CD 1 Anton Bruckner (1824 - 1896) Symphony No.7 in E Major Radio-Symphonie Orchester Berlin

Total Page:16

File Type:pdf, Size:1020Kb

CD 1 Anton Bruckner (1824 - 1896) Symphony No.7 in E Major Radio-Symphonie Orchester Berlin CD 1 Anton Bruckner (1824 - 1896) Symphony No.7 in E major Radio-Symphonie Orchester Berlin CD 2 Peter ILYICH Ciaikovsky (1840 - 1893) Romeo & Juliet Francesca da Rimini Cleveland Orchestra CD 3 Peter ILYICH Ciaikovsky (1840 - 1893) Symphony No.5 in E minor, op. 64 Wiener Philharmoniker CD 4 Antonín Dvořák (1841 - 1904) From the New World Carnival Overture, op. 92 Symphony No.9 in E minor, op. 95 Concertgebouw Orchestra CD 5 FELIX MENDELSSOHN (1809 - 1847) Symphony No.3 in A minor, op. 38 “Scottish” (London version, 1842, edited by Thomas Schmidt-Beste) Opening Sketch of “Scottish” Symphony (1829/30) (orchestrated by Christian Voss) Piano Concerto No.3 in E minor (1842/44) (reconstructed and completed by Marcello Bufalini) Roberto Prosseda piano Overture “The Hedrides”, op. 26 (“Fingal’s Cave”) (Rome version, 1830 edited by Christopher Hogwood) Gewandhausorchester CD 6 GIOACCHINO ROSSINI (1792 - 1868) 10 Overtures Guillaume Tell Il signor Bruschino Bianca e Falliero Il barbiere di Siviglia Armida Semiramide L’inganno felice Matilde di Shabran Demetrio e Polibio La gazza ladra Orchestra Filarmonica della Scala CD 7 Béla Bartók (1881 - 1945) Concerto for Orchestra (Sz 116, BB 123) The Miraculous Mandarin, op. 19 (Sz 73, BB 82)* Royal Concertgebouw Orchestra Laurenscantorij Chor* CD 8 GEORGE GERSHWIN (1898 - 1937) Rhapsody in Blue* (for two pianos and orchestra) Katia and Marielle Labèque, piano Lullaby An American in Paris Cuban Overture The Cleveland Orchestra CD 9 GUSTAV MAHLER (1860 - 1911) Symphony No.5 in C sharp minor Royal Concertgebouw Orchestra CD 10 Maurice Ravel (1875 - 1937) Boléro Claude Debussy (1862 - 1918) Sarabande (orch. Ravel) Danse (orch. Ravel) Modest Mussorgsky (1839 - 1881) Pictures at an Exhibition (orch. Ravel) Concertgebouw Orchestra CD11 ARNOLD SCHÖNBERG (1874-1951) Verklärte Nacht Radio-Symphonie-Orchester Berlin 5 Orchesterstücke, op. 16 (1949 version) ANTON WEBERN (1883-1945) Passacaglia, op. 1 11.37 ALBAN BERG (1885-1935) Sonata, op. 1 12.19 Mässig bewegt Royal Concertgebouw Orchestra CD 12 IGOR STRAVINSKY (1882 - 1971) Petrushka (1947 version) Jacques Zoon, flute • Peter Masseurs, trumpet • Ruud van den Brink, piano Pulcinella Anna Caterina Antonacci, soprano • Pietro Ballo, tenor • William Shimell, bass Concertino players Jaap van Zweden, C. Strumphier, violins • K. Hakii, viola • J. Decroos, cello J. Wolfs, double bass • P. Verhey, C. Oomes, flutes • J. Spronk, C. Ravelli, oboes J. Terwey, C. Olthuis, bassoons • J. Studebaker, P. Weierink, horns • P. Masseurs, trumpet • J. Banens, C. Blokker, trombones • D. Blakeslee, tuba Royal Concertgebouw Orchestra CD 13 EDGARD VARESE (1883 - 1965) Tuning Up Amériques Poème électronique Arcana Nocturnal Sarah Leonard soprano • Men of the Prague Philharmonic Choir Un grand sommeil noir Mireille Delunsch soprano Royal Concertgebouw Orchestra CD 14 Luciano Berio (1925 - 2003) Orchestral Transcriptions Henry Purcell (1659 - 1695) The modification and instrumentation of a famous hornpipe as a merry and altogether sincere homage to uncle Alfred Johann Sebastian Bach (1685 - 1750) Contrapunctus XIX (Die Kunst der Fuge) Luigi Boccherini (1743 - 1805) Quattro versioni originali della “Ritirata notturna di Madrid” sovrapposte e trascritte per orchestra Wolfgang Amadeus Mozart (1756 - 1791) Variations on the Papageno’s Aria “Ein Madchen oder Welbchen” (Divertimento per Mozart) Franz Schubert (1797 - 1828) Rendering for orchestra Johannes Brahms (1833 - 1897) Sonata for clarinet and orchestra in F minor, Op. 120 n.1 Fausto Ghiazza, clarinet Orchestra Sinfonica di Milano Giuseppe Verdi CD 15 OLIVIER MESSIAEN (1908 - 1992) Turangalila-Symphonie* (1946 - 48) For piano solo and large orchestra Royal Concertgebouw Orchestra Jean-Yves Thibaudet, piano Takashi Harada, ondes Martenot CD 16 DMITRI SHOSTAKOVICH (1906 - 1975) Moscow-Cheryomushki Suite from operetta, op. 105 The Bolt Suite from the ballet, op. 27a (1934 version) The Gadfly Excerpts from the film music, op. 97 The Philadelphia Orchestra Erez Ofer concertmaster, solo violin .
