Vince Yi Countertenor

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Vince Yi Countertenor CV CV PARNASSUS ARTS PRODUCTIONS Vince Yi Countertenor “Yi has a voice like no other, velvety, gorgeous, While still a student his remarkable vocal effortless …” talents were recognized with a string of awards, including The Shoshana Founda- With reviews like this resounding in our tion Richard F. Gold Career Grant. In 2007, ears, it’s clear that Vince Yi is becoming he gained a place as the only counter- an established countertenor star. Rapidly tenor at San Francisco Opera’s prestigious forging an international reputation, he ar- Merola Program for young artists. Cri- rived on European stages singing the male tics heralded his performances, writing: lead in Johann Adolf Hasse’s Piramo e Tisbe “Vince Yi blew our socks off”; another ex- (Musikfestspiele Potsdam Sanssouci 2012). claimed: “ … my jaw … dropped all the He has since appeared in the dazzling Gala way to the floor … ” In 2009 he made his Night of Countertenors at the Palace of Ver- Carnegie Hall debut under the auspices of sailles and Athens Megaron Concert Hall, the Marilyn Horne Foundation “The Song which has recently been recorded and will Continues” series. More recently, Yi was tour Europe in the coming seasons. This nominated for Russia’s distinguished Gol- past season, he appeared in Peter Sellar’s den Mask Award as “Best Male Opera Per- new production of Purcell’s The Indian former” for The Indian Queen. Queen (Perm Opera, Teatro Real Madrid 2013), which was aired live on Mezzo and In addition to his performing, Yi is also a recorded for DVD release. He also per- talented pedagogue and has served on the formed the title-role in Leonardo Vinci’s voice faculty at the University of Michigan Artaserse, (Opéra Royal de Versailles, Co- and Western Michigan University. logne Opera, Concertgebouw Amsterdam 2014). The 2014-2015 season will include another production of The Indian Queen at the Bolshoi Theater and the English Na- tional Opera. Yi will also appear as Emilia in a staged production, CD recording, and European tour of Leonardo Vinci’s long- forgotten Catone in Utica. The 2015-2016 season begins with the role of Fraarte in a new staged production and CD recording of Handel’s Radamisto, which will tour Management Europe after its premier at Opera Frank- Georg Lang furt. Erzherzog Wilhelm Ring 13 A - 2500 Baden, Österreich Born in South Korea, Yi grew up in Califor- T: +43(0) 2252 82 777 nia, and studied at Boston University (BM, F: +43(0) 2252 82 777-50 MM) and the University of Michigan (DMA). Coverphoto: Julian Laidig E: [email protected] SEASON 2015/2016 - WE UPDATE OUR BIOGRAPHIES REGULARLY. 1 PLEASE, DO NOT USE PREVIOUSLY DATED MATERIAL..

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Of Titles (PDF)
Alphabetical index of titles in the John Larpent Plays The Huntington Library, San Marino, California This alphabetical list covers LA 1-2399; the unidentified items, LA 2400-2502, are arranged alphabetically in the finding aid itself. Title Play number Abou Hassan 1637 Aboard and at Home. See King's Bench, The 1143 Absent Apothecary, The 1758 Absent Man, The (Bickerstaffe's) 280 Absent Man, The (Hull's) 239 Abudah 2087 Accomplish'd Maid, The 256 Account of the Wonders of Derbyshire, An. See Wonders of Derbyshire, The 465 Accusation 1905 Aci e Galatea 1059 Acting Mad 2184 Actor of All Work, The 1983 Actress of All Work, The 2002, 2070 Address. Anxious to pay my heartfelt homage here, 1439 Address. by Mr. Quick Riding on an Elephant 652 Address. Deserted Daughters, are but rarely found, 1290 Address. Farewell [for Mrs. H. Johnston] 1454 Address. Farewell, Spoken by Mrs. Bannister 957 Address. for Opening the New Theatre, Drury Lane 2309 Address. for the Theatre Royal Drury Lane 1358 Address. Impatient for renoun-all hope and fear, 1428 Address. Introductory 911 Address. Occasional, for the Opening of Drury Lane Theatre 1827 Address. Occasional, for the Opening of the Hay Market Theatre 2234 Address. Occasional. In early days, by fond ambition led, 1296 Address. Occasional. In this bright Court is merit fairly tried, 740 Address. Occasional, Intended to Be Spoken on Thursday, March 16th 1572 Address. Occasional. On Opening the Hay Marker Theatre 873 Address. Occasional. On Opening the New Theatre Royal 1590 Address. Occasional. So oft has Pegasus been doom'd to trial, 806 Address.
