Giacomo Ancona
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Composers Mascagni and Leoncavallo Biography
Cavalleria Rusticana Composer Biography: Pietro Mascagni Mascagni was an Italian composer born in Livorno on December 7, 1863. His father was a baker and dreamed of a career as a lawyer for his son, but following the good reception obtained by Mascagni’s first compositions was persuaded to allow him to study music at the Milan Conservatoire, where his teachers included Amilcare Ponchielli and Michele Saladino, and where he shared a furnished room with his fellow-student Giacomo Puccini. His first compositions won him financial support to study at the Milan Conservatory. He was of a rebellious nature and intolerant of discipline, and in 1885 he left the Conservatoire to join a modest operetta company as conductor. He became part of the Compagnia Maresca and, together with his future wife, Lina Carbognani, settled in Cerignola (Apulia) in 1886, where he formed a symphony orchestra. Here Mascagni composed at a single stroke, in only two months, the one-act opera Cavalleria rusticana, based on the short story by Verga, which was to win him the first prize in the Second Sonzogno Competition for new operas. The innovative strength of the opera and the resounding worldwide success which followed its first performance (1890, Teatro Costanzi, Rome) marked the beginning of an artistic life rich in achievements and satisfactions, both as composer and as conductor. He became increasingly prominent as a conductor and in 1892 conducted his opera I Rantzau around Europe. Further successes included Amica (1905) and Isabeau (1911), alongside such failures as Le maschere (1901). In 1915 he experimented with writing for cinema in Rapsodia satanicawith Nino Oxilia. -
Cavalleria Rusticana I Pagliacci Usporedno Sa Sve Brojnijim Izvedbama Prvi Su Put Zajedno Izvedeni 22
P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. Foto: Metropolitan opera P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Pietro Mascagni CAVALLERIA RUSTICANA Opera u jednom činu Libreto: Giovanni Targioni-Tozzetti i Guido Menasci prema istoimenoj noveli Giovannija Verge NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Costanzi, Rim, 17. svibnja 1890. Prva hrvatska izvedba: Druga operna stagiona, Zagreb, 29. svibnja 1893. Prva izvedba ansambla Metropolitana 4. prosinca 1891. u Chicagu Premijera ove izvedbe u Metropolitanu: 14. travnja 2015. ZBOR I ORKESTAR METROPOLITANA SANTUZZA Eva-Maria Westbroek ZBORovođa Donald Palumbo TURIDDU Marcelo Álvarez DIRIGENT Fabio Luisi ALFIO George Gagnidze REDATELJ David McVicar LUCIA Jane Bunnell SCENOGRAF Rae Smith LOLA Ginger Costa-Jackson Tekst: talijanski Stanka poslije Cavallerije rusticane. Titlovi: engleski Svršetak oko 22 sata. Ruggero Leoncavallo I PAGLIACCI Foto:Metropolitan opera Opera u dva čina s prologom Libreto: skladatelj NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Dal Verme, Milano, 21. kolovoza 1892. Prva hrvatska izvedba: Treća operna stagiona, Zagreb, 22. travnja 1894. Prva izvedba u Metropolitanu: 11. prosinca 1893. Premijera ove izvedbe u Metropolitanu: 25. travnja 2015. KOSTIMOGRAF Moritz Junge CANIO/PAGLIACCIO Marcelo Álvarez OBLIKOVATELJICA RASVJETE Paule Constable NEDDA/COLOMBINA Patricia Racette KOREOGRAF Andrew George TONIO/TADDEO George Gagnidze KONZULTANT ZA VODVILJ Emil Wolk BEPPE/ARLECCHINO Andrew Stenson SILVIO Lucas Meachem Tekst: talijanski Titlovi: engleski CAVALLERIA RUSTICANA Radnja se događa na Uskrs u sicilijanskom selu. -
Ceriani Rowan University Email: [email protected]
