DOCSLIB.ORG

Amanda Forsythe Soprano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Amanda Forsythe Soprano THE POWER OF Love ARIAS FROM HANDEL OPERAS Amanda Forsythe soprano ON PERIOD INSTRUMENTS George Frideric HANDEL (1685–1759) THE POWER OF LOVE Arias from Handel Operas AMANDA FORSYTHE, soprano APOLLO’S FIRE | The Cleveland Baroque Orchestra | on period instruments Jeannette Sorrell, direction q Amor è qual vento, from Orlando 4:57 w Geloso tormento, from Almira 7:07 e Un cenno leggiadretto, from Serse 4:23 r Chaconne from Terpsichore 4:43 t Qual farfalletta, from Partenope 6:12 y Piangerò, from Giulio Cesare 7:32 u Entrée (Jalousie) from Terpsichore 1:59 i Il primo ardor, from Ariodante 3:38 o Dunque I lacci/Ah, crudel!, from Rinaldo 7:47 1) Air from Terpsichore 2:30 1! Tornami a vagheggiar, from Alcina 5:11 1@ Amarti si vorrei, from Teseo 5:35 1# Ballo from Terpsichore 1:34 1$ Da Tempeste, from Giulio Cesare 6:05 TOTAL TIME: 69:20 —2 — TEXTS & TRANSLATIONS Amor è qual vento, from Orlando Qual farfalletta, from Partenope Amor è qual vento, Love is like the wind, che gira il cervello, that makes the brain turn, Qual farfalletta Like a little butterfly, ho inteso che a cento I heard that it starts Giro a quel lume I turn around that lamp. commincia bel bello when it pleases to give E ‘l mio Cupido And my Cupid a farli godere, a hundred pleasures, Le belle piume burns ma a un corto piacere but for a short pleasure, Ardendo va. the beautiful feathers. dà un lungo dolor. it offers long suffering. Quel brio m’alletta The sparkle entices me, Se uniti due cori If two united hearts Perché m’è fido because he is true to me, si credon beati believe they are happy La mia costanza my loyalty gelosi timori jealous fears ogn’altra avanza is greater than anyone else’s li fan sfortunati; make them unhappy; cangiar non sa. and it won’t change. se un core è sprezzato, if a heart is scorned, divien arrabbiato, it becomes angered, così fa l’amor. this is how love works. Piangerò, from Giulio Cesare Geloso tormento, from Almira RECITATIVO RECITATIVE E pur così in un giorno So it is thus that in one day I lose both Geloso tormento mi va rodendo il cor. The torment of jealousy is gnawing perdo fasti e grandezze? Ahi fato rio! pomp and grandeur? Cruel fate! at my heart. Cesare, il mio bel nume, è forse estinto; Cesare, my beautiful god, is perhaps dead; Non dite, che vile quest’anima sia, Don’t say that this soul is unworthy, Cornelia e Sesto inermi son, né sanno Cornelia and Sesto are powerless and ch’il morir di gelosia for dying of jealousy darmi soccorso. O dio! can’t help me. O god! tra le morti è la peggior. is the worst way to die. Non resta alcuna speme al viver mio. There is no more hope in my life. ARIA ARIA Un cenno leggiadretto, from Serse Piangerò la sorte mia, I will cry my fate, sì crudele e tanto ria, so cruel and mean, Un cenno leggiadretto, A pretty little gesture, finché vita in petto avrò. so long as I have life in my breast. un riso vezzosetto, a charming little smile, Ma poi morta d’ogn’intorno But then when dead, turned ghost, un moto di pupille a movement of the eye il tiranno e notte e giorno I will agitate the tyrant può far innamorar. can make one fall in love. fatta spettro agiterò. all around night and day. Lusinghe, pianti e frodi Flattery, weeping and deceptions son anche certi modi, are other certain ways, che destano faville, to generate sparks, e tutti io li so far. and I know how to do them all. —3 — TEXTS & TRANSLATIONS Il primo ardor, from Ariodante Tornami a vagheggiar, from Alcina Il primo ardor The first flame is so Tornami a vagheggiar, Look at me again, è così caro a questo cor, dear to this heart, te solo vuol’ amar for this loyal soul ch’estinguerlo non vuol that this loving soul quest’ anima fedel, wants to love only you, quest’alma amante. doesn’t want to put it out. caro, mio bene! my dear one! Io son fedel, I am faithful, Già ti donai il mio cor I have already given you my heart, nè mai crudel, never cruel, fido sarà il mio amor; my love will be true; e sempre a lui sarà and my heart will always mai ti sarò crudel, I will never be cruel to you il cor costante. be loyal to him. cara mia spene. oh my beloved hope. Dunque I lacci/Ah crudel, from Rinaldo Da Tempeste, from Giulio Cesare RECITATIVO RECITATIVE Da tempeste il legno infranto, The ship shattered by storm Dunque i lacci d’un volto, Will the lines of a face, se poi salvo giunge in porto, if it then reaches safely a port, tante gioie promesse, with so much promised happiness, non