Orchestra Teatro Alla Scala

Total Page：16

File Type：pdf, Size：1020Kb

L’ORCHESTRA DEL TEATRO ALLA SCALA L'Ottocento musicale italiano fu dominato da quello che Gian Francesco Malipiero, argutamente, chiamava "mal di melodramma". La mancanza di una tradizione cameristica e sinfonica ha tardato a configurare, nella scuola italiana, l'immagine del direttore d'orchestra sinfonico, e del maestro direttore e concertatore per le opere. Nel melodramma visse per lungo tempo la figura del primo violino capo d'orchestra, anche con illustri esempi quali Alessandro Rolla e il suo allievo Eugenio Cavallini. Si dovrà aspettare il 1854 per avere con Alberto Mazzucato il primo vero e proprio maestro concertatore e direttore sul podio. Mazzucato apre la gloriosissima dinastia dei direttori scaligeri, che conterà Franco Faccio (fautore anche, contro l'opinione di Verdi, di una vita sinfonica dell'orchestra), poi Leopoldo Mugnone, Edoardo Mascheroni e, alla fine, Arturo Toscanini. A Franco Faccio l'onore di dirigere la prima di Otello nel 1887, a Edoardo Mascheroni la prima di Falstaff nel 1893 e a Toscanini il compito di trasformare, con una lunga battaglia, la Scala da teatro privato in Ente Autonomo (stagione 1921/22). La presenza costante di grandi direttori – da Toscanini a De Sabata, da Wilhelm Furtwängler a Herbert von Karajan, da Guido Cantelli a Leonard Bernstein, per giungere a Gianandrea Gavazzeni, Carlo Maria Giulini, Carlos Kleiber, Claudio Abbado, Riccardo Muti, Daniel Barenboim e all’attuale Direttore Musicale Riccardo Chailly – ha rafforzato il valore dell'Orchestra scaligera nel mondo. Composta da circa 135 elementi, riconosciuta tra le migliori in assoluto per la produzione operistica, l'Orchestra della Scala ha oggi acquisito una posizione internazionale di prestigio anche per l'attività sinfonica. Dal 1983, la nascita della Filarmonica come formazione autonoma ha infatti intensificato il lavoro quotidiano sul grande repertorio, accresciuto gli impegni internazionali, ampliato la rosa dei direttori, elevato i criteri di selezione. All’interno di quel suono omogeneo e distinto, tipicamente “scaligero”, duttilità e morbidezza sono le caratteristiche principali di una strumentalità che trae dalla velocità di risposta, tipica del teatro musicale, una speciale ricchezza anche al linguaggio sinfonico. .

Copy Link

Recommended publications

Orfeo Ed Euridice
OTELLO (G. Verdi) al Gran Teatre del Liceu Estrena absoluta: Teatro alla Scala de Milà, 5 de febrer de 1887. Estrena a Barcelona i al Gran Teatre del Liceu: 19 de novembre de 1890 Última representació abans de les d’aquesta temporada: 7 de febrer de 2016 Total de representacions al Liceu: 155 TEMPORADA 1890-1891 Nombre de representacions: 9 Dates: 19, 21, 23, 26, 30 novembre; 2, 4, 7, 8 desembre 1890 Núm. històric: 1, 2, 3, 4, 5, 6, 7, 8, 9. Otello: Francesco Cardinali Jago: Eugeni Laban Cassio: Alfredo Zonghi Roderigo: Antoni Oliver Lodovico: Luis Visconti Montano: Josep Boldú Desdemona: Mila Kupfer-Berger Emilia: Tilde Carotini Director: Edoardo Mascheroni Director d’escena: Sr. Ferrer TEMPORADA DE PRIMAVERA DE 1891 Nombre de representacions: 8 Dates: 25, 26 abril; 5, 7, 10, 13, 16, 18 maig 1891 Núm. històric: 10, 11, 12, 13, 14, 15, 16, 17. Última representació: 8 desembre 1890 Otello: Francesco Cardinali Jago: Eugeni Laban Cassio: Alfredo Zonghi Roderigo: Antoni Oliver Lodovico: Luis Visconti Montano: Costantino Thos Desdemona: Kate Bensberg (abril) Eva Tetrazzini (maig) Emilia: Tilde Carotini Director: Edoardo Mascheroni 1 