Nineteenth-Century Music Review, 14 (2017), pp 211–242. © Cambridge University Press, 2016 doi:10.1017/S1479409816000082 First published online 8 September 2016 Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti* Davide Ceriani Rowan University Email: [email protected] The world premiere of Pietro Mascagni’s Cavalleria rusticana on 17 May 1890 immediately became a central event in Italy’s recent operatic history. As contemporary music critic and composer, Francesco D’Arcais, wrote: Maybe for the first time, at least in quite a while, learned people, the audience and the press shared the same opinion on an opera. [Composers] called upon to choose the works to be staged, among those presented for the Sonzogno [opera] competition, immediately picked Mascagni’s Cavalleria rusticana as one of the best; the audience awarded this composer triumphal honours, and the press 1 unanimously praised it to the heavens. D’Arcais acknowledged Mascagni’smeritsbut,inthesamearticle,alsourgedcaution in too enthusiastically festooning the work with critical laurels: the dangers of excessive adulation had already become alarmingly apparent in numerous ill-starred precedents. In the two decades prior to its premiere, several other Italian composers similarly attained outstanding critical and popular success with a single work, but were later unable to emulate their earlier achievements. Among these composers were Filippo Marchetti (Ruy Blas, 1869), Stefano Gobatti (IGoti, 1873), Arrigo Boito (with the revised version of Mefistofele, 1875), Amilcare Ponchielli (La Gioconda, 1876) and Giovanni Bottesini (Ero e Leandro, 1879). Once again, and more than a decade after Bottesini’s one-hit wonder, D’Arcais found himself wondering whether in Mascagni ‘We [Italians] have finally [found] … the legitimate successor to [our] great composers, the person 2 who will perpetuate our musical glory?’ This hoary nationalist interrogative returned in 1890 like an old-fashioned curse. -
Historical Verism in Ruggero Leoncavallo's I Medici
Kwartalnik Młodych Muzykologów UJ no. 47 (4/2020), 139–155 DOI 10.4467/23537094KMMUJ.20.045.13918 www.ejournals.eu/kmmuj https://orcid.org/0000-0003-0122-1609 Agata Czemerys THE CHOPIN UNIVERSITY OF MUSIC THE UNIVERSITY OF WARSAW History Enchanted in Music – Historical Verism in Ruggero Leoncavallo’s I Medici Abstract My study of the historical opera I Medici focuses on an analysis of the work’s dramaturgy. In my opinion, the libretto is the key to understand- ing operatic dramas; it constitutes their primary foundation, on which the subsequent semantic layers of this naturally syncretic musical genre are constructed. In my paper I have therefore analysed the individual components of the libretto, with special emphasis on the persons of the drama, their personality traits, as well as their musical representations in Leoncavallo’s work. Analysis of the dramaturgical aspects of the opera is an essential first step to a consideration of the musical layer, which lies at the heart of my research. In my paper, I have followed the path mapped out by musicologist Luca Zoppelli; however, his work is only the starting point for a more detailed study of the opera’s expressive qualities and the procedures applied for the musical representation of veristic ideas. Verity – not only in the historical sense – becomes a leading category which unifies 139 Kwartalnik Młodych Muzykologów UJ, No. 47 (4/2020) the opera at every level, from its original source recorded in the chronicles to the composer’s presentation of the story. Keywords Ruggero Leoncavallo, -
Museo Ruggero Leoncavallo – Palazzo Branca-Baccalà
Informazioni: Fondazione Ruggero Leoncavallo, c/o Municipio Orari d’apertura, aprile-ottobre Museo Ruggero Leoncavallo – CH-6614 Brissago — tel. +41(0)91 793 02 42 Mercoledì-sabato: 10:00-12:00 – 16:00-18:00 Palazzo Branca-Baccalà – Fax: +41 (0)91 786 81 61 — www.leoncavallo.ch Ingresso: CHF 5.– / 3.