Giuseppe Verdi in Wien
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Politische Opern? Die Opernproduktion Von Saverio Mercadante Und Salvadore Cammarano Im Kontext Des Risorgimento.“
DIPLOMARBEIT „Politische Opern? Die Opernproduktion von Saverio Mercadante und Salvadore Cammarano im Kontext des Risorgimento.“ Verfasserin Sara Iovino angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater, Film- und Medienwissenschaft Betreuer: Univ.- Prof. Dr. Stefan Hulfeld 2 Inhaltsverzeichnis 1. Einleitung …................................................................................................. S. 5 2. Oper und Politik- ein Forschungsstand ….................................................... S. 9 3. Neapel im geschichtlichen Kontext …........................................................ S. 14 3.1. „Fremdling komm in das große Neapel und sieh's und stirb“ - Der Beginn der Bourbonendynastie in Neapel …......................................................................... S. 14 3.2. Die Parthenopäische Republik und die französische Herrschaft ................. S. 17 3.3. Die Restauration – Ferdinand I. als König beider Sizilien …......................... S. 18 3.4. Das Risorgimento – Franz I. und Ferdinand II. …......................................... S. 19 3.5. Die Neoguelfen und die Verfassung …......................................................... S. 21 3.6. Die Folgen von 1848 – Franz II. „Io sono Napoletano“ oder: Wo ist nun die „patria“? …........................................ S. 23 3.7. Das Ende der Bourbonendynastie in Neapel und der Zug der Tausend ….. S. 28 4. Das Teatro San Carlo …............................................................................ -
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Lucia Di Lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012
O p e r a B o x Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .9 Reference/Tracking Guide . .10 Lesson Plans . .12 Synopsis and Musical Excerpts . .44 Flow Charts . .49 Gaetano Donizetti – a biography .............................56 Catalogue of Donizetti’s Operas . .58 Background Notes . .64 Salvadore Cammarano and the Romantic Libretto . .67 World Events in 1835 ....................................73 2011–2012 SEASON History of Opera ........................................76 History of Minnesota Opera, Repertoire . .87 così fan tutte WOLFGANG AMADEUS MOZART The Standard Repertory ...................................91 SEPTEMBER 25 –OCTOBER 2, 2011 Elements of Opera .......................................92 Glossary of Opera Terms ..................................96 silent night KEVIN PUTS Glossary of Musical Terms . .101 NOVEMBER 12 – 20, 2011 Bibliography, Discography, Videography . .105 werther Evaluation . .108 JULES MASSENET JANUARY 28 –FEBRUARY 5, 2012 Acknowledgements . .109 lucia di lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012 madame butterfly mnopera.org GIACOMO PUCCINI APRIL 14 – 22, 2012 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
La Traviata March 5 – 13, 2011
O p e r a B o x 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 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
Trema Bisanzio!
Donizetti intimo Trema Bisanzio! Who and what did the composer have in mind with this cry? Enigmatic as a plot, born as a puzzle, Belisario is the most oddly timed opera in the Donizettian canon. “Strong love” he said he wanted but this is precisely what he did not get. Belisario is his one truly Byzantine argument. Very few operas can have been born under such a brilliant star. The maestro himself wrote that he intended to set Cammarano’s shelved Belisario on the actual day that Lucia di Lammermoor made her début in Naples and brought him instant fame (even if the date of his letter has been disputed1), thus, the long-held belief that Donizetti only decided to tackle the forgotten text by his overjoyed collaborator in the euphoric wake of Lucia is completely untrue. The libretto of Belisario had been offered to Barbaja in 1833 - two years before - as an example of his poetic skills, Cammarano was hoping to get the official post left vacant by Domenico Gilardoni, but Barbaja had turned it down. Nor had Donizetti ever shown any particular enthusiasm for this bitter tale of revenge and betrayal - or so at least it has always been presumed. We were wrong. The initial puzzle, however, is due to something else entirely: AI LETTORI Fu base di questo lavoro, che oso offrirvi, una Tragedia di Holbein, che il valenta Artista Drammatica Luigi Marchionni ridusse per le Scene Italiche. Il Belisario di Holbein, pari a quello della Storia, colse ovunque allori copiosi e meritati; reputerò il mio non meno avventuroso, se Voi, delle cose Teatrali integri e scienti giudici, gli accorderete una sola fronda di quegli allori. -
Il Trovatore