Recommended publications
  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.
    [Show full text]
  • Alberto Zedda
    Le pubblicazioni del Rossini Opera Festival sono realizzate con il contributo di Amici del Friends of the Note al programma Rossini Opera Festival Rossini Opera Festival della XL Edizione Sotto l’Alto Patronato del Presidente della Repubblica XL edizione 11~23 agosto 2019 L’edizione 2019 è dedicata a Montserrat Caballé e a Bruno Cagli MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI Regione Marche Enti fondatori Il Rossini Opera Festival si avvale della collaborazione scientifica della Fondazione Rossini Il Festival 2019 si attua con il contributo di Ministero per i beni e le attività culturali Comune di Pesaro Provincia di Pesaro e Urbino Comune di Pesaro Regione Marche in collaborazione con Intesa Sanpaolo Fondazione Gruppo Credito Valtellinese Fondazione Scavolini con l’apporto di Abanet Internet Provider Bartorelli-Rivenditore autorizzato Rolex Eden Viaggi Grand Hotel Vittoria - Savoy Hotel - Alexander Museum Palace Hotel Harnold’s Hotel Excelsior Ratti Boutique Subito in auto Teamsystem Websolute partecipano AMAT-Associazione marchigiana attività teatrali AMI-Azienda per la mobilità integrata e trasporti ASPES Spa Azienda Ospedaliera San Salvatore Centro IAT-Informazione e accoglienza turistica Conservatorio di musica G. Rossini Si ringrazia UBI Banca per il contributo erogato tramite Art Bonus United Nations Designated Educational, Scientific and UNESCO Creative City Cultural Organization in 2017 Il Festival è membro di Italiafestival e di Opera Europa Sovrintendente Ernesto Palacio Direttore generale Olivier Descotes Presidente Relazioni
    [Show full text]
  • Document (Pdf)
    Creation / Basque Eurocity Teatro Victoria Eugenia - Donostia / San Sebastián NOAH Choreography Thierry Malandain Music Gioacchino Rossini - Messa di Gloria Set and costumes Jorge Gallardo Lighting design Francis Mannaert Dressmaker Véronique Murat Set production Frédéric Vadé Coproducers Chaillot - Théâtre National de la Danse(Paris), Opéra de Saint-Etienne, Donostia Kultura - Teatro Victoria Eugenia de Donostia / San Sebastián - Ballet T, CCN Malandain Ballet Biarritz. Partners Opéra de Reims, Théâtre de Gascogne - le Pôle, Theater Bonn (Allemagne), Forum am Schlosspark – Ludwigsburg (Allemagne) CREATION / BASQUE EUROCITY Teatro Victoria Eugenia de Donostia / San Sebastián, january 14th and 15th 2017 CREATION / FRENCH PREMIERE Chaillot - Théâtre National de la Danse (Paris) beetween May 10th and 24th 2017 Ballet for 22 dancers Lenght 70 minutes © Olivier Houeix Mickaël Conte et Irma Hoffren © Olivier Houeix NOAH CREATION 2017 Inspired by the parable of Noah’s Ark, Thierry Malandain’s new ballet once again addresses themes that he holds dear, such as Mankind and its future, destiny, fate, and the environment. From this story, which incidentally is rarely used in dance, he retains the symbolism rather than the religious message. Just as in the Biarritz choreographer’s previous work, Noah is punctuated with discreet references. For example, water, alternately destructive and life-sustaining, which is represented here as the element that gives new life to Mankind. Similarly, it represents the sacrament that we’re supposed to walk away from feeling different, if not changed. Mankind which boarded the Ark for forty days will emerge transformed. In essence, every artist dreams that the audience leaves a performance slightly changed. Malandain presents a more abstract Noah, who is not only a Christian reference to a new Adam, but also a figure common to various civilizations that lived through a flood and were saved by a protective, providential man.
