Cavalli and the Staging of Venetian Opera - Part One Transcript
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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. -
The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Falsetto Head Voice Tips to Develop Head Voice
Volume 1 Issue 27 September 04, 2012 Mike Blackwood, Bill Wiard, Editors CALENDAR Current Songs (Not necessarily “new”) Goodnight Sweetheart, Goodnight Spiritual Medley Home on the Range You Raise Me Up Just in Time Question: What’s the difference between head voice and falsetto? (Contunued) Answer: Falsetto Notice the word "falsetto" contains the word "false!" That's exactly what it is - a false impression of the female voice. This occurs when a man who is naturally a baritone or bass attempts to imitate a female's voice. The sound is usually higher pitched than the singer's normal singing voice. The falsetto tone produced has a head voice type quality, but is not head voice. Falsetto is the lightest form of vocal production that the human voice can make. It has limited strength, tones, and dynamics. Oftentimes when singing falsetto, your voice may break, jump, or have an airy sound because the vocal cords are not completely closed. Head Voice Head voice is singing in which the upper range of the voice is used. It's a natural high pitch that flows evenly and completely. It's called head voice or "head register" because the singer actually feels the vibrations of the sung notes in their head. When singing in head voice, the vocal cords are closed and the voice tone is pure. The singer is able to choose any dynamic level he wants while singing. Unlike falsetto, head voice gives a connected sound and creates a smoother harmony. Tips to Develop Head Voice If you want to have a smooth tone and develop a head voice singing talent, you can practice closing the gap with breathing techniques on every note. -
Perception of Singing
Dept. for Speech, Music and Hearing Quarterly Progress and Status Report Perception of singing Sundberg, J. journal: STL-QPSR volume: 20 number: 1 year: 1979 pages: 001-048 http://www.speech.kth.se/qpsr STL-QPSR 6/1979 r, I , -1 . I. MUSICAL ACOUSTICS .- . .'' , A. PERCEPTION UF*SINGING . ' %L J. Sundberg <j. , - ,. ... .T ., ., .. , - ' .: , .$:.. , ,i... .-, "' ,, . ....,.<.,:,, '.. .... .................: :. :..... , . , . ' .' '\ Abstract 9s .This article reviews investigations of the singing voice which ,. possess an interest from a perceptional point of view. Acoustic hnction, formant frequencies, phonation, pitch, and phrasing in , singing are discussed. It is found that singing differs from speech in a highly adequate manner, k. g. for the pufpose of increasing the loudness of the voice at a minimum cost as regards vocal ef- fort. The terminology used for different type's of voice timbre . seems to depend on the properties and use of. the voice organ rather than on specific acoustic signal characteris tics. - Pr- STL-QPSR f/i979 ? c 4. partials decrease monotonically with rising frequency. As a rule of thumb a given partial is 12 dB stronger than a partial located one oc- tave higher. However, for high degrees of vocal effort this source spectrum slopes less than 12 d~/octave. With soft phonation it is I steeper than 12 d~/octave. On the other hand, the voice source ;n+rr,. spectrum slope is generally not,,dependeet on which voiced sound is produced. :: br:,iec,:.ceii~9 !: -<; c,*>iriF cat i~::5~:- I VIXJ ko 31i30e .JTT The spectral differences between various voiced sounds arise when the sound from the voice source is transferred through the vocal tract, i. -
Conference Abstracts
Society for Seventeenth-Century Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF 17THCENTURY MUSIC Abstracts of Presentations at the Fifth Annual Conference 1013 April 1997, Florida State University, Tallahassee Index of Presentations Program and Abstracts Program Committee Index of Presentations: Candace Bailey, A Reassessment of Matthew Locke's Keyboard Suites Gregory Barnett, Corrente da piedi, Corrente da orecchie: Two Faces of the Sonata da camera Jennifer Williams Brown, "Innsbruck, ich muss dich lassen": Tracing Orontea's Footprints Joanna Carter, Selle as Music Tutor: A Model for Music Education at Lateinschulen in Northern Germany Stewart Carter, Instructions for the Violin from an Overlooked Source: Bartolomeo Bismantova's Compendio musicale (1677) Tim Carter, ReReading Poppea: Some Thoughts on Music and Meaning in Early Seventeenth Century Italian Opera Georgia Cowart, Carnival, Commedia dell'arte and the Paris Opéra in the Late Years of the Sun King Michael Robert Dodds, Transposition in OrganChoir Antiphony in the Mid and Late Seicento Frederick K. Gable, Eine so viel als die Andere: Rhythm and Tempo in SeventeenthCentury German Chant Beth L. Glixon, Vettor Grimani Calergi as Consumer and Patron of Opera Akira Ishii, ReEvaluation of Minoriten 725 as a Source for the Works of Johann Jacob Froberger YouYoung Kang, Revisiting SeventeenthCentury Counterpoint Kathryn Lowerre, The Sweets of Peace: Reconstructing and Interpreting Europe's Revels (London, 1697) Stephen R. Miller, On the Significance of 'Stile antico' Catherine Moore, Thundering Vortex: The 1631 Eruption of Vesuvius Commemorated in Madrigal Poetry Christopher Mossey, Characteristics of Roles and the Role of Character in Librettos by Giovanni Faustini Janet Pollack, Parthenia: The "Maydenhead of Musicke" as an Epithalamion Kerala J. -