TEMPORADA DE PRIMAVERA DE 1892 Nombre de representacions: 5 Dates: 17, 18, 24, 26, 28 abril 1892 Núm. històric: 18, 19, 20, 21, 22. Última representació: 18 maig 1891 Otello: Francesco Tamagno Jago: Ramon Blanchart Cassio: Roberto Ramini Roderigo: Antoni Oliver Lodovico: Giuseppe De Grazia Montano: Costantino Thos Un araldo: Domènec Campins Desdemona: Eva Tetrazzini Emilia: Giuseppina Zeppilli-Villani Director: Cleofonte Campanini TEMPORADA 1892-1893 Nombre de representacions: 12 Dates: 22, 23, 25, 26, 30 desembre 1892 / 1, 14, 15, 25, 31 gener; 5, 6, febrer 1892 Núm.
[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]
Oct Complete.Indd
courtesy of the Baltimore Opera Company New Repertoire Discoveries for Singers: An Interview with Michael Kaye by Maria Nockin Many young singers may id you ever wonder why that last which I established my edition of the Tales of Tales of Hoffmann you sang had all Hoffmann, I had to seek my own funding, but not yet be ready to do Dthose photocopied sheets added in? it’s very diffi cult to ask for a grant for yourself. Or why the version of “Butterfl y” you learned Fortunately, Gordon Getty, Frederick R. Giacomo Puccini’s operatic a few years ago isn’t the version you’re doing Koch, Paula Heil Fisher and the late Francis this year? Blame Michael Kaye and other Goelett (a great lover of contemporary music roles—but they can sing musicologists, who are diligently uncovering and French opera, who donated the funding authentic music faster than publishers can for many new productions of French works the great composer’s print it! Here’s some news teachers and at the Metropolitan Opera) were among recitalists can use. the generous private sponsors of my work. songs, and learn a great First recordings of previously unpublished MN: So you are one of the guilty parties music by important composers, and fi nancial deal about his style. responsible for making it impossible for advances from publishers, sometimes can singers to learn “the defi nitive Hoffmann!” Do help subsidize the preparation of the music you apply for grants so that you can work on for performance. fi nding lost music? There are also grants, endowments and MK: Normally that work is done under an fellowships that provide funding for this type umbrella of academia, but I had to fi nd other of research.
[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]
Volume 63, Number 09 (September 1945) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1945 Volume 63, Number 09 (September 1945) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 63, Number 09 (September 1945)." , (1945). https://digitalcommons.gardner-webb.edu/etude/202 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Qualities . Successful Elementary Teaching Pieces Should Have / EDUCATIONAL POINTS / APPEALING TO PUPIL /MELODY /PLEASING TO These Favorite Easy Piano LISTENERS /ADHERENCE TO GRADE /ATTRACTIVELY PUBLISHED Pieces Have Such Qualities GRADE TWO—Legato and Staccato GRADE ONE—Various Keys Cat. No. Title Composer Price Price Cat. No. Title Composer 19219 Humming Birds’ Lullaby M. L. Preston .25 A descriptive little number giving an Ella Ketterer .30 opportunity for 23666 The Bobolink legato practice. Key of G. May be both played and sung. 25292 Hawaiian Nights .Daniel Rowe .25 Frank H. Grey 35 8400 The Contented Bird Very popular with young pianists. in In fancy one can hear This little piano piece is very popular. Written mostly the steel guitar and ukulele in the dreamy waltz melody, quarter and eighth notes. Key of F.
