An Evening of Comic Opera Scenes Cedarville University

Total Page：16

File Type：pdf, Size：1020Kb

An Evening of Comic Opera Scenes Cedarville University

Cedarville University DigitalCommons@Cedarville Ensemble Concerts Concert and Recital Programs 12-8-2011 An Evening of Comic Opera Scenes Cedarville University Follow this and additional works at: http://digitalcommons.cedarville.edu/ensemble_concerts Part of the Music Performance Commons Recommended Citation Cedarville University, "An Evening of Comic Opera Scenes" (2011). Ensemble Concerts. 19. http://digitalcommons.cedarville.edu/ensemble_concerts/19 This Program is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Ensemble Concerts by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. AN EVENING OF COMIC OPERA SCENES PRESENTED BY THE CEDARVILLE UNIVERSITY OPERA ENSEMBLE CRYSTAL STABENOW, DIRECTOR STEPHEN ESTEP, PIANO BEN.JAMIN SCHEERSCHMIDT, ASSISTANT STAGE DIRECTOR THURSDAY, DECEMBER 8, 20 1 1, 7 P.M. Act I, Scene I, from LA CENERENTOLA ...................................................... Gioachino Rossini (1792-1868) Clorinda, Alison Patton Tisbe, Kailey Grapes Cenerentola, Emalyn Bullis Alidoro, Benjamin Scheerschmidt Act II, Scene VII, from IL MATRIMONIO SEGRETO ........................................ Domenico Cimarosa (1749-1801) II Conte, Taylor Nelson Elisetta, Emma Gage Oh, Dry the Glistening Tear, from THE PIRATES OF PENZANCE ................. Arthur Gilbert & W. S. Sullivan (1836-1911) (1842-1900) Mabel, Vienna Trindal Chorus: Kailey Grapes, Sarah Thompson, Lauren Bidwell, Hope Strayer, Emalyn Bullis Major-General, Benjamin Scheerschmidt Comes the Broken Flower, from TRIAL BY JURY . Arthur Gilbert & W. S. Sullivan Angelina, Hope Strayer Bridesmaids, Deanna Ruman, Emma Gage, Alison Patton judge, Taylor Nels on Counsel, Benjamin Scheerschmidt Finale, from CAPTAIN LOVELOCK .................................................................. John Duke (1899-1984) Terentia, Sarah Thompson Pernille, Hope Strayer Kirsten, Lauren Bidwell Leonora, Deanna Ruman Laurentia, Vienna Trindal Recital Hall No flash photography Bolthouse Center for Music Please turn off all cellphones .

