DOCSLIB.ORG

Biographies Des Artistes En 2016, À L’Opéra National De Paris En 2016 Et À Basiliensis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Biographies Des Artistes En 2016, À L’Opéra National De Paris En 2016 Et À Basiliensis biographies des artistes en 2016, à l’Opéra National de Paris en 2016 et à Basiliensis. Elle s’est affirmée comme participe à La Messe en Si mineur de l’Opéra d’Amsterdam en 2017. une interprète incontournable du Bach et à L’Orfeo de Monteverdi et au LEONARDO GARCÍA ALARCÓN répertoire baroque, interprétant des Il Diluvio Universale de Falvetti ( Teatro DIRECTEUR MUSICAL En septembre 2016, Leonardo García Alarcón rôles de déesse, de magicienne ou de Colón à Buenos Aires, Montevideo, Après avoir étudié le piano en Argentine, Leo- signe pour Alpha Classic I 7 Peccati Capitali. protagoniste dans des productions São Paulo et Rio de Janeiro ). Mariana nardo García Alarcón s’installe en Europe en Un programme imaginaire autour d’airs de importantes sur scène et en concert. a participé à la recréation mondiale 1997 et intègre le Conservatoire de Genève dans Monteverdi. Mariana est apparue dans de grandes de El Prometeo de Draghi à l’Opéra la classe de la claveciniste Christiane Jaccottet. productions lyriques telles que : de Dijon. Ses derniers disques Après son récent double album dédié aux Motezuma de Vivaldi ( Teatro de la sont Lettera amorosa, récital soliste Membre de l’Ensemble Elyma, il devient l’assis- Heroines du Baroque Vénitien – majoritaire- Ciudad de Mexico ), Egisto de Cavalli dédié à la musique de Monteverdi, tant de Gabriel Garrido puis fonde Cappella ment consacré aux opéras de Cavalli, le meilleur ( Opéra comique ), Elena de Cavalli et De vez en cuando la Vida, avec Mediterranea en 2005. De 2010 à 2013, il est en élève de Monteverdi, Leonardo García Alar- ( Aix-en-Provence, Opéra de Lille ), Cappella Mediterranea, au succès résidence au Centre culturel de rencontre d’Am- cón poursuit ainsi son exploration de l’opéra La Guerra de Los Gigantes de Duron inattendu. Parmi ses projets récents, bronay où il est aujourd’hui artiste associé. En vénitien avec une gourmandise éloquente ; à ( Teatro de la Zarzuela à Madrid ). En citons des concerts avec Freiburger 2010, il est nommé directeur artistique et chef suivre encore… en ce mois de septembre 2016 2016, elle fait ses débuts au Palais Barockorchester et la prise de rôle principal du Choeur de chambre de Namur. où chef et instruments électrisés souhaitons-le, Garnier de l’Opéra National de Paris de Deidamia dans La Finta Pazza de En 2015, il fonde le Millenium Orchestra. Il est se retrouvent dans la fosse de l’Opéra Garnier à dans Eliogabalo de Cavalli, repris à Sacrati à Dijon et Versailles professeur de la classe de Maestro al cembalo et Paris pour la récréation d’un opéra jamais joué l’Opéra d’Amsterdam. Elle fait partie de chant baroque au Conservatoire supérieur de du vivant de Francesco Cavalli : Eliogaballo. de la production de Il Giasone de GWENDOLINE BLONDEEL musique de Genève. … autre génie de l’opéra vénitien et ici tout Cavalli à l’Opéra des Nations de SOPRANO autant engagé dans la rhétorique des passions Genève et à Versailles. Elle travaille Gwendoline Blondeel est lauréate de l'académie Sa discographie est unanimement saluée par la humaines. De