DOCSLIB.ORG

6 X 10.Long New.P65

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
6 X 10.Long New.P65 Cambridge University Press 978-0-521-89708-2 - Italian Opera in the Age of the American Revolution Pierpaolo Polzonetti Index More information INDEX Abbate, Carolyn, 70–73 American women; Native Adams, Abigail, 192 Americans; Quakers Adams, Elizabeth, 293 American Enlightenment, 26, 102, 233 Adams, John (1735–1826), 12, 97, 192 American operas, 18 Adams, John (1947–), 4, See also Nixon in American Revolution. See also French China; Doctor Atomic Revolution vs. American Africa, 182, 232, 233, 310 Revolution African-Americans, 240–242, 266–268, 315 anti-patriarchalism, 47–50, 168, 217 Agnew, Vanessa, 113 chronological issues, 12 Alceste (Calzabigi/Gluck), 112, 239 as a comic subject, 2, 8–9 Alfieri, Vittorio, 74–75, 138 Declaration of Independence, 27, 34, Algarotti, Francesco 49, 75, 148 on America, 114–115, 176, 190, 205, 231 European reception, 13, 92, 96, 208 on Franklin, 81 Austria, 36 and Frederick II, 110–114 France, 317 on Newton, 78–84 German countries, 36, 329–330 opera reforms, 49, 120, 124, 129, 175 Italy, 27–28, 133, 184, 203–206, Allanbrook, Wye Jamison, 22, 105, 151 228, 323 Alltop, Stephen, 302 ideology, 34, 75, 308–309 Alzira (Cammarano/Verdi), 111, 165, and sensibility, 9, 265 206, See also Voltaire Stamp Act, 140, 275, 319 Alzira (Rossi/Zingarelli), 165 as sublime, 327 amante confuso, L’ (Zini/Anfossi), 5, 148 Tea Party, 4, 276, 319 America War of Independence, 4, 7, 11, 12, 36, American mythologies, 15, 17, 75, 181, 203, 207, 222, 226, 233, 242, 190, 247 251, 269, 317 in European imagination, 15–16, 327 American women, 6, 15, 202, 271, 278–295 as exotic, 15–16, 19–20, 40, 140, 143, americana in Italia, L’ (Frediani/Carusio), 5 185, 209, 326 americana in Olanda, L’ (Porta/Anfossi), as extreme West, 11, 19–20, 231–232, 4, 5, 11, 148, 202–203, 221, 244, 268, 270, 326 224–226, 229, 235, 269, 271, 272, American characters, 6, 15, 17, 19, 277–278, 295, 327 202, See also African-Americans; “La vanità”, 199 361 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-89708-2 - Italian Opera in the Age of the American Revolution Pierpaolo Polzonetti Index More information 362 Index americano, L’ (anonymous/Piccinni), 5, New Atlantis, 231 11, 19, 28, 50, 99, 165, 170–172, Baglioni, Francesco, 44 175–176, 177, 203, 209, 278 Bailyn, Bernard, 12, 47 “Ah se vedessi”, 198 Bakhtin, Mikhail, 96 “Ma son tutte forse così”, 198 ballo in maschera, Un (Somma/Verdi), “Per pietà Signora mia”, 194–197 14, 310 “Quel che è nuovo sempre piace”, 198 Bambini troupe, 118 “Questo è il regno delle femmine”, 198 Barber of Seville, The. See barbiere di “Si grida si strepita”, 198 Siviglia, Il; Beaumarchais Amiti e Ontario (Calzabigi/Scarlatti), 5, barbiere di Siviglia, Il (Petrosellini/ 19, 229, 233–237, 242–249, 250, Paisiello), 14, 312 255, 262, 266, 269, 274 barbiere di Siviglia, Il (Sterbini/Rossini), 14, Anfossi, Pasquale, 4, 6, 174, 202, See also 40, 43 amante confuso, L’; americana in Basini, Laura, 15 Olanda, L’; mondo della luna, Il; Battistini (Giambattista Vasquez), 141 Montezuma; orfanella americana, Beales, Derek, 108 L’; vera costanza, La Beaumarchais, Pierre-Augustin Caron de, Anglicans, 242, 248 28, 329 Apollo, 65, 70, 77, 84 and the American Revolution, 317–322 Arcadian topos, 86, 91, 95, 140, 186, 203, 267 barbier de Séville, Le, 28, 40, 317–321 Arcifanfano (Goldoni/Galuppi), 45 