DOCSLIB.ORG

ÔF#{+ª®Sr U€´ Ãx fl

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ÔF#{+ª®Sr U€´ Ãx fl 110300-01 bk TraviataUS 15/07/2005 11:18am Page 12 Editorial Note CETRA documentation detailing the Traviata recording dates has not survived. However, the diaries of the tenor VERDI Francesco Albanese, kept at the Teatro Comunale, Piacenza, Italy, indicate that sessions began on 15th September 1953. Since the Turin Radio Symphony (Orchestra Sinfonica di Torino della RAI), which had been loaned by RAI to CETRA, resumed its regular broadcasts between 20th September and the end of the month, it is likely that the La Traviata CETRA Traviata sessions were concluded on September 19. IA CAL AR LA M S Ward Marston In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender 195 ing loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him 3 Record ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov recordings, both winners of the Best Historical Album Grammy. Maria Callas • Francesco Albanese Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer Ugo Savarese • Ines Marietti in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he CETRA Chorus is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm Turin Radio Symphony Orchestra recordings. His aim is to promote the importance of preserving old recordings and make available the works of great musicians who need to be heard. Gabriele Santini 8.110300-01 12 110300-01 bk TraviataUS 15/07/2005 11:18am Page 2 ) This he must give to his wife, when he marries, and with a look of radiant happiness on her face falls assuring them of her prayers. To the gentle sound of dead in her lover’s arms. music associated with her earlier days of happiness, Great Opera Recordings Violetta feels sudden relief from pain and weakness, Keith Anderson Giuseppe VERDI (1813 – 1901) La Traviata Violetta Valéry . Maria Callas (soprano) Flora Bervoix . Ede Gandolfo Marietti (mezzo-soprano) Annina . Ines Marietti (soprano) Alfredo Germont . Francesco Albanese (tenor) Giorgio Germont . Ugo Savarese (baritone) Gastone De Letorières . Mariano Caruso (tenor) Doctor Grenvil . Mario Zorgniotti (tenor) Baron Douphol . Alberto Albertini (bass) Marquis d’Obigny . Mario Zorgniotti (tenor) Giuseppe . Tommaso Soley (bass) CETRA Chorus Giulio Mogliotti, Chorus Master Symphony Orchestra of Radio Italiana, Turin Tullio Serafin, Conductor Recorded by CETRA in September 1953 at the Auditorium RAI, Turin and issued on LPC 1246 Reissue Producer and Restoration Engineer: Ward Marston Please thank Maynard F. Bertolet and J. Richard Harris The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. 8.110300-01 2 11 8.110300-01 110300-01 bk TraviataUS 15/07/2005 11:18am Page 10 Flora. Alfredo remains at the gaming-table where he is Annina how much money is left and tells her to give it CD 1 67:57 winning. Douphol, in jealousy, challenges Alfredo in a to the poor and then see if there are any letters for her. contest, which, at Violetta’s urging, takes place at the Act I 31:45 Act II 36:12 table. Alfredo continues his winning streak against the ! Alone, she takes out a letter she has had from rich Douphol, who had hoped to beggar him. Supper is Germont, telling her that Douphol was wounded in his 1 Prelude 4:33 Scene 1 announced and the guests move out, leaving Alfredo duel with Alfredo but is recovering, while Alfredo has (Orchestra) @ Lunge da lei 2:02 and Douphol to follow them. left the country. Now, however, having learned from Germont of Violetta’s sacrifice, he is coming back 2 Dell’invito trascorsa è già l’ora 5:11 # De’ miei bollenti spiriti 2:10 5 Violetta returns in agitation, rejoined by Alfredo. again to beg her forgiveness. (Coro, Violetta, Flora, Marchese, Gastone, (Alfredo) She asks him to leave and, having promised Germont Alfredo) that she will not reveal the true reason for her desertion @ She looks at her changed features in the glass and $ Annina, donde vieni? 0:48 of her lover, she is obliged to admit to a feigned love for realises that in spite of Dr Grenvil’s assurance she is 3 Libiamo ne’ lieti calici 3:11 (Alfredo, Annina) Douphol. near to death. 4 Che è ciò? 2:37 % Alfredo?…Per Parigi or or partiva 3:44 6 Alfredo throws open the door and calls the others # The sound of carnival is heard from the street (Alfredo, Tutti, Violetta) (Violetta, Annina, Giuseppe, Germont) in. Reproaching her, he throws his winnings at her feet, outside, in ironic contrast to the scene in Violetta’s to the general disapproval. room. 5 Un dì, felice, eterea 3:31 ^ Pura siccome un angelo 1:45 (Alfredo, Violetta) 7 At this juncture old Germont appears and $ Annina announces a visitor, Alfredo, who embraces & Non sapete quale affetto 2:20 reproaches Alfredo for his behaviour. The young man is Violetta passionately. Each now seeks the pardon of the 6 Ebben? Che diavol fate? 1:29 sorry for what he has done, while the others try to other. (Gastone, Violetta, Alfredo) * Un dì, quando le veneri 2:44 comfort Violetta. % Alfredo suggests that they should make a new life 7 Si ridesta in ciel l’aurora 1:50 ( Ah! Dite alla giovine 4:24 8 She declares her love for Alfredo a greater love than for themselves away from Paris. Violetta will soon be (Tutti) he can ever understand. Germont leads his son away, better and they will live together in happiness. ) Imponete…Non amarlo ditegli 1:11 while Douphol offers his rival a final challenge. 8 È strano! È strano! 1:21 ^ Annina tries to help her mistress dress, but Violetta ¡ Morrò! La mia memoria 3:30 falls back, weakened by her illness and unable to stir. 9 Ah, fors’è lui 3:00 (Violetta, Germont) Act III & She realises that death is approaching, as Alfredo, 0 Follie! Follie! 1:06 ™ Dammi tu forza, o cielo! 1:47 distraught, begs her to calm herself. If Alfredo’s return (Violetta) (Violetta, Annina) 9 The last act is set in the poor quarter of Paris where cannot make her better, nothing will. They both lament Violetta now lives. She is asleep and seated near her, her cruel early death that is so near. ! Sempre libera 3:56 £ Che fai? 2:33 dozing, is Annina. There are various medicine bottles (Violetta, Alfredo) (Alfredo, Violetta) on the side-table. The music of the Prelude recalls the * Annina, who has been to fetch the doctor, returns opening of the opera, a contrast to the artificial gaiety of with him and with Germont, who now understands his ¢ Ah, vive sol quel core all’amor mio! 2:25 Violetta’s old life. own responsibility for Violetta’s approaching death. (Alfredo, Giuseppe, Commissionario, Germont) 0 Waking, she calls to Annina, asking for water. It is ( She gives Alfredo a medallion with her likeness as ∞ Di Provenza il mar 4:50 dawn and now Dr Grenvil arrives, making his daily visit she once was. (Germont, Alfredo) to a patient who is now very near to death. Violetta asks 8.110300-01 10 3 8.110300-01 110300-01 bk TraviataUS 15/07/2005 11:18am Page 4 CD 2 54:20 wasting his money on his mistress. She explains to him ¢ Alfredo, alone, sits down and opens a book. Just as the true state of affairs, showing him the bill of sale for he is wondering whether he will see his father, a servant Act II 22:33 Act III 31:47 her Paris property. announces Violetta’s departure for Paris. He is given a letter and now learns of Violetta’s decision to leave Scene 2 9 Prelude 4:41 ^ Germont, however, insists that she must part from him. He is heart-broken and his father, who has re- 1 Avrem lieta maschere la notte 1:04 (Orchestra) Alfredo, since the relationship between her and Alfredo appeared, tries to comfort him. (Flora, Marchese, Dottore, Tutti) stands in the way of a good marriage for his daughter. 0 Annina?…Commandate? 4:40 Violetta supposes a short separation is called for but is ∞ Germont urges him to return home and tries to offer 2 Noi siamo zingarelle 2:53 (Violetta, Annina, Dottore) appalled at the possibility of the parting on which him what consolation he can, but in vain. Alfredo is (Zingare, Coro, Flora, Marchese) Germont insists. even more agitated when he catches sight of Flora’s ! Teneste la promessa 1:53 invitation to Violetta and he rushes away to find her.
Load more

Recommended publications
  • Cavalleria Rusticana
    OPERA 2001 CAVALLERIA RUSTICANA PER Pietro Mascagni Ópera en un acto libretto per Giovanni Targioni-Tozzetti e Guido Menasci CASA MUSICALE SONZOGNO DI PIERO OSTALI Editores y Propietarios Dirección musical : Martin Mázik Orquesta Sinfónica de Pleven Dirección de escena : Pier Francesco Maestrini Escenografía : Alfredo Troisi - La Bottega Fantastica (Italia) Vestuario : Sartoria Teatrale Arrigo (Milano) Calzado : Calzature Epoca (Milano) Peluquería : Mario Audello (Torino) TURIDDU un joven soldado JOSE LUIS DUVAL TENOR MICHAL LEHOTSKY ALFIO un carretero barítono IGOR GAVRILOV / ARTURO PASTOR LOLA su mujer ELENA MARINOVA mezzosoprano SANTUZZA novia de Turiddu GERGANA RUSEKOVA / LIANNA HARAOUTOUNIAN Soprano MAMMA LUCÍA madre de Turiddu ROBERTA MATTELLI Contralto Esta relación pudiera sufrir cambios el dia de la representación, no previstos en el momento de imprimir esta información. Opera 2001 - Cavalleria Rusticana 1 OPERA 2001 CAVALLERIA RUSTICANA de Pietro Mascagni en un pueblo de Sicilia durante el día de Pascua, a finales del siglo XIX. Argumento En la primeras horas de la Entra Al!o, el carretero, con Cuando todos los demás han mañana del día de Pascua, las sus caballos, cantando entrado en la iglesia, Lucia campanas repican llamando a alegremente, y la plaza se llena pregunta a Santuzza por qué la los ! eles, que acuden a la de gente, que corea su canción hizo callar. Santuzza le dice: iglesia. Se escuchan sus antes de entrar en el templo. "Voi lo sapete" ("Usted lo cánticos saludando a la Al!o pide vino a Lucia, a lo sabe"): Turiddu tuvo que ella responde que no tiene relaciones con Lola antes de y que Turiddu ha ido a traer.
    [Show full text]
  • 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.
    [Show full text]
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
    [Show full text]
  • Mascagni E Il Teatro Goldoni: Un Binomio Indissolubile
    Mascagni e il Teatro Goldoni: un binomio indissolubile di Alberto Paloscia, Direttore artistico stagione lirica Fondazione Teatro della Città di Livorno “Carlo Goldoni” INTERVENTI Un’altra immagine positore, dopo gli anni di oscura gavetta del giovane Pietro Mascagni prima come direttore di una compagnia girovaga di operette e successivamente come animatore della vita musicale della provincia pugliese nelle veste di fonda- tore e responsabile della Filarmonica di Cerignola, abbatteva le quinte e i fondali del melodramma un po’ imbalsamato del XIX secolo e fondava, con il crudo ed ele- mentare realismo mediterraneo ereditato da Verga, un nuovo stile operistico: quello del verismo e della “Giovine Scuola Italia- na” a cui si sarebbero affiliati, di lì a poco, i nuovi ‘campioni’ del teatro musicale italia- Mascagni e il Teatro Goldoni Teatro il e Mascagni no: Leoncavallo, Puccini, Giordano, Cilèa. Dal 1890 al 1984: quasi un secolo di spettacoli storici Pietro Mascagni e la sua musica possono nel nome di Mascagni essere considerati a buon diritto i più au- Il 14 agosto 1890, infiammato dalla calura tentici protagonisti della gloriosa storia della riviera labronica, Cavalleria approda operistica del Teatro Goldoni di Livorno. nel maggiore teatro della città di Livorno, Il primo importante capitolo è la première appena tre mesi dopo il trionfo arriso nel- per Livorno dell’opera ‘prima’ del giovane la prestigiosa sede del Teatro Costanzi di astro nascente livornese, destinata a dare Roma all’atto unico vincitore del Concor- una svolta decisiva
    [Show full text]
  • 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.
    [Show full text]
  • Staged Treasures
    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
    [Show full text]
  • Toscanini in Stereo a Report on RCA's "Electronic Reprocessing"
    Toscanini in Stereo a report on RCA's "electronic reprocessing" MARCH ERS 60 CENTS FOR STEREO FANS! Three immortal recordings by Arturo Toscanini and the NBC Symphony have been given new tonal beauty and realism by means of a new RCA Victor engineering development, Electronic Stereo characteristics electronically, Reprocessing ( ESR ) . As a result of this technique, which creates stereo the Toscanini masterpieces emerge more moving, more impressive than ever before. With rigid supervision, all the artistic values have been scrupulously preserved. The performances are musically unaffected, but enhanced by the added spaciousness of ESR. Hear these historic Toscanini ESR albums at your dealer's soon. They cost no more than the original Toscanini monaural albums, which are still available. Note: ESR is for stereo phonographs only. A T ACTOR records, on the 33, newest idea in lei RACRO Or AMERICA Ask your dealer about Compact /1 CORPORATION M..00I sun.) . ., VINO .IMCMitmt Menem ILLCr sí1.10 ttitis I,M MT,oMC Mc0001.4 M , mi1MM MCRtmM M nm Simniind MOMSOMMC M Dvoìtk . Rn.psthI SYMPHONY Reemergáy Ravel RRntun. of Rome Plue. of Rome "FROM THE NEW WORLD" Pictures at an Exhibition TOSCANINI ARTURO TOSCANINI Toscanini NBC Symphony Orchestra Arturo It's all Empire -from the remarkable 208 belt- driven 3 -speed turntable -so quiet that only the sound of the music distinguishes between the turntable at rest and the turntable in motion ... to the famed Empire 98 transcription arm, so perfectly balanced that it will track a record with stylus forces well below those recommended by cartridge manufacturers. A. handsome matching walnut base is pro- vided.
    [Show full text]
  • La Traviata Stagione D’Opera 2013 / 2014 Giuseppe Verdi La Traviata
    G L a i 1 u t r s a e v p i p a e t a V e r d i S t a g i o n e d ’ O p e r a LaGiutsrepapevVeiradi ta 2 0 1 3 / 2 0 1 4 Stagione d’Opera 2013 / 2014 La traviata Melodramma in tre atti Libretto di Francesco Maria Piave Musica di Giuseppe Verdi Nuova produzione Teatro alla Scala EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Sabato 7 dicembre 2013, ore 18 REPLICHE dicembre Giovedì 12 Ore 20 - Turno D Domenica 15 Ore 20 - Turno B Mercoledì 18 Ore 20 - Turno A Domenica 22 Ore 15 - Turno C Sabato 28 Ore 20 - Turno E Martedì 31 Ore 18 - Fuori abbonamento gennaio Venerdì 3 Ore 20 - Turno N Anteprima dedicata ai Giovani LaScalaUNDER30 Mercoledì 4 dicembre 2013, ore 18 In copertina: La traviata di Giuseppe Verdi. Regia e scene di Dmitri Tcherniakov, costumi di Yelena Zaytseva, luci di Gleb Filshtinsky. Allestimento realizzato per l'inaugurazione della stagione scaligera 2013-14, rendering di una delle scene ideate da Dmitri Tcherniakov. SOMMARIO 5 La traviata. Il libretto 34 Il soggetto Emilio Sala Argument – Synopsis – Die Handlung ––࠶ࡽࡍࡌ Сюжет 46 L’opera in breve Emilio Sala 48 ...la musica Claudio Toscani 53 Splendeurs et misères des courtisanes in terra italina Antonio Rostagno 71 Fisiologia della Traviata Emilio Sala 93 Eros e charitas nella Traviata Paolo Gallarati 131 Un mondo a parte Benedetta Craveri 147 Nota sull’edizione della Traviata Daniele Gatti 149 “Di quell’amor...” (Note di regia) Dmitri Tcherniakov 154 La traviata alla Scala dal 1859 al 2008 Andrea Vitalini 203 Daniele Gatti 205 Dmitri Tcherniakov 206 Gleb Filshtinsky 207 Yelena Zaytseva 208 La traviata.
    [Show full text]
  • 1 CRONOLOGIA LICEISTA S'inclou Una Llista Amb Les Representaciones
    CRONOLOGIA LICEISTA S’inclou una llista amb les representaciones de Rigoletto de Verdi en la història del Gran Teatre del Liceu. Estrena absoluta: 11 de març de 1851 al teatre La Fenice de Venècia Estrena a Barcelona i al Liceu: 3 de desembre de 1853 Última representació: 5 de gener del 2005 Total de representacions: 362 TEMPORADA 1853-1854 3-XII-1853 RIGOLETTO Llibret de Francesco Maria Piave. Música de Giuseppe Verdi. Nombre de representacions: 25 Núm. històric: de l’1 al 25. Dates: 3, 4, 8, 11, 15, 22, 23, 25, 26 desembre 1853; 5, 6, 12, 15, 19, 31 gener; 7, 12, 26 febrer; 1, 11, 23 març; 6, 17 abril; 16 maig; 2 juny 1854. Duca di Mantova: Ettore Irfré Rigoletto: Antonio Superchi Gilda: Amalia Corbari Sparafucile: Agustí Rodas Maddalena: Antònia Aguiló-Donatutti Giovanna: Josefa Rodés Conte di Monterone: José Aznar / Luigi Venturi (17 abril) Marullo: Josep Obiols Borsa: Luigi Devezzi Conte di Ceprano: Francesc Sánchez Contessa di Ceprano: Cristina Arrau Usciere: Francesc Nicola Paggio: Josefa Garriche Director: Eusebi Dalmau TEMPORADA 1854-1855 Nombre de representacions: 8 Número històric al Liceu: 26, 27, 28, 29, 30, 31, 32, 33 Dates: 7, 10, 18 febrer; 13 març; 17 abril; 17, 27 maig; 7 juny 1855. Nota: Felice Varesi havia estat el primer Rigoletto a l'estrena mundial a la Fenice de Venècia l'11 de març de 1851. Duca di Mantova: Giacomo Galvani Rigoletto: Felice Varesi Gilda: Virginia Tilli Sparafucile: Agustí Rodas Maddalena: Matilde Cavalletti / Antònia Aguiló-Donatutti (7 de juny) Giovanna: Sra. Sotillo Conte di Monterone: Achille Rossi 1 Marullo: Josep Obiols Borsa: Josep Grau Contessa di Ceprano: Antònia Aguiló-Donatutti Director: Gabriel Balart TEMPORADA 1855-1856 L'òpera és anunciada com "Il Rigoletto".
    [Show full text]
  • Gran Teatro Del Liceo
    I GRAN TEATRO DEL LICEO TEMPORADA DE INVIERNO 1957-1958 EMPRESA JOSE F. ARQUER BARCELONA INUEVO C OMPLETAMENTE NUEVO! y diferente a todos los demas íNUEVAI fófm¡,lo de Shllmon C". de AURORA, llllnoh, E. U. A. oño l9.S7. ¡NUEVA COMPOSICIONI o bo"' de ptodl,l(tOt bol•ómlcos, os.éptlcos y Vi· r:::~. Y Lanolina. lmpo•lble kl in~ INUEVA SUAVIDADt No •• cotro. So rnonriono liio. suov•, c.retnO)O y bri· llonro duro nio 24 horos, sln necesi. dod de retoques. ¡NUEVOS COLORIDOS AMERICA· NOS! 19.!Jl, fl ios e inoherahlü. ¡Urtlco con es tas propied a d es on el mercaclo! PICS.. h Jl• m-' dc coloru, prutbe, 'I 'lC con"cfK'C'ri dc sus resuJllKkK., sie mpre e s tar a n dis p u estos S E Ñ OR A : '!JelfiL Ciukcta G ARANTIZA SU ETERNA JUVENTUD, BEllEZA Y lOZANIA, us.ondo los síguientes productos, coda dra. Al p;ntortll'l"tobifl Al O lO\ IO.n.e A.ltelf'O,.IOfM A l ~'"''•n• 1 v.~~.-........ ~,~eiMI·~ Use fiU.lYo pnl• 1..,o ~ CHI!O O..no liCI.... il'fYtl•t-le. """'DfCII dc~~.mo~ Cllt! dtl ·rofll\flo IMI!No. ao.. .,.,. po~. ':1t:.. ::''~;~ S ko~.. f!• ~~ bol• es. ~IPÓ!oQiooQ90= '0.,. ki1- de:f'\CC\ ""'·e'< (ftOdo•o el• g~ * 1!cto. IIO!tiUt..~ W toU-croeo,_G,.I """Mel' ...oo•l!.ri>II(IO. 111..¡'·" NOVISION ..co... Clt'OI5o, f 6e belleJO.. No rn.tO NUESTRA GARANTIA son 64 años d e éxltos en 63 patses F'órmulas patentadas por los MODE LOS Labo ratorïos de THE STILLMAN COMP Dr.
    [Show full text]
  • Vincenzo Forgione
    OperaManager.com - Vincenzo Forgione Vincenzo Forgione, nato a Solopaca provincia di Benevento. Diplomato in arti figurative al Liceo Artistico statale di Benevento, intraprende lo studio del canto privatamente a Napoli e successivamente a Milano. I suoi maestri sono stati tra gli altri : il baritono Ugo Savarese e il Maestro Walter Ferrari, per lo studio dello spartito e dellinterpretazione si avvale dei Maestri Giovanni Brollo e Daniele Agiman. Nel 1992 frequenta i corsi di perfezionamento presso LAccademia Internazionale dArte Lirica di Umbertine (Perugia) dove debutta in un ruolo principale dellIntermezzo di Domenico Cimarosa Li sposi per accidenti sotto la guida musicale e scenica del Maestro Gianfranco Rivoli. Si e' esibito in concerti e come interprete operistico in varie citta' dItalia tra cui : Milano, Brescia, Bologna, Napoli, Reggio Emilia, Cantu', Monza, Imperia, Varese, e Como al Teatro Sociale nellambito del XXXIII Festival Autunno Musicale a Como. In tournèe con orchestra e coro del Teatro Petruzzelli di Bari e con la regia del Maestro Antonello Madau Diaz ed Elisabetta Brusa ha partecipato a diverse produzioni di Opere Liriche in Spagna, Francia, Portogallo e Svizzera, esibendosi nei principali teatri delle seguenti citta' : Burgos, Alicante, Almeria, Granada, Cordoba, Cadiz, Zaragoza, Vitoria, Salamanca, Siviglia, Murcia, Faro, Huelva, Vigo, Segovia, Cuenca, Grenoble, Saumur, Nantes, Parigi, Aix Lex Bains, Poitiers, Sete, Strasburgo, Tarascon, Nogent Sur Marne, Saint Maur, Fontenay Le Fleury, Enghien Les Bains, Privas, Romans, Lorient, Carquefou, Ginevra e Lugano. Ed in Germania al Konzerthaus di Freiburg ne La Boheme di Giacomo Puccini. Finalista nel gennaio 2002 al concorso Voci nuove per il Rosetum dove viene selezionato per cantare il ruolo di Ramfis nell Aida di Giuseppe Verdi con la regia di Daniele Rubboli.
    [Show full text]
  • Pietro Mascagni Scheda Biografica CRONOLOGICA 7 Dicembre 1863
    Pietro Mascagni Scheda biografica CRONOLOGICA 7 dicembre 1863 nasce a Livorno in Piazza delle Erbe, l’attuale Piazza Cavallotti. Il padre, Domenico, di professione fornaio, era originario di San Miniato al Tedesco, la madre, Emilia Reboa, livornese. La casa natale, non più esistente, occupava il perimetro dove è stato costruito il palazzo sede odierna di una banca. 8 ottobre 1873 muore la madre, lasciando orfano Pietro ed i fratelli (Francesco, il maggiore, Carlo, Elvira e Paolo). Di lì a poco, Pietro inizia a frequentare il Ginnasio ed anche le lezioni di Musica. La sua prima “platea” è quella della chiesa di San Benedetto, nell’attuale Piazza XX Settembre, sul cui organo si esercita e suona musiche liturgiche. 1 aprile 1875 Alfredo Soffedini (1854 – 1923), livornese diplomato al conservatorio di Milano, fonda a Livorno l’Istituto Musicale Livornese che, a partire dall’anno successivo, sarà frequentato da Pietro Mascagni. Nel 1879 l’istituto sarà dedicato al musicista Luigi Cherubini. 1878 – 1880 Pietro Mascagni inizia a comporre. La prima composizione conosciuta è la romanza Duolo eterno!, che dedica al padre in ricordo della madre. La figura materna sarà presente nella musica di Pietro Mascagni fino alla maturità. Le composizioni più rilevanti del periodo sono di carattere religioso (una Ave Maria, alcuni Kyrie, un Pater Noster etc.) dove già emerge con chiarezza l’amore di Mascagni per la voce umana. Pietro Mascagni, nondimeno, compone anche due sinfonie (Prima Sinfonia in FA magg. – recentemente ritrovata – e Seconda Sinfonia in FA magg.) e la cantata In filanda (terminata il 29 gennaio 1881). A testimonianza di una personalità musicale precocemente formata, è possibile affermare che la tonalità di FA magg.
    [Show full text]