sa più che desiar. doesn’t know what else to desire. li spaventi d’Inferno, the terrors of Hell, Così il cor tra pene e pianto, Thus between pain and a weeping heart forza n’avran per arrestar quel crudo? have enough strength to stop one? or che trova il suo conforto, now that it finds its comfort E tu il segui, o mio core! And you follow him, my heart! torna l’anima a bear. again makes the soul happy. Fatto trofeo d’un infelice amore! you, now the trophy of an unhappy love! No! si svegli ‘l furore, No, let the fury awake, si raggiunga l’ingrato, let it reach the ungrateful one, translations by Alexandra Amati-Camperi cada a’ miei piè svenato! let him fall dead at my feet! Ohimè! Che fia? Uccider l’alma mia? Alas, what? To kill my loved one? Ah! Debole mio petto, Ah, my weak breast, a un traditor anco puoi dar ricetto? can you still welcome a traitor? Su, su, furie, ritrovate Go, go, furies, find nova sorte di pena e di flagello! a new kind of pain and punishment! s’uccida, sì... eh! no, ch’è troppo bello! let him be killed, yes... no, for he’s too handsome! ARIA ARIA Ah! crudel, Alas! Cruel one, Il pianto mio let me weeping Deh! Ti mova per pietà! move you to mercy! O infedel, Oh unfaithful al mio desio you will taste the cruelty proverai la crudeltà. of my desire. —4 — Love, Despair & Virtuoso Fire by Jeannette Sorrell George Frideric Handel dominated the London opera stage for three decades in the first half of the 18th century. Along with his contemporaries Rameau and Vivaldi, Handel was responsible for bringing the genre of baroque opera to its culmination. With a sophisticated background including early training in Germany followed by five years of study in Italy, Handel arrived on the London scene at a moment when the city was ready to embrace his blend of ambition and international sophistication. A true artist-entrepreneur, he started three commercial opera companies within fifteen years, managing to convince the English nobility that they absolutely needed this entertainment in a foreign language with mostly foreign singers. However, the London audience was fickle. Handel’s successes spawned rivals. He both made and lost a fortune during his years as the Andrew Lloyd Webber of 18th-century London. Like the characters to whom he gave voice, Handel was destined for tumultuous successes, failures, and upheavals. Perhaps this is inevitable for anyone who dedicates himself to that passionate art form of love and despair: opera. Our exploration of the power of love in Handel’s writing traverses nine different operas and a ballet. Here follows a brief introduction to each of these works. In these notes, the operas are listed in chronological order, allowing us to trace the composer’s development and creative path over the course of thirty years. Almira, Queen of Castile (1705). This was Handel’s first opera, composed when he was spending a summer playing in the Hamburg orchestra at the age of 19. The libretto is partly in German and partly in Italian, as was the custom at the Hamburg opera house. The opera was a great success. The story concerns the young Queen Almira, who has recently inherited the throne. She is supposed to marry a prince, but is secretly in love with her secretary, Fernando. In the Act I aria “Geloso tormento,” Almira sings of her jealous anguish as she believes (mistakenly) that Fernando is flirting with another woman. Handel brilliantly conveys both her rage and her sorrow through the orchestral writing, where the oboe plays a lyrical lament while the strings play pounding repeated notes, which are marked “forte” by Handel each time they appear. Rinaldo (1711). This was Handel’s first opera for London, and in fact it was the first Italian-language opera written specifically for the London stage. Exploring the themes of love, battle and redemption, the story is set during the Crusades and is inspired by Torquato Tasso’s 1581 epic poem Gerusalemme liberata (Jerusalem Delivered). The opera faced some resistance from London critics hostile toward the new trend of Italian language. Nevertheless, it was a great popular success, thanks to the richly colorful orchestration and many special staging effects. George Frideric Handel by Balthasar Denner (1685–1749) oil on canvas, c. 1726–1728, National Portrait Gallery —5 — Rinaldo is a nobleman in the Christian army that is laying siege to imagines the vengeance she will wreak on her enemies after her death, Jerusalem. His betrothed, Almirena, is abducted by the sorceress Armida, as a ghost.