mariage de Figaro, Le, 28, 40, 309, 312, Arendt, Hannah, 309 317, 320, 324, 328 aristocracy Beccaria, Cesare, 108, 128 class conflicts, 329 Crimes and Punishments, 49 critique of, 23, 197 Beethoven, Ludwig van, 26 enlightened, 25, 138, 263 Behn, Aphra internal class divisions, 9 Emperor of the Moon, The, 10, 40–42, 43, Native American, 25, 122, 181 50–52, 54, 75, 79, 93 in Plato, 57, 58 Oroonoco, 40 representations of, 143, 311 Bellini, Alice, 295 and tyranny, 74 Benucci, Francesco, 272, 278, 297, 327 Arteaga, Esteban de (alias Stefano), Berger, Karol, 26 24–25, 76 Bernasconi, Antonia, 137, 239 Asia, 231, 232, 267, 310 Bernucci, Anna Davia, 206 Augustine of Hippo, 230 Bernucci, Giovanni, 206 Bertati, Giovanni, 216, See also americana Babo, Joseph Marius in Olanda, L’; Don Giovanni (Il Winterquartier in Amerika, Das, 308 capriccio drammatico); filosofi Bach, Carl Philipp Emanuel, 109 immaginari, I; orfanella Bacon, Francis americana, L’; quacqueri, I © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-89708-2 - Italian Opera in the Age of the American Revolution Pierpaolo Polzonetti Index More information Index 363 Boccaccio, 279 Canal, Joseph Emanuel, 328 Boston, 4, 12, 14, 18, 133–134, 257, 310, See Candiani, Rosy, 172, 234 also gare generose, Le cantatrici villane, Le (Palomba/ bourgeoisie, 24, 147 Fioravanti), 283 as audience, 23 capitalism, 4, 20, 234, 248, 250–252, 267 bourgeois values, 23, 25, 263 capriccio drammatico, Il (Bertati/ class conflicts, 329 Gazzaniga). See Don Giovanni represented in opera, 33, 43, 46, 141, Cardinale, Claudia, 271 249, 250, 263 Carli, Gianrinaldo, 190–191 revolutionary, 25, 49, 75 Carmen (Mérimée/Bizet), 310 theatrical culture, 208 carnival, 31, 34, 96, 100–101, 228, in Venice, 38 274, 278 Bowen, Susan A., 326 Carroll, John, Bishop, 178 Bramani, Lidia, 328 Carter, Tim, 317 British Empire, 26, 36, 135 Castelvecchi, Stefano, 263, 311 Brizzi, Lodovico, 206 Casti, Giambattista. See Prima la musica Buccini, Stefania, 17, 207 poi le parole Buffon, Georges-Louis Leclerc de, xiii, Catherine II of Russia, empress, 36 11, 191–192 Catholics, 22, 25, 42, 84, 130, 135, 179, 237, buona figliuola, La (Goldoni/Piccinni), 9, 281, 294, 324, See also 41, 45, 133, 142, 146–148, 150, 185 Franciscans; Jesuits Buranello. See Galuppi, Baldassarre Cavell, Stanley, 17 Burke, William, 143 Cecchina. See buona figliuola, La Burney, Charles, 99, 113, 173 censorship, 4, 13–14, 17, 20–26, 36, 52, 78, Bush, George W., 1 238, 295, 310, 318 Butler, Margaret, 129 Cerlone, Francesco. See creduta selvaggia, La; napoletani in cabaletta, 213, 258, 261 America, I Calegari, Giuseppe, 217 Colombo nell’Indie, Il , 182–183 California, 165, 176, See also americano, inglesi in America, Gl’, 140 L’; selvaggio di California, Il Chamfort, Sébastien-Roch-Nicolas Californians, 189 jeune indienne, La, 264–265, 308 Calvert, Jane E., 8 Charles I, King of England, 48 Calzabigi, Ranieri de, 234, See also Alceste; Chaucer, 279 Amiti e Ontario; Orfeo ed Euridice Chevalier d’Eon, 328 cambiale di matrimonio, La (Rossi/ Chiari, Pietro, 184, 205, 311 Rossini), 14 China, 4, 231, 310 Campana, Alessandra, 55 Chinard, Gilbert, 15, 176 Canada, 14, 139, 169, 185, 250, 257, See also Ciccolini, Alessandro, 279 huron, Le cicisbei, 193, 197 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-89708-2 - Italian Opera in the Age of the American Revolution Pierpaolo Polzonetti Index More information 364 Index Cigna-Santi, Vittorio