    [Show full text]
  • LIVE from LINCOLN CENTER December 31, 2002, 8:00 P.M. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert
    LIVE FROM LINCOLN CENTER December 31, 2002, 8:00 p.m. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East.Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East. Celebrating the New Year with music is nothing new for Maazel: he holds the modern record for most appearances as conductor of the celebrated New Year’s Day concerts in Vienna by the Vienna Philharmonic Orchestra. There, of course, the fare is made up mostly of music by the waltzing Johann Strauss family, father and sons. For his New Year’s Eve concert with the New York Philharmonic Maazel has chosen quintessentially American music by the composer considered by many to be America’s closest equivalent to the Strausses, George Gershwin.
    [Show full text]
  • Gioachino Rossini
    MATILDE DI SHABRAN GIOACHINO ROSSINI Olga Peretyatko Juan Diego Flórez Paolo Bordogna Anna Goryachova Nicola Alaimo Michele Mariotti Orchestra del Teatro Comunale di Bologna GIOACHINO ROSSINI MATILDE DI SHABRAN Conductor Michele Mariotti “There truly is a Rossini miracle!” (Deutschlandradio). Acclaiming Orchestra Orchestra del Teatro the mastery of tenorissimo Juan Diego Flórez and the breathtaking Comunale di Bologna young soprano Olga Peretyatko in the lead roles, the press hailed Chorus Coro del Teatro Comunale di Bologna the premiere of Rossini’s Matilde di Shabran at the Rossini Opera Chorus Master Lorenzo Fratini Festival in Pesaro as the “high point of the festival” (the Berlin daily Der Tagesspiegel). Matilde di Shabran Olga Peretyatko Matilde di Shabran was given its world premiere performance in Edoardo Anna Goryachova Rome in 1821. A genuine international hit, it was staged in Vienna, Raimondo Lopez Marco Filippo Romano London, Paris, New York and throughout Italy all before 1830. The Corradino Juan Diego Flórez music of Rossini’s last “opera semiseria” – thus half serious and half Ginardo Simon Orfila comic – contains a succession of beguiling ensemble pieces. The plot Aliprando Nicola Alaimo revolves around the knight Corradino, who has withdrawn to his castle Isidoro Paolo Bordogna and professes to hate his fellow humans. When he meets Matilde di Contessa d’Arco Chiara Chialli Shabran, however, he experiences unknown emotions that have Egoldo Giorgio Misseri nothing to do with hatred... Rodrigo Luca Visani Leading the Orchestra del Teatro Comunale di Bologna, conductor Staged by Mario Martone Michele Mariotti commands an ideal ensemble of singers: while Juan Diego Flórez, “perhaps the best Rossini tenor of our time” Video Director Tiziano Mancini (Deutschlandradio), sings the role of Corradino, that of Matilde is “gorgeously sung by Olga Peretyatko” (The New York Times).