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METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M.
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Operatic Reform in Turin
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter tece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, If unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS This reproduction is the best copy available. UMI OPERATIC REFORM IN TURIN: ASPECTS OF PRODUCTION AND STYLISTIC CHANGE INTHEI760S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Margaret Ruth Butler, MA.
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Artaserse LEONARDO VINCI (1690 – 1730)
©Photo : OpéraNationaldeLorraine Artaserse LEONARDO VINCI (1690 – 1730) > OPERA 2012 HDTV Opera (dramma per musica) in three acts filmeD aT Opéra national de Lorraine Libretto Pietro Mestastasio in November 2012 Created at Theatro Delle Dame, Roma – 4 February 1730 tv DirecTor Louise Narboni This was the last opera Vinci composed running Time 1 x 190’ Artaserse Artistic Information synopsis The main character of Metastasio’s Artaserse is based on the life of king Artaxerxes I of Persia, a ruler of the fifth century B.C., son of Xerxes I. The opera opens in a moonlit garden of the palace of Serse (Xerxes). Mandane, the daughter of King Serse, and Arbace, the son of the King’s general Artabano, are in love. Serse has opposed their marriage and banished Arbace from the palace. Arbace climbs the wall into the garden. As the young lovers express their love for each other and their despair at Arbace’s banishment, Artabano arrives carrying a bloody sword. His fury at Serse’s treatment of his son and his desire for Arbace to become King have led him to assassinate Serse. Artabano confesses the murder to Arbace and exchanges his bloody sword for that of Arbace. Artaserse, the King’s younger son, arrives with his guards. Artabano tells him of his father’s death and accuses Artaserse’s older brother Dario of the murder, « Who but he at dead of night could penetrate the palace? Who approach the royal bed? Nay, more, his royal ambition... » Artaserse commands Artabano to avenge his father’s death by killing Dario.
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Transcripts of Dramatic Musical Works in Full Score
TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS MUSIC DIVISION Compiled by Susan Clermont Senior Music Specialist Library of Congress Music Division A BIBLIOGRAPHY OF TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS This bibliography comprises close to 700 transcripts of dramatic musical works in full score copied from original music manuscripts and early imprints for the Library of Congress’s Music Division between 1903 and 1939. The original sources were located in over three dozen European libraries in Austria, Belgium, France, Great Britain, Germany, Hungary, Italy and Russia. The majority of the operas cited in this document date from the seventeenth and eighteenth centuries; about fifteen percent are reproductions of nineteenth-century works. Also included in this bibliography are transcripts of incidental music for dramas, melodramas, ballets, and pantomimes (see Appendix B). Finally, Appendix C comprises a short list of instrumental works, mostly for viola da gamba, that were transcribed over a two-year period when the parameters of this project were provisionally broadened. In 1902, a new set of guidelines for the systematic development of the newly-reorganized Music Division’s collections was instituted: opera immediately received a considerable share of attention because, “the peculiar condition of opera in the United States seemed to demand that a center of reference and research be created for the students of opera.” [Oscar Sonneck, Dramatic Music: Catalogue of Full Scores…, 1908] Accordingly, a series of “want lists” were compiled; however, when it was determined after a comprehensive search that hundreds of items included on the Music Division’s desiderata list for operas in full score were unprocurable in manuscript or print versions, the option of contracting copyists to generate transcripts was explored.
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ARTASERSE Pietro Metastasio Leonardo Vinci
ARTASERSE Dramma per musica. testi di Pietro Metastasio musiche di Leonardo Vinci Prima esecuzione: 4 febbraio 1730, Roma. www.librettidopera.it 1 / 63 Informazioni Artaserse Cara lettrice, caro lettore, il sito internet www.librettidopera.it è dedicato ai libretti d©opera in lingua italiana. Non c©è un intento filologico, troppo complesso per essere trattato con le mie risorse: vi è invece un intento divulgativo, la volontà di far conoscere i vari aspetti di una parte della nostra cultura. Motivazioni per scrivere note di ringraziamento non mancano. Contributi e suggerimenti sono giunti da ogni dove, vien da dire «dagli Appennini alle Ande». Tutto questo aiuto mi ha dato e mi sta dando entusiasmo per continuare a migliorare e ampliare gli orizzonti di quest©impresa. Ringrazio quindi: chi mi ha dato consigli su grafica e impostazione del sito, chi ha svolto le operazioni di aggiornamento sul portale, tutti coloro che mettono a disposizione testi e materiali che riguardano la lirica, chi ha donato tempo, chi mi ha prestato hardware, chi mette a disposizione software di qualità a prezzi più che contenuti. Infine ringrazio la mia famiglia, per il tempo rubatole e dedicato a questa attività. I titoli vengono scelti in base a una serie di criteri: disponibilità del materiale, data della prima rappresentazione, autori di testi e musiche, importanza del testo nella storia della lirica, difficoltà di reperimento. A questo punto viene ampliata la varietà del materiale, e la sua affidabilità, tramite acquisti, ricerche in biblioteca, su internet, donazione di materiali da parte di appassionati. Il materiale raccolto viene analizzato e messo a confronto: viene eseguita una trascrizione in formato elettronico.
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Mozart's "Mezzos": a Comparative Study Between Castrato and Female Roles in Mozart's Operas
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2019 Mozart's "Mezzos": A Comparative Study Between Castrato and Female Roles in Mozart's Operas Erin Gonzalez Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Gonzalez, Erin, "Mozart's "Mezzos": A Comparative Study Between Castrato and Female Roles in Mozart's Operas" (2019). UNLV Theses, Dissertations, Professional Papers, and Capstones. 3604. http://dx.doi.org/10.34917/15778439 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. MOZART’S “MEZZOS”: A COMPARATIVE STUDY OF CASTRATO AND FEMALE ROLES IN MOZART’S OPERAS By Erin Gonzalez Bachelor of Music Chapman University 2008 Master of Music Eastman School of Music 2011 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of
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Leonardo Vinci Artaserse
Season 2013/14 Leonardo Vinci Artaserse Dramma per musica Libretto: Pietro Metastasio New release by Virgin Classics in October 2012 ARTASERSE PARNASSUS ARTS PRODUCTIONS Leonardo Vinci Artaserse Stage set Following up the resounding success of Fara- The opera premiered on February 4th, 1730 at mondo and Farnace, Parnassus Arts Produc- the Teatro delle dame in Rome. At the time, all tions presents another rediscovered gem from roles were composed for male voices. In fact, the treasure chest of baroque operas, and we a papal ordinance forbade women to perform are proud to work with the conductor Die- on Roman stages until 1798. Therefore, all go Fasolis. The production of Artaserse also female roles in Artaserse were composed for marks the beginning of our collaboration with and sung by castrati. the orchestra Concerto Köln. Parnassus Arts Productions will pay tribu- One of the main works of nearly forgotten te to this tradition: In this new production composer Leonardo Vinci, Artaserse is a real of Artaserse, all female parts will be sung by trouvaille within the baroque opera reperto- countertenors. The cast shall unite the stars ry. Artaserse was Vinci’s last oeuvre, as well as of this fach: MAX EMANUEL CENCIC and his most successful and famous opera com- PHILIPPE JAROUSSKY, among others, will gua- position. rantee for vocal virtuosity on the highest level. 1 ARTASERSE PARNASSUS ARTS PRODUCTIONS Leonardo Vinci Composer Leonardo Vinci was born 1690 in Strongoli/ and also accentuated the verses of the libretto Italy and received his musical education at very effectively. The works that originated the Conservatorio de Poveri di Gesù Cristo in from his collaboration with Pietro Metastasio Napels (presumably he was a pupil of Gaeta- are a prime example of his abilities.
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Press Siroe CD Johann Adolf Hasse (1699-1783)
Press Siroe CD MUSEBAROQUE.FR, 03_11_2014 http://www.musebaroque.fr/hasse-siroe-cencic-decca/ Un chef-d’œuvre en devenir (Hasse, Siroe, Re di Persia, Armonia Atenea, Petrou – Decca) Publié dans : CD / DVD - Critiques - Opéra 3 novembre, 2014 Johann Adolf Hasse (1699-1783) Siroe, Re di Persia Opera seria en 3 actes Max Emanuel Cencic, Siroe Julia Lezhneva, Laodice Mary Ellen Nesi, Emira Lauren Snouffer, Arasse Juan Sancho, Cosroe Franco Fagioli, Medarse Orchestre Armonia Atenea George Petrou, direction 1 Coffret-livret 2 CD, 2h46’25, DECCA, 2014 Après le succès de la tournée « Rokoko » aboutie par l’enregistrement du même nom, Max Emanuel Cencic se tourne à nouveau vers le maître incontesté de l’opera seria Johann Adolf Hasse (1699-1783), le Cher Saxon. Ce compositeur plus que prolifique, puisqu’il n’écrit pas moins de 56 opéras interprétés par les plus grands chanteurs de l’époque, de Farinelli à Faustina Bordoni, qu’il épousa. Ce présent coffret est consacré à l’opéra Siroe, Re di Persia, créé en 1733 à Bologne. L’opéra n’a jamais été rejoué depuis le XVIIIe siècle. Il est, entre autre, repris à l’Opéra Royal de Versailles les 26,28 et 30 novembre 2014 et fera l’objet d’une captation télévisée lors de ces dates. Hasse applique la recette d’un excellent opera seria. L’histoire de Siroe est un subtil mélange d’ingrédients : contexte historique, d’intrigues amoureuses, passion, jalousie et surtout de conspiration. Le Roi des Perses Cosroé (Chosroès III) décide ne pas donner sa succession à son fils aîné Siroe mais à son fils cadet Medarse.
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Arne: Artaxerxes
ARNE: ARTAXERXES THE MOZARTISTS IAN PAGE 9017_CO_Artex_BOOKLET_COVER_SECTION_FINAL.indd 1 21/12/2020 17:55 Performing edition by Ian Page Recorded at Air Studios, London, UK from 18 to 21 November 2009 and 2 April 2010 Produced and engineered by Philip Hobbs Post-production by Julia Thomas, Finesplice, UK Design by Toucari Live and Debbie Coates Cover image: Wall Carving, Persepolis, Iran © Alamy Photography by Stephen Page, www.fatkoala.biz Orchestra playing on period instruments at A = 430 Hz This recording followed a production of Artaxerxes at the Royal Opera House, Covent Garden in 2009, directed by Martin Duncan and designed by Johan Engels. It was originally released in 2010 on Linn Records. www.signumrecords.com Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact We are extremely grateful to George & Efthalia Koukis and Sherman Lam for making this release possible. Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. Special thanks also to: Alamy, Big Yellow Self Storage, Kate Bingham & Jesse Norman, Anne Bulford OBE & All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted David Smith, Philip Carne MBE & Christine Carne, Michael & Jill Carpenter, David Challen CBE & Elizabeth in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior Challen,
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THE NEW STYLE of VINCI and the NEW SCIENCE of VICO According
CHAPTER ELEVEN THE NEW STYLE OF VINCI AND THE NEW SCIENCE OF VICO According to Charles Burney, in the last volume of his A General History of Music published in 1789, Leonardo Vinci brought about a revolution in opera in the middle 1720s.1 Vinci, a Neapolitan opera composer had restored the clarity and intelligibility of recitative to the pristine form of that of Peri to whom Burney attributed the first opera recitative. More importantly, Vinci's arias allowed the poetry a voice without impoverishing the music. This was a bold judgement given the evidence available to him, but one that indicated his grasp of the Italian musical scene. In general, in Burney's view, opera, especially that of Naples, reached a period of excellence from about 1725 to 1740: there was a conjuncture of the achievements of com posers, librettists, singers and stage designers.2 Vinci began his career writing music for Neapolitan comic opera. After a number of tri umphs in this genre, he wrote his first opera seria, Publio Cornelio Sripio, which was quite a hit in Naples; his 1726 setting of Didone abbandonata gave him a European reputation; his Artaserse of 1730, his last work, was one of the most popular operas of the first half of the eighteenth century.3 He died in mysterious circumstances that may have been related to his excessive passion for gambling. His early death, fol lowed by that of his fellow composer Pergolesi a few years later became the eighteenth century's examples of the tragedy of unfulfilled genius until the career of Mozart displaced them both.
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5040022-60Fcf7-635212057926.Pdf
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