Programma Della XIX Edizione Del
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Leggi Il Libretto
Ensemble Barocco 1. Jubilate coelestes chori* Giovanni Maria Sabino per soprano, alto, tenore, due violini e b.c. 2. Dixit Dominus per due soprani, alto, tenore, basso e b.c. Valeria Polizio Soprano Sara Russillo Ducci Soprano 3. Deus meus* (Francesco Sabino) Idilia Annese Alto per alto, tenore, basso e b.c. Nikos Angelis* Controtenore Gaetano Piscopo Tenore 4. Confitebor Angelo De Leonardis Basso per due soprani, alto, tenore, basso e b.c. Rita Iacobelli Violino barocco 5. Franciscus verus Christi pauper* Rossella Sornatale Violino barocco (Francesco Sabino) Cristiana Coppola Viola da gamba Sofia Ruffino Viola da gamba per soprano, alto, tenore, 2 violini e b.c. Angela Lepore Viola da gamba Gianluigi Bello Tiorba 6. Beatus vir Francesca De Santis Organo per due soprani, alto, tenore, basso e b.c. Coro 7. Scitote* (Francesco Sabino) Soprani Terry Bux, Alessandra De Nitto Rosaria Colaleo, Patrizia Colangelo per soprano, alto, tenore e b.c. Giusi Magnisi, Anna Rotolo 8. Laudate pueri Alti Giovanna Fasano Lucrezia Marra, Paola Tutino per due soprani, alto, tenore, basso e b.c. Tenori Giambattista Bello, Giampiero Leo Antonio Marotta 9. Magnificat Bassi Andrea Lenato, Francesco Lorusso per due soprani, alto, tenore, basso e b.c. Roberto Portoghese 10. Lauda Sion* (Giovanni Maria Sabino) direttore Paolo Valerio per soprano, alto, tenore, basso e b.c. 1. Jubilate coelestes chori* uesto CD costituisce il secondo tassello del progetto discografico per soprano, alto, tenore, due violini e b.c. dell’Opera omnia dei Sabino di Turi a cura dell’Ensemble barocco 2. Dixit Dominus “Giovanni Maria Sabino”. per due soprani, alto, tenore, basso e b.c. -
Tenor Cappella Neapolitana
Chiesa S. Marcellino, Cremona Sabato 26 maggio, ore 21.00 TENOR Viaggio musicale sulla corda del tenore Musiche di A. Cesti, G. F. Händel, C. Monteverdi, F. Provenzale, L. Vinci Ian Bostridge, tenore CAPPELLA NEAPOLITANA Antonio Florio, maestro concertatore Produzione Teatro A. Ponchielli ANNO DELLA CULTURA - #inLOMBARDIA - 2017/2018 TENOR Viaggio musicale sulla corda del tenore IL SEICENTO Claudio Monteverdi (1567 – 1643) Dormo ancora (Il ritorno di Ulisse in patria, 1641 – Ulisse) Antonio Sartorio (1630 – 1680) Ian Bostridge, tenore Sinfonia (Orfeo) Alessandro Stradella (1639 – 1682) CAPPELLA NEAPOLITANA Soffrirà, spererà (Il Corispero, 1677 – Crudarte) Alessandro Ciccolini, violino concertatore Patrizio Focardi, Paolo Cantamessa, violini primi Pietro Antonio Cesti (1623 – 1669) Claudia Combs, Nunzia Sorrentino, Massimo Percivaldi, violini secondi Berenice, ove sei? (Il Tito – Polemone) Rosario Di Meglio, viola Alberto Guerrero, violoncello Giorgio Sanvito, contrabbasso Sinfonia (L’Argia, 1655) Pierluigi Ciapparelli, tiorba Andrea Perugi, clavicembalo Francesco Provenzale (1632 – 1704) Deh rendetemi (La Stellidaura, 1674 – Armidoro) maestro concertatore Antonio Florio Giovanni Cesare Netti (1649 – 1686) Sinfonia a 4 (La Filli, 1682) Cristofaro Caresana (1640 – 1709) Tien ferma Fortuna (Le avventure di una fede, ca. 1675 – Prencipe) in prima esecuzione moderna Francesco Provenzale Che speri o mio core (Il Schiavo di sua moglie, 1672 – Timante) *** IL SETTECENTO OGGI COME IERI Leonardo Vinci (1690 – 1730) Dal 1600 ad oggi, i tempi non sono molto cambiati. Sono cambiati i costumi, gli usi ed i modi Se il mio paterno amore (Siroe, 1726 – Cosroe) di condurre le nostre vite ma capita ancora che a teatro si vada per ascoltare, prima ancora dell’opera in sé, delle belle voci sfavillare in virtuosismi e mirabolanti acuti. -