Amedeo. See Crowe, Michael J., 97 Montezuma Curtis, Alan, 279 Cimarosa, Domenico, 6, See also Cyrano de Bergerac, Savinien de quacquera spiritosa, La (pasticcio) Histoire comique ou voyage dans la lune, 41 Classical Style, 26–27, 325–326 clemency. See mercy Da Ponte, Lorenzo. See also Così fan Clement XIV, Pope, 177–178, 183, 209 tutte; Don Giovanni; nozze di clemenza di Tito, La (Metastasio- Figaro, Le; quacquera spiritosa, La Mazzolà/Mozart), 244 (pasticcio) Clinton, Bill, 1 and America, 75, 322–325 Clinton, Hillary, 1 collaboration with Mozart, 18, 46, coffee houses, 16, 24, 56, 205–206, 329 272, 297, 316, 317, 326–330 Colombo, Cristoforo, 100, 182, 268 description of the finale, 104 coloratura, 54, 65–73, 119, 126, 167, revision of La quacquera spiritosa, 8 279, 305 revisions of Le gare generose, 255 Coltellini, Celeste, 49, 295–297 da-capo aria, 31, 54, 59, 65, 73, 109, 113, 155, Coltellini, Marco, 16, 49, 81, 111, 189 161, 279 Columbus, Christopher. See Colombo Dante comedy of masks. See commedia Divina commedia, 293 dell’arte Daphne, 95 commedia dell’arte, 9, 10, 29, 32, 37–44, Darabont, Frank, 315 217, 238, 252, 323 Darnton, Robert, 91, 98 Conti, Francesca Romana, 234 Del Negro, Piero, 17 convitato di pietra, Il (Lorenzi/Tritto), 217 DelDonna, Anthony R., 135, 142, 284 convitato di pietra, Il (Porta/Righini), 216 Dippel, Horst, 16, 27, 36 Copley, John Singleton, 327 Dittersdorf, Carl Ditters von, 5, 22, Cortés. See Cortez 256, See also gare generose, Le Cortez, Hernán, 11, 131, See also Doctor Atomic (Sellars/Adams), 4 Montezuma Dolar, Mladen, 244 as an opera character, 131 Dole, Carol, 291 Così fan tutte (Da Ponte/Mozart), 46, 91, Dolfin, Caterina, 207 105, 170 Don Bucefalo (Palomba/Cagnoni), 283 adultery scandal, 320 Don Giovanni (Bertati/Gazzaniga), 216–217 “Soave sia il vento”, 88, 169 Don Giovanni (Da Ponte/Mozart) Villeneuve, 209, 297 introduzione and finale, 202, 219 credulo deluso, Il. See mondo della luna, Il Leporello’s catalog, 64 (Goldoni/Paisiello) literary sources, 37 creduta selvaggia, La (Cerlone/Tritto), 5, and L’orfanella americana, 216–217 217, 228 patriarchy, 220 Cro, Stelio, 184–185 use of title “Don/Donna”, 23 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-89708-2 - Italian Opera in the Age of the American Revolution Pierpaolo Polzonetti Index More information Index 365 Don-Giovanni myth, 202, 217 fanciulla del West, La Donington, Robert, 56 (Civinini-Zangarini/Puccini), Douthwaite, Julia V., 207 15, 270–271, 278 Dulaure, Jacques-Antoine, 98 Farnace (Lucchini/Vivaldi), 279 Duncan, Bruce, 226 Fatouville, Nolant de, 38–40, 52 Arlequin chevalier
Load more

Recommended publications
  • SWR2 Musikstunde
    SWR2 MANUSKRIPT SWR2 Musikstunde "Musikalisches Recycling - das ist doch noch gut?!" (1) Mit Nele Freudenberger Sendung: 22. Januar 2018 Redaktion: Dr. Ulla Zierau Produktion: SWR 2017 Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Service: SWR2 Musikstunde können Sie auch als Live-Stream hören im SWR2 Webradio unter www.swr2.de Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2- Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de SWR2 Musikstunde mit Nele Freudenberger 22. Januar – 26. Januar 2018 "Musikalisches Recycling - das ist doch noch gut?!" (1) Signet Mit Nele Freudenberger – guten Morgen! Heute starten wir mit unserer Wochenreihe zum Thema „musikalisches Recycling“. Das hat in der Musikgeschichte viel größere Spuren hinterlassen