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. -
825646166411.Pdf
FRANCESCO CAVALLI L’AMORE INNAMORATO Nuria Rial soprano Hana Blažíková soprano L’ARPEGGIATA Christina Pluhar theorbo, baroque harp Doron David Sherwin cornetto Veronika Skuplik baroque violin Judith Steenbrink baroque violin Eero Palviainen archlute, baroque guitar Marcello Vitale baroque guitar Sarah Ridy baroque harp Margit Übellacker psaltery Elisabeth Seitz psaltery Lixsania Fernandes viola da gamba Rodney Prada viola da gamba Paulina van Laarhoven lirone Josetxu Obregon baroque cello Rüdiger Kurz violone Boris Schmidt double bass Haru Kitamika harpsichord, organ Francesco Turrisi harpsichord, organ David Mayoral percussion Christina Pluhar direction 1 L’Armonia (Prologo) 7:47 11 Affliggetemi, guai dolenti 2:23 L’Ormindo L’Artemisia 3 2 Sinfonia 2:31 12 Che città 3:34 Il Giasone L’Ormindo 3 Piante ombrose 3:07 Giovanni Girolamo Kapsperger La Calisto 13 Toccata prima 5:30 4 Restino imbalsamate 4:20 14 Alle ruine del mio regno 7:07 La Calisto La Didone 5 Vieni, vieni in questo seno 3:39 15 L’alma fiacca svanì 4:23 La Rosinda La Didone 6 Verginella io morir vo’ 3:54 Andrea Falconieri La Calisto 16 La suave melodia 3:30 7 Ninfa bella 3:37 66:52 La Calisto 8 Non è maggior piacere 4:38 La Calisto 9 Dammi morte 4:33 L’Artemisia 10 Sinfonia 2:18 Nuria Rial 3, 4, 6, 8, 12, 14, 15 L’Eliogabalo Hana Blažíková 1, 5, 7, 9, 11 4 Christina Pluhar L’Armonia (Prologo) Restino imbalsamate from L’Ormindo, 1644 from La Calisto, 1651 Libretto by Giovanni Faustini Libretto by Giovanni Faustini 5 Arr. Christina Pluhar Arr. -
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. -
Opera De Lille Saison 2013--2014
OPERA DE L ILLE SAISON 2013-- 2014 Dix ans ! Fin 2003, l’Opéra de Lille ouvrait ses portes après trois années de rénovation et se donnait une nouvelle ambition : offrir au plus grand nombre la chance de découvrir de grandes œuvres lyriques, chorégraphiques et musicales, interprétées par des artistes qui marquent notre temps. Au cœur de son action : la production d’opéras qui trois ou quatre fois par saison convie chanteurs et équipes de mise en scène venus du monde entier. Ils s’associent aux forces artistiques qui épousent l’exigence et le désir de partage de l’Opéra : l’Orchestre national de Lille et son directeur Jean-Claude Casadesus, fidèle partenaire grâce à qui les grands chefs-d’œuvre tels que Faust , La Traviata ou Carmen ont été présentés ; l’Orchestre de Picardie, toujours prêt à relever les défis artistiques, de Madama Butterfly en 2004 au Rake’s Progress récemment ; et enfin les ensembles en résidence, Ictus, et le Concert d’Astrée dirigé par Emmanuelle Haïm, qui depuis dix ans donnent le ton de ce projet atypique. Dès leurs premiers concerts, une atmosphère à la fois de grande exigence artistique et de plaisir communicatif a permis aux amateurs comme aux néophytes d’apprécier des pièces du répertoire, contemporain pour l’un, baroque pour l’autre. De grandes œuvres contemporaines ont aussi vu le jour grâce au soutien de l’Opéra de Lille. Compositeurs et chorégraphes ont trouvé ici une scène pour créer de nouvelles formes artistiques et de nouveaux langages, notamment Georges Aperghis et Michaël Levinas pour leurs opéras, et Christian Rizzo puis Daniel Linehan dans le cadre de leurs résidences. -
San Francisco Early Music Society
San Francisco Early Music Society Breathtaking: A Cornetto and a Voice Entwined WHEN: VENUE: Sunday, May 6, 2018 BInG 4:00 PM COnCERT HaLL Program Artists Maurizio Cazzati (1616 –1678) Hana Blažíková, Regina coeli soprano Bruce dickey, Nicolò Corradini (?–1646) cornetto Spargite flores Tekla Cunningham, Biagio Marini (1594 –1663) Ingrid Matthews, Sonata seconda a doi violini violin Joanna Blendulf, Sigismondo D’India (c1582 –1629) viola da gamba Dilectus meus Langue al vostro languir Michael Sponseller, organ and harpsichord Giovanni Battista Fontana (1589–1630) Stephen Stubbs, Sonata 11 a 2 theorbo and baroque guitar Tarquinio Merula (c 1594–1665) Nigra sum Giacomo Carissimi (1605 –1674) Summi regis puerpera —Intermission— Calliope Tsoupaki (b. 1963) Mélena imí (Nigra sum) , 2015 Gio. Battista Bassani (c1650 –1716) Three arias from La Morte Delusa (Ferrara, 1680) “Sinfonia avanti l’Oratorio” “Speranza lusinghiera” “Error senza dolor” Sonata prima a 3, Op. 5 Alessandro Scarlatti (1660–1725 Three arias from Emireno (Naples, 1697) Rosinda: “non pianger solo dolce usignuolo” Rosinda: “Senti, senti ch’io moro” Emireno: “Labbra gradite” PROGRAM SUBJECT TO CHANGE . Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not permitted. Thank you. 2 Notes Breathtaking: violoncelli. He was able, however, to which included innovative composers A Voice And A Cornetto Entwined attract excellent singers as well as such as Giovanni de Macque. d’India string players to the basilica. His travelled extensively, holding positions In the 16th and 17th centuries, the Regina coeli , from a collection of in Turin, Modena and Rome. His cornetto was fabled for its remarkable Marian antiphons published in 1667, monodies, for which he is primarily ability to imitate the human voice. -
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 -
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.