Acc Ross LOCANDINA 2014

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ACCADEMIA ROSSINIANA Seminario permanente di studio sui problemi della interpretazione rossiniana diretto da Alberto Zedda 2014 3~18 luglio Teatro Sperimentale PROGRAMMA Giovedì 3 luglio Sabato 12 luglio 11.00 - 13.30 Inaugurazione dell’Accademia e 10.30 - 13.30 Master Class Juan Diego Flórez presentazione dei corsi 15.30 - 19.30 L’avventura del trucco Luca Oblach Gianfranco Mariotti, Alberto Zedda 15.30 - 19.00 Corso di interpretazione vocale Domenica 13 luglio Riposo condotto da Alberto Zedda Coordinamento musicale Anna Bigliardi Lunedì 14 luglio 10.30 - 13.00 Corso di interpretazione vocale Venerdì 4 luglio 16.00 - 17.30 Cantare Rossini: teoria e pratica 10.30 - 13.30 Corso di interpretazione vocale 18.30 - 20.00 Incontro con gli artisti di Armida 16.00 - 18.00 Dalla funzione dei muscoli del tronco al canto Frank Musarra Martedì 15 luglio 10.30 - 13.30 Corso di interpretazione vocale Sabato 5 luglio 15.00 - 16.30 Il mio lavoro come regista d’opera 10.30 - 13.30 Master Class Mario Martone 15.30 - 18.30 La consapevolezza dei risuonatori 18.00 - 20.00 Incontro con gli artisti di al servizio del timbro vocale: fisiologia Aureliano in Palmira e prevenzione Franco Fussi Mercoledì 16 luglio Domenica 6 luglio Riposo 10.30 - 12.30 Corso di interpretazione vocale 12.30 - 13.30 Discussione su temi e contenuti Lunedì 7 luglio dell’Accademia 2014 10.30 - 13.30 Corso di interpretazione vocale 15.30 - 19.30 Momenti di interpretazione 16.00 - 18.00 Il suono e l’improvvisazione e improvvisazione Elisabetta Courir Marco Mencoboni Giovedì 17 luglio Martedì 8 luglio 11.00 - 14.00 Prova regia Concerto 10.30 - 13.30 Corso di interpretazione vocale 16.00 - 20.00 Prova generale Concerto 15.00 - 16.30 Il mio lavoro come regista d’opera Luca Ronconi Venerdì 18 luglio 16.30 - 18.00 Edizione critica e prassi esecutiva 20.00 Concerto conclusivo Accademia Rossiniana 2014 Mercoledì 9 luglio Pianoforte Anna Bigliardi 10.30 - 13.30 Corso di interpretazione vocale 16.00 - 17.30 Il mestiere del cantante Quando non diversamente indicato, le lezioni sono condotte da Alberto Zedda Giovedì 10 luglio 10.30 - 13.30 Corso di interpretazione vocale 16.00 - 18.00 Il canone e la polifonia Rossini Opera Festival - Accademia Rossiniana Marco Mencoboni Via Rossini, 24 - 61121 Pesaro Telefono 0721.3800214 - Fax 0721.3800220 Venerdì 11 luglio 10.30 - 13.30 Corso di interpretazione vocale e-mail [email protected] 16.00 - 17.30 L’enigma Rossini Gianfranco Mariotti skype rofartisti.

