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Program Notes Program Notes Program Notes by April L. Racana Wed. October 19 The 105th Tokyo Opera City Subscription Concert 10 19 Macbeth was Verdi’s tenth opera, years in developing Italian opera. The Giuseppe Verdi (1813-1901) composed originally in 1847, and revised effectiveness of these sonorities to Opera“Luisa Miller” Overture (Ca. 6min) significantly in 1865. Based on the convey the heights and depths of each Shakespeare play, the composer worked of the character’s emotions as well as Ballet Music from Opera“Macbeth” (ca. 12 min) closely with Francesco Maria Piave (and set the stage for his operas and draw the later Andrea Maffei) to create the libretto. audience into each scene is a testament Verdi has been quoted as saying that the to the talents of Verdi’s writing. In Giuseppe Verdi is known as one of becomes a victim of her male love- bard was “one of my very special poets, addition, they have withstood the test of the primary figures contributing to the interest, who she knows as Carlo, but and I have had him in my hands from time with audiences, even though the development of Italian opera during the who is really Rodolfo, the son of a local earliest youth, and I read and re-read him operas themselves have, at times, had time when Italian nationalism was on the count. Rodolfo, in turn loves her, but continually.” So much so that he would limited performances. rise. By the time La Traviata was staged is tricked into poisoning both her and go on to compose two more operas based in 1853, Verdi had already composed himself. The theme of the Overture is on Shakespeare’s plays: Falstaff and Opera “Luisa Miller” Overture sixteen operas since his first (Oberto) had based on the opening scene from Act III, Otello. Instrumentation: 2 flutes, piccolo, 2 oboes, 2 opened in 1839. where Luisa and the chorus sing “Come clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 in un giorno solo” while she writes a trombones, cimbasso, timpani, percussion (bass The original version of Macbeth did drum), strings Luisa Miller was one of the operas letter before taking the fatal poison. not include the ballet music. This was that Verdi composed during that time. However, in Act III the theme is in 3/4 added when Verdi revised the opera for Ballet Music from Opera “Macbeth” Collaborating with the librettist Salvadore time whereas in the Overture, Verdi a Paris performance, where ballet music Cammarano, the opera was developed presents the theme in 4/4 time and with a was considered standard in operas at the I. Allegro vivacissimo (ca. 3 min) during the summer of 1849, and based change in tempo. time. And since the witches were seen as II. Andante (ca. 5 min) on the play “ Kabale une Liebe” (“Intrigue vital to the action throughout the opera, III. Waltz: Allegro vivacissimo (ca. 3 min) and Love”), which was written by The somber opening prepares us for Verdi decided to create the ballet excerpt Instrumentation: flute, piccolo, 2 oboes, 2 Friedrich Schiller in 1784. The premiere the unfolding tragedy, before picking up for them at the beginning of Act III. The clarinets(2nd doubling on bass clarinet), 2 was given in December of 1849 in Naples in both tempo and dynamics, leading scene included a mixture of dance and bassoons, 4 horns, 2 trumpets, 3 trombones, and is often described as belonging to into a featured passage for solo clarinet. mime (with Hecate in a non-dancing tuba, timpani, percussion (bass drum), harp, strings the composer’s middle period. As the As it turned out, the San Carlo Orchestra role), presented in three sections: First, fifteenth opera in his repertoire, Verdi which performed for the San Carlo an Allegro vivacissimo dance around the was apparently shifting his focus from Theatre in Naples, (which in turn had cauldron; a chromatic Andante second the more political statements found in commissioned this work), had a clarinet section featuring Hecate miming the his earlier works to one of relationships virtuoso by the name of Ferdinando action; and finally a wild waltz returns to and all of the complications that arise. In Sebastiani playing as part of its ensemble. another dance around the cauldron. addition he began to explore orchestral Needless to say Verdi was determined to Throughout both of these instrumental timbres and musical motives in greater highlight the instrument and the soloist’s excerpts from Verdi’s operas, one can detail. abilities throughout the opera, so it can glimpse the wide range of orchestral The story presents Luisa and the be heard especially in the Overture being colourings that the composer explored “melodrama tragico” story as she presented for this concert series. and expanded through his productive 40 41 Program Notes Gioachino Rossini (1792-1868) Ludwig van