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • Boston Early Music Festival Announces 2013 Festival
    FOR IMMEDIATE RELEASE: April 1, 2012 CONTACT: Kathleen Fay, Executive Director | Boston Early Music Festival 161 First Street, Suite 202 | Cambridge, MA 02142 617-661-1812 | [email protected] | www.bemf.org BOSTON EARLY MUSIC FESTIVAL ANNOUNCES 2013 FESTIVAL OPERATIC CENTERPIECE , HANDEL ’S ALMIRA Cambridge, MA – April 1, 2012 – The Boston Early Music Festival has announced plans for the 2013 Festival fully-staged Operatic Centerpiece Almira, the first opera by the celebrated and beloved Baroque composer, George Frideric Handel (1685–1759), in its first modern-day historically-conceived production. Written when he was only 19, Almira tells a story of intrigue and romance in the court of the Queen of Castile, in a dazzling parade of entertainment and delight which Handel would often borrow from during his later career. One of the world’s leading Handel scholars, Professor Ellen T. Harris of MIT (Massachusetts Institute of Technology), has said that BEMF is the “perfect and only” organization to take on Handel’s earliest operatic masterpiece, as it requires BEMF’s unique collection of artistic talents: the musical leadership, precision, and expertise of BEMF Artistic Directors Paul O’Dette and Stephen Stubbs; the stimulating and informed stage direction and magnificent production designs of BEMF Stage Director in Residence Gilbert Blin; “the world’s finest continuo team, which you have”; the highly skilled BEMF Baroque Dance Ensemble to bring to life Almira ’s substantial dance sequences; the all-star BEMF Orchestra; and a wide range of superb voices. BEMF will offer five fully-staged performances of Handel’s Almira from June 9 to 16, 2013 at the Cutler Majestic Theatre at Emerson College (219 Tremont Street, Boston, MA, USA), followed by three performances at the Mahaiwe Performing Arts Center (14 Castle Street, Great Barrington, MA, USA) on June 21, 22, and 23, 2013 ; all performances will be sung in German with English subtitles.