Copy Link

Recommended publications

103 the Music Library of the Warsaw Theatre in The
A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s ﬁ rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska.
[Show full text]
Opera Olimpiade
OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello.
[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]
Cimarosa Domenico
CIMAROSA DOMENICO Compositore italiano (Aversa 17 XII 1749 - Venezia 11 I 1801) RRIITTRRAATTTTOO DDEELL CCOOMMPPOOSSIITTOORREE 327 Il padre era muratore e la madre lavandaia. Ancora bambino, la famiglia si trasferì a Napoli in cerca di lavoro, e il padre dopo poco tempo morì in seguito ad un infortunio occorsogli durante la costruzione del Palazzo Reale di Campodimonte. Ridotta in povertà, la madre mandò il figlio Domenico a vivere coi padri conventuali al Pendino dove ricevette le sue prime lezioni di musica. Dimostrando una particolare inclinazione per la musica, venne inviato nel 1761 al conservatorio di Santa Maria Loreto, con l'obbligo di rimanervi dieci anni. Ciò escluderebbe che Cimarosa abbia studiato con G. Manno e A. Sacchini in quanto questi maestri lasciarono il conservatorio rispettivamente nel 1761 e nel 1762 proprio, cioè, quando egli vi entrò. Si sa che i suoi principali insegnanti furono P. Gallo, F. Fenaroli e S. Carcajus, e che si perfezionò in violino, in clavicembalo, in organo e soprattutto in canto. Cimarosa iniziò a comporre mentre era ancora studente e i suoi primi saggi furono alcuni pezzi religiosi, fra i quali vanno ricordati due mottetti a quattro voci con strumenti, che portano la data 1765, attualmente conservati nella Biblioteca del conservatorio di Napoli. Uscito dal conservatorio all'età di 22 anni, ebbe subito la fortuna di incontrare una protettrice nella persona della signora C. Pallante, una nota cantante trasferitasi a Roma. Probabilmente, grazie all’influenza di C. Pallante, Cimarosa ricevette la commissione per due lavori per il carnevale del 1772 al teatro dei Fiorentini. Tali opere, Le stravaganze del conte e la farsa Le magie di Merlina e Zoroastro, non furono bene accolte dal pubblico, e secondo F.
[Show full text]
Il Matrimonio Segreto Dramma Giocoso Per Musica in Due Atti
FONDAZIONE TEATRO LA FENICE DI VENEZIA Paolo Costa presidente Cesare De Michelis Pierdomenico Gallo Achille Rosario Grasso Mario Rigo Luigino Rossi Valter Varotto Giampaolo Vianello consiglieri sovrintendente Giampaolo Vianello direttore artistico Sergio Segalini direttore musicale Marcello Viotti Giancarlo Giordano presidente Adriano Olivetti Paolo Vigo Maurizia Zuanich Fischer SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. FONDAZIONE TEATRO LA FENICE DI VENEZIA Il matrimonio segreto dramma giocoso per musica in due atti libretto di Giovanni Bertati musica di Domenico Cimarosa Teatro Malibran venerdì 24 settembre 2004 ore 19.00 turno A domenica 26 settembre 2004 ore 15.30 turno B martedì 28 settembre 2004 ore 19.00 turno D giovedì 30 settembre 2004 ore 19.00 turni E-I sabato 2 ottobre 2004 ore 15.30 turni C-H La Fenice prima dell’Opera 2004 7 Francesco Saverio Candido, Domenico Cimarosa al cembalo (1785). Olio su tela. Napoli, Museo di San Martino. La Fenice prima dell’Opera 2004 7 Sommario 5 La locandina 7 «Son più strambo di un cavallo. / Vado tutti a maltrattar» di Michele Girardi 9 Il matrimonio segreto, libretto e guida all’opera a cura di Alessandro Di Profio 73 Il matrimonio segreto in breve a cura di Gianni Ruffin 77 Argomento – Argument – Synopsis – Handlung 85 Anna Laura Bellina Sussurri e grida. Per un matrimonio di successo 97 Giovanni Guanti Triplum, pour «méditerraniser la musique» 123 L’album per Cimarosa nel primo centenario della morte (1901) a cura di Giovanni Guanti 137 Vincenzina Ottomano Bibliografia 149 Online: «Lacreme napulitane» a cura di Roberto Campanella 159 Domenico Cimarosa a cura di Mirko Schipilliti Atto di nascita di Bertati (il nome di famiglia compare nella forma Bertato) e lapide commemorativa nella sala consiliare del Municipio di Martellago.
[Show full text]
21 Sonatas Andrea Chezzi Organ Domenico Cimarosa (1749-1801) 21 Organ Sonatas