Carlo Goldoni As Musical Reformer
CARLO GOLDONI AS MUSICAL REFORMER IN SEARCH OF REALISM IN THE DRAMMA GIOCOSO La vraisemblance doit toujours être la principale règle, et sans laquelle toutes les autres deviennent déréglées. -l’Abbé d’Aubignac, La Pratique du Théâtre by Pervinca Rista Dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy. Baltimore, Maryland March 18, 2015 © Pervinca Rista All Rights Reserved Abstract Venetian playwright Carlo Goldoni (1707-1793), who is best remembered in literary history for his realist ‘reform’ of comic theatre, was also a prolific librettist. In particular, his texts for music written from 1748 onwards remain understudied but warrant significant reappraisal, for Goldoni was one of the first to give shape to the dramma giocoso, an innovative and realistic new genre of opera that went on to have a lasting legacy all the way to W. A. Mozart and Lorenzo da Ponte. Through an interdisciplinary, historical approach and intertextual analysis, the present study reevaluates Goldoni’s drammi giocosi, largely overlooked by scholarship, to uncover the lasting innovations in form and content introduced by the Venetian playwright. Analysis of these texts also reveals clear affinity between Goldoni's contributions to the dramma giocoso and his reform of prose theatre. Most importantly, unlike other types of comic opera, the dramma giocoso has the particularity of combining buffo with serio, a dynamic that, through Goldoni's mature output, continually evolves to bring new realism and social relevance to opera theatre. Goldoni’s influence on this type of musical representation has not been fully considered, but the realism in music that he achieves through the dramma giocoso must be acknowledged as a lasting contribution to modern literature, and to operatic history. -
The Thesis Plan
Guglielmi’s Lo spirito di contradizione: The fortunes of a mid-eighteenth-century opera VOLUME ONE STUDY AND COMMENTARY Nancy Calo Thesis submitted in partial fulfilment of the requirements of the degree of Master of Music (Musicology) University of Melbourne 2013. ii THE UNIVERSITY OF MELBOURNE Faculty of the VCA and MCM TO WHOM IT MAY CONCERN This is to certify that the thesis presented by me for the degree of Master of Music (Musicology) comprises only my original work except where due acknowledgement is made in the text to all other material used. Signature: ______________________________________ Name in Full: ______________________________________ Date: ______________________________________ iii ABSTRACT Pietro Alessandro Guglielmi’s opera buffa or bernesca, titled Lo spirito di contradizione, premièred in Venice in 1766. It was based on another work that had successfully premièred in 1763 as a Neapolitan opera: Lo sposo di tre, e marito di nessuna. The libretto for Lo sposo di tre, e marito di nessuna was written by Antonio Palomba, and concerns a man who attempts to marry three women and escape with their dowries. In setting this opera, Guglielmi collaborated with Neapolitan composer Pasquale Anfossi, with the former contributing the Opening Ensemble, the three finali and the Baroness’s aria in the third act. After moving to Venice in the mid 1760s, Guglielmi requested Gaetano Martinelli to re- fashion the libretto, keeping the story essentially the same for his new opera Lo spirito di contradizione. Guglielmi wrote all the music for his new production, retaining some of his former ideas. I argue that Pietro Alessandro Guglielmi was a prominent composer and significant eighteenth-century industry figure whose output should be re-incorporated into the repertory of modern performance. -