als man annehmen könnte. Fremde Themen werden ausgeliehen, bearbeitet, variiert, eigene Themen wieder verwendet. Sogar eine eigene Gattung ist aus dem musikalischen Recycling hervorgegangen: das Pasticcio – und mit dem werden wir uns heute eingehender beschäftigen (0:26) Titelmelodie Ein musikalisches Pasticcio wird in Deutschland auch „Flickenoper“ genannt. Dieser wenig schmeichelhafte Name sagt eigentlich schon alles. Zum einen bezeichnet er treffend das zugrunde liegende Kompositionsprinzip: handelt es sich doch um eine Art musikalisches Patchwork, das aus alten musikalischen Materialien besteht. Die können von einem oder mehreren Komponisten stammen. Zum anderen gibt es auch gleich eine ästhetische Einordnung, denn „Flickenoper“ klingt wenn nicht schon verächtlich, so doch wenigstens despektierlich.
    [Show full text]
  • Antonio Lucio VIVALDI
    AN IMPORTANT NOTE FROM Johnstone-Music ABOUT THE MAIN ARTICLE STARTING ON THE FOLLOWING PAGE: We are very pleased for you to have a copy of this article, which you may read, print or save on your computer. You are free to make any number of additional photocopies, for johnstone-music seeks no direct financial gain whatsoever from these articles; however, the name of THE AUTHOR must be clearly attributed if any document is re-produced. If you feel like sending any (hopefully favourable) comment about this, or indeed about the Johnstone-Music web in general, simply vis it the ‘Contact’ section of the site and leave a message with the details - we will be delighted to hear from you ! Una reseña breve sobre VIVALDI publicado por Músicos y Partituras Antonio Lucio VIVALDI Antonio Lucio Vivaldi (Venecia, 4 de marzo de 1678 - Viena, 28 de julio de 1741). Compositor del alto barroco, apodado il prete rosso ("el cura rojo" por ser sacerdote y pelirrojo). Compuso unas 770 obras, entre las cuales se cuentan 477 concerti y 46 óperas; especialmente conocido a nivel popular por ser el autor de Las cuatro estaciones. johnstone-music Biografia Vivaldi un gran compositor y violinista, su padre fue el violinista Giovanni Batista Vivaldi apodado Rossi (el Pelirrojo), fue miembro fundador del Sovvegno de’musicisti di Santa Cecilia, organización profesional de músicos venecianos, así mismo fue violinista en la orquesta de la basílica de San Marcos y en la del teatro de S. Giovanni Grisostomo., fue el primer maestro de vivaldi, otro de los cuales fue, probablemente, Giovanni Legrenzi.
    [Show full text]
  • Antonio Vivaldi from Wikipedia, the Free Encyclopedia
    Antonio Vivaldi From Wikipedia, the free encyclopedia Antonio Lucio Vivaldi (Italian: [anˈtɔːnjo ˈluːtʃo viˈvaldi]; 4 March 1678 – 28 July 1741) was an Italian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He is known mainly for composing many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons. Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi (who had been ordained as a Catholic priest) was employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died less than a year later in poverty. Life Childhood Antonio Lucio Vivaldi was born in 1678 in Venice, then the capital of the Republic of Venice. He was baptized immediately after his birth at his home by the midwife, which led to a belief that his life was somehow in danger. Though not known for certain, the child's immediate baptism was most likely due either to his poor health or to an earthquake that shook the city that day.