Cimarosa 21 Sonatas Andrea Chezzi organ Domenico Cimarosa (1749-1801) 21 Organ Sonatas 1. Sonata in C - Allegro C54, F54 4’04 During his own lifetime, the fame of Domenico Cimarosa was mostly due to his 2. Sonata in A minor - Largo C55, F55 4’22 operas, while his works for keyboard instruments largely had to wait until the 20th 3. Sonata in C - Allegro C50, F50 2’56 century to receive the attention they deserve. Although the instrument for which he wrote his sonatas was the fortepiano, for this recording we have chosen a selection of 4. Sonata in G minor - Andantino C33, F33 1’41 them for the organ, since this was also an instrument that played a constant role in 5. Sonata in G - Allegro C32, F32 2’30 his life as a composer. Cimarosa’s father died when he was still a boy and his family was very poor. He 6. Sonata in D minor - Andante con moto C79, F79 3’13 received his early musical education from Father Polcano, the organist of the church 7. Sonata in D - Allegretto C30, F30 3’35 of San Severo of the Padri conventuali in Naples, and then at the Beata Vergine di Loreto Conservatoire, also in Naples. By the time he had concluded these studies he 8. Sonata in A - [Allegro] C19, F19 2’43 was considered an excellent harpsichordist, violinist, singer and organist. Although 9. Sonata in A minor - Andantino grazioso C58, F58 1’47 his career as an opera composer led him to travel widely among the capitals of the 10.
[Show full text]
Francesco Fanna Began to Study the Violin Under the Guidance Of
Francesco Fanna began to study the violin under the guidance of Antonio Carmignola, and then continued at the Giuseppe Verdi Conservatory of Music in Milan with Paolo Borciani, first violin of the famous Quartetto Italiano. He also studied Composition with Franco Donatoni, Niccolò Castiglioni, Danilo Lorenzini and Gianfranco Maselli. He studied Choral Music and Choral Conduction with Franco Monego and Lirical Theatre Conduction with Umberto Cattini. He obtained his Diploma in Orchestral Conduction under the guidance of Mario Gusella and later Michele Marvulli and Donato Renzetti. He attended several seminars and workshops in Nice, Assisi, Trieste and Rome, with teachers as Carlo Maria Giulini (Accademia Chigiana in Siena) and Leonard Bernstein (Accademia di Santa Cecilia in Rome). He conducted several orchestras in Italy and abroad – France, Switzerland, Germany, Great Britain, Rumania, Czech Republic, Argentina, Brazil, Korea, Japan – among which the “Bari Symphonic Orchestra” the Orchestras “I Pomeriggi Musicali”, “Angelicum”, “Milano Classica”, “Guido Cantelli” in Milan, the “Haydn” Symphonic Orchestra in Bolzano and Trento, the Sanremo Symphonic Orchestra, the “Filarmonia Veneta” Orchestra, the “Orchestra Sinfonica Abruzzese”, the “Orchestra Sinfonica Siciliana”, the “Orchestre Filarmonique de Nice”, the Philharmonic Orchestra of Ploiesti and the Symphonic Orchestra of Constanta (Rumania), the “Orchestre de Chambre de Genève”, the Ensembles “Accademia di San Rocco” and the “Accademia musicale of San Giorgio” in Venice, “Pian & Forte”
[Show full text]
METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M.
[Show full text]
“We Have Found Ourselves Moved and Inspired by the Many Musicians Connected with Our Festival,” Shares Paolo Bartolani
Rites of Spring Music Festival FOR IMMEDIATE RELEASE ritesmusic.org Press Contact: Kristy Verity [email protected] Rites of Spring Music Festival Rises to Virtual Occasions #ritesmusicfest (Southold, NY… May 1, 2020) - Prior to the coronavirus pandemic, this season would have brought the fifth edition of the Rites of Spring Music Festival [ROSMF www.ritesmusic.org/] to multiple venues across the north fork of Long Island. Launched in 2016 by founder Paolo Bartolani, the focus of ROSMF has been to expand its music in new, compelling, and adventurous ways. With the challenge of stay-home orders and closed venues, ROSMF has expanded their creative forces to present “Music & Tell,” a virtual performance series hosted on Saturdays at 2 p.m. through May in 45-minute sessions on Zoom. Music & Tell is aimed to expand the mission of ROSMF and create a stronger sense of identity while investing in the passion and artistry of classical and contemporary artists. “We have found ourselves moved and inspired by the many musicians connected with our festival,” shares Paolo Bartolani. “Music is essentially a human relationship; we can communicate our inner world through contact with the other person. To me, that is the essence of music: a reflection of the soul through sound. Living in particular times like these, music allows us to see the extraordinary in the ordinary. We cannot recall a more important time to share such sustenance”. ROSMF Schedule: th Music & Tell Episode #1 Saturday, May 9 at 2:00pm Italian Baroque Sonatas This first session of Music & Tell presents music by two Italian composers: Domenico Scarlatti and Domenico Cimarosa.
[Show full text]
Oriental Inspirations in Russian Opera at the Time of Catherine the Great