sorte qu’aujourd’hui, il n’est pas régulièrement sous la direction de de la Monnaie depuis 2020. En 2019, elle obtient critique. En tant que chef ou claveciniste, Il est d’autres meilleurs interprètes des passions véni- Leonardo García Alarcón. Elle a son master en chant lyrique à l’IMEP avec invité dans les festivals et salles de concerts du tiennes que les musiciens de Cappella aussi travaillé avec Sir John Eliot grande distinction. La même année, elle gagne monde entier : Opéras de Montpellier, Lyon, Mediterranea. Classiquenews, septembre 2016 Gardiner, Christina Pluhar, Teodor le cinquième prix et le prix du public du CIALN Nantes, Rennes et Lille, Théâtre Colón de Bue- Currentzis... En 2015, après une ainsi que le premier prix du concours de chant nos Aires, Concertgebouw d’Amsterdam, Opéra En 2017, Leonardo García Alarcón se consacrera tournée australienne avec le Australian baroque de Froville. de Montecarlo, Théâtre des Champs Elysées, encore à deux opéras de Cavalli ; en janvier au Brandenburg Orchestra, Mariana Après ses études à l’IMEP ou elle étudie prin- Wigmore Hall de Londres, le Teatro Massimo Grand Théâtre de Genève avec Il Giasone et en Flores retrouve Falvetti dans Il Diluvio cipalement avec Elise Gäbele et Ana-Camélia de Palerme, Carnegie Hall à New York. Il dirige juillet avec Erismena. Universale et Nabucco ( Festival Baroque de Stefanescu, Gwendoline se perfectionne auprès l’orchestre de la fondation Gulbenkian à Lis- Il donnera également sa version de l’Orfeo de Malte, Concertgebouw d’Angélique Nodlus. Elle enrichit sa formation bonne, l’Orchestre de Chambre de Paris, le Frei- Monteverdi à l’occasion du 450e anniversaire du de Gand et d’Amsterdam, Théâtre du avec des personnalités comme Patricia Peti- burger Barockorchester… compositeur. Châtelet, Arsenal de Metz, BoZAR bon, Pascal Dusapin, Sandrine Piau ou Roberta A l’automne, Leonardo García Alarcón emmè- de Bruxelles et l’Opéra Royal de Alexander à travers l’Académie de La Monnaie. Depuis sa création en 2011, Il Diluvio Universale nera ses ensembles en tournée en Amérique du Versailles ). Elle a participé à la tournée Gwendoline chante sur les scènes du Théâtre de Falvetti fait le tour de l’Europe, avec en 2016 Sud. Un tournée qui passera forcément par le Orfeo / Vespers avec John Eliot Gardiner Royal de la Monnaie, du KVS, du festival de et 2017 des concerts au Konzerthaus de Vienne, Teatro Colón de Buenos Aires. & English Baroque Soloists au Beaune, de l'Opéra Royal de Wallonie ou encore à Versailles, et à Genève. Carnegie Hall, aux PROMS de la BBC. de l’Opéra National de Lorraine. MARIANA FLORES La parution de son CD de Cavalli Elle chante sous la direction de chefs tels que Après le succès d’Elena de Cavalli au festival SOPRANO Teatro dei Sensi, son grand récital solo, Leonardo García Alarcón, William Christie, d’Aix-en-Provence en 2013, il est aussi invité La soprano argentine Mariana Flores obtient les plus grandes récompenses Yann Molénat, Benjamin Attahir, Bassem Akiki, sur les scènes lyriques internationales, parmi étudie le chant à l’Université de de la presse ( CHOC de l’année de Kazushi Ono, et joue dans des mises en scènes lesquelles le Théâtre de la Zarzuela à Madrid Cuyo et à la Schola Cantorum Classica et Diapason d’or ). Elle de Mikael Serre, Roméo