Famiglie Di Cantanti E Compagnie Di Opera Buffa Negli Anni Di Goldoni
Famiglie di cantanti e compagnie di opera buffa saggi negli anni di Goldoni Franco Piperno Un’immagine stereotipa dell’opera italiana del Sei- Settecento è quel- la del grande evirato ritratto o in posa elegantemente vestito, indizio del rango sociale inequivocabilmente raggiunto – ne sono esempi il dipinto di Andrea Sacchi che ritrae Marcantonio Pasqualini incoronato da Apollo (1641) ora al Metropolitan saggi Museum di New York1 o uno dei tanti dedicati a Carlo Broschi detto Farinello fra 29 cui, notissimo, quello di Corrado Giaquinto (1755) conservato al Museo internazio- nale e biblioteca della musica di Bologna2 – o nell’atto di esibirsi davanti a spetta- tori sia in teatro, sia nel privato di un salotto: ad esempio Nicola Grimaldi detto Nicolino dipinto da Marco Ricci in una prova d’opera a Londra attorno al 17103. Se il cantante d’opera è raffigurato assieme ad altri, il dipinto o il disegno ne sot- tolineano in ogni caso, nella posa o negli abiti, il protagonistico individualismo: lo provano ad esempio una nota caricatura di anonimo che ritrae Gaetano Beren- stadt, Francesca Cuzzoni e Francesco Bernardi detto Senesino in abiti di scena alle prese con un’opera di Haendel a Londra nel 17234 o i disegni di soggetto ope- ristico di Giuseppe Ghezzi o Anton Maria Zanetti5. Quanto osservato si riferisce al cosmo della cosiddetta “opera seria”, il dramma per musica identificato perlopiù nella produzione esemplare di Apostolo Zeno e Pietro Metastasio destinata in primis ai teatri di corte o ai principali teatri di città. Diverso il caso del parallelo mondo degli “intermezzi” e della “opera buffa”, della commedia per musica di 29-39 1. -
Cappella Neapolitana Antonio Florio, Conductor
Evangelista : Raffaele Pe, countertenor Christus : Luca Cervoni, tenor Pilatus : Marco Bussi, bass Simon Petrus / Servus i : Renato Dolcini, bass Ancilla / Servus ii : Valentina Argentieri, soprano Cappella Neapolitana Alessandro Ciccolini, Marco Piantoni, Rossella Pugliano, Matteo Saccà, violins Rosario Di Meglio, viola Jorge Alberto Guerrero, Adriano Fazio, cellos Giorgio Sanvito, double bass Carlo Barile, organ Patrizia Varone, harpsichord Franco Pavan, Paola Ventrella, theorbos Ghislieri Choir directed by Giulio Prandi Valentina Argentieri, Marta Redaelli, Sonia Tedla, sopranos Isabella Di Pietro, Marta Fumagalli, altos Michele Concato, Paolo Tormene, tenors Renato Cadel, Renato Dolcini, basses Antonio Florio, conductor Gaetano Veneziano (1656-1716) Passio La Passione secondo Giovanni. Napoli c .1685 01 Passio Domini nostri Jesu Christi (Evangelista) 4:29 02 Iesus itaque sciens omnia (Evangelista, Christus, Chorus) 3:54 03 Mitte gladium tuum in vaginam (Christus, Evangelista, Ancilla, Simon Petrus) 2:52 04 Stabant autem servi et ministri (Evangelista, Christus, Servus i) 2:16 05 Si male locutus sum (Christus, Evangelista, Chorus, Simon Petrus, Servus ii ) 4:08 06 Quam accusationem affertis (Pilatus, Evangelista, Chorus, Christus) 9:09 07 Et dabant ei alapas (Evangelista, Pilatus, Chorus) 5:48 08 Non haberes potestatem (Christus, Evangelista, Chorus, Pilatus) 8:07 09 Ut Scriptura impleretur, dicens (Evangelista, Christus) 15:14 Revision and reconstruction by Antonio Florio ––––– In co-production with Ghislierimusica, Pavia – musica.ghislieri.it -