Anna GIUST Institute for Russian and Eurasian Studies Uppsala University Sweden ORIENTAL INSPIRATIONS IN RUSSIAN OPERA AT THE TIME OF CATHERINE THE GREAT Abstract: During the reign of Catherine the Great (1762–1796) the problem of the Turkish threat over Europe had become an excuse for ne- gotiations aiming at stabilizing the geopolitical balance between the Euro- pean countries . This preoccupation was present in the diplomatic discourse, where after its ‘decline’, the Ottoman Empire was evaluated as a fake giant, incapable of representing a serious military menace . However, the presence of ‘The Turk’ in the mind of Western audiences is attested by the diffusion of Oriental themes in different works of art . In the field of musical theatre, these can be found, among others, in such operatic performances as the opéra comique La rencontre imprévue, ou Les pèlerins de la Mecque by Christoph Willibald Gluck (1763), and Mozart’s Singspiel Die Entführung aus dem Serail (1782) . In Russia, the response to the Eastern Question was the ‘Greek project’ – a series of geopolitical plans that the Empress developed with her counsellors Alek- sandr Bezborodko and Grigory Potyomkin, which foresaw the occupation of the Ottoman Empire, and its subsequent passing over to the rule of Catherine’s grand- son Konstantin Pavlovich . According to those plans, in 1781 Catherine signed a secret alliance with the Austrian emperor Joseph II, which was to be confirmed by the subsequent journey of her son Pavel Petrovich to the Habsburg Court . While creating secret coalitions at international level, Catherine under- took a propagandistic campaign putting an emphasis on her policy .
[Show full text]
RUSSIAN TOPIC in WORKS of the ITALIAN COMPOSERS Liudmila Kazantseva
УДК 78.01 NAPLES: RUSSIAN TOPIC IN WORKS OF THE ITALIAN COMPOSERS Liudmila Kazantseva Astrakhan State Concervatoire , [email protected] I n formation of Russian - Italian musical interrelations , Naples has played a role we can call at the same time both standard, and peculiar. The onset of Neapolitan "expansion" to Russia is connected with Francesco Domenico Araja. He has appeared in St. Petersb urg in 1735 together with a big Italian opera troupe. Tommaso Traetta, Baldassarre Galuppi, Giovanni Paisiello, Domenico Cimarosa, Gennaro Astaritta and other composers went to St. Petersburg following Araja . They have made realities, history, folklore of Russia a part of their own creativity. In addition to biographic occasions, establishment of the called tradition was promoted by the system of composer training developing in Naples since the 16th century. It was made by educational institutions – the conservatories which have trained prominent musicians. Transfer of professional experience from the master to the pupil, i.e. the authoritative personality plays an irreplaceable role in the creative growth of the composer. In this regard, it is necessary to remember such noticeable cultural phenomenon as the Neapolitan composer school (Francesco Durante, Niccolò Jommelli, Giovanni Paisiello, Giovanni Battista Pergolesi, Niccolò Piccinni, Alessandro and Domenico Scarlatti, etc.). It has become usual at the Neapolitan composer school to address Russia in opera plots: Domenico Cimarosa – in the opera “Vladimir” ( Volodimiro , 1787), Niccolò Zingarelli,
[Show full text]
Jonathan Miller Directs Cimarosa's Il Matrimonio Segreto As Part of BAM's
Jonathan Miller directs Cimarosa’s Il matrimonio segreto as part of BAM’s 2008 Spring Season Il matrimonio segreto Music by Domenico Cimarosa Conducted by Paul Goodwin Directed by Jonathan Miller Orchestra: Members of Brooklyn Philharmonic Libretto by Giovanni Bertati Set design by John Conklin Costume design by Clare Mitchell Lighting design by Robert Wierzel Il conte Robinson – Jonathan Best Fidalma – Fredrika Brillembourg Geronimo – Conal Coad Elisetta – Georgia Jarman Paolino – Chad A. Johnson Carolina – Heidi Stober In Italian with English titles Produced by BAM American Express is the Presenting sponsor for Il matrimonio segreto. Support for BAM Opera is provided by The Andrew W. Mellon Foundation and Ronald P. Stanton. BAM 2008 Spring Season is sponsored by Bloomberg. BAM Harvey Theater (651 Fulton St) May 28, 29, 31, June 3 & 4 at 7:30pm; June 1 at 3pm Tickets: $30, 55, 80, 90 BAMdialogue with Jonathan Miller May 29 at 6pm BAM Hillman Attic Studio Tickets: $8 ($4 for Friends of BAM) 718.636.4100 or BAM.org Brooklyn, NY/April 25, 2008—A central figure in late 18th-century Italian comic opera, Domenico Cimarosa (a contemporary of Mozart) enjoyed great popular success in his lifetime. Il matrimonio segreto (The Secret Marriage)—a two-act opera for six characters, composed in 1792—is considered his masterpiece. This humorous cautionary tale about the consequences of keeping secrets features complex vocal ensemble scenes (the composer's hallmark), beautiful melodies, and a witty libretto by Giovani Bertati. Six performances of Il matrimonio segreto will take place in the BAM Harvey Theater on May 28, 29, 31 and June 3 & 4 at 7:30pm and on June 1 at 3pm.
[Show full text]