Castellucci, Mikael De Cock, Marie Neyrinck ou encore Olivier Lexa. the world’s leading opera houses, orchestras, Rinaldo (Argante) with Kammerorchester Basel DVD from the Glyndebourne Festival on the Elle travaille également avec des ensembles tels and festivals, his career takes him throughout at Théâtre des Champs-Élysées in Paris, the Opus Arte label, i 7 Peccati Capitali, a disc of que Scherzi Musicali, Les Arts Florissants ou Europe, the USA, and Australasia. Highlights Halle Handel Festival, and St Martinskirche in Monteverdi opera and madrigals on Ricercar encore l’Ensemble 21. this season include Christopher’s debut at the Basel, Handel Orlando (Medoro) with La Nuova records, Handel Susanna (Joacim) on Accent, Gwendoline interprète les rôles de Lakmé Teatro Real in Corselli Achille in Sciro (Ulisse) Musica at St John’s Smith Square London, Vivaldi Bajazet (Tamerlano) on ABC Classics, (Lakmé - Delibes), La Gouvernante (L'homme under the baton of Ivor Bolton, Handel Giulio Christopher’s English National Opera debut in Handel Faramondo (Gernando) on Accent, de la Mancha - Mitch Leigh), Olympia (Les Cesare (title role) at the Théâtre des Champs- both Handel Rodelinda (Unulfo) and Muhly Monteverdi Il ritorna d’Ulisse in Patria (L’Hu- contes d’Hoffmann - Offenbach), Louise (Les Elysées in Paris, Ambronay Festival, and the Marnie (Terry, cover), Handel Tamerlano (title mana Fragilità) on Linn Records, Handel and mousquetaires au couvent - Varney), Deuxième Enescu Festival in Bucharest, where he will also role) with Les Talens Lyriques for Ambronay Vivaldi Dixit Dominus on the Harmonia Mundi servante (Tintagiles - Attahir), Deuxième soeur perform Handel Agrippina (Ottone) with Les Festival, and Dean Hamlet (Guildenstern) for label, the Bernstein Missa Brevis on Hyperion, (Alladine et Palomide - Attahir), etc. En ora- Talens Lyriques directed by Christophe Rousset, the Adelaide Festival. and a solo album of Handel Arias for the EMI torio, on peut l’entendre dans le Requiem de a return to the Göttingen International Handel Emerging Artists Series. Mozart, la Passion Selon Saint-Jean de Bach, le Festival to sing Bertarido in Rodelinda, conduc- Recent concert appearances include a tour of Magnificat de Bach, le Magnificat de Vivaldi, le ted by Laurence Cummings, his debut at the Pergolesi Stabat Mater with superstar French Christopher is also active as a conductor and Membra Jesu Nostri de Buxtehude, les Leçons Concertgebouw in Amsterdam, where he will soprano Sandrine Piau and Les Talens Lyriques, performer in smaller consort ensembles and de Ténèbres de Couperin… reprise the role of Guildenstern in Brett Dean’s conducted by Christophe Rousset, which chamber choirs. He is the founder and conduc- Gwendoline a participé à l’enregistrement du Hamlet, with the Radio Filharmonisch Orkest will also be released as a recording later this tor of Ensemble Altera, Cambridge Clerkes, disque « Colonna: O splendida dies » (label conducted by Markus Stenz, a return to Sydney year, a North American and European tour of Ensemble Aeterna, and passio. Recent concerts Ricerar) avec l’ensemble Scherzi Musicali, sous to sing the title role in Vivaldi Farnace with Pin- Handel Semele (Athamus) with
Load more

Recommended publications
  • Operas Performed at the Teatro San Cassiano