À Madame / Madame Marie Anne Mozart / À / Salzbourg / Franco1
0302. LEOPOLD MOZART TO HIS WIFE , SALZBURG ; POSTSCRIPTS BY WOLFGANG AND LEOPOLD À Madame / Madame Marie Anne Mozart / à / Salzbourg / Franco 1 Munich, 16 th Decemb ., 1774. Now Nannerl 2 has lodgings, and just where do you think? – – [5] With Madame , or rather, with the gracious widow Frau von Durst, 3 formerly the wife of the salt mine director at Reichenhall, to whom Herr von Mölk 4 so often drove, and whom we have heard mentioned so often, to a woman who is at most 26 or 28 years old, brunette, with black eyes, very withdrawn and extremely well-read and sensible, who by the way does not tolerate any obsequious types around her, [10] and is very polite and pleasant. And who do you think helped me to get me this place? – – Herr von Dufraisne .5 He asked me why I had not brought Nannerl with me as well. I told him that she did indeed have the opportunity to come to Munich in the company of Md. me von Robini ,6 but since we were staying with Herr von Pernat ,7 I knew of nowhere for her to stay. [15] He reflected, and finally said to me that he knew of a place, with Md:e von Durst. He wanted to speak to her privately and hear what she said; he had high hopes, since she is completely alone and is a person on whom no-one calls, except her closest friends and the parents of Herr Dufresne .8 He then brought me the news that it was in order as far as it goes, [20] but she had reservations she might bring Herr von Belval 9 into the house, because she knows that he visited us in Salzburg. -
Who Was Who in the Old Conservatories
Who Was Who In The Old Conservatories Timelines of the Various Maestros Along with Brief Histories of their Institutions The Loreto The orphanage of Santa Maria di Loreto was founded in 1535 in the poor fishermen’s district of Naples. Both boys and girls were taken in until a separate school for girls opened in 1543. Children were taught various trades, which included music after the hiring of professional music teachers (between 1630 and 1640). From 1644 onward, boys able to pay tuition could also enroll. During the eighteenth century the conservatory be- came one of Europe’s finest schools of music. The unsettled times caused by the Napoleanic wars led to Ferdinand IV req- School Uniform uisitioning the conservatory’s building in 1797 for use as a mili- tary hospital. Teachers and students moved to the conservatory of Sant’Onofrio. Finally, in 1806, the remants of Sant’Onofrio and S. M. di Loreto combined with the Pietà dei Turchini to create the new Royal College of Music. Conservatorio di Santa Maria di Loreto First Masters Second Masters Don Pietro Bartilotti 1689 1690 Nicola Acerbo Gaetano Veneziano 1695 1705 Don Giuliano Perugino Don Giuliano Perugino 1716 Giovanni Veneziano Francesco Mancini 1720 1737 Giovanni Fischietti Nicola Porpora 1739 1741 Francesco Durante 1742 Pierantonio Gallo 1755 Gennaro Manna (with Gallo) 1756 1761 Antonio Sacchini 1762 Fedele Fenaroli Fedele Fenaroli 1777 Saverio Valente Giacomo Tritto 1797 Giovanni Paisiello 1806 Fedele Fenaroli S. M. di Loreto loses its building and moves to S. Onofrio. Niccolò Zingarelli 1813 S. M. di Loreto merges with the Pietá to form the Real Collegio di Musica. -