    [Show full text]
  • Opera Włoska We Wrocławiu (1725–1734) I Jej Związki Z Innymi Ośrodkami Muzycznymi
    DOI: http://dx.doi.org/10.15804/IW.2014.05.05 Walentyna Węgrzyn-Klisowska Uniwersytet Muzyczny Fryderyka Chopina w Warszawie Opera włOska we wrOcławiu (1725–1734) i jej związki z innymi OśrOdkami muzycznymi Do omówienia działalności teatru włoskiego we Wrocławiu niezbędne jest przynajmniej szkicowe przypomnienie sytuacji politycznej Śląska i uwarunkowań z tym związanych. W latach 1526–1741 cały Śląsk znaj- dował się pod panowaniem Habsburgów. W ramach monarchii austriac- kiej, na mocy postanowień pokoju zawartego w Augsburgu (1555), przy- jęto zasadę cuius regio, eius religio. Zasadę tę popierał także Kościół katolicki, reprezentowany na Śląsku głównie przez zakon jezuitów. Jego znakomicie wykształceni przedstawiciele pojawili się najpierw w Wied- niu, potem w Pradze i w Innsbrucku, a następnie w miastach śląskich, w tym także we Wrocławiu. Długo dojrzewała atmosfera sprzyjająca dominacji katolików. Przyczynili się do tego w znacznym stopniu wło- scy artyści, szczególnie za panowania cesarza Rudolfa II (1552–1612). Za panowania cesarza Macieja (1612–1619) wystawiano w języku wło- skim opery, a spektakle religijne przedstawiano w języku łacińskim. O ich realizacji decydowały władze cenzorskie, świeckie i kościelne. Opery wystawiano zwykle w karnawale, a przedstawienia religijne lub moralizatorskie (m.in. jasełka, spektakle pasyjne i alegoryczne, sacre rappresentazioni) w okresach Adwentu, Bożego Narodzenia, Wielkiego Postu i na Boże Ciało. Daty spektakli operowych wiązały się zwykle z ważnymi okolicznościami reprezentacyjnymi. Wykonawcami byli członkowie trup teatralnych. 124 Walentyna Węgrzyn-Klisowska Po raz pierwszy poza terenem Włoch, w dniu 10 lutego 1614 r., wystawiono operę włoską L’Orfeo w Salzburgu w teatrze na zamku ar- cybiskupa hr. Marcusa Sitticusa. Było to dzieło nieznanych dziś z na- zwiska twórców.
    [Show full text]
  • Estreno Mundial Del Motezuma De Vivaldi
    A partir del descubrimiento sobre Vivaldi más importante en los últimos cincuenta años Estreno mundial del Motezuma de Vivaldi Gabriel Pareyón Rotterdam, 15 de junio [de 2005].- El fin de semana pasado se presentó en De Doelen, considerada la sala de conciertos más importante de esta ciudad holandesa, la ópera en tres actos Motezuma (1733), de Antonio Vivaldi (1678- 1741), en versión de concierto, sin decorados ni escenografía. La interpretación, que se anunció en todo el país como “estreno mundial”, estuvo a cargo del ensamble barroco Modo Antiguo, bajo la dirección de Federico María Sardelli. En realidad la ópera se estrenó el 14 de noviembre de 1733 en el teatro Sant’Angelo de Venecia, pero con tan mala fortuna que nunca se volvió a ejecutar hasta el sábado pasado, tras 271 años de silencio. Este largo período de olvido se debió principalmente a dos causas. Una de orden musical y otra fortuita. La primera ocurrió con el estreno mismo de la obra en que, al parecer, la mezzosoprano solista Anna Girò tuvo algunos problemas para cantar. Como resultado la prima donna de Vivaldi no volvería a interpretar ninguna ópera suya, a excepción de Il Tamerlano (1735). A ello se sumó cierto malestar del público, que tal vez juzgó la pieza “demasiado seria” (pues no hay siquiera un duo de amor ni ninguna danza) y que además esperaba del compositor, en vano, algún gesto de sumisión ante la poderosa novedad del estilo de Nápoles. Éste, conocido como “estilo galante”, significaría la vuelta de página entre las tendencias veneciana y napolitana, que se tradujo en el paso del barroco hacia el clasicismo (transición que en México representó Ignacio de Jerusalem [1707-1769] frente al estilo de Manuel de Sumaya [1676-1755]).
