Iphigénie En Tauride
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The Conflict of Obligations in Euripides' Alcestis
GOLDFARB, BARRY E., The Conflict of Obligations in Euripides' "Alcestis" , Greek, Roman and Byzantine Studies, 33:2 (1992:Summer) p.109 The Conflict of Obligations in Euripides' Alcestis Barry E. Goldfarb 0UT ALCESTIS A. M. Dale has remarked that "Perhaps no f{other play of Euripides except the Bacchae has provoked so much controversy among scholars in search of its 'real meaning'."l I hope to contribute to this controversy by an examination of the philosophical issues underlying the drama. A radical tension between the values of philia and xenia con stitutes, as we shall see, a major issue within the play, with ramifications beyond the Alcestis and, in fact, beyond Greek tragedy in general: for this conflict between two seemingly autonomous value-systems conveys a stronger sense of life's limitations than its possibilities. I The scene that provides perhaps the most critical test for an analysis of Alcestis is the concluding one, the 'happy ending'. One way of reading the play sees this resolution as ironic. According to Wesley Smith, for example, "The spectators at first are led to expect that the restoration of Alcestis is to depend on a show of virtue by Admetus. And by a fine stroke Euripides arranges that the restoration itself is the test. At the crucial moment Admetus fails the test.'2 On this interpretation 1 Euripides, Alcestis (Oxford 1954: hereafter 'Dale') xviii. All citations are from this editon. 2 W. D. Smith, "The Ironic Structure in Alcestis," Phoenix 14 (1960) 127-45 (=]. R. Wisdom, ed., Twentieth Century Interpretations of Euripides' Alcestis: A Collection of Critical Essays [Englewood Cliffs 1968]) 37-56 at 56. -
Hercules: Celebrity Strongman Or Kindly Deliverer?
Hercules: Celebrity Strongman or Kindly Deliverer? BY J. LARAE FERGUSON When Christoph Willibald Gluck’s French Alceste premiered in Paris on 23 April 1776, the work met with mixed responses. Although the French audience loved the first and second acts for their masterful staging and thrilling presentation, to them the third act seemed unappealing, a mere tedious extension of what had come before it. Consequently, Gluck and his French librettist Lebland Du Roullet returned to the drawing board. Within a mere two weeks, however, their alterations were complete. The introduction of the character Hercules, a move which Gluck had previously contemplated but never actualized, transformed the denouement and eventually brought the opera to its final popular acclaim. Despite Gluck’s sagacious wager that adding the character of Hercules would give to his opera the variety demanded by his French audience, many of his followers then and now admit that something about the character does not fit, something of the essential nature of the drama is lost by Hercules’ abrupt insertion. Further, although many of Gluck’s supporters maintain that his encouragement of Du Roullet to reinstate Hercules points to his acknowledged desire to adhere to the original Greek tragedy from which his opera takes its inspiration1, a close examination of the relationship between Gluck’s Hercules and Euripides’ Heracles brings to light marked differences in the actions, the purpose, and the characterization of the two heroes. 1 Patricia Howard, for instance, writes that “the difference between Du Roullet’s libretto and Calzabigi’s suggests that Gluck might have been genuinely dissatisfied at the butchery Calzabigi effected on Euripides, and his second version was an attempt not so much at a more French drama as at a more classically Greek one.” Patricia Howard, “Gluck’s Two Alcestes: A Comparison,” Musical Times 115 (1974): 642. -
The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet -
Emerging Artist Recital: Chautauqua Opera Young Artist Program
OPERA AMERICA emerging artist recitals CHAUTAUQUA OPERA YOUNG ARTIST PROGRAM MARCH 14, 2019 | 7:00 P.M. UNCOMMON WOMEN Kayla White, soprano Quinn Middleman, mezzo-soprano Sarah Saturnino, mezzo-soprano Miriam Charney and Jeremy Gill, pianists PROGRAM A Rocking Hymn (2006) Gilda Lyons (b. 1975) Poem by George Wither, adapted by Gilda Lyons Quinn Middleman | Miriam Charney 4. Canción de cuna para dormir a un negrito Poem by Ildefonso Pereda Valdés 5. Canto negro Poem by Nicolás Guillén From Cinco Canciones Negras (1945) Xavier Montsalvatge (1912–2002) Sarah Saturnino | Miriam Charney Lucea, Jamaica (2017) Gity Razaz (b. 1986) Poem by Shara McCallum Kayla White | Jeremy Gill Die drei Schwestern From Sechs Gesänge, Op. 13 (1910–1913) Alexander von Zemlinsky (1871–1942) Poem by Maurice Maeterlinck Die stille Stadt From Fünf Lieder (1911) Alma Mahler (1879–1964) Poem by Richard Dehmel Quinn Middleman | Jeremy Gill [Headshot, credit: Rebecca Allan] Rose (2016) Jeremy Gill (b. 1975) Text by Ann Patchett, adapted by Jeremy Gill La rosa y el sauce (1942) Carlos Guastavino (1912–2000) Poem by Francisco Silva Sarah Saturnino | Jeremy Gill Sissieretta Jones, Carnegie Hall, 1902: O Patria Mia (2018) George Lam (b. 1981) Poem by Tyehimba Jess Kayla White | Jeremy Gill The Gossips From Camille Claudel: Into the Fire (2012) Jake Heggie (b. 1961) Text by Gene Scheer Sarah Saturnino | Jeremy Gill Reflets (1911) Lili Boulanger (1893–1918) Poem by Maurice Maeterlinck Au pied de mon lit From Clairières dans le ciel (1913–1914) Lili Boulanger (1893–1918) Poem by Francis Jammes Quinn Middleman | Miriam Charney Minstrel Man From Three Dream Portraits (1959) Margaret Bonds (1913–1972) Poem by Langston Hughes He had a dream From Free at Last — A Portrait of Martin Luther King, Jr. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
From Lady Mary to Lady Bute: an Analysis of the Letters
Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 1-1-1964 From Lady Mary to Lady Bute: An Analysis of the Letters Russell Atkins Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Atkins, Russell, "From Lady Mary to Lady Bute: An Analysis of the Letters" (1964). Plan B Papers. 363. https://thekeep.eiu.edu/plan_b/363 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. FROM LADY MARY TO LADY BUTE: AN ANALYSIS OF THE LETTERS (TITLE) BY Russell Atkins PLAN B PAPER SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE English 455 IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS 1964 YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. , /~.3 b_ 'P DATE\- ADVISER DEPARTMENT HEAD , c INT.RODUCTI ON In 1739 Lady Mary Wortley :M:ontagu departed England for Italy leaving behind her fifty years of aristocratic living. The reasons for Lady Mary's self-imposed exile have been a subject of speculation for scholars from that day to the present. Thanks to the research efforts of Robert Halsband it can now be stated that the principal reason was the love affair between Lady Mary and a twenty-five-year old Italian prince, Count Francesco Algarotti. -
Sun King Program Notes
FRIDAY, NOVEMBER 20 PROGRAM 7:30 PM Jean-Baptiste Lully Suite from Armide 7:00 PM: PRE-CONCERT LECTURE BY PROFESSOR Jean-Philippe Rameau In convertendo Dominus JOHN POWELL (UNIV. OF TULSA) wfihe^=e^ii=L= INTERMISSION Hobby Center For The Performing Arts= Marc-Antoine Charpentier Les arts florissants SPECIAL GUESTS: Catherine Turocey, Artistic Director PROGRAM NOTES The New York Barque Dance Company Armide was the last tragédie en musique on which Jean-Baptiste Lully collaborated with his Dancers: Carly Fox Horton, favorite librettist, Philippe Quinault. It premiered at the Paris Opéra on February 15, 1686. Quinault retired from the stage after Armide, and Lully died the following year. From its first Brynt Beitman, Alexis Silver, and Andrew Trego performance, Armide was recognized as their masterpiece. The subject matter was of the King’s choosing: Louis XIV selected the story in May of 1685 CAST: Megan Stapleton, soprano from among several offered by Quinault. Armide is based on an episode of Gerusalemme Julia Fox, soprano liberata, a popular epic poem by the 16th-century Italian poet Torquato Tasso. It uses the story Cecy Duarte, mezzo-soprano of the capture of Jerusalem by Christians during the First Crusade (1096-99) as the starting Sonja Bruzauskas, mezzo-soprano point for a fabulous extravaganza of heroism, villainy, war, star-crossed lovers, sorcery, bad Tony Boutté, tenor temper, warrior maidens, and eventual total victory by the forces of good. The episode on Eduardo Tercero, tenor which Armide is based tells the story of Armida, a sorceress who falls in love with the Mark Diamond, baritone Crusader Rinaldo, her sworn enemy. -
Le Cinesi. Revised Libretto by PIETRO METASTASIO, First Set by Nicola Conforto (1751 Aranjuez)
Le cinesi. Revised libretto by PIETRO METASTASIO, first set by Nicola Conforto (1751 Aranjuez). The scene represents a room in the house of Lisinga, decorated in the Chinese manner, with a table and four chairs. Lisinga, Sivene, and Tangia sit together drinking tea in an attitude of total preoccupation. Silango, listens unseen from the partly open door. Lisinga, after observing each of her companions for some time, finally breaks the silence. Bored, three young Chinese women ponder how they might amuse themselves in a manner that would be enjoyable, innocent, and different. Tangia has fleeting thoughts on the matter but they come to nothing. Much to their chagrin, Silango enters to offer his opinion, but since this is a room strictly off-limits to men, reputations are at stake and he must leave – but best to delay until darkness offers its cover. Meanwhile, in spite of his recent travels in Europe, he must realize that he is no longer in France or Italy and must readjust to the customs of his native China. Lisinga suggests that as a group, they perform a dramatic piece. All three agree, but in turning to such a European pastime, each one favours a different genre. Lisinga opts for an heroic drama, while Sivene would have a pastoral and Tangia a comedy. Thus Silango proposes that each one perform a scene in her preferred style and they will adopt the one they consider to be the best. Since her companions hesitate, Lisinga takes the lead and as Andromache, widow of Hector, plays out a scene in which the life of their child, Astyanax, is threatened by Pyrrhus, unless she agree to marry him. -
Introduction: a Rich and Complex Heritage
Cambridge University Press 978-1-107-01237-0 - Music and the Exotic from the Renaissance to Mozart Ralph P. Locke Excerpt More information part i Introduction: a rich and complex heritage © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01237-0 - Music and the Exotic from the Renaissance to Mozart Ralph P. Locke Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01237-0 - Music and the Exotic from the Renaissance to Mozart Ralph P. Locke Excerpt More information 1 Images and principles Images of Otherness This book tells two intertwined stories that have long needed to be told. It tells how Western music, during the years 1500–1800, reflected, reinforced, and sometimes challenged prevailing conceptions of unfamiliar lands – various Elsewheres – and their peoples. And it also tells how ideas about those locales and peoples contributed to the range and scope of musical works and musical life in the West (that is, in Europe and – to a lesser extent – its overseas colonies). For the most part, the book explores the ways in which those places and peoples were reflected in what we today consider musical works, ranging from operas and dramatic oratorios to foreign-derived instrumental dances such as a sarabande for lute or guitar. But it also explores other cultural products that – though not “musical works”–included a significant musical component: products as different as elaborate courtly ballets and cheaply printed -
Winged Feet and Mute Eloquence: Dance In
Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice. -
Frederick the Great's Sexuality – New Avenues of Approach
History in the Making, volume 8, 2021 Frederick the Great’s Sexuality – New Avenues of Approach JACKSON SHOOBERT Frederick the Great’s sexual orientation provides an interesting case study; one that dissects the nature of power, temporality, and sexuality within the confines of elite Prussian eighteenth- century society. Analysis of this subject is significantly complicated by a deep web of adolescent repression which culminated in a level of prudence that still leaves modern scholars without a conclusive definition of Frederick’s sexuality.1 The sexuality of any human forms an important portion of their personality. Ignoring this facet for the sake of a convenient narrative is detrimental to understanding historical characters and the decisions they make.2 Examining how Frederick expressed his sexuality and the inferences this renders about his character will generate a more nuanced understanding without being confined in a broad categorisation as a homosexual. For Frederick, this aspect has been neglected in no small part due to methods he undertook to hide portions of his nature from contemporaries and his legacy. A thorough investigation of the sexuality of Frederick the Great and its interrelations with his personality is therefore long overdue. Frederick the Great, one of the most eminent men of his time, was not an obviously heterosexual man. His sexuality, which has only truly become a legitimate subject for inquiry within the last 60 years, has always been an integral component of his character, permeating from his adolescence unto his death. Despite ground-breaking works by German and Anglo authors in the last decade, the research has barely scraped the surface of what can be learned from Frederick and his sexuality.