– /gratis ‹ 12 www.sbt.ti.ch/leoncavallo CH-6614 Brissago 170309mlc_i-1000: [email protected] uggero (Ruggiero) Leoncavallo è nato il 23 aprile 1857 La prima presenza di Leoncavallo in Ticino risale all’ini- Il Palazzo Branca-Baccalà a Chiaia (Napoli), quale discendente di una famiglia zio degli anni Novanta. A Vacallo trascorre con Puccini un In seguito a diverse demolizioni e l’ultimo restauro esterno Il monumento funerario di Leoncavallo Rnobile di campagna delle Puglie. Suo padre è giudice periodo breve ma fruttuoso e lavora a i Pagliacci. Nei primi fatto eseguire dall’architetto Livio Vacchini, si presenta alla L’estrema dimora di Ruggero Leoncavallo e di sua moglie e magistrato; il senso per l’arte lo eredita probabilmente dalla anni del XX secolo, in occasione di un soggiorno a Cannero Via Pioda come esempio bello e significativo di barocco Berthe si trova, dopo il loro tardo e avventuroso madre, nata D’Auria. I diversi trasferimenti della famiglia nella parte piemontese del Lago Maggiore, Leoncavallo, signorile nell’Alto Verbano e come testimonianza monu- ritorno da Firenze, nel portico del XVII secolo portano Ruggero nel 1865 a Montalto Uffugo, in Calabria, ormai famoso, scopre anche Brissago. In questo ridente mentale della costruzione di un tempo. Composto dalla accanto alla magnifica chiesa rinascimentale dove suo padre deve giudicare un caso d’omicidio (questo Borgo, nel 1903 fa costruire dall’architetto Ferdinando casa padronale, locali per il personale domestico, fabbricato Madonna del Ponte, affacciata sull’amato caso, più avanti, servirà come sfondo per l’opera i Pagliacci). -
SEPTEMBER 15 - 30, at the California Theatre Leoncavallo's PAGLIACCI NOVEMBER 17 - DECEMBER 2, 2018 Message from General Director Larry Hancock
2018 | 2019 SEASON Opera SAN JOSÉ Celebrating 35 YEARS of Excellence Mozart's SEPTEMBER 15 - 30, at the California Theatre Leoncavallo's PAGLIACCI NOVEMBER 17 - DECEMBER 2, 2018 Message from General Director Larry Hancock “True lies describes the act of the clown whose art disguises the heart of a man… The very ease of the clown disguises the difficulty of his art.” - Jean Cocteau Ruggero Leoncavallo was born on April 23, 1857 in Naples. His father was a police magistrate and judge; his mother was the goddaughter of Donizetti, and was named after Donizetti’s wife, Virginia. The boy grew up in a cultured household and had solid financial support and an excellent education, graduating from the Royal Conservatory of Music in Naples, where he proved himself an exceptional pianist, then moving on to attend the famed University of Bologna where he studied literature under the Nobel Prize-winning poet Giosuè Carducci, the finest Italian poet of his generation. Leoncavallo was an accomplished writer who worked as a journalist, and as an Italian librettist he is second only to Boito. But it was not his to understand the spirit of his time. While still a student he composed his first opera,Chatterton , based on the life of Thomas Chatterton, a poet and symbol of the Romantic Movement. But Chatterton was not his aim, he used it to prepare himself for an ambitious trilogy on the Italian Renaissance. He goes on to compose 11 operas, 10 operettas, and two symphonic poems, but only Pagliacci has remained. At age 22 he was invited to Cairo by his uncle, a director in the Italian Foreign Ministry in Egypt. -
Il Consiglio Di Stato
ovnfsp Cfmmjo{pob 1823 mm 145 20 aprile 2010 / 334.09 Sfqvccmjdb!f!Dboupof Ujdjop Jm!Dpotjhmjp!ej!Tubup Signor Fiorenzo Dadò Deputato in Gran Consiglio Interrogazione 18 dicembre 2009 n. 334.09 Fondo Ruggero Leoncavallo: quale bilancio dopo vent'anni? / Signor deputato, con il suo atto parlamentare chiede al Consiglio di Stato di stilare un bilancio sul Fondo Leoncavallo a 20 anni dalla sua acquisizione e in particolare di comunicare il costo richiesto per il suo riordino, la natura delle nuove acquisizioni, il numero di consultazioni e di pubblicazioni a partire da ricerche compiute sul fondo. A tale proposito le comunichiamo quanto segue. Il Fondo Ruggero Leoncavallo è stato acquistato nel dicembre del 1988 per la somma di 1 milione e 200 mila franchi. Di questi, 600 mila franchi sono stati pagati dallo Stato del Cantone Ticino e 600 mila franchi - cioè la metà della cifra complessiva - sono stati pagati dal Fondo della