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Download Hommage an Tamburini Grußwort der Schirmherrin Sehr gerne habe ich die Schirmherrschaft der 29. Auflage Hommage an des Opernfestivals ROSSINI IN WILDBAD übernommen. Ein vielseitiges Potpourri aus Opern und Konzerten erwartet Antonio Tamburini die hoffentlich überaus zahlreichen Besucherinnen und Besucher der traditionellen Veranstaltungsreihe. Damit gedenken die Veranstalter des großen italienischen Kom- ponisten Gioachino Rossini, der, wie viele andere große Recital Geister, eine Zeit seines Lebens im heutigen Baden- mit Musik von Württemberg zubrachte. Balducci, Balfe, Bellini, Besonders freut mich, dass im Rahmen des Festivals auch der Nachwuchsförderung Coccia, Donizetti, Generali, eine tragende Rolle zukommt. Die Zahl der diversen Freizeitaktivitäten und auch der Marliani und Mercadante Ablenkungen ist heute sehr groß, gerade im Zeitalter der Digitalisierung. Nichts geht aber über das analoge, direkte Erleben szenischmusikalischer Darbietungen in Spitzen- qualität wie beim Belcanto Opera Festival ROSSINI IN WILDBAD. Vittorio Prato Bariton Dabei ist es wichtig, junge Menschen für das Musizieren – einer herausragend wert- José Miguel Pérez-Sierra Musikalische Leitung vollen kulturellen Aktivität – zu begeistern. Einige Musiker und Sängerkarrieren haben in Bad Wildbad ihren erfolgreichen Anfang genommen. Damit leistet ROSSINI IN WILD- BAD auch einen wertvollen und hochzuschätzenden Beitrag für die Karrierechancen junger Musikerinnen und Musiker. Auch in meiner täglichen bildungspolitischen Arbeit besitzt Musik eine wichtige Bedeutung. Mir ist dort der Musikunterricht in den Schulen sehr wichtig. Er legt die Grundlage für eigenes Musizieren der Schülerinnen und Schüler, für bewussten lebenslangen Musikgenuss und für die Pflege unschätzbar wertvollen Kulturgutes. ROSSINI IN WILDBAD trägt zu allen drei Aspekten inzwischen seit fast drei Jahr- zehnten einen glanzvollen und attraktiven Teil bei. Ich danke allen an der Organisation und Durchführung Beteiligten sehr herzlich und wünsche den Festival-Besuchern ein unvergessliches, wunderschönes und sommerlichfestliches Musikerlebnis. Trinkhalle | Bad Wildbad Mittwoch, 19. Juli 2017, 19.40 Uhr Dr. Susanne Eisenmann Ministerin für Kultus, Jugend und Sport des Landes Baden-Württemberg Konzert mit Pause 3 Camerata Bach Chor Poznań (Choreinstudierung: Ania Michalak) Virtuosi Brunenses (Künstlerische Leitung: Karel Mitáš) sowie Mitwirkende der Akademie BelCanto Programmgestaltung Reto Müller Vittorio Prato Musikalische Assistenz Michele D’Elia Beleuchtung Luigi Piotti Michael Feichtmeier Technik Moussé Dior Thiam Das Konzert wird vom SWR aufgezeichnet. Bitte schalten Sie während der Aufführung Ihre Mobiltelefone aus und unterlassen Sie das Fotografieren mit und ohne Blitzlicht. Ton- und Bildaufnahmen sind nicht gestattet Antonio Tamburini. Lithographie von Joseph Kriehuber, und führen zum sofortigen Saalverweis ohne Entschädigungsanspruch. Wien, Pietro Mechetti, 1828 (Sammlung Sergio Ragni, Neapel) 4 5 Programm 1. Teil Programm 2. Teil Pietro Generali (1783-1832) Giuseppe Balducci (1796-1845) Carlo Coccia (1782-1873) Saverio Mercadante (1795-1870) Chiara di Rosembergh (1820) Riccardo l’intrepido (1824) Edoardo in Iscozia (1831) I briganti (1836) Scena e Aria Montalban Scena e Aria Blondello Coro, Scena e Aria Edoardo Scena e Aria Corrado „Montalban! che vedesti? – „Bravi, bravi! – Sì: vittoria!“ „Non speranza di grandezza – „Tutto riposa – Ah no, vivi“ Nel periglioso istante“ Rossini in Wildbad, hrsg. von Aldo Salvagno Bell’alme in cui dal cielo“ Rossini in Wildbad, Neuedition aus den Manuskripten Rossini in Wildbad, hrsg. von Aldo Salvagno Mit dem Camerata Bach Chor Rossini in Wildbad, hrsg. von Aldo Salvagno nach Forschungen von Dr. Michael Wittmann erstellt Mit N.N.* (Amelia), N.N.* (Ilda), von Florian Bauer Gaetano Donizetti (1797-1848) Vincenzo Bellini (1801-1835) N.N.* (D’Argyle), N.N.* (Guido) Mit dem Camerata Bach Chor Gianni di Calais (1828) Adelson e Salvini (1825) und dem Camerata Bach Chor Cavatina Rustano Ouvertüre Michael William Balfe (1808-1870) „Una barchetta il mar solcando va“ Casa Ricordi, Kritische Ausgabe Marco Aurelio Marliani (1805-1849) Falstaff (1838) Herausgegeben von Anders Wiklund Il bravo (1834) Ouvertüre Mit dem Camerata Bach Chor Vincenzo Bellini (1801-1835) Orgia Gradenigo Herausgegeben von Valeria Langfield I puritani (1835) „Il fasto e lo splendore“ Gaetano Donizetti Aria Riccardo Rossini in Wildbad, hrsg. von Aldo Salvagno Michael William Balfe Don Pasquale (1843) „Ah! per sempre io ti perdei“ Mit dem Camerata Bach Chor Falstaff Ouvertüre Kalmus Music Aria Ford Kalmus Music Mit N.N.* (Bruno) Gaetano Donizetti (1797-1848) „Chi mai vedo“ L’ajo nell’imbarazzo (1824) Herausgegeben von Valeria Langfield Gaetano Donizetti Ouvertüre Don Pasquale Hrsg. von Maria Chiara Bertieri – Cantabile Malatesta Fondazione Donizetti, Bergamo „Bella siccome un angelo“ Mit N.N.* (Don Pasquale) Kalmus Music * Teilnehmer der Akademie BelCanto 6 7 Antonio Tamburini – ein Künstler ohne Rivalen Einleitung Paraderollen zählten. In den goldenen Beginn der Künstlerlaufbahn Jahren seiner Karriere, also im Zeitraum Unter den Berühmtheiten des italienischen zwischen seinem Debüt und 1850, Das Konzertprogramm dieser Hommage Belcanto im frühen 19. Jahrhundert verlieh Tamburini der für das Buffo- lässt Tamburinis künstlerische Laufbahn nimmt Antonio Tamburini (1800-1876) Genre charakteristischen brillanten Revue passieren: Sein Festhalten am eine sehr prominente Stellung ein. Dass Baritonstimme eine maßgebliche romantischen Bariton im Buffo-Repertoire er nicht den Rang großer Primadonnen Kontinuität. Gleichzeitig verstand er es, und der endgültige Erfolg in der Opera wie Giuditta Pasta (1797-1865) und auf die Bedürfnisse junger Komponisten seria. Die Stücke, die zu hören sein Maria Malibran (1808-1836) oder eines einzugehen, die die Baritonstimme im werden, entstammen dem Zeitraum Ausnahmetenors wie Giovanni Battista ernsten Fach etablierten, ihre Eigen- zwischen 1820 mit Chiara di Rosembergh Rubini (1794-1854) erlangte, hat einen schaften bestimmten und sie genau von Pietro Generali (1773-1832) und ganz praktischen Grund: Damals wie von den Bass- und Baritenorstimmen 1842 mit Donizettis Don Pasquale. Deren heute erntete ein Bariton, selbst wenn abgrenzten. Somit war Tamburini ein Gesangstil, der entsprechend der Praxis er allererster Güte war, nicht jene Vorzeigebeispiel für den romantischen jener Jahre den technischen Fähigkeiten uneingeschränkte Bewunderung, die Bariton, so wie er sich in den Opern von der Erstinterpreten angepasst wurde, das Publikum vorzugsweise Sopranen Gaetano Donizetti (1797-1848), Vincenzo ist ein klares Abbild der Kunstfertigkeit und Tenören entgegenbringt. Bellini (1801-1835), Saverio Mercadante des großen Sängers. (1795-1870), Giovanni Pacini (1796-1867) Hier gilt es klarzustellen, dass zur Zeit und weiteren Bühnenkomponisten dieser Tamburini wurde am 28. März in Faenza, „Ehret den allerhohen Sänger. Die Faentiner 1842 im Zeichen der Bewunderung“ (I-Nragni) als Tamburini erstmals die Opernbühne Zeit heranbildete. Tamburinis Laufbahn einer Stadt der Emilia, geboren. Sein Vater betrat, der Ausdruck basso cantante reichte bis in die sechziger Jahre hinein Pasquale, seines Zeichens Hornist, führte zunächst Dandini in La Cenerentola und unterschiedlichen Stimmen zugeordnet (seinen letzten Auftritt hatte er 1869 bei ihn an das Studium der Musik heran, dann Mustafà in L’italiana in Algeri, wobei wurde, und zwar einerseits richtigen einem Konzert im Pariser Grand Hôtel). um einen Instrumentalisten aus ihm zu sich unverzüglich glänzende Erfolge Bassstimmen und andererseits eigent- Zu Verdis Musik blieb ihm der Zugang machen. Alsbald erkannte er die Qualitä- anbahnten, was sein Engagement am lichen Baritonstimmen. In der ernsten allerdings verwehrt. In der Dramaturgie ten seiner schönen melodischen Stimme, Teatro Nuovo in Neapel bestätigt. Oper dienten die Baritenöre faktisch als der Verdi-Opern wird der Bariton zwar die er in der Belcanto-Tradition ausbilden Hier sang er am 30. Dezember 1820 in baritonale Stimmen, die dem Bariton so stets mit einer guten Singbarkeit bedacht, ließ, indem er seinen Sohn Aldebrando Generalis heroisch-komischer Oper Chiara sehr entsprachen, dass es für letzteren aber diese wird mit einer neuen Intensität Bossi anvertraute, dem Kapellmeister di Rosembergh. Tamburini verkörperte darin keine Verwendung gab. In der aufgeladen und mit einem heftigen von Fossombrone, das heute zur Region den hinterhältigen Montalban. Der Arie komischen Oper hingegen hatte der überschwänglichen Ausbruch vervoll- Marken gehört. Das Debüt fand in der des ersten Aktes geht ein langes Rezitativ Bariton seinen angestammten Platz. ständigt. Dies alles gaben Tamburinis Emilia in Cento, Mirandola und Correggio voraus, und zwar in einer Stimmlage, die So werden beispielsweise Dandini in Stimmbänder nicht her. Zudem war statt, wo er mit einer Wandertruppe in bis zum tiefen G hinuntergeht. Im La Cenerentola oder Figaro in Il barbiere seine Stimme, den Chronisten zufolge, La contessa di Colle Erboso auftrat, einer Andante „Nel periglioso istante“ über- di Siviglia von Baritonen gesungen. Es ist bereits seit Mitte der fünfziger Jahre Oper, die Pietro Generali 1813 kompo- nimmt der halbsyllabische Vokalstil die kein Zufall, dass diese zwei Partien, und in einem offenkundigen Niedergang niert hatte. Ferner sang er am Teatro Aufgabe, die Beklemmung der Figur spür- ganz besonders Figaro, zu Tamburinis begriffen. Comunale in Bologna. In Piacenza war er bar zu machen. In der Kadenz erreicht die
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