    [Show full text]
  • Vivaldi US 11/15/07 2:14 PM Page 12
    660211-13 bk Vivaldi US 11/15/07 2:14 PM Page 12 Also available: VIVALDI 3 CDs Griselda Ainsworth • Huhtanen • McMurtry Nedecky • Newman • Tomkins Opera in Concert / Aradia Ensemble Kevin Mallon 8.557445 8.557852 8.660211-13 12 660211-13 bk Vivaldi US 11/15/07 2:14 PM Page 2 Antonio Aradia Ensemble VIVALDI One of the most exciting new groups to emerge in the early music world, the Toronto-based Aradia Ensemble (1678-1741) specialises in presenting an eclectic blend of orchestral, operatic and chamber music played on original instruments. The group records for Naxos, for whom it has made more than twenty recordings. They have made two music Griselda, RV718 (1735) videos, one film soundtrack, have collaborated with Isadora Duncan and Baroque dancers, have co-produced opera and worked with Balinese Gamelan. While focusing heavily on the repertoire of seventeenth-century France and Dramma per musica in Three Acts England, Aradia also performs works by the Italian and German masters of the baroque, as well as contemporary pieces commissioned by the group. In July 2000 Aradia was the featured ensemble in residence at the New Zealand Libretto by Apostolo Zeno (1668-1750), revised by Carlo Goldoni (1707-1793) Chamber Music Festival and in July 2003 performed at Musica nel Chiostro in Tuscany. According to Robert (Performing edition prepared by Kevin Mallon) Graves, Aradia was the daughter of Apollo’s twin sisters. She was sent by the gods to teach mankind to order the music of the natural world into song. Gualtiero, King of Tessaglia (Thessaly) .
    [Show full text]
  • Antonio Vivaldi (1678-1741)
    Ospedale della Pietà in Venice Opernhaus Prag Antonio Vivaldi (1678-1741) Complete Opera – Antonio Vivaldi – Complete Opera – Index - Complete Operas by Antonio Vivaldi Page Preface 3 Cantatas 1 RV687 Wedding Cantata 'Gloria e Imeneo' (Wedding cantata) 4 2 RV690 Serenata a 3 'Mio cor, povero cor' (My poor heart) 5 3 RV693 Serenata a 3 'La senna festegiante' 6 Operas 1 RV697 Argippo 7 2 RV699 Armida al campo d'Egitto 8 3 RV700 Arsilda, Regina di Ponto 9 4 RV702 Atenaide 10 5 RV703 Bajazet - Il Tamerlano 11 6 RV705 Catone in Utica 12 7 RV709 Dorilla in Tempe 13 8 RV710 Ercole sul Termodonte 14 9 RV711 Farnace 15 10 RV714 La fida ninfa 16 11 RV717 Il Giustino 17 12 RV718 Griselda 18 13 RV719 L'incoronazione di Dario 19 14 RV723 Motezuma 20 15 RV725 L'Olimpiade 21 16 RV726 L'oracolo in Messenia 22 17 RV727 Orlando finto pazzo 23 18 RV728 Orlando furioso 24 19 RV729 Ottone in Villa 25 20 RV731 Rosmira Fedele 26 21 RV734 La Silvia (incomplete) 27 22 RV736 Il Teuzzone 27 23 RV738 Tito Manlio 29 24 RV739 La verita in cimento 30 25 RV740 Il Tigrane (Fragment) 31 2 – Antonio Vivaldi – Complete Opera – Preface In 17th century Italy is quite affected by the opera fever. The genus just newly created is celebrated everywhere. Not quite. For in Romee were allowed operas for decades heard exclusively in a closed society. The Papal State, who wanted to seem virtuous achieved at least outwardly like all these stories about love, lust, passions and all the ancient heroes and gods was morally rather questionable.
