RELATION TO OPERATIC CHARACTERS IN IL RITORNO D’ULISSE IN PATRIA AND L’INCORONAZIONE DI POPPEA _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by JÚLIA COELHO Dr. Judith Mabary, Thesis Advisor JULY 2018 © Copyright by Júlia Coelho 2018 All Rights Reserved The undersigned, appointed by the Dean of the Graduate School, have examined the thesis entitled A STUDY OF MONTEVERDI’S THREE GENERA FROM THE PREFACE TO BOOK VIII IN RELATION TO OPERATIC CHARACTERS IN IL RITORNO D’ULISSE IN PATRIA AND L’INCORONAZIONE DI POPPEA presented by Júlia Coelho, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________ Professor Judith Mabary ________________________________________ Professor Michael J. Budds ________________________________________ Professor William Bondeson ________________________________________ Professor Jeffrey Kurtzman ACKNOWLEDGEMENTS Over the last years, I have been immensely fortunate to meet people who have helped me tremendously—and still do—in building my identity as an aspiring scholar / performer in the Early Music field. The journey of researching on Claudio Monteverdi that culminated in this final thesis was a long process that involved the extreme scrutiny, patience, attentive feedback, and endless hours of revisions from some of these people. To them, I am infinitely grateful for the time they dedicated to this project. I want to ex- press first my deep gratitude to my professors and mentors, Dr. -
Questions of Authorship in Josquin, Monteverdi, and Mozart: Documentary Versus Stylistic Evidence Jillian Andersen [email protected]
University of Puget Sound Sound Ideas Summer Research 2012 Questions of Authorship in Josquin, Monteverdi, and Mozart: Documentary versus Stylistic Evidence Jillian Andersen [email protected] Follow this and additional works at: http://soundideas.pugetsound.edu/summer_research Part of the Musicology Commons, and the Music Theory Commons Recommended Citation Andersen, Jillian, "Questions of Authorship in Josquin, Monteverdi, and Mozart: Documentary versus Stylistic Evidence" (2012). Summer Research. Paper 150. http://soundideas.pugetsound.edu/summer_research/150 This Article is brought to you for free and open access by Sound Ideas. It has been accepted for inclusion in Summer Research by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. 1 Jillian Andersen Questions of Authorship in Josquin, Monteverdi, and Mozart: Documentary versus Stylistic Evidence Questions of authorship in regard to musical compositions have long vexed and even plagued musicologists. Ideally, a scholar would be able to count on reliable biographical or documentary evidence, such as musical manuscripts, letters, and editions of musical scores, to identify the true composer of a work. Unfortunately, this is often not possible. When a previously accepted attribution comes into question due to a lack of sources or when the evidence based on available sources is inconclusive, a popular strategy has been to compare the stylistic musical features of the work to other compositions by the alleged composer. Such an investigation includes the examination of motives, melodic patterns, the larger form of the work, the harmonic blueprint, and the techniques the composer uses in voice-leading and counterpoint. In many cases, stylistic evidence has ultimately been used as a means for further supporting an erroneous attribution based on arguably inconclusive documentary evidence. -
Glimpses of the Scenography of Farnesian Shows in Spain: Carlo Passetti's Filo
American Research Journal of History and Culture ISSN-2379-2914 Volume 4, Issue 1, 26 Pages Research Article Open Access Glimpses of the scenography of Farnesian shows in Spain: Carlo Passetti’s Filo Esther Merino Department of Art History,[email protected] Faculty of Geography and History, UCM Abstract: Complutense University of Madrid Parma, the capital of the lands ruled by the Farnese family, was one of the most active centres in Italy in the design of architectures for shows. A proposal for an approach to the history of Italian scenography during the Seicento is presented here – a some what in depth view is presented as it is not very well known in Spain – using iconological and semiotic analysesLa Filo of theovero decorations Giunonerepacificata for the staging con ofErcole the libretti, beginning with the scenographic creations of Giovan Battista Aleotti, and finishing with Carlo Pasetti, one of his most fruitful heirs, focusing on his work with the opera , created by Francesco Berni (1631), a preserved copy of which can be found in the Library of the El Escorial Monastery (Madrid), a rare fact amongst the works with Florentine origin collected in Spanish document repositories, even though it