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NAXOS NAXOS Vincenzo BELLINI • Micu Vries • de Orgonasova • Giménez d’Artegna Papadjiakou Dilbèr (1801–1835) DDD The Netherlands Radio Choir and Chamber Orchestra • Zedda Orchestra and Chamber The Netherlands Radio Choir LA SONNAMBULA 8.660042-43 Melodrama in Two Acts Playing Time Libretto: Felice Romani 135:21 7 BELLINI Count Rodolfo, lord of the village .......................................Francesco Ellero d’Artegna, Bass 30099 Teresa, a mill owner ................................................ Alexandra Papadjiakou, Mezzo-soprano Amina, an orphan brought up by Teresa, betrothed to Elvino ....Luba Orgonasova, Soprano 60422 : Elvino, a rich land owner in the village ......................................................Raúl Giménez, Tenor La sonnambula Lisa, hostess of the inn, in love with Elvino....................................................... Dilbèr, Soprano Alessio, a villager, in love with Lisa .............................................................Nanco de Vries, Bass A Notary .................................................................................................................Ioan Micu, Tenor 2 www.naxos.com Made in Germany Booklet notes ℗ The Netherlands Radio Choir • Semyon Rozin, Director 1997 & The Netherlands Radio Chamber Orchestra Alberto Zedda, Conductor © 2021 Naxos Rights US, Inc. and synopsis in Disc 1 60:20 Disc 2 75:01 1–9 Act I (Beginning) 1–3 Act I (Conclusion) 22:39 4–8 Act II 52:22 8.660042-43 8.660042-43 Italian Libretto Enclosed English Recorded live: 14 November 1992 at the Amsterdam Concertgebouw, Netherlands Artistic director: Jan Zekveld • Producer: Patricia Dekker • Engineer: Jan Stellingwerff Post production: Eleanor Thomason, K&A Productions • Casting: Maurizio Fernandez • Booklet notes: Keith Anderson Cover painting: La sonnambula – Scene from a Viennese production.

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La Sonnambula 3 Content
Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera.
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BAZZINI Complete Opera Transcriptions
95674 BAZZINI Complete Opera Transcriptions Anca Vasile Caraman violin · Alessandro Trebeschi piano Antonio Bazzini 1818-1897 CD1 65’09 CD4 61’30 CD5 53’40 Bellini 4. Fantaisie de Concert Mazzucato and Verdi Weber and Pacini Transcriptions et Paraphrases Op.17 (Il pirata) Op.27 15’08 1. Fantaisie sur plusieurs thêmes Transcriptions et Paraphrases Op.17 1. No.1 – Casta Diva (Norma) 7’59 de l’opéra de Mazzucato 1. No.5 – Act 2 Finale of 2. No.6 – Quartet CD3 58’41 (Esmeralda) Op.8 15’01 Oberon by Weber 7’20 from I Puritani 10’23 Donizetti 2. Fantasia (La traviata) Op.50 15’55 1. Fantaisie dramatique sur 3. Souvenir d’Attila 16’15 Tre fantasie sopra motivi della Saffo 3. Adagio, Variazione e Finale l’air final de 4. Fantasia su temi tratti da di Pacini sopra un tema di Bellini Lucia di Lammeroor Op.10 13’46 I Masnadieri 14’16 2. No.1 11’34 (I Capuleti e Montecchi) 16’30 3. No.2 14’59 4. Souvenir de Transcriptions et Paraphrases Op.17 4. No.3 19’43 Beatrice di Tenda Op.11 16’11 2. No.2 – Variations brillantes 5. Fantaisia Op.40 (La straniera) 14’02 sur plusieurs motifs (La figlia del reggimento) 9’44 CD2 65’16 3. No.3 – Scène et romance Bellini (Lucrezia Borgia) 11’05 Anca Vasile Caraman violin · Alessandro Trebeschi piano 1. Variations brillantes et Finale 4. No.4 – Fantaisie sur la romance (La sonnambula) Op.3 15’37 et un choeur (La favorita) 9’02 2.
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Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century
Cambridge Opera Journal, 32,1,1–26 © The Author(s), 2020. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http:// creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/S0954586720000099 Rethinking Operatic Masculinity: Nicola Tacchinardi’s Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy PARKORN WANGPAIBOONKIT* Abstract: This article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women’s feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi’s criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self- definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d’Irminsul, La donna del lago and Norma demonstrate how singers established the compo- nents of masculine-heroic conventions through sensitive consideration of dramaturgy.