    OPERAS PERFORMED AT THE TEATRO SAN CASSIANO Teatro San Cassiano (1637): historically-informed visualisation (world’s first) Image by Secchi Smith, © Teatro San Cassiano Operas performed at the Teatro San Cassiano After Franco Mancini, Maria Teresa Muraro, Elena Povoledo, I Teatri del Veneto - Venezia, vol 1, Venice, Regione del Veneto – Corbo e Fiore, 1995, pp. 144-147, revised, completed and amended in the light of the consulted bibliography and sitography, as specified below. Year given in Gregorian calendar and notmore veneto. No. Year Title Librettist Composer Notes 1 1637 L’Andromeda B. Ferrari F. Manelli 2 1638 La maga fulminata B. Ferrari F. Manelli 3 1639 Le nozze di Teti e di Peleo O. Persiani F. Cavalli 4 1640 Gli amori d’Apollo e di Dafne G. F. Busenello F. Cavalli 5 1641 La Didone G. F. Busenello F. Cavalli 6 1642 La virtù de’ strali d’amore G. Faustini F. Cavalli 7 1643 L’Egisto G. Faustini F. Cavalli 8 1644 L’Ormindo G. Faustini F. Cavalli 9 1645 La Doriclea G. Faustini F. Cavalli 10 1645 Il Titone G. Faustini F. Cavalli 11 1649 Giasone G. A. Cicognini F. Cavalli 12 1650 L’Orimonte N. Minato F. Cavalli 13 1651 L’Armidoro B. Castoreo F. Cavalli 14 1658 L’incostanza trionfante overo il Theseo F. Piccoli P. A. Ziani 15 1658 Antioco N. Minato F. Cavalli 16 1659 Elena N. Minato F. Cavalli 17 1666 Il Giasone G. A. Cicognini F. Cavalli 18 1666 La Zenobia M. Noris G. A. Boretti 19 1679-80 Candaule A. Morselli P.
    [Show full text]
  • The Power of Affections: Vocal Music from Seventeenth-Century Italy
    presents The Power of Affections: Vocal Music from Seventeenth-Century Italy Wednesday, November 12, 2014 7:30PM Class of 1978 Pavilion, Kislak Center Van Pelt Library, 6th floor Philadelphia, PA 2 PROGRAM Sinfonia from “Tempro la cetra” (Settimo libro di Claudio Monteverdi madrigali, 1619) “Musica dolce” (Gli Amori d’Apollo e di Dafne, 1640) Francesco Cavalli “Ardo, sospiro e piango” (Artemisia, 1657) “Piangete, sospirate” (La Calisto, 1651) Francesco Cavalli “Stral che vola” (Artemisia, 1657) Balletto IV e Corrente a tre (Opera VIII, 1629) Biagio Marini “Delizie d’Amore” (Elena, 1659) Francesco Cavalli “Luci belle” (Elena, 1659) Sonata sopra ‘La Monica’ (Opera VIII, 1629) Biagio Marini “Lucidissima face” (La Calisto, 1651) Francesco Cavalli “Dell’antro magico” (Giasone, 1649) “Addio Roma” (L’incoronazione di Poppea, 1643) Claudio Monteverdi “Lasciate averno, o pene, e me seguite” (Orfeo, 1647) Luigi Rossi Ciaccona (Canzoni overo sonate concertate per chiesa e Tarquinio Merula camera, 1637) “Accenti queruli” (Cantate a voce sola. Libro secondo, 1633) Giovanni Felice Sances Julianne Baird, soprano Rebecca Harris, violin Mandy Wolman, violin Rebecca Cypess, harpsichord and clavicytherium Christa Patton, harp Richard Stone, theorbo 3 PROGRAM NOTES by Carlo Lanfossi The seventeenth-century stage was quite a busy one. Gods, machinery, clunky sets, comici, animals, and dancers surrounded actor-singers. It is no surprise that in most of their early attempts at building a genre crafted on dramatic singing on stage, composers had to ensure singers
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera Permalink https://escholarship.org/uc/item/9mj7d63c Author Richter, Terri Lynn Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation.