Aria Pro Omni Festo Domenica Fischiettiho Uložená V ODH MZM
Masarykova univerzita Filozofická fakulta Ústav hudební vědy Teorie a provozovací praxe staré hudby Zuzana Badárová Aria pro omni festo Domenica Fischiettiho uložená v ODH MZM Bakalárska diplomová práca prof. PhDr. Jana Perutková, Ph.D. Brno 2021 Prehlasujem, že som bakalársku diplomovú prácu vypracovala samostatne s použitím uvedených prameňov a literatúry. V Brne ................................................... Zuzana Badárová Rada by som na tomto mieste venovala svoju veľkú vďaku vedúcej tejto bakalárskej diplomovej práce prof. PhDr. Jane Perutkovej, Ph.D. za jej stálu pomoc a vedenie, podnetné rady a cenné pripomienky a v neposlednom rade za jej neskonalú ochotu a trpezlivosť. Veľké poďakovanie takisto patrí MgA. Marekovi Čermákovi za jeho nápomocnú ruku pri edičnej činnosti a takisto Mgr. Zuzane Lukšovej, Ph.D. za jej asistenciu pri preklade latinského textu árie. Obsah Úvod ...................................................................................................................................... 5 1 Stav bádania ................................................................................................................... 7 2 Životopis skladateľa ...................................................................................................... 16 3 Popis prameňa .............................................................................................................. 20 3.1 Uloženie a pôvod ................................................................................................... 20 3.2 Fyzický -
Vom Schäferidyll Zur Revolution
VOM SCHÄFERIDYLL ZUR REVOLUTION Europäische Tanzkultur im 18. Jahrhundert 2. Rothenfelser Tanzsymposion 21.―25. Mai 2008 Tagungsband Herausgegeben von Uwe Schlottermüller, Howard Weiner und Maria Richter Tagungsband zum 2. Rothenfelser Tanzsymposion 21.―25. Mai 2008 Bibliografische Information Der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. Die Titelfigur entwarf der Modelleur Carl Fuchs im Jahr 1927; sie stammt aus der »Aeltesten Volkstedter Porzellanmanufaktur« in Thüringen. Für unseren Tagungsband wurde sie mit einem roten Halsband versehen: Mit diesem Erkennungszeichen durfte man bestimmte Bälle besuchen, wenn (mindestens) ein Familienangehöriger auf der Guillotine hingerichtet worden war. Freiburg 2008 © »fa-gisis« Musik- und Tanzedition Uwe W. Schlottermüller Postfach 5266 79019 Freiburg Alle Rechte vorbehalten ISBN 978-3-931344-06-1 INHALT Vorwort / Foreword 7 ROMANA AGNEL The Origins and the Symbolism of the Polonaise 9 GILES BENNETT Elementarer Tanzunterricht am Dresdner Hof. Louis Delpêch und seine Leçons de danse (1772) 17 DEDA CRISTINA COLONNA The »Demoiselle« Behind the Score. A Tentative Technical Portrait of Mlle Guiot as She appears in the Choreographies Bearing her Name in the Pécour-Gaudrau Collection 39 ANNE MARGRETE FISKVIK / EGIL BAKKA Vincenzo Galeotti’s Norwegian Springdance – Stereotype or Fantasy? 53 JANE GINGELL The Triumph of Anti-Fashion. How Conservatism Nurtured Innovation in 18th-Century Spain 71 GLORIA GIORDANO Two 18th-century Italian Choreographies discovered in the Cia Fornaroli Collection at The New York Public Library 83 SABINE HUSCHKA Die Darstellungsästhetik des »ballet en action«. Anmerkungen zum Disput zwischen Gasparo Angiolini und Jean Georges Noverre 93 GUILLAUME JABLONKA Zur Notation der Pantomime im »Ms. -