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XXXI, Number 2 Summer 2016 HANDEL’S GREATEST HITS: REPORT FROM HALLE THE COMPOSER’S MUSIC IN EIGHTEENTH-CENTURY BENEFIT CONCERTS Buried in The London Stage are advertisements for concerts including or devoted to Handel’s music. Starting in the 1710s and continuing through the eighteenth century, musicians of all types used Handel’s music on their concert programs, most especially during their benefit evenings.1 These special events were dedicated to promoting a sole performer (or other members of the theatrical staff at a particular playhouse or concert hall). As was tradition, performers would have organized these events from beginning to end by hiring the other performers, renting the theater, creating advertisements, soliciting patrons, and The Handel Festival in Halle took place this year from programming the concert. Advertisements suggest that singers Friday, May 27 to Sunday, June 12, 2016 with the theme “History – and instrumentalists employed Handel’s music in benefit concerts Myth – Enlightenment.” Following the pattern established last year, for their own professional gain. They strategically programmed the Festival extended over three weekends. The Opening Concert, particular pieces that would convey specific narratives about their which had been a feature of recent Festivals, was not given. Instead, own talents, as well as their relationship to the popular composer. the first major musical event was the premiere of the new staging Benefit concerts were prime opportunities for performers of Sosarme, Re di Media at the Opera House, using performing to construct a narrative, or a story, through their chosen program. materials prepared by Michael Pacholke for the Hallische Händel- On the one hand, concert programs allowed performers to Ausgabe (HHA).
    [Show full text]
  • Seznamy, Vysvětlivky, Rejstříky a Autorovo Slovo Na Závěr
    SEZNAMY, VYSVĚTLIVKY, REJSTŘÍKY A AUTOROVO SLOVO NA ZÁVĚR ORIENTAČNÍ PŘEHLED DÍLA ANTONIA VIVALDIHO Orientační přehled díla Antonia Vivaldiho Dílo Antonia Vivaldiho je velmi rozsáhlé. Není možno, abychom v naší knize uváděli úplný výčet skladatelových děl. Zájemce o ně se ovšem může orientovat v oficiálním seznamu Vivaldiho kompozic v díle Peter Ryom, Verzeichnis der Werke Antonio Vivaldis (RV), Kleine Ausgabe. VEB Deutscher Verlag für Musik, Leipzig: 1. vydání 1974, 2. vydání 1979. – Antonio Fanna, Antonio Vivaldi (1678–1741). Cata- logo Numerico-Tematico delle Opere Strumentali. Istituto Italiano Antonio Vivaldi. Fondato da Antonio Fanna. Edizioni Ricordi, G. Ricordi & C. s.p.a. Milano 1968, uvádí všechny Vivaldiho nástrojové stavby s původními italskými názvy, infor- muje o dedikacích, programních označeních děl, nových (tedy dnes soudobých) vydáních apod. Z Fanny se například dovídáme, že Vivaldi psal Koncerty pro housle Koncerty pro violu Koncerty pro violoncello Koncerty pro housle s jinými sólisty na smyčcové nástroje Koncerty pro mandolínu Koncerty pro flétnu Koncerty pro fagot Koncerty pro trubku (tromba) Koncerty pro roh (corno) Koncerty pro smyčcové nástroje Koncerty pro rozmanité soubory Sonáty pro housle Sonáty pro violoncello Sonáty pro dechové nástroje Sonáty pro rozmanité soubory přičemž Fanna také uvádí uložení nástrojových děl v těchto knihovnách: Biblio- teca Nazionale, Torino, 295 děl; Biblioteca del Conservatorio di Musica, Napoli, 3 díla; Biblioteca Querini Stampalia, Venezia, 1 dílo; Sächsische Landesbibliothek
    [Show full text]
  • Transcripts of Dramatic Musical Works in Full Score
    TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS MUSIC DIVISION Compiled by Susan Clermont Senior Music Specialist Library of Congress Music Division A BIBLIOGRAPHY OF TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS This bibliography comprises close to 700 transcripts of dramatic musical works in full score copied from original music manuscripts and early imprints for the Library of Congress’s Music Division between 1903 and 1939. The original sources were located in over three dozen European libraries in Austria, Belgium, France, Great Britain, Germany, Hungary, Italy and Russia. The majority of the operas cited in this document date from the seventeenth and eighteenth centuries; about fifteen percent are reproductions of nineteenth-century works. Also included in this bibliography are transcripts of incidental music for dramas, melodramas, ballets, and pantomimes (see Appendix B). Finally, Appendix C comprises a short list of instrumental works, mostly for viola da gamba, that were transcribed over a two-year period when the parameters of this project were provisionally broadened. In 1902, a new set of guidelines for the systematic development of the newly-reorganized Music Division’s collections was instituted: opera immediately received a considerable share of attention because, “the peculiar condition of opera in the United States seemed to demand that a center of reference and research be created for the students of opera.” [Oscar Sonneck, Dramatic Music: Catalogue of Full Scores…, 1908] Accordingly, a series of “want lists” were compiled; however, when it was determined after a comprehensive search that hundreds of items included on the Music Division’s desiderata list for operas in full score were unprocurable in manuscript or print versions, the option of contracting copyists to generate transcripts was explored.