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Singing Maiden Characters in Romantic Vocal Music, 1800-1850
Heartfelt Love: Singing Maiden Characters in Romantic Vocal Music, 1800-1850 Haiman Liu An exegesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Music Victoria University of Wellington 2020 2 Abstract The images of maidens in Italian opera and German lieder from the period 1800-1850 are vivid. In the plots of the operas and the scenes and stories of the lieder almost invariably these characters focus enthusiastically on heartfelt love. This exegesis explores the relationship between the expression of love by unmarried women in selected lieder and opera of the first half of the nineteenth century and performance of these works by the young soprano in the twenty-first century. In the period when these songs and operas were written, performers of lieder would often have been of a similar age to the maiden characters portrayed in the songs, and in the case of Italian opera at the time, the singers who created such roles were usually in their twenties or early thirties. As a young soprano myself, in my study I consider some questions which are relevant for twenty-first century female singers who choose to perform these nineteenth-century portrayals of virgin characters. The figures in the works I have selected to study display a wide variety of personalities, moods and emotions, from the tenacious wild rose in Schubert’s ‘Heidenröslein’, to his passionate Gretchen and the melancholic Amina in Bellini’s La Sonnambula. I consider how the soprano may express the different emotions involved and approach performing young maiden characters such as these, whose experiences of life and status in society may be substantially removed from twenty-first century experiences.
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Premiere I PURITANI Opera Seria in Three Acts by Vincenzo Bellini Libretto by Carlo Pepoli Sung in Italian with German and English Surtitles
Premiere I PURITANI Opera seria in three acts by Vincenzo Bellini Libretto by Carlo Pepoli Sung in Italian with German and English surtitles Conductor: Tito Ceccherini Director: Vincent Boussard Set Designer: Johannes Leiacker Costume Designer: Christian Lacroix Video: Isabel Robson Lighting Designer: Joachim Klein Chorus Master: Tilman Michael Dramaturge: Zsolt Horpácsy Elvira: Brenda Rae / Zuzana Marková (January 2019) Lord Arturo Talbo: John Osborn Sir Riccardo Forth: Iurii Samoilov Lord Gualtiero Valton: Thomas Faulkner Sir Giorgio: Kihwan Sim Sir Bruno Roberton: Michael Porter Enrichetta di Francia: Bianca Andrew / Kelsey Lauritano (December 8th, 14th, 16th 2018) A woman: Sofia Pintzou Oper Frankfurt's Chorus; Frankfurter Opern- und Museumsorchester A co-production with the Opéra Royal de Wallonie, Liège With generous support from the Frankfurt Patronatsverein – Sektion Oper The opera seria I puritani by Vincenzo Bellini (1801-1835), one of the leading bel canto composers, was performed for the first time on January 24 1835 in the Théâtre Italien in Paris, in the edition written for it. The last masterpiece by this composer was performed for the first time in Italy at La Scala Milan that same year, not long before the composer died. After an argument between Bellini and Felice Romani, the librettist for seven of his nine operas, the less experienced Carlo Pepoli completed the texts, to make Bellini's own views on how it should be shaped possible. Bellini's meticulous orchestration of his almost endless arcs of melodies and use of dramatic motifs made up for the deficient, barely credible story line. Elvira, daughter of a puritan governor Lord Gualtiero Valton, is about to marry Lord Arturo Talbo, a follower of the almost crushed Stuarts.