became, with other scenographies of the same author, a powerful inspiration for several courtesan parties (theatreKeywords: shows, choreographed dance or carousels) in Spain during the XVII and XVIII centuries. History. TheatreTheatre architecture, Architecture History in of the scenery, Emilia Courtly Region semiotics, Giovan Battista Aleotti, Carlo Passetti, La Filo. The role of the scenographer The scenographer in Italy emerges during the first thirty years of the XVII century as a versatile artist, with wide knowledges in different sciences, as well as engineer, architect, scholar, machine inventor and even constructor of the new theatre buildings that go beyond the faithful copy of the greco -latin model with wider functions, that required more complex transversal supervision. -
University of Florida Thesis Or Dissertation Formatting
THE SEA MONSTER ON STAGE: CREATING SUPERNATURAL HORROR IN OPERA, 1637–1781 By SARAH ANN BUSHEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2015 1 © 2015 Sarah A. Bushey 2 To my parents, sister, family, and friends who have not discouraged my fascination with the supernatural and all things horrifying 3 ACKNOWLEDGMENTS I thank my parents and family for all their support over the years and for my extended education. I thank the small circle of graduate friends including other musicology colleagues as well as the composition crowd, for working on a doctoral degree is a longer, darker road without friends for support. Katie Reed and Morgan Rich are among the most wonderful friends I could ever imagine having during this process. Thank you as well to Michael Vincent, who read several conference papers and other examples of my work and gave wonderful feedback. Thanks to Mary Hunter, who listened to ideas in the early stages of this project, and also to Clive McClelland, who graciously shared some of his unpublished work with me. My fabulous committee gave me invaluable insight and mentoring, and so I thank Jennifer Thomas, Mary Watt and Mitchell Estrin. Finally, this document and the research it contains would not have been possible without my advisor, Margaret Butler, whose tireless efforts, feedback and moral support were ever constant. Finally, a large portion of thanks goes to the Society for Eighteenth-Century Music, whose members have supported my research over the years and given useful feedback; special thanks to Janet Page. -
English ⁄ Français ⁄ Italiano ⁄ Text ⁄ Tracklist Menu
English ⁄ Français ⁄ Italiano ⁄ Text ⁄ Tracklist Menu Thwarted Love Eros averted in the baroque period by Jean-François Lattarico The baroque period declared war on the Renaissance. Instead of poetic avowals glorify- ing female beauty and pure, courtly love, the baroque age proposed frustrated affections, with the earlier ideal of eternal beauty replaced by the ugliness of everyday life, an al- legorical reflection of the conflicts that Italy, and Europe as a whole, were experiencing during the 1600s, the “Iron Century”. The men of letters who made up the libertine Venetian Accademia degli Incogniti comprised numerous librettists, including Giovanni Francesco Busenello and Giulio Strozzi, who wrote poems, theatrical works with music and novels in which the concept of love was subject to Mars and the sphere of Anti-Eros. Love became a place of eternal conflict, fired by expediency, as the Academy philosopher Antonio Roc- co argued in his discourse Amore è un puro interesse. The literary works of the Incogniti 2 clearly represent the main models for the unhappy loves presented in Venetian operas of the 17th century. In the novels of Ferrante Pallavicino, Francesco Pona, Giovan Francesco Loredano or Luca Assarino, there is no happy love. The encounter between two different individuals no longer heralds the Platonic ideal of the fusion of body and soul. Cupid is treated as a capricious rascal who constantly makes trouble. Eros becomes a literary ob- ject of derision, tied to an intrinsically negative function of the senses. In his tragic novella Jean-François Lattarico is professor of Italian literature and culture at the Université Lyon 3 Jean Moulin. -
Télécharger Le Livret