    [Show full text]
  • Mcdonald, Bernard M. (2010) Cavalli's "Ormindo": Tonality and Sexuality in Seventeenth-Century Venice
    McDonald, Bernard M. (2010) Cavalli's "Ormindo": tonality and sexuality in seventeenth-century Venice. MMus(R) thesis. http://theses.gla.ac.uk/1958/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Cavalli’s Ormindo: Tonality and Sexuality in Seventeenth-Century Venice by Bernard Michael McDonald Submitted in fulfilment of the requirements of the degree of Master of Music to The Department of Music Faculty of Arts University of Glasgow April 2010 © Bernard McDonald 2010 ABSTRACT Ormindo, the third collaboration between the composer Francesco Cavalli and the librettist Giovanni Faustini, was created for the 1644 carnival opera season at Venice’s Teatro San Cassiano. This thesis, aimed at performers as well as scholars, begins with a brief consideration of the cultural context of early public opera in Venice and the emergence of the musical language of tonality. It goes on to examine how, in setting Faustini’s text, Cavalli represents desire and sexuality, constructs character, and creates a musical narrative. Cavalli’s implementation of the precepts of the seconda prattica is also considered in terms of textural and rhetorical devices.
    [Show full text]
  • Francesco Cavalli
    V O L U M E I Arias, duets and ensembles from the operas of Francesco Cavalli Edited, and with translations by Oliver Doyle E D I T I O N M V S I C A A N T I C A 1 Edition Mvsica Antica, Rotherhithe, London. © 2021 by Musica Antica Rotherhithe. This book has been made freely available to facilitate the study and performance of Francesco Cavalli’s music. Parts are also available on request; please write to [email protected] for further information. The manuscript sources consulted in the production of this book can be viewed on internetculturale.it, made available in a digitised format by the Biblioteca Marciana, Venice. For more editions of rare music and their performance in London, please visit www.musicaantica.org.uk. 2 Contents (by opera) Editor’s note v La Didone (1641) Padre, ferma i passi (S) 10 L’alma fiacca svanì (S) 16 L’Ormindo (1644) Prologo (S) 1 Tu per me ben felice (A) 20 Volate fuggite – D’Amor non si quereli (S, S, A, T) 25 Giasone (1649) Delizie, e contenti (A) 40 La Rosinda (1651) Vieni, vieni in questo seno (S) 45 La Calisto (1651) Restino imbalsamate (S) 48 Il Ciro (1654) Mia vita, mio bene (S, S, A, T ) 55 L’Erismena (1655) Piante odorose (S) 60 La Statira (1655) Cresce il foco (S) 66 Menfi, mia patria a (S) a 72 Io vivo (S) 78 3 L’Artemisia (1657) Ardo, sospiro e piango (S) 80 Dammi morte (S) 92 L’Elena (1659) Ecco l’idolo mio (S, S) 97 Mia Speranza (S, S) 104 Ercole Amante (1662) Come si beff’ amore (B) 114 Figlio, figlio (S, T) 124 Pompeo Magno (1666) Coetaneo con gli’astri (T) 128 Sonno, placido nume (A) 132 L’Eliogabalo (1667) Misero così va (S) 137 Pur ti stringo (S, S, S, S) 146 Sources 150 4 unless found in the sources consulted.
