XLII Edizione Pesaro, 9~22 Agosto 2021
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Gioachino Rossini (1792–1868)
4 CDs 4 Christian Benda Christian Prague Sinfonia Orchestra Sinfonia Prague COMPLETE OVERTURES COMPLETE ROSSINI GIOACHINO COMPLETE OVERTURES ROSSINI GIOACHINO 4 CDs 4 GIOACHINO ROSSINI (1792–1868) COMPLETE OVERTURES Prague Sinfonia Orchestra Christian Benda Rossini’s musical wit and zest for comic characterisation have enriched the operatic repertoire immeasurably, and his overtures distil these qualities into works of colourful orchestration, bravura and charm. From his most popular, such as La scala di seta (The Silken Ladder) and La gazza ladra (The Thieving Magpie), to the rarity Matilde of Shabran, the full force of Rossini’s dramatic power is revealed in these masterpieces of invention. Each of the four discs in this set has received outstanding international acclaim, with Volume 2 described as “an unalloyed winner” by ClassicsToday, and the Prague Sinfonia Orchestra’s playing described as “stunning” by American Record Guide (Volume 3). COMPLETE OVERTURES • 1 (8.570933) La gazza ladra • Semiramide • Elisabetta, Regina d’Inghilterra (Il barbiere di Siviglia) • Otello • Le siège de Corinthe • Sinfonia in D ‘al Conventello’ • Ermione COMPLETE OVERTURES • 2 (8.570934) Guillaume Tell • Eduardo e Cristina • L’inganno felice • La scala di seta • Demetrio e Polibio • Il Signor Bruschino • Sinfonia di Bologna • Sigismondo COMPLETE OVERTURES • 3 (8.570935) Maometto II (1822 Venice version) • L’Italiana in Algeri • La Cenerentola • Grand’overtura ‘obbligata a contrabbasso’ • Matilde di Shabran, ossia Bellezza, e cuor di ferro • La cambiale di matrimonio • Tancredi CD 4 COMPLETE OVERTURES • 4 (8.572735) Il barbiere di Siviglia • Il Turco in Italia • Sinfonia in E flat major • Ricciardo e Zoraide • Torvaldo e Dorliska • Armida • Le Comte Ory • Bianca e Falliero 8.504048 Booklet Notes in English • Made in Germany ℗ 2013, 2014, 2015 © 2017 Naxos Rights US, Inc. -
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 -
~~Mphow.~ Orr.Ckslta JOHN H
Commuw.it~ ~~mphow.~ Orr.ckslta JOHN H. BEST, CONDUCTOR • 'I SOLOIST ADELAIDE ANilERSON WAYNE, pianist Mountain Home Air Force Base April 20 9 196o :S~ise Junior College Auditorium April 229 1960 PROGRAM NOTES The opera "11 Signor Bruschino" is a farcical one-act work composed in revenge for an ugly joke played upon Rossini by the manager of the San Moise theater in Venice. Having a grudge against Rossini, the manager compelled him to fuliill an earlier agree ment for an opera, but supplied him with an impossible libretto. Treating the libretto seriously would have been disastrous, but the ready-witted Rossini turned the situation to his advantage by burlesquing the musical treatment. Introduced into the score are all sorts of outrageous pranks, the obvious one in the overture being the times when the second violin players are asked to strike their desks with the bow. This bagatelle of an overture is certainly not heard as frequently as the "Barber of Seville" or "William Tell" but in Romatic opera it stands as a miracle of conciseness. Anton Dvorak (1841-1904) began his life in poverty and obscurity, as the son of a butcher, and ended it in affluence and fame as one of the most celebrated composers of his day. The transition was of his own working, and was accomplished against formidable odds. Brahms had a hand in it, but it is not quite true that he 'discovered' Dvorak, who already was the recipient of a pension from the Ministry of Culture in Vienna. The Third Symphony is another example of a little-known work by a well known composer, yet it reveals a folkish type of freshness that is not always present in the much-performed "New World" Symphony. -
Il Signor Bruschino, Sinfonia