Beethoven (1770-1827) 10 Opera“William Tell” Overture Symphony No. 5 in C minor Op. 67 19 Rossini had composed nearly three- lyrical melodies. Although the premiere This so-called premiere was dozen operas by the time he was about was received well in August of 1829, the I. Allegro con brio (ca. 8 min) actually the result of the many charity the same age. During the years 1812- sheer length limited further performances II. Andante con moto (ca. 10 min) performances Beethoven gave, the benefit 1819 he had written twenty-eight of of the full production, most presented III. Scherzo, Allegro (ca. 5 min) of which was to be granted performance these, though he had begun creating with significant cuts. The overture alone IV. Allegro (ca. 11 min) space and time in Vienna’s Theatre-an- his first works for stage at the mere age was Rossini’s longest and is often said to der-Wien. Beethoven put together an of eighteen. In 1823, Rossini moved to foreshadow the tone poems of the coming Beethoven was renowned beyond overwhelmingly long repertoire of new Paris where he was under contract by the generation of composers. Included one his musical capabilities it seems, with works for this particular performance on French government to compose for the can hear the fury of a storm, followed a number of eccentric routines, one of December 22nd, 1808, with an orchestra Théâtre Italien as well as the Opéra. It by a gentle pastorale which was based which was to carry around a pocket that had been under-rehearsed, and would be there, in 1829, that he would on the Swiss ranz des vaches (played by sketchbook, or perhaps even just a folded performers who had disputes with the write the last of his operatic works, herdsmen on an Alpine horn to call their piece of manuscript paper, to jot down composer. Beethoven pushed the limits originally written and entitled in French cattle), and finally on to the most famous even the briefest ideas that occurred to of the audience not only in the length of as Guillame Tell. motive of all, the heroic ride announced him throughout his day. For many years, the concert, but also having them listen to by the trumpets. these sketchbooks were considered so many new pieces, all in the environs The libretto was based on the drama just part of his eccentricity. However, of a cold theatre, which meant this now by the German poet Schiller regarding Rossini would not compose another scholars have come to learn a great deal best-loved symphony was received with the renowned hero William Tell during opera after William Tell stating, in about how the kernels of ideas of a great less than warm regard. the 14th century when the Swiss were hindsight, that “retiring in time requires many compositions developed. fighting for their independence from the genius too” when discussing his early It wasn’t until more than a year later Austrian Hapsburgs. When Tell refuses retirement with the painter Guglielmo Considered by many to be one of the that the Fifth Symphony met with a to bow to the iconic hat, which was de Sanctis in 1862. Although he would most recognizable symphonic works much more positive review, in a journal put at the top of a pole by the Austrian come out of semi-retirement to compose worldwide, first glimpses of material that had been less than supportive of governor, Gessler, he is arrested and in other genre, including his sacred work from the first and third movements of Beethoven in the past, the Allegemeine informed that the only way he can achieve Stabat Mater (1832/rev. 1841), as well the Fifth Symphony can be found in musikalische Zeitung. The review was his freedom is by shooting an apple off as some works for piano, Rossini would sketchbooks from about 1804. These written by the writer (and composer) the top of his own son’s head. Also in allow this epic to remain as his final were developed further in 1806 with E.T.A. Hoffman and helped create a the mix is Arnold, (the son of the Swiss stamp on the operatic stage, which in ideas for the remaining movements now new attitude among critics toward the leader Melchtal), who has rescued and spite of some political controversy around appearing, and final details worked out composer: fallen in love with Mathilde, a princess of its revolutionary theme, would still avoid while at the same time composing the Austrian descent, which creates romantic most censorship, giving hundreds of Sixth Symphony. Beethoven was quite “Radiant beams shoot through the deep tension amidst the political turmoil. performances during his lifetime and particular about numbering his works in night of this region, and we become continues to be hailed by audiences to the order of composition, but apparently aware of gigantic shadows which, When performed in its entirety, the this day.
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