Lotteria intercantonale. Al momento dell'acquisto il fondo era costituito di 4'830 documenti - cui vanno aggiunte 83 pagine di schizzi, piccole composizioni e abbozzi musicali autografi e 41 pagine di musica manoscritta raccolte da Leoncavallo nel corso di ricerche sulle tradizioni e i costumi popolari in vista della composizione dell'opera Avemaria - mentre alla fine del 2009 i documenti erano 6'610. L'accrescimento del Fondo Leoncavallo è stato quindi di 1'780 documenti, di cui soltanto 300 sono stati acquistati. Infatti molti sono i generosi donatori che hanno contribuito ad arricchire il fondo sia con documenti originali - di notevole valore venale -, sia con copie conformi all'originale al fine di offrire agli studiosi nuove informazioni provenienti da fonti affidabili. -
Celluloid Diva Staging Leoncavallo
King’s Research Portal DOI: 10.1080/02690403.2019.1651515 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Rindom, D. (2019). Celluloid Diva: Staging Leoncavallo’s Zazà in the Cinematic Age. Journal of the Royal Musical Association, 144(2), 287-321. https://doi.org/10.1080/02690403.2019.1651515 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
Cultural World
Cultural World Front Page Reviews / Interviews Window To The World Think About It Photo Gallery Travel About US OPERA SAN JOSÉ IS FORMIDABLE By Iride Aparicio Photos Courtesy: OPERA SAN JOSÉ SAN JOSÉ, CA – OPERA SAN JOSÉ's Opening Night of LEONCAVALLO’s opera PAGLIACCI ended with the spectators inside the California Theatre, standing in front of their seats applauding enthusiastically, and shouting Formidable The performance was masterful. The Orchestra, under the baton of Conductor CHRISTIAN REIF, interpreted the contrasting festive and sorrowful moods of LEONCAVALLO’s melodies with feeling. It also managed to control its volume, allowing the audience to listen clearly, even the pianissimos tones in the voices of the singers. The set, designed by ANDREA BECHERT, representing the plaza of the Calambrian Village, showing two of its houses, one with flowers and a three-arch balcony, the Pagliacci’s wagon and the wooden platform at the center of the plaza where the clowns are going to present their show on that night, was both visual and creative. https://culturalworldbilingual.com/Reviews_Interviews/Opera29.php?fbclid=IwAR0hjAGrCvE0NjP0k0gLfCOCW6CTyugpMe_OqRRamDjxU0i5Cw2umMfgnnM[11/27/2018 2:18:14 PM] Cultural World The Cast of OSJ representing the Calabrian Villagers in the opera PAGLIACCI Sprinkling the set with the bright colors of their costumes (Designed by CATHLEEN EDWARDS) and bringing it to life were the singer: from the OPERA SAN JOSE YOUTH CHORUS, the RAGAZZI BOYS CHORUS and the VIVACE YOUTH CHORUS. representing the town's peasants, and adding charm to the production the “SUPERNUMERARIES” which included dancers from THE NEW BALLET SCHOOL. HISTORY OF PAGLIACCI When the music and the Librettos of his two previous operas Chatterton and I Medici failed to attract attention, Neapolitan Poet/Composer RUGGERO LEONCAVALLO (l858-l9l9) decided to write his new work, Pagliacci in the Verismo (realistic) Style of MASCAGNI, (The composer of the opera Cavalleria Rusticana). -
Leoncavallo Ruggero
LEONCAVALLO RUGGERO Compositore italiano (Napoli 8 III 1857 - Montecatini 9 VIII 1919) RRIITTRRAATTTTOO DDEELL CCOOMMPPOOSSIITTOORREE 635 Studiò musica, prima privatamente con i maestri Siri e A. Simonetti, poi al conservatorio di Napoli con B. Cesi (pianoforte), M. Ruta (armonia), L. Rossi (composizione). Mandato dal padre a Bologna a studiare giurisprudenza, formò invece la sua cultura letteraria alle lezioni del Carducci e nel 1878, a 20 anni, si laureò in lettere. Ebbe indole avventurosa e vita irrequieta. A 20 anni, trovate sbarrate a Milano le porte di editori ed impresari raggiunse in Egitto uno zio che si faceva chiamare Leoncavallo-bey e che lo fece nominare maestro di camera di Mahmud Hamid, fratello del viceré, che lo avrebbe