    [Show full text]
  • Resurrección De La Ópera Veneciana
    Esta web utiliza 'cookies' propias y de terceros para ofrecerte una mejor experiencia y servicio. Al navegar o utilizar nuestros servicios, aceptas el uso que hacemos de las 'cookies'. Sin embargo, puedes cambiar la configuración de 'cookies' en cualquier momento. Acepto Más información EL AMFITEATRO ROSA MASSAGUÉ @rosamassague Periodista Resurrección de la ópera veneciana La lenta recuperación de las óperas de Francesco Cavalli El festival marsellés 'Mars en baroque' recrea 'L'Oristeo' 4 1 COMENTARIOS 0 FRANÇOIS GUERY Aurora Tirotta (Diomeda), Romain Dayez (Oristeo), Lise Viricel (Euralio) y la orquesta Concerto Soave, en la recreación de la ópera de Pascal Bertin (Oresde), en la recreación de la ópera de Francesco Cavalli 'L'Oristeo', presentada en el teatro La Criée de Marsella. Francesco Cavalli, 'L'Oristeo', presentada en el teatro La Criée de Marsella. LUNES, 21 DE MARZO DEL 2016 ­ 18:48 CET Francesco Cavalli (1602­1676) fue el gran compositor operístico del siglo XVII en una Venecia en decadencia, pero que aún vivía de las rentas del pasado glorioso donde se acababa de inventar la ópera como entretenimiento para todos los públicos sin distinción de clases sociales, lejos de los palacios aristocráticos en los que había nacido el arte del ‘recitar cantando’. El compositor y el libretista Giovanni Faustini, eran los empresarios del teatro de Sant’Apollinare, la primera aventura comercial de la historia de la ópera protagonizada por un músico y un escritor. Cavalli escribió 41 óperas y su fama llegó incluso a París de donde recibió el encargo del cardenal Mazarino para componer una obra, ‘Ercole amante’, dedicada a festejar el enlace de Luis XIV con la infanta española María Teresa de Austria.
    [Show full text]
  • Aix-En-Provence, 12 Juillet2013
    EROS IN MUSICA DRAMATURGIE ET PRATIQUE MUSICALE CHEZ CAVALLI Aix-en-Provence, 12 juillet 2013 ACTES DE LA JOURNÉE D’ÉTUDE Elena au Festival d’Aix-en-Provence – Juillet 2013 – Photo Pascal Victor / ArtcomArt 1 EROS IN MUSICA DRAMATURGIE ET PRATIQUE MUSICALE CHEZ CAVALLI Organisée en partenariat avec le Festival International d’Art Lyrique d’Aix-en-Provence parallèlement à la production d’Elena de Francesco Cavalli et Nicolò Minato, cette journée d’étude a été l’occasion d’aborder les questions soulevées par l’interprétation contemporaine d’ouvrages lyriques créés au XVIIe siècle à Venise. Opéra du désir, dont la trame se noue et se déroule sous le signe de l’attraction charnelle, Elena fournit la matière à une telle réflexion. Dans quelle mesure les interprètes d’aujourd’hui peuvent-ils et doivent-ils respecter les intentions originelles des auteurs baroques italiens ? Quels sont leurs outils pour traduire l’Eros et la commedia cavallienne en s’adressant au public du XXIe siècle ? Quelques éléments de réponse ont été apportés lors de cette rencontre. Reviving Cavalli on Stage: Dramaturgy and Interpretation (Performance) for the Twenty-First Century Ellen Rosand (Yale University) p. Le théâtre des sens - Représenter Cavalli aujourd’hui Jean-François Lattarico (Université Lyon III Jean Moulin) p. Représenter Elena au XXIe siècle : interprétation et transformation Kristin Kane (Cornell University) p. Elena ou les métamorphoses du ravissement Marion Lafouge (Université de Bourgogne) p. Elena : un kaléidoscope de formes et de styles musicaux
    [Show full text]
  • Fundraising and Publicity for Operas in Seventeenth-Century Venice Sandy Thorburn
    Document generated on 10/02/2021 3:36 p.m. Canadian University Music Review Revue de musique des universités canadiennes What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice Sandy Thorburn Volume 23, Number 1-2, 2003 Article abstract Commercial operas of seventeenth-century Venice, the earliest public operas, URI: https://id.erudit.org/iderudit/1014523ar are generally described as rigorously literary from 1637-1660. Various tools, DOI: https://doi.org/10.7202/1014523ar including sets, machines, and musical forms helped audiences from various classes and places understand this Venetian Carnevale entertainment. The See table of contents goal—to create a commercial entertainment industry that reflected and highlighted the wonders of Venice—was identified early in the history of Venetian commercial opera. This paper seeks to define the extent to which Publisher(s) nascent commercial enterprises like newspapers, the mail, publishing, and advertising defined the content and nature of these early operatic works. Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Thorburn, S. (2003). What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice. Canadian University Music Review / Revue de musique des universités canadiennes, 23(1-2), 166–200. https://doi.org/10.7202/1014523ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2004 (including reproduction) is subject to its terms and conditions, which can be viewed online.
    [Show full text]
  • Cavalli and the Staging of Venetian Opera - Part One Transcript
    Calisto a le stelle: Cavalli and the Staging of Venetian Opera - Part One Transcript Date: Monday, 22 September 2008 - 1:00PM Location: Barnard's Inn Hall RESTORING CAVALLI TO THE THEATRE IN THE 21ST CENTURY Ellen Rosand I. Cavalli could not have been restored to the theater in the 21stcentury if he had not been restored to history in the 20th. That is, prerequisite to the revival of Cavalli's operas was the revival of interest in Cavalli as a composer, and in Venetian opera as a historical subject. (You can look at the bibliography on the screen as I mention the various authors.) Slide 1 Already in the 19th century, the first German musicologists recognized Cavalli's importance in the development of opera. They were spurred in their interest by the availability of sources of information going back almost to Cavalli's time itself, many of them published. These included complete annual series of librettos, carefully amassed by collectors, and annotated chronologies based on them. The chronologies of Ivanovich, Bonlini, Groppo, and Allacci, each proporting to correct as it expanded upon its predecessors, established an almost unbroken link between the period they documented and the modern era. The author of the first of these chronologies, Cristoforo Ivanovich, was actually a contemporary of some of the librettists in his catalogue and had even seen some of the works in his list. He evidently supplemented the information he garnered from the librettos themselves with material drawn from more casual or informal sources, as well as by deduction. This is significant with respect to Cavalli, because Ivanovich attributed many more works to him than the evidence provided, and his "errori" were preserved for some three-hundred years, until the early 1970s, in fact, when a young American student, Thomas Walker, undertook to correct them.
    [Show full text]
  • Il Ritorno D'ulisse in Patria
    Thursday, October 19, 2017, at 7:00 pm Pre-concert lecture by Ellen Rosand at 5:45 pm in the Stanley H. Kaplan Penthouse Monteverdi: The Birth of Opera Il ritorno d’Ulisse in patria Music by Claudio Monteverdi Libretto by Giacomo Badoaro , after Homer Monteverdi Choir English Baroque Soloists Sir John Eliot Gardiner , Conductor Furio Zanasi , Ulisse Marianna Pizzolato , Penelope Krystian Adam , Telemaco Hana Blažíková , Minerva / Fortuna Gianluca Buratto , Tempo / Nettuno / Antinoo Michał Czerniawski , Pisandro Gareth Treseder , Anfinomo Zachary Wilder , Eurimaco Anna Dennis , Melanto John Taylor Ward , Giove Francesca Boncompagni , Giunone Robert Burt , Iro Francisco Fernández-Rueda , Eumete Carlo Vistoli , Umana Fragilità Silvia Frigato , Amore Francesca Biliotti , Ericlea John Eliot Gardiner and Elsa Rooke , Co-Directors This performance is also part of Great Performers. (Program continued) Monteverdi: The Birth of Opera is made possible in part by The Gladys Krieble Delmas Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall, Starr Theater Please make certain all your electronic devices Adrienne Arsht Stage are switched off. WhiteLightFestival.org Support for Great Performers is provided by Rita E. UPCOMING WHITE LIGHT FESTIVAL EVENTS: and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Friday, October 20 at 7:30 pm at Gerald W. Lynch Council, and Friends of Lincoln Center. Theater at John Jay College Saturday, October 21 at 3:00 pm and 7:30 pm Public support is provided by the New York State Dancing Voices Council on the Arts with the support of Governor Meredith Monk , voice, composer, and director Andrew M.
    [Show full text]
  • Staging the Operas of Francesco Cavalli
    Staging the Operas of Francesco Cavalli: Dramaturgy in Performance, 1651–1652 Andrew Eggert Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Andrew Eggert All rights reserved ABSTRACT Staging the Operas of Francesco Cavalli: Dramaturgy in Performance, 1651–1652 Andrew Eggert This dissertation examines four operas created by the composer Franceso Cavalli and the librettist Giovanni Faustini at the Teatro Sant’Apollinare in Venice in 1651– 1652 with regard to the relationship between musical dramaturgy and stage performance. All four operas—L’Oristeo, La Rosinda, La Calisto, and L’Eritrea—are preserved in manuscript scores that are part of the Contarini Collection in the Biblioteca Nazionale Marciana. Annotations in these sources document the complex process of rehearsing at the Sant’Apollinare and the ways that multiple considerations of production (including vocal casting, staging, and scenography) interacted with the evolving musico-dramatic structure. Several of these operas were revived later in the seventeenth century in new theatrical circumstances: L’Oristeo was revived as L’Oristeo travestito in Bologna in 1656; La Rosinda was reworked and presented under the title Le magie amorose in Naples in 1653; and L’Eritrea received multiple productions (including a Venetian revival at the Teatro San Salvatore in 1661). These case studies provide a fuller view of the relationship between Venetian opera aesthetics and the exigencies of performance on the seventeenth-century stage. Modifications to the original dramaturgy—such as inserted arias and sinfonie, added secondary comic characters, and cuts to recitative—were made with careful regard to the scenography of each production.
    [Show full text]
  • Ombra Mai Fu
    Ombra mai fu Francesco Cavalli 1602-1676 Opera Arias Philippe Jaroussky countertenor Artaserse Alessandro Tampieri violin Raul Orellana violin Marco Massera viola Marco Horvat lirone, guitar Marc Wolff archlute Christine Plubeau viola da gamba Garance Boizot viola da gamba Roberto Fernandez de Larrinoa violone Adrien Mabire cornett, recorder Benoît Tainturier cornett, recorder Michel Claude percussion Angélique Mauillon harp Yoko Nakamura harpsichord Marie-Nicole Lemieux contralto Emo”ke Baráth soprano 2 Xerse 1654 Orione 1653 1 Ombra mai fu 3:19 14 Sinfonia, Prologo 3:29 Statira, principessa di Persia 1656 Eritrea 1652 2 All’armi, mio core 3:05 15 O luci belle 2:29 Emo”ke Baráth Laodicea Erismena 1655 3 Dove mi conducete?... 0:56 Giasone 1649 4 Uscitemi dal cor, lagrime amare 5:47 16 Delizie, contenti 3:49 Calisto 1651 Doriclea 1645 5 Interprete mal buona... 17 Sinfonia, Prologo 1:25 L’uomo è una dolce cosa 2:51 6 Ninfa bella 4:16 Calisto Marie-Nicole Lemieux Linfea 18 Erme, e solinghe cime... Lucidissima face 3:26 Eliogabalo composed 1667 7 Sinfonia, Atto 1 1:58 La virtù de’ strali d’Amore 1642 19 Alcun più di me felice non è 1:03 Elena 1659 8 Ecco l’idolo mio... Pompeo Magno 1666 Mio diletto, mio sospiro 3:35 20 Cieche tenebre 2:24 Emo”ke Baráth Elena Xerse Ercole amante 1662 21 La bellezza è un don fugace 2:13 9 Sinfonia, Atto 1 0:54 La virtù de’ strali d’Amore Eliogabalo 22 Il diletto interrotto... 0:41 10 Io resto solo?... Misero, così va 3:27 23 Desia la verginella 2:33 Ormindo 1644 La virtù de’ strali d’Amore 11 Che città 3:19 24 Che pensi, mio core? 2:52 Gli amori d’Apollo e di Dafne 1640 65:13 12 Ohimè, che miro?..
    [Show full text]