Elita Maule, UN SIGNORE GABBATO. Giacchino Rossini, Il Signor Bruschino, Sinfonia Qualche idea didattica per prepararsi ai concerti. UN SIGNORE GABBATO Gioacchino Rossini, Il Signor Bruschino, Sinfonia Per la scuola primaria Elita Maule 1 Elita Maule, UN SIGNORE GABBATO. Giacchino Rossini, Il Signor Bruschino, Sinfonia INTRODUZIONE Il Signor Bruschino o Il figlio per azzardo è una divertente farsa in musica composta da Rossini nel 1813 all’età di 21 anni. Ricca di intrighi e di scherzi perpetrati da Florville, giovane innamorato e ricambiato che intende a tutti i costi sposare la sua Sofia contro la volontà del tutore, la trama si presenta brillante e divertente, ben sottolineata dalla musica della Sinfonia d’apertura che ne accoglie tutte le caratteristiche risultando vivace e piena di brio. Per tale motivo, e anche per la limitata durata del brano (4’ circa) che ne rende possibile un’analisi in classe attraverso un ascolto ripetuto più volte, questa sinfonia di Rossini si rivela adatta anche a lavorare con i bambini della scuola primaria; qui noi ci rivolgeremo in particolare agli alunni delle classi terza- quinta. Gli obiettivi perseguibili con il progetto qui esposto interessano i due fronti della fruizione e della produzione musicale e sonora, nella convinzione che il fare musica è il mezzo più efficace per penetrare le 2 Elita Maule, UN SIGNORE GABBATO. Giacchino Rossini, Il Signor Bruschino, Sinfonia strutture musicali e quindi per comprenderle. Ascoltare con il proposito di interagire poi, attraverso la pratica attiva, con il -
La Serva Padrona) by Gioachino Rossini by Giovanni Battista Pergolesi
Welcome to Sarasota Opera’s Redesigned 2021 Winter/Spring Opera Festival The Happy Deception by Gioachino Rossini Maid to Mistress by Giovanni Battista Pergolesi Il signor Bruschino by Gioachino Rossini Dido and Aeneas by Henry Purcell Tickets on sale now! (941) 328-1300 | SARASOTAOPERA.ORG Paid in part by Sarasota County Tourist Development Tax revenues. The Sponsored in part by the State of Florida, Department of State, Division Virginia B. Toulmin of Cultural Affairs, and the Florida Council on Arts and Culture. Foundation The Happy Deception Maid to Mistress (L’inganno felice) (La serva padrona) by Gioachino Rossini by Giovanni Battista Pergolesi Il signor Bruschino Dido and Aeneas by Gioachino Rossini by Henry Purcell MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY FEBRUARY 2021 8 9 10 11 12 13 14 L’inganno felice L’inganno felice 7:30 pm 1:30 pm 15 16 17 18 19 20 21 L’inganno felice La serva padrona L’inganno felice La serva padrona 7:30 pm 7:30 pm 1:30 pm 1:30 pm 22 23 24 25 26 27 28 L’inganno felice La serva padrona L’inganno felice La serva padrona 7:30 pm 7:30 pm 7:30 pm 1:30 pm MARCH 2021 1 2 3 4 5 6 7 La serva padrona La serva padrona 7:30 pm 7:30 pm APRIL 2021 5 6 7 8 9 10 11 Il signor Bruschino Dido & Aeneas 7:30 pm 1:30 pm 12 13 14 15 16 17 18 Il signor Bruschino Dido & Aeneas Il signor Bruschino Dido & Aeneas Il signor Bruschino 7:30 pm 7:30 pm 7:30 pm 7:30 pm 1:30 pm 19 20 21 22 23 24 25 Dido & Aeneas Il signor Bruschino Dido & Aeneas The Opera Gala Il signor Bruschino Dido & Aeneas 7:30 pm 7:30 pm 7:30 pm 4:30 pm 1:30 pm 1:30 pm Keeping your health and safety in mind, we’ve planned a redesigned Winter and Spring Opera 2021 Spring Festival Festival. -
Ópera En Los Estados
Ópera en los estados Escena de Don Giovanni en Mérida Don Giovanni en Mérida manine’, más los recitativos que conectan el nuevo número con Junio 15. El director de la orquesta Juan Carlos Lomónaco el flujo de la acción resultante. Mozart introdujo el dueto en su decidió presentar la versión de Viena, más o menos, más bien catálogo el 30 de abril de 1788 y se sabe que dijo que el dueto más. Al tomar esta decisión, aunada al corte de varios recitativos tenía por objeto “satisfacer el gusto ramplón de los vieneses”. y pequeños segmentos de los números musicales, logró dos objetivos: reducir la duración de la ópera a lo que él considera es La última modificación indudable fue la introducción de la escena lo apropiado para el público emeritense, y ayudar a algunos de los de Donna Elvira, ‘In quali eccessi, o Numi… Mi tradì quell’alma cantantes al facilitarles una respiración más cómoda. En este caso ingrata’. Es muy probable que Mozart haya insertado esta escena destacó el aria de Don Giovanni, ‘Fin ch’an dal vino’, que sentí a pedido específico de la Elvira vienesa, Catarina Cavalieri. El trunca. compositor introdujo la escena en su catálogo simultáneamente con el dueto mencionado. ¿Qué versión, la de Viena o la de Yucatán? La versión vienesa, estrenada por Mozart el 7 de mayo de 1788, tiene diferencias La diferencia que no es posible confirmar con certeza es la importantes con la original de Praga, estrenada el 29 de octubre eliminación del sexteto que sigue a la condenación de Don de 1787. -