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Guillaume Tell Guillaume
1 TEATRO MASSIMO TEATRO GIOACHINO ROSSINI GIOACHINO | GUILLAUME TELL GUILLAUME Gioachino Rossini GUILLAUME TELL Membro di seguici su: STAGIONE teatromassimo.it Piazza Verdi - 90138 Palermo OPERE E BALLETTI ISBN: 978-88-98389-66-7 euro 10,00 STAGIONE OPERE E BALLETTI SOCI FONDATORI PARTNER PRIVATI REGIONE SICILIANA ASSESSORATO AL TURISMO SPORT E SPETTACOLI ALBO DEI DONATORI FONDAZIONE ART BONUS TEATRO MASSIMO TASCA D’ALMERITA Francesco Giambrone Sovrintendente Oscar Pizzo Direttore artistico ANGELO MORETTINO SRL Gabriele Ferro Direttore musicale SAIS AUTOLINEE CONSIGLIO DI INDIRIZZO Leoluca Orlando (sindaco di Palermo) AGOSTINO RANDAZZO Presidente Leonardo Di Franco Vicepresidente DELL’OGLIO Daniele Ficola Francesco Giambrone Sovrintendente FILIPPONE ASSICURAZIONE Enrico Maccarone GIUSEPPE DI PASQUALE Anna Sica ALESSANDRA GIURINTANO DI MARCO COLLEGIO DEI REVISORI Maurizio Graffeo Presidente ISTITUTO CLINICO LOCOROTONDO Marco Piepoli Gianpiero Tulelli TURNI GUILLAUME TELL Opéra en quatre actes (opera in quattro atti) Libretto di Victor Joseph Etienne De Jouy e Hippolyte Louis Florent Bis Musica di Gioachino Rossini Prima rappresentazione Parigi, Théâtre de l’Academie Royale de Musique, 3 agosto 1829 Edizione critica della partitura edita dalla Fondazione Rossini di Pesaro in collaborazione con Casa Ricordi di Milano Data Turno Ora a cura di M. Elizabeth C. Bartlet Sabato 20 gennaio Anteprima Giovani 17.30 Martedì 23 gennaio Prime 19.30 In occasione dei 150 anni dalla morte di Gioachino Rossini Giovedì 25 gennaio B 18.30 Sabato 27 gennaio
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References in Potpourris: 'Artificial Fragments' and Paratexts in Mauro Giuliani's Le Rossiniane Opp. 119–123
References in Potpourris: ‘Artificial Fragments’ and Paratexts in Mauro Giuliani’s Le Rossiniane Opp. 119–123 Francesco Teopini Terzetti Casagrande, Hong Kong The early-nineteenth-century guitar virtuoso Mauro Giuliani (1781– 1829) was a master of the potpourri, a genre of which the main characteristic is the featuring of famous opera themes in the form of musical quotations. Giuliani’s Le Rossiniane comprises six such potpourris for guitar, composed at the time when Rossini was the most famous operatic composer in Europe; they are acknowledged as Giuliani’s chef-d’oeuvre in this genre. Through an investigation of the original manuscripts of Le Rossiniane No. 3, Op. 121, and No. 5, Op. 123, I consider that Giuliani, apparently in order to be fully understood by both performers and audiences, wanted to overtly reference these musical quotations; and that he left various paratextual clues which in turn support the validity of my observations. Utilizing both music and literary theory my analysis investigates and categorizes three types of peritextual elements adopted by Giuliani in order to classify and reference the quoted musical themes in Le Rossiniane for both performers and the public: title, intertitle, and literal note. Further investigation of these works also leads to the hypothesis that each of Giuliani’s musical quotations, called in this paper artificial fragments, can be considered as a further, and essential referential element within the works. At the beginning of the nineteenth century the making of potpourris was the quickest way to compose ‘new’ and successful music. Carl Czerny (1791–1857) stated that the public of that time “experience[d] great delight on finding in a composition some pleasing melody […] which it has previously heard at the Opera […] [and] when […] introduced in a spirited and brilliant manner […] both the composer and the practiced player can ensure great success” (1848 online: 86).
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LEGNANI Rossini Variations
Luigi LEGNANI Rossini Variations L’Italiana in Algeri Guillaume Tell Armida • Zelmira La Cenerentola La donna del lago Marcello Fantoni, Guitar Luigi Legnani (1790–1877): Rossini Variations Luigi Legnani, guitarist and composer, born in Ferrara, Italy, 1813. Stendhal commented ‘When Rossini wrote studied in his early years to be an orchestral string player. ‘L’Italiana his youthful genius was bursting into flower’. The Rossini – L’Italiana in Algeri (The Italian Girl in ™ Variation 1: Più mosso 1:06 But he branched off into singing and appeared in operas Overture begins with a dramatic Largo section. This is £ Algiers): “Gran Sinfonia”, Op. 2 8:33 Variation 2: Più lento 0:51 by Rossini, Pacini and Donizetti as a tenor following his followed by a lively Allegro spiritoso. 1 Largo 1:42 ¢ Variation 3: Tempo primo 0:53 debut in Ravenna in 1807. He began his concert career as The setting for the opera is the palace of the Bey of 2 Allegro spiritoso 6:51 ∞ Variation 4 1:01 a guitarist in Milan in 1819, and performed in Vienna in Algiers. The first scene introduces a chorus of the eunuchs § Variation 5: Minore, Un poco più moderato 2:27 Rossini – Guillaume Tell: Overture, Op. 202 1822, later touring Italy, Germany, and Switzerland, of the harem. Elvira, the Bey’s wife, complains that her (excerpts) 7:40 ¶ Variation 6: Allegro brillante 1:22 His friendship with Paganini who described him as ‘the husband no longer loves her. Haly, the captain of the Bey’s 3 Andante 3:15 • Coda 1:24 leading player of the guitar’ has often been written about corsairs, is told to go and find an Italian wife for the Bey.