voluto capo delle bande militari egiziane. Dopo una fuga avventurosa, a fatica riuscì a mettersi in salvo a Porto Said, travestito da arabo, e a raggiungere poi Marsiglia. Passato a Parigi, visse dando lezioni, suonando il pianoforte nei caffè- concerto, e scrivendo canzoni per le cantanti di second'ordine. La fortuna gli venne incontro nelle vesti del baritono V. Maurel, che prese a proteggerlo e lo presentò a Milano a G. Ricordi, dal quale ottenne un assegno di L. 200 mensili per un anno, onde musicare il già approntato libretto I Medici, primo della trilogia italiana (Crepusculum), che avrebbe dovuto comprendere anche Savonarola e Cesare Borgia. Il suo disegno di comporre una trilogia musicale sul fenomeno grandioso del Rinascimento politico italiano, Leoncavallo lo aveva già manifestato a Wagner in occasione della presentazione di Rienzi a Bologna. Ma lo strepitoso successo di Cavalleria rusticana di Mascagni (17 V 1890) lo indusse a sceneggiare un fatto d'amore e di sangue svoltosi sotto i suoi occhi in Calabria, quando aveva quindici anni, e portato davanti al padre, presidente della corte di giustizia. -
Leoncavallo Ruggero
LEONCAVALLO RUGGERO Compositore italiano (Napoli 23 IV 1857 - Montecatini 9 VIII 1919) 1 Studiò musica, prima privatamente con i maestri Siri e A. Simonetti, poi al conservatorio di Napoli con B. Cesi (pianoforte), M. Ruta (armonia), L. Rossi (composizione). Mandato dal padre a Bologna a studiare giurisprudenza, formò invece la sua cultura letteraria alle lezioni del Carducci e nel 1878, a 20 anni, si laureò in lettere. Ebbe indole avventurosa e vita irrequieta. A 20 anni, trovate sbarrate a Milano le porte di editori ed impresari raggiunse in Egitto uno zio che si faceva chiamare Leoncavallo-bey e che lo fece nominare maestro di camera di Mahmud Hamid, fratello del viceré, che lo avrebbe voluto capo delle bande militari egiziane. Dopo una fuga avventurosa, a fatica riuscì a mettersi in salvo a Porto Said, travestito da arabo, e a raggiungere poi Marsiglia. Passato a Parigi, visse dando lezioni, suonando il pianoforte nei caffè- concerto, e scrivendo canzoni per le cantanti di second'ordine. La fortuna gli venne incontro nelle vesti del baritono V. Maurel, che prese a proteggerlo e lo presentò a Milano a G. Ricordi, dal quale ottenne un assegno di L. 200 mensili per un anno, onde musicare il già approntato libretto I Medici, primo della trilogia italiana (Crepusculum), che avrebbe dovuto comprendere anche Savonarola e Cesare Borgia. Il suo disegno di comporre una trilogia musicale sul fenomeno grandioso del Rinascimento politico italiano, Leoncavallo lo aveva già manifestato a Wagner in occasione della presentazione di Rienzi a Bologna. Ma lo strepitoso successo di Cavalleria rusticana di Mascagni (17 V 1890) lo indusse a sceneggiare un fatto d'amore e di sangue svoltosi sotto i suoi occhi in Calabria, quando aveva quindici anni, e portato davanti al padre, presidente della corte di giustizia. -
Pagliacci Guide.Pdf
Pagliacci Opera Box Table of Contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Lesson Plans . .9 Synopsis and Musical Excerpts . .37 Flow Charts . .41 Ruggero Leoncavallo – a biography ...........................46 Catalogue of Pagliacci’s Operas . .47 Background Notes . .49 The commedia dell’arte .....................................51 The Many Faces of Verismo ................................53 2000 – 2001 SEASON World Events in 1892 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 The Standard Repertory ...................................70 GIACOMO PUCCINI Elements of Opera .......................................71 Glossary of Opera Terms ..................................76 Glossary of Musical Terms .................................82 Bibliography, Discography, Videography . .85 VINCENZO BELLINI Acknowledgements . .88 KURT WEILL mnopera.org GIOACHINO ROSSINI RUGGERO LEONCAVALLO 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes.