Arias for Farinelli
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La Vedova Ingegnosa (Drusilla E Strabone)
Giuseppe Sellitti LA VEDOVA INGEGNOSA (DRUSILLA E STRABONE) Due intermezzi di Tommaso Mariani per Demofoonte Napoli, Teatro di San Bartolomeo, 1735 edizione critica a cura di Marilena Laterza Edizioni ETS Musica teatrale del Settecento italiano Serie I: Drammi veneziani su testi di Goldoni Serie II: Drammi per musica di Niccolò Jommelli Serie III: Intermezzi napoletani del Settecento Questo volume è stato realizzato grazie a un contributo del Ministero dell’Istruzione, dell’Università e della Ricerca, erogato alle Università degli Studi di Padova, Siena e Milano nell’ambito del progetto Libretti d’opera italiana del Settecento (Mariani, Federico, Metastasio, Goldoni, Verazi). Varianti dai manoscritti e dalle fonti a stampa (FIRB 2006) In copertina: Anonimo, Intermezzo (già attribuito a Giuseppe De Albertis), olio su tela, Milano, Museo Teatrale alla Scala (si ringrazia per la gentile autorizzazione) Realizzazione grafica della partitura: Alessandro Monga Impaginazione dei testi: Edizioni ETS Copyright © 2013 Edizioni ETS s.r.l. Piazza Carrara, 16-19 - 56126 Pisa Tel. 050/29544-503868 - Fax 050/20158 e-mail [email protected] www.edizioniets.com ISMN 979-0-705015-22-5 ISBN 978-884673704-5 SOmmAriO Introduzione VII Fonti dell’edizione XIII Criteri dell’edizione XXV Libretto XXVII La vedova ingegnosa Intermezzo primo Aria di Drusilla «Sconsolata vedovella» 3 Recitativo «Sen venne, giorni sono» 7 Aria di Drusilla «Senta, senta, in cortesia» 11 Recitativo «Non dubiti, signora: ho già compreso» 18 Aria di Strabone «Lei mi guarda e poi sospira» 23 Recitativo «Parli con libertà, nulla si cela» 30 Duetto di Drusilla e Strabone «Son ragazza, son bellina» 33 Intermezzo secondo Aria di Strabone «Orletta e cambraia» 44 Recitativo «Viva Sergio. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
The Return of Handel's Giove in Argo
GEORGE FRIDERIC HANDEL 1685-1759 Giove in Argo Jupiter in Argos Opera in Three Acts Libretto by Antonio Maria Lucchini First performed at the King’s Theatre, London, 1 May 1739 hwv a14 Reconstructed with additional recitatives by John H. Roberts Arete (Giove) Anicio Zorzi Giustiniani tenor Iside Ann Hallenberg mezzo-soprano Erasto (Osiri) Vito Priante bass Diana Theodora Baka mezzo-soprano Calisto Karina Gauvin soprano Licaone Johannes Weisser baritone IL COMPLESSO BAROCCO Alan Curtis direction 2 Ouverture 1 Largo – Allegro (3:30) 1 2 A tempo di Bourrée (1:29) ATTO PRIMO 3 Coro Care selve, date al cor (2:01) 4 Recitativo: Licaone Imbelli Dei! (0:48) 5 Aria: Licaone Affanno tiranno (3:56) 6 Coro Oh quanto bella gloria (3:20) 7 Recitativo: Diana Della gran caccia, o fide (0:45) 8 Aria: Diana Non ingannarmi, cara speranza (7:18) 9 Coro Oh quanto bella gloria (1:12) 10 Aria: Iside Deh! m’aiutate, o Dei (2:34) 11 Recitativo: Iside Fra il silenzio di queste ombrose selve (1:01) 12 Arioso: Iside Vieni, vieni, o de’ viventi (1:08) 13 Recitativo: Arete Iside qui, fra dolce sonno immersa? (0:23) 14 Aria: Arete Deh! v’aprite, o luci belle (3:38) 15 Recitativo: Iside, Arete Olà? Chi mi soccorre? (1:39) 16 Aria: Iside Taci, e spera (3:39) 17 Arioso: Calisto Tutta raccolta ancor (2:03) 18 Recitativo: Calisto, Erasto Abbi, pietoso Cielo (1:52) 19 Aria: Calisto Lascia la spina (2:43) 20 Recitativo: Erasto, Arete Credo che quella bella (1:23) 21 Aria: Arete Semplicetto! a donna credi? (6:11) 22 Recitativo: Erasto Che intesi mai? (0:23) 23 Aria: Erasto -
Handel Arias
ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry. -
The Howard Mayer Brown Libretto Collection
• The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali -
Handel, Rolli, and Italian Opera in London in the Eighteenth
HANDEL, ROLLI, AND ITALIAN OPERA IN LONDON IN THE EIGHTEENTH CENTURY Downloaded from By R. A. STREATFEILD In the Biblioteca Estense at Modena there is a small collection of the letters of Paolo Rolli, protected from indiscriminate perusal, as the late Dr. Garnett once observed of a somewhat similar piece of calligraphy, by the triple http://mq.oxfordjournals.org/ Kgis of execrable ink, execrable paper and execrable penmanship. I visited Modena in the Autumn of 1912, and did my best to transcribe and translate all that is decipherable of Bolli's correspondence. The results of my labours are embodied in the following article. I venture to make this personal state- ment, lest it should be supposed that I have merely borrowed the fruits of Signor Sesto Fassini's researches in the same library, and I may also point out that considerably more of Bolli's correspondence appears in my article than Signor Fassini has yet cared to publish. Nevertheless, I gladly admit my indebtedness to that gentleman's researches on the life and work of Rolli, and I have no desire at University of Saskatchewan on March 17, 2015 to minimise my obligations. His able and accurate work, "D Melodramma . Italiano a Londra nella prima meta del settecento," has been of the greatest assistance to me in writing the following article, as have also been in a less degree his two pamphlets: "D Ritiro del Rolli dall' Inghilterra," (Perugia, 1908); and "Dodici lettere inedite di Paolo Rolli," (Torino, 1911). I should like also to acknowledge my debts to Signor Ercole Sola's "Curiosita storico-artistico- letterarie trasse dal carteggio dell' inviato estense Giuseppe Riva," published in the "Atti e Memorie della R. -
Saison) Le Journal Des Arts Florissants
saison) le journal des Arts Florissants automne-hiver 2010 | numéro 23 devant nous Le 30e anniversaire des Arts Florissants, que nous avons célébré Au fil tout au long de la saison passée, a été pour moi source de grande de la 31e saison des Arts satisfaction. J'ai été ému de voir l'accueil qui a été réservé à Florissants Caen comme à Paris, à Londres comme à New York, aux manifestations très variées que nous avions organisées, à l'esprit de page 8 fête et de famille qui a régné en chaque occasion. Atléonl Didoand Aeneas en Russie Parmi les nombreux motifs de satisfaction, je retiendrai page 10 le succès remporté par Aci, Galatea les concerts de mes deux e Polifemo de Handel jeunes collègues Paul Agnew et Jonathan Cohen. page 14 J'avais souhaité, les 30 ans Anacréon 1 de mon ensemble Pygmalion approchant, partager mes de Rameau responsabilités avec des artistes pouvant développer 1 page 18 leurs propres projets au sein des Arts Florissants. Si j'ai mis du temps 1 Duos d'exception: Philippe à entamer cette démarche, c'eft que j'ai pu nourrir des craintes Jaroussky et Max pour l'identité de l'ensemble. La maturité nous a permis de franchir Emanuel Cencic cette nouvelle étape. page 20 ArtsFlo Cela ne signifie en rien que je souhaite en faire moins dans l'avenir. Media Mais Les Arts Florissants doivent pouvoir répondre à la demande croissante du public, et se rendre aussi disponibles que possible. Je suis heureux, dans ce contexte, que les deux admirables musiciens page 22 Brèves que sont Paul Agnew et Jonathan Cohen puissent acquérir leur Retour en imaee autonomie dans l'ensemble et deviennent responsables de leurs programmes. -
Programme Note ANETA MARKUSZEWSKA
Programme note ANETA MARKUSZEWSKA Following the death of John III and a failed attempt by the Sobieski dynasty to retain the crown, Marie Casimire decided to leave the Polish-Lithuanian Commonwealth and make her way to Rome. She arrived in the Eternal City in March 1699, after a journey lasting almost half a year. The official reason for her arrival in the city was the jubilee year 1700, celebrated in the capital of Christianity with great pomp. In the end the Widow-Queen remained in Rome for fifteen years. Marie Casimire soon became known as an esteemed patron of music. Her residence in the Palazzo Zuccari in Trinità de’ Monti (next to the Spanish Steps, which did not yet exist) was a venue for renditions of commemorative cantatas and serenatas celebrating the memory of her distinguished husband, as well as performances of improvised comedies and dance. In 1709 Marie Casimire Sobieski organised in her palace a private opera theatre, where operas to librettos by Carlo Sigismondo Capece with music by the young Domenico Scarlatti were staged until 1714. One of the works presented at the time was the dramma per musica Tolomeo e Alessandro, ovvero la corona disprezzata by Capece-Scarlatti. The opera had its premiere on 17th January 1711. About the performance an anonymous chronicler wrote: ‘On Monday evening in her residence on Trinità de’ Monti, the Queen of Poland opened performances of an opera featuring female singers and good musicians [instrumentalists] which was generally acknowledged as superior to others.’ In a letter to her eldest son Jakub Sobieski, who was staying in Oława, Marie Casimire related that: ‘the whole work was composed in three weeks . -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXI, Number 3 Winter 2006 AMERICAN HANDEL SOCIETY- PRELIMINARY SCHEDULE (Paper titles and other details of program to be announced) Thursday, April 19, 2006 Check-in at Nassau Inn, Ten Palmer Square, Princeton, NJ (Check in time 3:00 PM) 6:00 PM Welcome Dinner Reception, Woolworth Center for Musical Studies Covent Garden before 1808, watercolor by Thomas Hosmer Shepherd. 8:00 PM Concert: “Rule Britannia”: Richardson Auditorium in Alexander Hall SOME OVERLOOKED REFERENCES TO HANDEL Friday, April 20, 2006 In his book North Country Life in the Eighteenth Morning: Century: The North-East 1700-1750 (London: Oxford University Press, 1952), the historian Edward Hughes 8:45-9:15 AM: Breakfast, Lobby, Taplin Auditorium, quoted from the correspondence of the Ellison family of Hebburn Hall and the Cotesworth family of Gateshead Fine Hall Park1. These two families were based in Newcastle and related through the marriage of Henry Ellison (1699-1775) 9:15-12:00 AM:Paper Session 1, Taplin Auditorium, to Hannah Cotesworth in 1729. The Ellisons were also Fine Hall related to the Liddell family of Ravenscroft Castle near Durham through the marriage of Henry’s father Robert 12:00-1:30 AM: Lunch Break (restaurant list will be Ellison (1665-1726) to Elizabeth Liddell (d. 1750). Music provided) played an important role in all of these families, and since a number of the sons were trained at the Middle Temple and 12:15-1:15: Board Meeting, American Handel Society, other members of the families – including Elizabeth Liddell Prospect House Ellison in her widowhood – lived in London for various lengths of time, there are occasional references to musical Afternoon and Evening: activities in the capital. -
Luca Antonio Predieri
Masarykova univerzita Filozofická fakulta Ústav hudební vědy Hudební věda Iva Bittová Luca Antonio Predieri: Missa in C Sacratissimi Corporis Christi Magisterská diplomová práce Vedoucí práce: doc. PhDr. Jana Perutková, Ph.D. 2017 Prohlašuji, že jsem práci vypracovala samostatně a pouze s využitím uvedených pramenů a literatury. ...................................... OBSAH PŘEDMLUVA ....................................................................................................................................................... 4 ÚVOD ..................................................................................................................................................................... 5 1 STAV BÁDÁNÍ .............................................................................................................................................. 6 2 LUCA ANTONIO PREDIERI .................................................................................................................... 12 2.1 ŽIVOTOPIS .............................................................................................................................................. 12 2.2 PŘEHLED DÍLA ........................................................................................................................................ 16 3 EDICE PRAMENE MISSA IN C SACRATISSIMI CORPORIS CHRISTI ......................................... 19 3.1 POPIS PRAMENE ..................................................................................................................................... -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXX, Number 3 Winter 2015 EXHIBITION: “HANDEL: A LIFE WITH FRIENDS” HANDEL & HENDRIX IN LONDON JULY 1, 2015 – JANUARY 10, 2016 The opportunity to curate an exhibit for the Handel House Museum (now re-baptized as Handel & Hendrix in London) gave me a special opportunity to think in a new way about the documents and objects that had played a role in the research for my book George Frideric Handel: A Life with Friends (New York: W. “HANDEL AND HIS EIGHTEENTH- W. Norton, 2014). In the following, I’ve chosen a few CENTURY PERFORMERS” examples from the exhibit to illustrate the kinds of THE HANDEL INSTITUTE discussions and fact-finding that occurred before and after the installation. CONFERENCE, LONDON I would say that the pièce de résistance of the exhibit NOVEMBER 21–23, 2015 is the 1731 painting by William Hogarth of The Wesley Family (with Anne Donnellan) from the Wellington The Handel Institute (the British equivalent of Collection, Stratfield Saye House. This is one of two the AHS) organizes a conference every three years, and objects in the exhibit that I had only seen previously in in late 2015, scholars from across the globe gathered in reproduction, and it is an image of great importance. London for three days of papers and discussion mostly Not only does it show us Donnellan on the brink of song centering on the main theme of the conference “Handel in a domestic setting among her cousin’s family, but it and His Eighteenth-Century Performers.” The first two also introduces us to the extended family of Richard days were hosted by the Foundling Museum (also home Wesley (1690-1758).