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Rossini: La Recepción De Su Obra En España
EMILIO CASARES RODICIO Rossini: la recepción de su obra en España Rossini es una figura central en el siglo XIX español. La entrada de su obra a través de los teatros de Barcelona y Madrid se produce a partir de 1815 y trajo como consecuencia su presen- cia en salones y cafés por medio de reducciones para canto de sus obras. Más importante aún es la asunción de la producción rossiniana corno símbolo de la nueva creación lírica europea y, por ello, agitadora del conservador pensamiento musical español; Rossini tuvo una influencia decisi- va en la producción lírica y religiosa de nuestro país, cuyo mejor ejemplo serían las primeras ópe- ras de Ramón Carnicer. Rossini correspondió a este fervor y se rodeó de numerosos españoles, comenzando por su esposa Isabel Colbrand, o el gran tenor y compositor Manuel García, termi- nando por su mecenas y amigo, el banquero sevillano Alejandro Aguado. Rossini is a key figure in nineteenth-century Spain. His output first entered Spain via the theatres of Barcelona and Madrid in 1815 and was subsequently present in salons and cafés in the form of vocal reduc- tions. Even more important is the championing of Rossini's output as a model for modern European stage music which slwok up conservative Spanish musical thought. Rossini liad a decisive influence on die sacred and stage-music genres in Spain, the best example of which are Ramón Carnicer's early operas. Rossini rec- ipricated this fervour and surrounded himself with numerous Spanish musicians, first and foremost, his wife Isabel Colbrand, as well as die great tenor and composer Manuel García and bis patron and friend, the Sevil- lan banker Alejandro Aguado.
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Colorful Characters
Livermore-Amador Symphony Lara Webber, Music Director & Conductor Arthur P. Barnes, Music Director Emeritus Saturday, February 23, 2019, 8 p.m. Bankhead Theater, Livermore Colorful Characters William Tell Overture Gioachino Rossini (1792–1868) Cello Concerto No. 1 Joseph Haydn in C major, Hob. VIIb/1—1st movement (1732–1809) Alexander Canicosa-Miles, soloist Soirées Musicales Benjamin Britten Suite of Movements from Rossini (1913–1978) I. March II. Canzonetta III. Tirolese IV. Bolero V. Tarantella INTERMISSION with entertainment in the lobby by Element 116 Piano Concerto No. 1 Franz Liszt in E-flat major (1811–1886) Daniel Mah, soloist Billy the Kid Suite Aaron Copland (1900–1990) Introduction: The Open Prairie Street in a Frontier Town Mexican Dance and Finale Prairie Night (Card Game) Gun Battle Celebration (after Billy’s Capture) Billy’s Death The Open Prairie Again The audience and performers are invited to enjoy cookies, cider, coffee, and sparkling wine in the lobby after the concert at a reception hosted by the Livermore-Amador Symphony Guild. Music Director position underwritten by the Chet and Henrietta Fankhauser Trust Orchestra Conductor Cello Horn Lara Webber Peter Bedrossian Christine-Ann Immesoete Principal Principal First Violin Alan Copeland James Hartman Sara Usher Aidan Epstein Bryan Waugh Concertmaster Nathan Hunsuck H. Robert Williams Juliana Zolynas Hildi Kang Assistant Trumpet Concertmaster Joanne Lenigan Paul Pappas Michael Portnoff Norman Back Principal Feliza Bourguet String Bass Bob Bryant Judy Eckart Markus Salasoo
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Il Recupero Dell'antico Nell'opera Di Ottorino
SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi …………….
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Mauro GIULIANI Le Rossiniane Goran Krivokapić, Guitar Mauro Giuliani (1781–1829) Giuliani’S Six Rossiniane for Solo Guitar Are Fantasias Rossiniana No
Mauro GIULIANI Le Rossiniane Goran Krivokapić, Guitar Mauro Giuliani (1781–1829) Giuliani’s six Rossiniane for solo guitar are fantasias Rossiniana No. 1, Op. 119 (c. 1820 –23) Le Rossiniane or potpourris (i.e. medleys) on themes taken from (Le Rossiniane, Part 1, Op. 119) Rossini’s operas. The first five are dated around 1820–23 Introduction (Andantino) – Otello , Act III. Scene e Mauro Giuliani, one of the great masters of the early 19th Seville , was written within three weeks. Nearly 40 stage during Giuliani’s time in Rome, and the last was published Romanza: Assisa a piè d’un salice (Desdemona) century, wrote a vast quantity of guitar music including works constitute his ultimate output, as well as sacred in 1827/28. At the time of composition the public would Andante grazioso – L’Italiana in Algeri , Act I, Scene 3. variations, sonatas, concertos, duets and studies. An music, cantatas, incidental music, hymns, choruses, have been well aware of the themes of Rossini’s music Cavatina: Languir per una bella (Lindoro) important part of his career was spent in Vienna where he miscellaneous vocal pieces and instrumental works, but nowadays only the more popular may be immediately Maestoso – L’Italiana in Algeri , Act I, Scene 5. Duetto: was well acquainted with Beethoven, Moscheles, among others. recognisable to an audience. However, the tunes are so Ai capricci della sorte (Isabella, Taddeo) Hummel, Mayseder, Spohr and other leading musicians Giuliani’s music was largely neglected by the leading strong and vivid that a first acquaintance with such Moderato – L’Italiana in Algeri , Act II.