Didone by Cavalli and Busenello: from the Sources to Modern Productions
De musica disserenda III/2 • 2007 • 13–1 DIDONE BY CAVALLI AND BUSENELLO: FROM THE SOURCES TO MODERN PRODUCTIONS DINKO FABRIS Università degli Studi della Basilicata, Potenza Izvleček: Opera Didone je bila drugi pomem- Abstract: Didone was the second operatic bnejši skupni projekt libretista Busenella in project carried out by the librettist Busenello skladatelja Cavallija. Pomen te opere je bil vse and the composer Cavalli. However, its impor do sedaj podcenjen. Med številne nesporazume tance has until recently been underestimated. v zvezi s to opero sodi tudi zmota glede edine One of several misunderstandings is that the preživele partiture, ki je bila napačno povezana only extant score has erroneously been consid z beneško premiero te opere leta 1641. Po pri- ered to be related to the Venetian première of merjavi vseh znanih virov – vključno z doslej the opera in 1641. Following the comparison neznanim izvodom libreta, tiskanega v Neaplju of all surviving sources – including a previously leta 1650 – lahko sedaj beneško partituro po- unknown exemplar of the libretto printed in vežemo z neapeljsko izvedbo v letu 1650. Naples – it is now possible to relate the Venetian Ključne besede: Francesco Cavalli, Pier- score to the Neapolitan performance in 1650. francesco Busenello, Didone, beneška opera, Keywords: Francesco Cavalli, Pierfrancesco Neapelj. Busenello, Didone, Venetian opera, Naples. Didone was the third opera that Francesco Cavalli composed for Venice, in 1641. In terms of the current interest in musical theatre from the Baroque age it is of special significance for a variety of reasons. It was the first opera to be performed in Naples (in 1650), inaugurating a tradition that was destined to become one of the most glorious in the whole of Europe. -
Music in Seventeenth-Century Naples: Francesco Provenzale
MUSIC IN SEVENTEENTH-CENTURY NAPLES Taylor & Francis Taylor & Francis Group http:/taylorandfrancis.com Music in Seventeenth- Century Naples Francesco Provenzale (1624–1704) DINKO FABRIS University of Basilicata, Italy ROUTLEDGE Routledge Taylor & Francis Group LONDON AND NEW YORK &IRSTPUBLISHEDBY!SHGATE0UBLISHING 0UBLISHEDBY2OUTLEDGE 0ARK3QUARE -ILTON0ARK !BINGDON /XON/82. 4HIRD!VENUE .EW9ORK .9 53! 2OUTLEDGEISANIMPRINTOFTHE4AYLOR&RANCIS'ROUP ANINFORMABUSINESS #OPYRIGHT© Dinko Fabris 2007 Dinko Fabris has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. !LL RIGHTS RESERVED .O PART OF THIS BOOK MAY BE REPRINTED OR REPRODUCED OR UTILISED IN ANY FORM OR BY ANY ELECTRONIC MECHANICAL OR OTHER MEANS NOW KNOWN OR HEREAFTER INVENTED INCLUDING PHOTOCOPYING AND RECORDING OR IN ANY INFORMATION STORAGE OR RETRIEVAL SYSTEM WITHOUTPERMISSIONINWRITINGFROMTHEPUBLISHERS .OTICE 0RODUCTORCORPORATENAMESMAYBETRADEMARKSORREGISTEREDTRADEMARKS ANDAREUSED ONLYFORIDENTIFICATIONANDEXPLANATIONWITHOUTINTENTTOINFRINGE British Library Cataloguing in Publication Data Fabris, Dinko. Music in seventeenth-century Naples : Francesco Provenzale (1624-1704) 1. Provenzale, Francesco 2. Composers – Italy – Naples – Biography 3. Music – Italy – Naples – History – 17th century I. Title 780’.9.2 Library of Congress Cataloging-in-Publication Data Fabris, Dinko. Music in seventeenth-century Naples : Francesco Provenzale (1624-1704) / Dinko Fabris. p. cm. Includes a list of Provenzale’s works (p. ), bibliographical