    [Show full text]
  • The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
    The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet
    [Show full text]
  • Female Soprano Roles in Handel's Operas Simple
    Female Soprano Roles in Handel's 39 Operas compiled by Jennifer Peterson, operamission a recommended online source for plot synopses Key Character Singer who originated role # of Arias/Ariosos/Duets/Accompagnati Opera, HWV (Händel-Werke-Verzeichnis) Almira, HWV 1 (1705) Almira unknown 8/1/1/2 Edilia unknown 4/1/1/0 Bellante unknown 2/2/1/1 NOTE: libretto in both German and Italian Rodrigo, HWV 5 (1707) Esilena Anna Maria Cecchi Torri, "La Beccarina" 7/1/1/1 Florinda Aurelia Marcello 5/1/0/0 Agrippina, HWV 6 (1709) Agrippina Margherita Durastanti 8/0/0 (short quartet)/0 Poppea Diamante Maria Scarabelli 9/0/0 (short trio)/0 Rinaldo, HWV 7 (1711) Armida Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/1/2/1 Almirena Isabella Girardeau 3/1/1/0 Il Pastor Fido, HWV 8 (1712) Amarilli Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/0/1/1 Eurilla Francesca Margherita de l'Épine, "La Margherita" 4/1/0/0 Page 1 of 5 Teseo, HWV 9 (1712) Agilea Francesca Margherita de l'Épine, "La Margherita" 7/0/1/0 Medea – Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/2 Clizia – Maria Gallia 2/0/2/0 Silla, HWV 10 (?1713) Metella unknown 4/0/0/0 Flavia unknown 3/0/2/0 Celia unknown 2/0/0/0 Amadigi di Gaula, HWV 11 (1715) Oriana Anastasia Robinson 6/0/1/0 Melissa Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/0 Radamisto, HWV 12 (1720) Polissena Ann Turner Robinson 4/1/0/0 Muzio Scevola, HWV 13 (1721) Clelia Margherita Durastanti 2/0/1/1 Fidalma Maddalena Salvai 1/0/0/0 Floridante, HWV 14 (1721) Rossane Maddalena Salvai 5/1/1/0 Ottone, HWV 15 (1722) Teofane Francesca
    [Show full text]
  • Bach Festival the First Collegiate Bach Festival in the Nation
    Bach Festival The First Collegiate Bach Festival in the Nation ANNOTATED PROGRAM APRIL 1921, 2013 THE 2013 BACH FESTIVAL IS MADE POSSIBLE BY: e Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil DEDICATION ELINORE LOUISE BARBER 1919-2013 e Eighty-rst Annual Bach Festival is respectfully dedicated to Elinore Barber, Director of the Riemenschneider Bach Institute from 1969-1998 and Editor of the journal BACH—both of which she helped to found. She served from 1969-1984 as Professor of Music History and Literature at what was then called Baldwin-Wallace College and as head of that department from 1980-1984. Before coming to Baldwin Wallace she was from 1944-1969 a Professor of Music at Hastings College, Coordinator of the Hastings College-wide Honors Program, and Curator of the Rinderspacher Rare Score and Instrument Collection located at that institution. Dr. Barber held a Ph.D. degree in Musicology from the University of Michigan. She also completed a Master’s degree at the Eastman School of Music and received a Bachelor’s degree with High Honors in Music and English Literature from Kansas Wesleyan University in 1941. In the fall of 1951 and again during the summer of 1954, she studied Bach’s works as a guest in the home of Dr. Albert Schweitzer. Since 1978, her Schweitzer research brought Dr. Barber to the Schweitzer House archives (Gunsbach, France) many times. In 1953 the collection of Dr. Albert Riemenschneider was donated to the University by his wife, Selma. Sixteen years later, Dr. Warren Scharf, then director of the Conservatory, and Dr.
    [Show full text]
  • The Return of Handel's Giove in Argo
    GEORGE FRIDERIC HANDEL 1685-1759 Giove in Argo Jupiter in Argos Opera in Three Acts Libretto by Antonio Maria Lucchini First performed at the King’s Theatre, London, 1 May 1739 hwv a14 Reconstructed with additional recitatives by John H. Roberts Arete (Giove) Anicio Zorzi Giustiniani tenor Iside Ann Hallenberg mezzo-soprano Erasto (Osiri) Vito Priante bass Diana Theodora Baka mezzo-soprano Calisto Karina Gauvin soprano Licaone Johannes Weisser baritone IL COMPLESSO BAROCCO Alan Curtis direction 2 Ouverture 1 Largo – Allegro (3:30) 1 2 A tempo di Bourrée (1:29) ATTO PRIMO 3 Coro Care selve, date al cor (2:01) 4 Recitativo: Licaone Imbelli Dei! (0:48) 5 Aria: Licaone Affanno tiranno (3:56) 6 Coro Oh quanto bella gloria (3:20) 7 Recitativo: Diana Della gran caccia, o fide (0:45) 8 Aria: Diana Non ingannarmi, cara speranza (7:18) 9 Coro Oh quanto bella gloria (1:12) 10 Aria: Iside Deh! m’aiutate, o Dei (2:34) 11 Recitativo: Iside Fra il silenzio di queste ombrose selve (1:01) 12 Arioso: Iside Vieni, vieni, o de’ viventi (1:08) 13 Recitativo: Arete Iside qui, fra dolce sonno immersa? (0:23) 14 Aria: Arete Deh! v’aprite, o luci belle (3:38) 15 Recitativo: Iside, Arete Olà? Chi mi soccorre? (1:39) 16 Aria: Iside Taci, e spera (3:39) 17 Arioso: Calisto Tutta raccolta ancor (2:03) 18 Recitativo: Calisto, Erasto Abbi, pietoso Cielo (1:52) 19 Aria: Calisto Lascia la spina (2:43) 20 Recitativo: Erasto, Arete Credo che quella bella (1:23) 21 Aria: Arete Semplicetto! a donna credi? (6:11) 22 Recitativo: Erasto Che intesi mai? (0:23) 23 Aria: Erasto
    [Show full text]
  • Rinaldo and Armida on a Chariot Drawn by Dragons Pen and Brown Ink, Over Traces of an Underdrawing in Pencil, on Buff Paper, with Framing Lines in Brown Ink
    Luigi SABATELLI (Florence 1772 - Milan 1850) Rinaldo and Armida on a Chariot Drawn by Dragons Pen and brown ink, over traces of an underdrawing in pencil, on buff paper, with framing lines in brown ink. Signed Luigi Sabatelli fece at the lower left. 424 x 699 mm. (16 1/4 x 27 1/2 in.) [image] 480 x 754 mm. (18 7/8 x 29 3/4 in.) [sheet] In his posthumously published autobiography, Luigi Sabatelli recalled of his youthful period in Rome in the 1790s that he became well known for his finished drawings in pen and ink. The sale of these scenes from Greek, Roman and Florentine history, as well as episodes from Homer, Dante, Shakespeare, Milton and the Old Testament, earned him some one hundred zecchini over four years. His highly finished pen drawings, and the engravings derived from them, were greatly admired by his contemporaries, and many of these independent drawings were sold to collectors. Sabatelli’s bold and inventive draughtsmanship reveals the influence of Michelangelo, as well as the Anglo-Swiss artist Johann Heinrich Fuseli. A talented printmaker in his own right, Sabatelli also provided finished drawings for other engravers. Among his engraved designs are the series of Pensieri diversi, published in Rome in 1795, and The Plague of Florence, inspired by Boccaccio’s Decameron and published in 1801. A superb example of the vigour of Luigi Sabatelli’s pen draughtsmanship, and what has been aptly described as the artist’s ‘virtuoso calligraphy’, this very large drawing may be dated to the artist’s years in Rome, between 1789 and 1794, and in particular towards the end of that period.
    [Show full text]
  • KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
    KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
    [Show full text]
  • George Frideric Handel (1685-1759) Ellen T
    MIT OpenCourseWare http://ocw.mit.edu 21M.013J The Supernatural in Music, Literature and Culture Spring 2009 For information about citing these materials or our Terms of Use, visit: http://ocw.mit.edu/terms. George Frideric Handel (1685-1759) Ellen T. Harris Alcina Opera seria: “serious opera”; the dominant form of opera from the late 17th century through much of the 18th; the texts are mostly based on history or epic and involve ethical or moral dilemmas affecting political and personal relationships that normally find resolution by the end Recitative: “recitation”; the dialogue or “spoken” part of the text, set to music that reflects the speed and intonation of speech; normally it is “simple” recitative, accompanied by a simple bass accompaniment; rarely in moments of great tension there can be additional orchestral accompaniments as in the incantation scene for Alcina (such movements are called “accompanied recitative”) Aria: the arias in opera seria are overwhelmingly in one form where two stanzas of text are set in the pattern ABA; that is, the first section is repeated after the second; during this repetition, the singer is expected to ornament the vocal line to create an intensification of emotion Formal units: individual scenes are normally set up so that a recitative section of dialogue, argument, confrontation, or even monologue leads to an aria in which one of the characters expresses his or her emotional state at that moment in the drama and then exits; this marks the end of the scene; scenes are often demarcated at the beginning
    [Show full text]
  • Iphigénie En Tauride
    Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
    [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]
  • Handel Arias
    ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry.
    [Show full text]