    [Show full text]
  • GRISELDA Apostolo Zeno Carlo Goldoni Antonio
    GRISELDA Dramma per musica. testi di Apostolo Zeno Carlo Goldoni musiche di Antonio Lucio Vivaldi Prima esecuzione: 18 maggio 1735, Venezia. www.librettidopera.it 1 / 43 Informazioni Griselda Cara lettrice, caro lettore, il sito internet www.librettidopera.it è dedicato ai libretti d©opera in lingua italiana. Non c©è un intento filologico, troppo complesso per essere trattato con le mie risorse: vi è invece un intento divulgativo, la volontà di far conoscere i vari aspetti di una parte della nostra cultura. Motivazioni per scrivere note di ringraziamento non mancano. Contributi e suggerimenti sono giunti da ogni dove, vien da dire «dagli Appennini alle Ande». Tutto questo aiuto mi ha dato e mi sta dando entusiasmo per continuare a migliorare e ampliare gli orizzonti di quest©impresa. Ringrazio quindi: chi mi ha dato consigli su grafica e impostazione del sito, chi ha svolto le operazioni di aggiornamento sul portale, tutti coloro che mettono a disposizione testi e materiali che riguardano la lirica, chi ha donato tempo, chi mi ha prestato hardware, chi mette a disposizione software di qualità a prezzi più che contenuti. Infine ringrazio la mia famiglia, per il tempo rubatole e dedicato a questa attività. I titoli vengono scelti in base a una serie di criteri: disponibilità del materiale, data della prima rappresentazione, autori di testi e musiche, importanza del testo nella storia della lirica, difficoltà di reperimento. A questo punto viene ampliata la varietà del materiale, e la sua affidabilità, tramite acquisti, ricerche in biblioteca, su internet, donazione di materiali da parte di appassionati. Il materiale raccolto viene analizzato e messo a confronto: viene eseguita una trascrizione in formato elettronico.
    [Show full text]
  • The Royal Opera House Announces Full Details of the 2021/22 Season
    Tuesday 1 June 2021 The Royal Opera House announces full details of the 2021/22 Season • 11 new productions, including 5 world premieres, and 20 revivals. • An exciting roster of UK and international talent with many debuts The Royal Opera House today confirms details for its 2021/22 Season, the first full Season since 2019. Opening on Monday 13 September, the Season includes five world premieres from The Royal Ballet and The Royal Opera, classic revivals and an exciting roster of international and UK talent performing across the two stages of the Royal Opera House. In its 90th anniversary year, The Royal Ballet presents a Season that respects the past and heralds the future. Three world premieres, including Wayne McGregor’s The Dante Project, Christopher Wheeldon’s Like Water for Chocolate and a new work by American choreographer Kyle Abraham, are performed alongside much-loved 19th-century classics and heritage ballets by Frederick Ashton and Kenneth MacMillan. The Linbury Theatre hosts a raft of partnerships and co-productions including with Ballet Black, Alessandra Ferri, Yorke Dance Project and a world premiere from Company Wayne McGregor. Creative opportunities for emerging talent will also feature with Draft Works and the Next Generation Festival. The Season culminates in July 2022 with The Royal Ballet 1 making a welcome return to international touring with a three-week tour of Japan where the Company will perform Kenneth MacMillan’s Manon and Peter Wright’s Giselle. The Royal Opera Season will open with a new production of Verdi’s Rigoletto, directed by Oliver Mears – his first production since becoming The Royal Opera’s Director of Opera in 2017.
    [Show full text]