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EJ Full Draft**
Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today.
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L'opera in Breve
L’opera in breve Claudio Toscani La sera del 20 febbraio 1816 Gioachino Rossini presentava sulle scene del Teatro Argentina di Roma un’opera buffa che aveva scritto nel giro di poche settimane, ricorrendo ampiamente a prestiti da suoi drammi precedenti, an - cora sconosciuti al pubblico romano ( Aureliano in Palmira , Elisabetta, regina d’Inghilterra , Sigismondo e altri lavori ancora). Com’è noto, la prima rappre - sentazione del Barbiere di Siviglia generò uno dei fiaschi più clamorosi nella storia del melodramma. Su questo insuccesso sono scorsi fiumi di inchiostro e sono fioriti gli aneddoti. Certo è possibile, come spesso si è detto, che una parte del pubblico fosse irritata dall’azzardo del giovane e ancora poco co - nosciuto compositore, il quale osava mettere in musica lo stesso soggetto che tanto successo aveva assicurato, qualche decennio prima, al celebre Pai - siello, ancora vivente e sostenuto da un agguerrito partito di melomani. Ma è anche vero che alla prima rappresentazione del Barbiere , cui si era arrivati in gran fretta, intervenne una serie incredibile di incidenti sulla scena, che provocò l’ilarità del pubblico e compromise irrimediabilmente il successo del - l’opera. In ogni caso il fiasco della prima non impedì al Barbiere di Siviglia di risollevare subito le sue sorti, né di diventare rapidamente l’opera italiana più rappresentata in assoluto nei teatri di tutto il mondo. Per indagare le ragioni di un successo che ancora oggi non accenna a sce - mare, può essere utile prendere le mosse dalle fonti del dramma comico ros - siniano, che compositore e librettista utilizzarono a modo loro, creando un’opera originale e al passo coi tempi non solo riguardo allo stile musicale, ma anche alla concezione drammaturgica generale.
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Carnegie Hall Rental
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Mauro Giuliani (1781-1829): Instrumental and Vocal Style in Le
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Mauro Giuliani (1781–1829): Instrumental and Vocal Style in Le Sei Rossiniane Giuseppe Zangari A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2013 Statement of originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree.
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Respighi Ottorino
RESPIGHI OTTORINO Compositore e strumentista italiano (Bologna 9 VI 1879 - Roma 18 IV 1936) 1 Nato da una famiglia di musicisti (il nonno Tommaso era organista del duomo di Fidenza) fu avviato alla musica dal padre, ottimo pianista e didatta. Iscritto al liceo musicale di Bologna (1891), studiò violino con F. Sarti, diplomandosi nel 1899, e contemporaneamente seguì le lezioni di contrappunto e fuga di C. Dall'Olio e di composizione di L. Torchi e G. Martucci. Nel 1900 fu a Pietroburgo, come orchestrale nella stagione operistica italiana dei teatri imperiali e conobbe Rimskij-Korsakov dal quale ebbe varie lezioni di composizione rimaste essenziali (come dichiarò lo stesso Respighi) per la sua formazione artistica. Tornato a Bologna, si diplomò in composizione nel 1901. L'anno dopo tornò in Russia come prima viola dell'Opera di Pietroburgo e vi rimase nove mesi, prendendo contatto con l'ambiente artistico che faceva capo ad A. Benois (il figlio Nicola sarà poi uno degli scenografi più cari a Respighi). Nel 1903 ritornò in Italia e l'anno dopo fu eseguita dal pianista F. Ivaldi a Bologna, sotto la direzione di B. Mugellini, la sua Fantasia in Sol minore per pianoforte ed orchestra che ottenne notevole successo. Nel 1905 la sua opera Re Enzo fu rappresentata dagli studenti dell'università di Bologna ed in quello stesso anno Respighi entrò come viola nel quintetto Mugellini per il quale compose il Quintetto in Fa. Nel 1908 R. Ferrari diresse al Metropolitan di New York il Notturno per orchestra e A. Nikish, a Berlino, la sua trascrizione per orchestra del Lamento di Arianna di Monteverdi.
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