[Show full text]
La Direzione D'orchestra Italiana
ATTI DEL CONVEGNO Novara, Sala d’onore dell’Arengo 25 novembre 2019 La direzione d’orchestra italiana A cura di Ettore Borri Indice Prefazione ..................................................................... 1 GUIDO SALVETTI Il ruolo del direttore d’orchestra nella nascita del sinfonismo italiano .......... 3 ORESTE BOSSINI Il segno nell’acqua. Appunti per una storia della direzione d’orchestra in Italia .. 11 ETTORE BORRI L’imprenditore e il direttore d’orchestra: Edoardo Sonzogno e Leopoldo Mu- gnone, carteggio 1888-1894 .................................................... 49 MARIO GIARDA Guido Cantelli a Novara. Bibliografia cantelliana essenziale .................... 85 ALBERTO VIARENGO Il bene di scrivere: lettere scelte dell’epistolario di Guido Cantelli .............. 97 GIANFRANCO CAPRA ‘‘Come nacque il premio Cantelli’’ da Storia del Premio Cantelli 1961-1980 ... 107 ANGELO FOLETTO Eredita` e modernita` di Guido Cantelli ......................................... 109 PIERO RATTALINO Memorie di un datore di lavoro................................................ 129 ALFRED BRENDEL Su alcuni direttori italiani...................................................... 135 ALDO CECCATO Ricordo di Guido Cantelli ..................................................... 139 DONATO RENZETTI Ricordi e testimonianze: conversazione con Angelo Foletto e Ettore Borri ...... 141 Indice dei nomi ..................................................................... 155 V Prefazione Il 2020 segna il quarantennale del Festival Cantelli1 fondato dal-
[Show full text]
Journey :: Opera Theatre and Music Festival of Lucca, Italy
Journey :: Opera Theatre and Music Festival of Lucca, Italy :: Summer... http://www.ccmoperalucca.org/content.jsp?articleId=171 Cavalleria Rusticana Synopsis Santuzza a young peasant woman soprano Turiddu a young peasant tenor Lucia his mother, an innkeeper contralto Alfio a carrier baritone Lola Alfio’s wife mezzo-soprano Villagers Setting A village in Sicily on Easter Sunday 1880 Verga’s play Cavalleria rusticana received its first performance in the Teatro Carignano, Turin, on 14 January 1884 with Eleanora Duse as Santuzza. Mascagni saw it less than a month later in Milan but did not think of making it into an opera until June 1888, when he read in Il secolo that the publisher Sonzogno had announced the second competition for a one-act opera (Puccini had unsuccessfully submitted Le villi for the first). Mascagni commissioned the libretto from his fellow-citizen Targioni-Tozzetti who, worried about his ability to satisfy the precise terms of the competition, enlisted the help of another Livornese writer, Menasci. The libretto was ready in December 1888, the opera in May 1889; part of it was sent to Puccini and he in turn sent it to the publisher Giulio Ricordi, who failed to realize its worth, thus losing a golden opportunity. Needless to say, the opera won the competition and made a fortune for the publishing firm of Edoardo Sonzogno, who had arranged that the short season of the Teatro Costanzi in Rome would include the operas of the three finalists. Mascagni’s masterpiece, interpreted by Gemma Bellincioni and Roberto Stagno and conducted by Leopoldo Mugnone, was a resounding success and within a few months had been rapturously received in all the principal cities of Europe and America.