    [Show full text]
  • [STENDHAL]. — Joachim Rossini , Von MARIA OTTINGUER, Leipzig 1852
    REVUE DES DEUX MONDES , 15th May 1854, pp. 731-757. Vie de Rossini , par M. BEYLE [STENDHAL]. — Joachim Rossini , von MARIA OTTINGUER, Leipzig 1852. SECONDE PÉRIODE ITALIENNE. — D’OTELLO A SEMIRAMIDE. IV. — CENERENTOLA ET CENDRILLON. — UN PAMPHLET DE WEBER. — LA GAZZA LADRA. — MOSÈ [MOSÈ IN EGITTO]. On sait que Rossini avait exigé cinq cents ducats pour prix de la partition d’Otello (1). Quel ne fut point l’étonnement du maestro lorsque le lendemain de la première représentation de son ouvrage il reçut du secrétaire de Barbaja [Barbaia] une lettre qui l’avisait qu’on venait de mettre à sa disposition le double de cette somme! Rossini courut aussitôt chez la Colbrand [Colbran], qui, pour première preuve de son amour, lui demanda ce jour-là de quitter Naples à l’instant même. — Barbaja [Barbaia] nous observe, ajouta-t-elle, et commence à s’apercevoir que vous m’êtes moins indifférent que je ne voudrais le lui faire croire ; les mauvaises langues chuchotent : il est donc grand temps de détourner les soupçons et de nous séparer. Rossini prit la chose en philosophe, et se rappelant à cette occasion que le directeur du théâtre Valle le tourmentait pour avoir un opéra, il partit pour Rome, où d’ailleurs il ne fit cette fois qu’une rapide apparition. Composer la Cenerentola fut pour lui l’affaire de dix-huit jours, et le public romain, qui d’abord avait montré de l’hésitation à l’endroit de la musique du Barbier [Il Barbiere di Siviglia ], goûta sans réserve, dès la première épreuve, cet opéra, d’une gaieté plus vivante, plus // 732 // ronde, plus communicative, mais aussi trop dépourvue de cet idéal que Cimarosa mêle à ses plus franches bouffonneries.
    [Show full text]
  • Parte Il Celeberrimo ‘A Solo’ «Le Perfide Renaud Me Fuit»
    La Scena e l’Ombra 13 Collana diretta da Paola Cosentino Comitato scientifico: Alberto Beniscelli Bianca Concolino Silvia Contarini Giuseppe Crimi Teresa Megale Lisa Sampson Elisabetta Selmi Stefano Verdino DOMENICO CHIODO ARMIDA DA TASSO A ROSSINI VECCHIARELLI EDITORE Pubblicato con il contributo dell’Università di Torino Dipartimento di Studi Umanistici © Vecchiarelli Editore S.r.l. – 2018 Piazza dell’Olmo, 27 00066 Manziana (Roma) Tel. e fax 06.99674591 [email protected] www.vecchiarellieditore.com ISBN 978-88-8247-419-5 Indice Armida nella Gerusalemme liberata 7 Le prime riscritture secentesche 25 La seconda metà del secolo 59 Il paradosso haendeliano e le Armide rococò 91 Ritorno a Parigi (passando per Vienna) 111 Ritorno a Napoli 123 La magia è il teatro 135 Bibliografia 145 Indice dei nomi 151 ARMIDA NELLA GERUSALEMME LIBERATA Per decenni, ma forse ancora oggi, tra i libri di testo in uso nella scuola secondaria per l’insegnamento letterario ha fatto la parte del leone il manuale intitolato Il materiale e l’immaginario: se lo si consulta alle pa- gine dedicate alla Gerusalemme liberata si può leggere che del poema «l’argomento è la conquista di Gerusalemme da parte dei crociati nel 1099» e che «Tasso scelse un argomento con caratteri non eruditi ma di attualità e a forte carica ideologica. Lo scontro fra l’Occidente cri- stiano e l’Islam - il tema della crociata - si rinnovava infatti per la mi- naccia dell’espansionismo turco in Europa e nel Mediterraneo». Tale immagine del poema consegnata alle attuali generazioni può conser- varsi soltanto a patto, come di fatto è, che non ne sia proprio prevista la lettura e viene da chiedersi che cosa avrebbero pensato di tali af- fermazioni gli europei dei secoli XVII e XVIII, ovvero dei secoli in cui la Liberata era lettura immancabile per qualunque europeo mediamen- te colto.
    [Show full text]
  • A Season of Thrilling Intrigue and Grand Spectacle –
    A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents.