Giuseppe Verdi Il Trovatore CONDUCTOR Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and Leone PRODUCTION Emanuele Bardare, based on the play El Trovador David McVicar by Antonio García Gutierrez SET DESIGNER Charles Edwards Saturday, April 30, 2011, 1:00–3:45 pm COSTUME DESIGNER Brigitte Reiffenstuel Last time this season LIGHTING DESIGNED BY Jennifer Tipton The production of Il Trovatore was made CHOREOGRAPHER possible by a generous gift from Leah Hausman The Annenberg Foundation. STAGE DIRECTOR Paula Williams The revival of this production is made possible by a gift from The Dr. M. Lee Pearce Foundation. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR Il Trovatore is a co-production with Lyric Opera of James Levine Chicago and San Francisco Opera. 2010–11 Season The 625th Metropolitan Opera performance of Giuseppe Verdi’s Il Trovatore Conductor This performance Marco Armiliato is being broadcast live over The in order of vocal appearance Toll Brothers– Metropolitan Ferrando Opera Stefan Kocán International Radio Network, Inez sponsored by Maria Zifchak Toll Brothers, America’s luxury Leonora homebuilder®, Sondra Radvanovsky* with generous long-term Count di Luna support from Dmitri Hvorostovsky The Annenberg Manrico Foundation, the Marcelo Álvarez Vincent A. Stabile Endowment for Azucena Broadcast Media, Dolora Zajick and contributions from listeners A Gypsy worldwide. Robert Maher This performance is A Messenger also being broadcast Raymond Aparentado live on Metropolitan Opera Radio on Ruiz SIRIUS channel 78 Eduardo Valdes and XM channel 79. Saturday, April 30, 2011, 1:00–3:45 pm This performance is dedicated to Dr. Agnes Varis in grateful recognition of her generosity to the Metropolitan Opera as a member of the Council for Artistic Excellence. -
Lucia Di Lammermoor Music by Gaetano Donizetti Libretto by Salvatore Cammarano Based on the Novel the Bride of Lammermoor by Sir Walter Scott
Manitoba Opera Lucia di Lammermoor Music by Gaetano Donizetti Libretto by Salvatore Cammarano Based on the novel The Bride of Lammermoor by Sir Walter Scott Study Guide April/May 2003 Written & Compiled by: Joanna Slobodian & Kris Diaz Welcome to Manitoba Opera This Study Guide has been created to assist you in preparing your students for their visit to the opera. It is our hope that you will be able to add this to your existing curriculum in order to expand your students’ understanding of opera, literature, history, and the fine arts. Materials in the Study Guide may be copied and distributed to students. Some students may wish to go over the information at home if there is insufficient time to discuss in class. Make the opera experience more meaningful and enjoyable by sharing with them knowledge and background on opera and Lucia di Lammermoor before they attend. Please Note: The Dress Rehearsal is the last opportunity the singers will have on stage to work with the orchestra before Opening Night. Since vocal demands are so great on opera singers, some singers choose not to sing in full voice during the Dress Rehearsal in order to preserve their vocal chords and avoid unnecessary strain. Table of Contents A Short Introduction to Opera ........................................................................... 3 Audience Etiquette ............................................................................................ 4 Cast List ............................................................................................................ -
Lucia Di Lammermoor a Guide for Educators
DONIZETTI Lucia di Lammermoor A Guide for Educators ken howard / met opera Lucia di Lammermoor THE WORK An opera in three acts, sung in Italian Murder, madness, and a blood-spattered bride: For more than 200 Music by Gaetano Donizetti years, the spine-tingling story of Lucia di Lammermoor has left audiences shivering with delight. In 1819, Sir Walter Scott published a novel Libretto by Salvadore Cammarano, Based on The Bride of Lammermoor about an ill-fated maid from the Lammermoor hills. Loosely based on a by Sir Walter Scott real-life murder that scandalized 17th-century Scotland, Scott’s novel First performed on September 26, 1835, was grisly, gory, and one of the most popular books of its day. Emotion- at the Teatro di San Carlo, Naples ally raw and irresistibly morbid, the story soon made its way across Europe; a Danish musical based on the novel even featured a libretto by PRODUCTION Hans Christian Andersen! Yet it was Gaetano Donizetti and Salvadore Cammarano—two of Italy’s brightest operatic stars—who in 1835 gave Mary Zimmerman Production Lucia her immortal voice. Daniel Ostling In Donizetti’s hands, Lucia became a character at once tragic and Set Designer terrifying, and he devised some of his most innovative and virtuosic Mara Blumenfeld music to portray her slide into insanity. He also crafted an unforgettable Costume Designer story of passion, vengeance, and familial loyalty in which heartbreaking T. J. Gerckens Lighting Designer drama blends seamlessly with breathtaking vocal acrobatics. The soprano Daniel Pelzig called on to perform the title role takes on a challenge akin to giving an Choreography Oscar-winning performance while flying through the air on a trapeze, and this riveting combination of chills, thrills, and powerhouse virtuos- PERFORMANCE ity has made Lucia di Lammermoor one of the most popular operas of all The Met: Live in HD time. -
Donizetti Bio.Qxd