Benedetto Ferrari (ca. 1603-1681) Musiche Varie a voce sola 1- Amanti, io vi sò dire (Ciaconna) 4’27 2- Occhi miei che vedeste 4’28 3- M’amò tanto costei 2’16 4- Chi non sà come amor 8’56 5- Avverti ò cor 2’09 Philippe Jaroussky, 6- Queste pungenti spine (Cantata Spirituale) 11’14 contre-ténor 7- Lingua di donna 2’16 8- Udite, Amanti 6’14 9- Io dissi al cor 3’31 Ensemble Artaserse 10- Non fia più ver 3’46 Christine Plubeau, viole de gambe 11- Cielo sia con tua pace 4’54 (copie de Joachim Tielcke, 12- Degg’io amarvi 3’00 François Bodart – Belgique, 1995) 13- Quando prendon riposo 4’49 14- O monumenti 2’07 Claire Antonini, théorbe (Charles Besnainou à Paris, 1986) Durée totale : 64’13 Nanja Breedijk, harpe Livre I (1633) : (Simon Capp, Rose Green – Angleterre, 1996) Chi non sà come amor. Io dissi al cor. Non fia più ver. Occhi miei che vedeste Yoko Nakamura, clavecin & orgue Livre II (1637) : (clavecin italien, école Grimaldi ‘Marc Ducornet Quando prendon riposo. et Emmanuel Danset’ à Paris, 1998 Queste pungenti spine. & orgue de continuo Gerrit Klop, Lingua di donna. Cielo sia con tua pace Garderen – Pays-Bas) Livre III (1641) : Amanti, io vi sò dire. Udite, Amanti. Avverti ò cor. Degg’io amarvi. M’amò tanto costei. O monumenti créant une harmonie changeante, avec un large usage (canzonette). Par rapport au premier volume (Non fia de la dissonance. L’expression te’n fuggisti al volo évoque più ver), apparaît ainsi une plus grande caractérisation ainsi, avec éclat, l’idée de la légèreté grâce à la succes- rythmique grâce à l’usage du mètre ternaire (Lingua di Benedetto Ferrari sion rapide de valeurs brèves qui, outre leur caractère donna, M’amò tanto costei, Degg’io amarvi) ou à l’alter- descriptif, constituent un exemple d’écriture virtuose nance de séquences aux mètres variés (O monumenti) Benedetto Ferrari naquit à Reggio Emilia vers l’an est cependant pas parvenue. -
Fundraising and Publicity for Operas in Seventeenth-Century Venice Sandy Thorburn
Document généré le 2 oct. 2021 14:57 Canadian University Music Review Revue de musique des universités canadiennes What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice Sandy Thorburn Volume 23, numéro 1-2, 2003 Résumé de l'article On décrit généralement les opéras commerciaux du XVIIe siècle à Venise, soit URI : https://id.erudit.org/iderudit/1014523ar les premiers opéras publics, comme étant rigoureusement littéraires entre DOI : https://doi.org/10.7202/1014523ar 1637 et 1660. Divers moyens, dont les décors, les machines et les formes musicales, aidaient les auditeurs issus de classes et de lieux différents à Aller au sommaire du numéro comprendre ces divertissements typiques du carnaval de Venise. Leur objectif — créer un divertissement commercial qui reflète et souligne les merveilles de Venise — a rapidement été cerné par l’histoire de l’opéra commercial vénitien. Éditeur(s) Le présent article cherche à définir jusqu’à quel degré les entreprises commerciales naissantes, comme les journaux, la poste, l’édition et la publicité, Canadian University Music Society / Société de musique des universités définissaient le contenu et la nature de ces premières œuvres lyriques. canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Thorburn, S. (2003). What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice. Canadian University Music Review / Revue de musique des universités canadiennes, 23(1-2), 166–200. https://doi.org/10.7202/1014523ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. -
Venice Distinguished Itself from the Other Italian City States by Being A
OCTAVIA REINCARNATED: BUSENELLO’S AND MONTEVERDI’S L’INCORONAZIONE DI POPPEA JACQUES BOOGAART Venice distinguished itself from the other Italian city states by being a republic, without a court and its luxurious display of theatrical spectacle; it was a much envied commercial town, governed by its wealthy oligarchy in a complex manner of election in order to prevent the predominance of a single family. During the seventeenth century its prosperity was already in decline but the city still attracted hosts of foreigners and functioned, as it still does, as a place to divert the senses, especially during its famous Carnival which started at the feast of St Stephen (26 December) and ended on Shrove Tuesday. When in 1637 the opera L’Andromeda was performed by the travelling company of Francesco Manelli and Benedetto Ferrari in the (already existing) Teatro San Cassiano this was something of a nouveauté which was enthusiastically received and followed up in the succeeding years by many new works composed by Venetian librettists and musicians. Operas were performed in commercially exploited theatres where everyone who could afford a ticket attended; Venetian opera differed in this from court opera where admission was on invitation. 1637 may be thus called the birth year of public opera. Since the theatre directors – mostly members of the aristocratic class – were entrepreneurs, out for profit, they did not waste much money on lavish decorations, variety of instrumental colours, choirs and ballets, as had been the case with court opera which had to show off the wealth of the prince. Instead they concentrated on the most popular attraction: famous singers, accompanied by a small number of continuo instruments and a few strings.