SALZBURG FESTIVAL 20 July – 31 August 2019 Young Singers Project
SALZBURG FESTIVAL 20 July – 31 August 2019 Press Release of the Salzburg Festival Young Singers Project 2019 Supported by the Kühne Foundation photo: SF/Anne Zeuner (SF, 2 July 2019) “The lucky hand – or rather, lucky ear – of Evamaria Wieser, the director of the Young Singers Project, is demonstrated by the fact that the participants in the Young Singers Project achieve excellent results at competitions all over the world and are engaged by the best opera houses,” says Festival President Helga Rabl-Stadler. “This year, a total of 13 participants of the Young Singers Project will appear on the programme of the Salzburg Festival. Furthermore, I am particularly pleased that Joel Prieto, a 2008 YSP participant, will sing the title role in Orphée aux enfers.” With the Young Singers Project, the Salzburg Festival has created a high-carat platform for the support of young vocalists, which looks back upon eleven years of successful history in 2019. Since 2008, 157 young vocalists from 41 countries have participated in the Young Singers Project. This year, 13 young singers from eleven nations will take part. They are from Canada, Spain, the UK, France, Russia, Poland, the USA, Ukraine, Ireland and, for the first time, from Mexico and New Zealand. 1 SALZBURG FESTIVAL 20 July – 31 August 2019 The singers are chosen at international auditions. As part of their fellowship, they have the opportunity to work with Festival artists. Tuition includes not only music lessons and repertoire expansion, but also stage rehearsals, language coaching and lied interpretation. Its master classes and strong practical orientation make YSP an international model for young artist programmes. -
The Chamber Symphony of Philadelphia
1967 Eighty-ninth Season 1968 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor First Concert Fifth Annual Chamber Arts Series Complete Series 3589 Forty-fifth program in the Sesquicentennial Year of The University of Michigan The Chamber Symphony of Philadelphia ANSHEL BRUSILOW, Conductor SATURDAY EVENING, OCTOBER 21, 1967, AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PRO G RAM Overture to Il Signor Bruschino ROSSINI Italian Serenade for Small Orchestra WOLF Symphony No. 60 in C major ("11 Distratto") HAYDN Adagio j allegro di molto Andante Menuetto j trio Presto Adagio Finale (prestissimo) INTERMISSION Cantus Animae et Cordis for String Orchestra YAlIDUMIAN Symphony No.1 in D major SCHUBERT Adagio j allegro vivace j adagio Andante Menuetto (allegro) j trio (UndIer) Allegro vivace The Berlin Philharmonic Octet will be presented in the second concert of the Chamber Arts Series, Stmday evening, November 5, at 8 :30. A R S LON G A V I T A BREVIS PROGRAM NOTES by PAUL AFFELDER Overture to Il Signor Bruschino GIOACCHINO ROSSINI Two of the three operas that Rossini composed in 1813, when he was twenty-one, would probably be forgotten today were it not for their overtures. These works are Tancredi and Il Signor Bruschino .. the third opera, L'Italiana in Algen, still enjoys an occasional performance. II Signor Br1lSchino is a light operatic farce about two lovers who are united through the hero's disguise as his own rival. The libretto by a certain Foppa did not suit Rossini, and he sought to be released from his contract with Cera, manager of the Teatro Mose in Venice. -
4. Juli 2021 Young Singers Project 2021