Gaetano Donizetti b Bergamo, November 29, 1797; d Bergamo, April 8, 1848 ith nearly 70 operas to his credit, Gaetano WDonizetti was the leading Italian composer in the decade between Vincenzo Bellini’s death and the rise of Giuseppe Verdi. Donizetti was born in the northern Italian city of Bergamo to an impoverished family. After showing some musical talent he was enrolled in the town’s Lezioni Caritatevoli and had the good fortune to study with Giovanni Simone Mayr, maestro di cappella at Santa Maria Maggiore. Originally from Bavaria, Mayr was a successful composer in Italy during the era preceding Gioachino Rossini’s rise to fame, with dozens of operas to his credit. Though offered many prestigious appointments throughout Europe, A scene from Minnesota Opera’s 2011 production of Mayr remained loyal to his adopted community Maria Stuarda and greatly enhanced the local musical institutions. Donizetti arrived at a time when Mayr was writing his greatest operas, and his impression on the younger composer was pronounced. Throughout his life Donizetti regarded him as a second father, though he would outlive his master by only three years. When it came time, Donizetti furthered his education at the Accademia Filarmonica in Bologna (shadowing Rossini who had once studied there). He had already penned several short operas before receiving his first commission in 1818 from the Teatro San Luca in Venice – this was Enrico di Borgogna to a libretto by Bartolomeo Merelli (who, in later years as impresario of Milan’s La Scala, was instrumental in the beginnings of Verdi’s career). Further works were produced in Venice, but Donizetti returned to Bergamo for a few years of relative inactivity. -
04-21-2018 Luisa Miller Mat.Indd
Synopsis Act I: Love Luisa, daughter of an old soldier, is in love with a young man she knows as Carlo, but who is actually Rodolfo, the son of the local lord, Count Walter. The two lovers proclaim undying fidelity, but Miller, Luisa’s father, is dubious. His fears are confirmed when Walter’s retainer, Wurm, who also loves Luisa and hopes to marry her, reveals Rodolfo’s identity. In his castle, Walter, informed of Rodolfo’s love for a commoner, resolves to end their relationship. Instead, he hopes to have his son marry a widowed duchess, Federica. When Rodolfo is alone with Federica, he reveals that he loves another, but the duchess, who has been infatuated with him since childhood, refuses to break their engagement. Back in the village, Miller tells Luisa that Rodolfo has deceived her and is about to contract a wealthy marriage. The young man, however, comes to plead his sincerity. When Walter storms in and insults Luisa, Miller defends her. The count orders both Luisa and her father consigned to prison, but Rodolfo secures their freedom by threatening to reveal how his father, with Wurm’s assistance, murdered his cousin to gain his present position. Act II: The Intrigue Luisa learns that her father has been jailed for insulting Walter. Wurm appears and tells her that the only way she can save Miller is to write a letter confessing that she never loved Rodolfo and sought him only for his rank and wealth, while her true love was for Wurm. He then compels her to go to the castle and declare her love for him before the duchess. -
Rigoletto Opera Box Lesson Plan Title Page with Related Academic Standards
Opera Box Table of Contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .9 Reference/Tracking Guide . .10 Lesson Plans . .12 Synopsis and Musical Excerpts . .33 Flow Charts . .39 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 Victor Hugo, Francis I and Triboulet . .59 World Events in 1851 ....................................65 History of Opera ........................................66 2003 – 2004 SEASON History of Minnesota Opera, Repertoire . .77 The Standard Repertory ...................................81 Elements of Opera .......................................82 GIUSEPPE VERDI Glossary of Opera Terms ..................................86 NOVEMBER 15 – 23, 2003 Glossary of Musical Terms .................................92 Bibliography, Discography, Videography . .95 GAETANO DONIZETTI Word Search, Crossword Puzzle . .98 JANUARY 24 – FEBRUARY 1, 2004 Evaluation . .101 Acknowledgements . .102 STEPHEN SONDHEIM FEBRUARY 28 – MARCH 6, 2004 mnopera.org WOLFGANG AMADEUS MOZART MAY 15 – 23, 2004 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. -
Lucia Di Lammermoor
2016-2017 GUIDEBOOK A Letter to the Teachers Dear Teachers, Opera Colorado is pleased to continue providing engaging and educational programs and performances for students across Colorado. What follows is a guide that we hope you find useful as you, and your students, learn about and explore Donizetti’s Lucia di Lammermoor. In the spirit of exploration, we have included a set of 45 minute lessons that connects the opera with all different subjects of learning: music, visual arts, language arts, social studies, math, and science. The lessons include reference to, and are based upon, the new Colorado Department of Education’s Academic Standards: specifically, focusing on the fourth grade expectations. This does not mean, however, that these lessons should be limited to this age group. While we would be very pleased if you used these lessons in the exact format provided, we encourage you to expand, alter, and adapt these lessons so that they best fit your students’ abilities and development. After all, the teacher knows their student’s needs best. We would appreciate your feedback on our teacher evaluation form found at the end of this guide, and we hope that you enjoy all that Opera Colorado has to offer! Ciao! - Cherity Koepke - Director of Education & Community Engagement [email protected] // (303) 778-0371 - Parisa Zaeri - Education and Community Engagement Assistant [email protected] // (303) 778-7350 Opera Colorado makes every effort to ensure that the information provided in this guidebook is as accurate as possible. With the exception of materials used for educational purposes, none of the contents of this guidebook may be reprinted without the permission of Opera Colorado’s Education & Community Engagement department.