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La Sonnambula
Vincenzo Bellini La Sonnambula CONDUCTOR Melodramma in two acts Evelino Pidò Libretto by Felice Romani PRODUCTION Mary Zimmerman Saturday, March 21, 2009, 1:00–3:45pm SET DESIGNER Daniel Ostling New Production COSTUME DESIGNER Mara Blumenfeld LIGHTING DESIGNER T.J. Gerckens CHOREOGRAPHER The production of La Sonnambula Daniel Pelzig was made possible by a generous gift from Mr. and Mrs. Paul M. Montrone. Additional funding for this production was received from the Hermione Foundation, The Gilbert S. Kahn and John J. Noffo Kahn Endowment Fund, Mr. and Mrs. William R. Miller, and the National Endowment for the Arts. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2008–09 Season The 71st Metropolitan Opera performance of This performance is Vincenzo Bellini’s broadcast live over The Toll Brothers– Metropolitan Opera International La Radio Network, sponsored by Toll Brothers, Sonnambula America’s luxury home builder®, with generous Conductor long-term Evelino Pidò support from The Annenberg Foundation c a s t in o r d e r o f v o c a l a p p e a r a n c e and the Lisa Vincent A. Stabile Endowment for Jennifer Black * Broadcast Media, and through Alessio contributions Jeremy Galyon from listeners worldwide. Amina Natalie Dessay This performance is also being broadcast Teresa live on Metropolitan Jane Bunnell Opera Radio on SIRIUS channel 78 Notary and XM channel 79. Bernard Fitch Natalie Dessay’s Elvino performance is Juan Diego Flórez underwritten by the Annenberg Count Rodolfo Principal Artists Michele Pertusi Fund. Saturday, March 21, 2009, 1:00–3:45pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
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La Cultura Italiana
LA CULTURA ITALIANA VINCENZO BELLINI (1801-1835) This month’s essay is about an Italian opera composer from Sicily who was known primarily for his long-flowing melodic lines that garnered for him the sobriquet “The Swan of Catania.” He was the quintessential composer of Bel Canto opera. He became a master of the varied possibilities of the human voice, teasing out the proficiencies for vocal production. In so doing, he created a novel art which culminated in the Bel Canto style. He saw a dual purpose for vocal works: first, for the development of the aria and vocal piece within the opera or context of the song, and second, for the wider context of presenting that opera or musical drama as a symbol of the beauty of human accomplishment within the arts. Vincenzo Salvatore Carmelo Francesco Bellini was born in Catania, Sicily, on November 3, 1801, the son of Rosario Bellini and Agata Ferlito Bellini. He was the eldest of his parents’ seven children. He was blond and blue-eyed, unusual for a Sicilian, a throw-back to his ancestors’ roots in central Italy. He was a child prodigy from a highly musical family. His grandfather, Vincenzo Tobia Bellini, had studied at the conservatory in Naples and, in Catania from 1767, had been an organist and teacher, as had Vincenzo’s father, Rosario. Both were also composers of note. An anonymous 12-page hand-written history, held in Catania’s Museo Belliniano, states that Bellini could sing an air of the Italian opera buffa composer, Valentino Fioravanti, at 18 months, that he began studying music theory at age two, the piano at three, and by the age of five could, apparently, play very well.
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DEPICTIONS OF MADNESS IN VOCAL MUSIC by Summer Aebker Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Mary Ann Hart, Research Director ______________________________________ Costanza Cuccaro-Penhorwood, Chair ______________________________________ Alice Hopper ______________________________________ Ayana Smith October 29, 2018 ii Acknowledgements Many thanks to the committee members who aided and supported me through this process. Your wisdom and guidance has been and will continue to be invaluable as I endeavor to find inspiration worth sharing through my work. I would also like to thank the wonderful librarians who have assisted along the way. iii Table of Contents Acknowledgements……………………………………………………………….………………………..iii Table of Contents….……………………………………………………………………………………….iv List of Examples……………………………………………………………………………………………v List of Figures…….………………………………………………………………………………………..vi Introduction………………………………………………………………………………..………………..1 Chapter 1: Stylistic Qualities…………………………………………………………………………...….3 Chapter 2: Performance Innovations……………………….…………………………………..…………..5 Chapter 3: Audience Perspective……………………………...…………………………….……………..9 Conclusion………………………………….……………………………………………………………..21 Appendix: Collected Musical Examples………………………………………………………….…...….23
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Bellini's Canto Declamato and the Poetics of Restraint
Speaking and Sighing: Bellini's canto declamato and the Poetics of Restraint Melina Esse The critics were confused. "We do not really know whether it should be called sung declamation or declamatory singing;' one reviewer for L'eco, an Italian journal devoted to the arts, wrote in 1829. "The goal of this method seems to be to reunite the force of declamation with the gentleness of singing ... "1 Vincenzo Bellini's two successes of the late 1820s-Il pirata in 1827 and La straniera in 1829-had attracted a great deal of attention in the Italian press, and what drew the most comment was his novel approach to melody. Stripping away ornament to tie melody closely to the rhythms of the spoken word seemed a radical move to audiences who had been taking pleasure in Rossini's florid and showy style for the last two decades. At its starkest, Bellini's canto declamato, as it came to be known, paired relentlessly syllabic text -setting with a preference for repeated notes. The new style appeared both in passages of free arioso and within the lyrical sections of numbers, as in these two excerpts from La straniera (examples 1a and 1b).2 Despite the mixed response from Bellini's contemporaries, modern scholars have tended to understand these melodic reforms in wholly positive terms. Trimming down musical utterance into something lean and spare, they have argued, shows an admirable concern with the needs of drama over and above those of mere vocal athleticism.3 Nineteenth-century critics also tended to understand Bellini's canto declamato as a renunciation of excess.