SALZBURGER FESTSPIELE 17. Juli – 31. August 2021 Presseaussendung der Salzburger Festspiele Young Singers Project 2021 mit Unterstützung der Kühne-Stiftung, Hauptsponsor der Salzburger Festspiele Die Teilnehmer des Young Singers Projects 2021 zusammen mit Leiterin Evamaria Wieser und dem Direktorium der Salzburger Festspiele - Helga Rabl-Stadler, Markus Hinterhäuser und Lukas Crepaz. Foto: SF/Anne Zeuner (SF, 4. Juli 2021) „Welch gutes Ohr Evamaria Wieser, die Leiterin des Young Singers Project hat, zeigt sich daran, dass die Teilnehmerinnen und Teilnehmer des Young Singers Projects bei Wettbewerben in der ganzen Welt hervorragend abschneiden und in den besten Opernhäusern engagiert werden. Selbstverständlich setzen wir sie auch alljährlich in unserem Programm ein, dieses Jahr werden es insgesamt 12 Teilnehmerinnen und Teilnehmer des Young Singers Project sein“, erklärt Intendant Markus Hinterhäuser. Mit dem Young Singers Project haben die Salzburger Festspiele 2008 eine hochkarätige Plattform zur Förderung des sängerischen Nachwuchses geschaffen, die auf eine langjährige Erfolgsgeschichte blicken kann. Seit 2008 haben am Young Singers Project 170 junge Sängerinnen und Sänger aus 42 Ländern teilgenommen, in diesem Jahr sind es zwölf junge Sängerinnen und Sänger aus zehn Nationen. Sie kommen aus: Südafrika, Russland, Deutschland, Rumänien, Österreich, Polen, Japan, USA, Großbritannien und Mexiko. Bei internationalen Vorsingen wählt Evamaria Wieser die Sängerinnen und Sänger aus, die im Rahmen dieses Stipendiums die Möglichkeit einer umfassenden Weiterbildung erhalten. Diese umfasst nicht nur musikalischen und repertoiremäßigen Unterricht, sondern auch szenische 1 SALZBURGER FESTSPIELE 17. Juli – 31. August 2021 Probenarbeit, Sprachcoaching, Liedinterpretation und die Arbeit mit Festspielkünstlern. Die Meisterklassen und der Praxisbezug machen das YSP zu einem Förderprogramm mit internationalem Modellcharakter. Die öffentlichen Meisterklassen finden dieses Jahr unter der Leitung von Malcolm Martineau, Gerald Finley und Tanja Ariane Baumgartner statt. -
Mauro Giuliani (1781-1829): Instrumental and Vocal Style in Le
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Mauro Giuliani (1781–1829): Instrumental and Vocal Style in Le Sei Rossiniane Giuseppe Zangari A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2013 Statement of originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. -
The Italian Girl in Algiers
ROSSINI’S THE ITALIAN GIRL IN ALGIERS AN IN-DEPTH GUIDE © 2007 Michal Daniel Written by Stu Lewis ROSSINI’S WOMAN OF VALOR “Cruda sorte” – cruel fate! These are the first words we hear from Isabella, the title character of Rossini’s L’Italiana in Algeri (The Italian Girl in Algiers). Captured by pirates, looking – in vain, she believes – for her lover, soon to be forced to become part of an Arab potentate’s harem, she certainly is someone who has the right to sing the blues, or at least the nineteenth- century Italian equivalent. And so she does – for twenty-six bars – which is all the time that a Rossini heroine has for self-pity. As she moves to the up-tempo cabaletta, she reminds us that no man, however powerful, could possibly control an intelligent woman. And so it goes with the Rossini mezzo. Like Rosina in The Barber of Seville, who acts docile as long as she has her way and turns into a viper when she doesn’t, Isabella clearly has the inner resources to come out on top. Critic Andreas Richter calls her a “female Don Giovanni” – albeit, without the latter’s amorality. As the Don had the three principal female characters in the opera gravitating toward him, Isabella wins the affection of three men – one of each voice type – manipulating two of them mercilessly. (Another similarity: like Mozart’s opera, l’Italiana is labelled a “dramma giocosa” – a jolly drama). L’Italiana is a rescue opera, but, as Beethoven was to do years later in Fidelio, Rossini and Anelli turn the rescue theme on its head by making the woman the rescuer. -
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.