[Show full text]
Editing the Double Bass Concerto of Antonio Scontrino
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2020 Editing the Double Bass Concerto of Antonio Scontrino Roberto Pineda Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Pineda, Roberto, "Editing the Double Bass Concerto of Antonio Scontrino" (2020). Dissertations. 1835. https://aquila.usm.edu/dissertations/1835 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. EDITING THE DOUBLE BASS CONCERTO OF ANTONIO SCONTRINO by Roberto Pineda A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Marcos Machado, Committee Chair Dr. Joseph Brumbeloe Dr. Christopher Goertzen Dr. Hsiaopei Lee Dr. Stephen Redfield December 2020 COPYRIGHT BY Roberto Pineda 2020 Published by the Graduate School ABSTRACT Antonio Scontrino (1850-1922) was an important Italian Romantic composer, virtuoso double bassist, and respected pedagogue who is relatively unknown outside of the Italian musical community. His compositional output is prolific and includes string quartets, operas, symphonies, concerti, solo pieces, songs, and religious works. Indeed, Scontrino was a compelling composer who deserves more attention from the international musical community. In addition to his compositional expertise, he was an artful double bass performer whose works for the instrument, while distinctly idiomatic, are compositions of high quality.
[Show full text]
Norbeck, Peters & Ford
Norbeck, Peters & Ford 59 Congress Street Saint Albans, VT 05478-1611 USA 1-802-524-7673; 1-800-654-5302 Fax: 1 888 819 4831 email: [email protected] website: www.norpete.com Auction Number 146 •- AUCTION Closing Date: Friday, 29 May, 2015 1001. AINO ACKTÉ: FAUST – Air des bijoux / LOHENGRIN – Einsam in trüben Tagen (in French). 10½” brown Parl. Odeon PO 93 (XPr 1-2/4-2), (w.Ackté’s signature embossed in shellac). M-A, superlative copy. MB 35 “It is difficult to realise that Ackté's sensational début at Covent Garden was as Salome in Richard Strauss' opera. Here she sings…with grace and excellent coloratura technique, and although she was Finnish, the style is typically French, and with immaculate diction. - John Freestone 1002. AGUSTARELLO AFFRE (The French Tamagno): ARMIDE – Plus j’observe ces lieux (Gluck) / MARCELLE DEMOUGEOT, AGUSTARELLO AFFRE, JUSTE NIVETTE: FAUST - Anges purs, anges radieux. 10½” brown & white French Odéon 97011/60895 (XP 4250/4267). A or better, choice copy has few faintest rubs, positively inaud. MB 15 1003. AGUSTARELLO AFFRE (The French Tamagno): SIGURD – Esprits, gardiens (Reyer) / L’ATTAQUE DU MOULIN – Adieux à la forêt (Bruneau). 10½” brown & gold / brown & white French Odéon 36682/36741 (XP 2460/2565). A to M-A, choice copy. MB 15 1004. AGUSTARELLO AFFRE (The French Tamagno): L’AFRICAINE – Pays merveilleux, 2s. 10½” brown & gold French Odéon 36695/72 (XP 2463/75). A to M-A, choice copy has, Sd.2 only, very few superficial pap.scuffs, barely visible & inaud. MB 15 1005. AGUSTARELLO AFFRE (The French Tamagno): GUILLAUME TELL – Asile héréditaire / LOHENGRIN – In fernem Land (in French).