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LA SONNAMBULA Melodramma in Due Atti ! Libretto Felice Romani ! Musica Di Vincenzo Bellini ! ! ! LA SONNAMBULA
LA SONNAMBULA Melodramma in due atti ! libretto Felice Romani ! musica di Vincenzo Bellini ! ! ! LA SONNAMBULA Libretto di Felice Romani Edizione a cura di Emanuele Bonomi, con guida musicale all’opera LA SONNAMBULA Melodramma in due atti Libretto di Felice Romani Musica di Vincenzo Bellini Personaggi Il CONTE RODOLFO, signore del villaggio Basso TERESA, molinara Soprano AMINA, orfanella raccolta da Teresa, fidanzata ad Soprano ELVINO, ricco possidente del villaggio Tenore LISA, ostessa amante di Elvino Soprano ALESSIO, contadino, amante di Lisa Basso UN NOTARO Tenore Cori e comparse, contadini e contadine. La scena è in un villaggio della Svizzera. ATTO PRIMO LISA Tutto è gioia, tutto è festa…2 sol per me non v’ha contento: SCENA PRIMA e per colmo di tormento Piazza d’un villaggio. Da un lato un’osteria, dall’al- son costretta a simular. tro un mulino, in fondo colline praticabili.1 O beltade a me funesta che m’involi il mio tesoro, (All’alzarsi del sipario odonsi da lungi suoni pasto- rali e voci lontane che gridano: «Viva Amina». Sono mentre io soffro, mentre moro, gli abitanti del villaggio che vengono a festeggiare gli pur ti deggio accarezzar! sponsali di lei.I Esce LISA dall’osteria, indi ALESSIO dai colli) 1 [n. 1.] Introduzione. Allegro – , Sol. Come già sperimentato nella Straniera, Bellini rinunciò alla consueta ouverture optando per un breve preludio orchestrale che conduce direttamente al coro iniziale, prima sezione di un’Introduzione piuttosto elaborata. L’or- chestra dipinge con i delicati arabeschi dei ﬁati, alternati ai gioiosi interventi di una banda sul palco «in lonta- nanza» (ma «senza Gran Cassa», si raccomanda Bellini in partitura: troppo frastuono), il clima idillico e arcadi- co nel quale si svolgerà l’azione successiva.
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Ricordi's Bellini Complete Edition
VINCENZO BELLINI: Critical Edition of the Complete Works (Editorial Board: Fabrizio Della Seta, Alessandro Roccatagliati, and Luca Zoppelli; Managing Editor: Marco Uvietta). Ricordi, Milano [dist. University of Chicago Press] Vol. XV: Instrumental Works (ed. Andrea Chegai). [one volume plus critical commentary] Vol. VI: I Capuleti e I Montecchi (ed. Claudio Toscani). [two volumes plus critical commentary] Vol. VII: La sonnambula (ed. Alessandro Roccatagliati & Luca Zoppelli). [one volume plus critical commentary] One of the more convenient if sad facts about Bellini (1801‐35) is that his early death just shy of his thirty‐fourth birthday means that his complete works are of manageable size: ten operas (a couple in more than a single version), and a handful of miscellaneous instrumental and vocal pieces. Ricordi’s projected Complete Edition, including sketches and fragments, should run to a mere sixteen volumes, which means that at least some of us should still be around to see its completion: an exciting prospect. Bellini was also, famously, a careful worker, which is not to say that he was notably slow at his job—no one at the time could afford to be that—but he chose his projects with discernment and (like Rossini) notated his scores with both accuracy and finesse. Establishing a basic text faithful to his expressed intentions is thus a matter of some importance. There’s a very common prejudice against 19th century Italian music, and that of the Bel Canto school in particular, which holds that progress in the art of composition occurred mostly in the field of instrumental music, and primarily in Germany, at least until Wagner brought the “music of the future” into the theater as well.
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"Mad Scenes" in Nineteenth Century Opera. Charlotte Fakier Pipes Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 A Study of Six Selected Coloratura Soprano "Mad Scenes" in Nineteenth Century Opera. Charlotte Fakier Pipes Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pipes, Charlotte Fakier, "A Study of Six Selected Coloratura Soprano "Mad Scenes" in Nineteenth Century Opera." (1990). LSU Historical Dissertations and Theses. 5087. https://digitalcommons.lsu.edu/gradschool_disstheses/5087 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
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