    [Show full text]
  • Royal Opera House Performance Review 2006/07
    royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 1 Royal Opera House Performance Review 2006/07 The Royal Ballet - The Royal Opera royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 2 Contents 01 TH E ROYA L BA L L E T PE R F O R M A N C E S 02 TH E ROYA L OP E R A PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 3 3 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 01 TH E ROYA L BA L L E T PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 4 4 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 GI S E L L E NU M B E R O F PE R F O R M A N C E S 6 (15 matinee and evening 19, 20, 28, 29 April) AV E R A G E AT T E N D A N C E 91% CO M P O S E R Adolphe Adam, revised by Joseph Horovitz CH O R E O G R A P H E R Marius Petipa after Jean Coralli and Jules Perrot SC E N A R I O Théophile Gautier after Heinrich Meine PRO D U C T I O N Peter Wright DE S I G N S John Macfarlane OR I G I N A L LI G H T I N G Jennifer Tipton, re-created by Clare O’Donoghue STAG I N G Christopher Carr CO N D U C T O R Boris Gruzin PR I N C I PA L C A S T I N G Giselle – Leanne Benjamin (2) / Darcey Bussell (2) / Jaimie Tapper (2) Count Albrecht – Edward Watson (2) / Roberto Bolle (2) / Federico Bonelli (2) Hilarion – Bennet Gartside (2) / Thiago Soares (2) / Gary Avis (2) / Myrtha – Marianela Nuñez (1) / Lauren Cuthbertson (3) (1- replacing Zenaida Yanowsky 15/04/06) / Zenaida Yanowsky (1) / Vanessa Palmer (1) royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 5 5 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 LA FI L L E MA L GA R D E E NU M B E R O F PE R F O R M A N C E S 10 (21, 25, 26 April, 1, 2, 4, 5, 12, 13, 20 May 2006) AV E R A G E AT T E N D A N C E 86% CH O R E O G R A P H Y Frederick Ashton MU S I C Ferdinand Hérold, freely adapted and arranged by John Lanchbery from the 1828 version SC E N A R I O Jean Dauberval DE S I G N S Osbert Lancaster LI G H T I N G John B.
    [Show full text]
  • The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
    THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music.
    [Show full text]
  • Gioachino Rossini (1792–1868)
    4 CDs 4 Christian Benda Christian Prague Sinfonia Orchestra Sinfonia Prague COMPLETE OVERTURES COMPLETE ROSSINI GIOACHINO COMPLETE OVERTURES ROSSINI GIOACHINO 4 CDs 4 GIOACHINO ROSSINI (1792–1868) COMPLETE OVERTURES Prague Sinfonia Orchestra Christian Benda Rossini’s musical wit and zest for comic characterisation have enriched the operatic repertoire immeasurably, and his overtures distil these qualities into works of colourful orchestration, bravura and charm. From his most popular, such as La scala di seta (The Silken Ladder) and La gazza ladra (The Thieving Magpie), to the rarity Matilde of Shabran, the full force of Rossini’s dramatic power is revealed in these masterpieces of invention. Each of the four discs in this set has received outstanding international acclaim, with Volume 2 described as “an unalloyed winner” by ClassicsToday, and the Prague Sinfonia Orchestra’s playing described as “stunning” by American Record Guide (Volume 3). COMPLETE OVERTURES • 1 (8.570933) La gazza ladra • Semiramide • Elisabetta, Regina d’Inghilterra (Il barbiere di Siviglia) • Otello • Le siège de Corinthe • Sinfonia in D ‘al Conventello’ • Ermione COMPLETE OVERTURES • 2 (8.570934) Guillaume Tell • Eduardo e Cristina • L’inganno felice • La scala di seta • Demetrio e Polibio • Il Signor Bruschino • Sinfonia di Bologna • Sigismondo COMPLETE OVERTURES • 3 (8.570935) Maometto II (1822 Venice version) • L’Italiana in Algeri • La Cenerentola • Grand’overtura ‘obbligata a contrabbasso’ • Matilde di Shabran, ossia Bellezza, e cuor di ferro • La cambiale di matrimonio • Tancredi CD 4 COMPLETE OVERTURES • 4 (8.572735) Il barbiere di Siviglia • Il Turco in Italia • Sinfonia in E flat major • Ricciardo e Zoraide • Torvaldo e Dorliska • Armida • Le Comte Ory • Bianca e Falliero 8.504048 Booklet Notes in English • Made in Germany ℗ 2013, 2014, 2015 © 2017 Naxos Rights US, Inc.
    [Show full text]
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]