[Show full text]
Overthehill Olludcni Mathiets To-Day a Bat., 2:30
day to Carleton Schwab Wagner, J. SHL'BKKT A complete ttort for »omm Aldermen Attack Frolic Women nephow of Charloa M. Schwab. The AMBRICA'S FOREMOBT THIBATRKS AND HITS. DIRECnON OV UOB AND J. Frogs' Drives ceremony took placo at tho home of CEHTORT THEATRE g*t ?.*¦#!¦* Olson Nation's of the bride. EV08. A SAT. MAT.. 50c ta t2.50.,Poi»' OHverAe Neglect Mr. and Mrs. Wagner will reeide in THE, WINTER GARDEN'S AtKIBW^^rW*«XI.SP.Opena at 19:1ft for Dlnla* and Danctag. .ALL UTAB Cast ln the Ruper Br-"vnaei» mat" COMPANY In Panic From Train Danville, Pa., where he Itpresident of Disabled Veterans Subway tho Danville Structural Com¬ Greatest Laaghing Hit t CDI7CC We« 42d St. Kriii. 8:80.IPhon<- Sl -»-..- Tublng rnAl.CE> MatJi. W«d. & Hat., 2:3<).|Hrja-it IN THE HIGHT Broadway at 79th Street pany. He graduated from Lehigh WATCHI? Catch of Two in University in 1914 and was captain of PASSING SHOW m THE WQMAN Hold Up Resolution to Per¬ 1,500 Animals, Day's Boys Park, tho football team there for two years. OF 1931. MARGAnET RINKWATi-Rlr H .¦ " ii OF BROKZe* mit to Solicit Burst From Container at Times e rmetmn* Willie & Howard of taste League Funds Square, Eugene Rl Iflll 4i)Ui, West of B'way. r>-(». 8 30. fwmm EXCELLENCEwithout Composer-Pianiet Heard MARIE ORE83LER.300 OTHER* DlfJUU MaUneaa To-day and Sat.. 2:20. extravagance on Streets; Would Make Spreading Terror Among Feminine Passengers EVOS. 8:15. MAT. TO-M'W. J:15.
[Show full text]
Pathways for Understanding; La Boheme
2 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of La Bohème 5 The History of Puccini’s La Bohème 7 Guided Listening Che gelida manina! 10 Sì. Mi chiamano Mimì 11 O soave fanciulla 12 Quando me'n vo' 13 Donde lieta uscì 14 O Mimì, tu più non torni 15 Vecchia zimarra, senti 16 La Bohème Resources About the Composer 17 Puccini, Verismo, and La Bohème 20 Online Resources 23 Additional Resources The Emergence of Opera 24 Metropolitan Opera Facts 28 Reflections after the Opera 30 A Guide to Voice Parts and Families of the Orchestra 31 Glossary 32 References Works Consulted 36 2 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. Meet the Characters / The Story/ Resources Fostering familiarity with specific operas as well as the operatic art form, these sections describe characters and story, and provide historical context. Guiding questions are included to suggest connections to other subject areas, encourage higher-order thinking, and promote a broader understanding of the opera and its potential significance to other areas of learning. Guided Listening The Guided Listening section highlights key musical moments from the opera and provides areas of focus for listening to each musical excerpt. Main topics and questions are introduced, giving teachers of all musical backgrounds (or none at all) the means to discuss the music of the opera with their students.
[Show full text]
THE WOMEN in PUCCINI Daniela
HEARTBREAK AND TRAGEDY: THE WOMEN IN PUCCINI Daniela Costa The definition “Puccinian heroine” became current in musical criticism and in musicology more than a century ago and indicates, in general, the female figure in the theater of Giacomo Puccini. The use of this expression conjures up the image of a woman suffering for love, the idea of self-destruction and death. Moreover, these poor creatures, often victims of a cruel destiny, are associated with a strong melancholy and a constant feeling of inadequacy. However, beyond a simplistic analysis of their common features, the Puccinian heroines have strong individual characteristics and each of them has a precise place in the development of the operatic production of the composer. In other words, the model of the woman who “lives and dies for love” grows in perfection and refinement as Puccini himself becomes more aware of his own artistic abilities, from innocent Anna in Le Villi to little Liù in Turandot. This latter character sums up all the traits mentioned above, in such a way as to embody the very concept of sacrifice for love: Turandot: “Chi pose tanta forza nel tuo cuore? (What gives your heart such courage?) Liù: Principessa, L’amore!… (Princess, it is love!…) Tanto amore, segreto, inconfessato… (My secret, undeclared love…) grande così che questi strazi sono (so great that these tortures) dolcezza a me, perché ne faccio dono (are sweet to me, because I offer them) al mio Signore…”1 (to my Lord…) It is well known that Mosco Carner, in his biography2, was the first critic to attempt a psycho- analytical interpretation of why Puccini was obsessed with this type of female figure.
[Show full text]