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Libretto Nabucco.Indd
Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane. -
La Favorite Opéra De Gaetano Donizetti
La Favorite opéra de Gaetano Donizetti NOUVELLE PRODUCTION 7, 9, 12, 14, 19 février 2013 19h30 17 février 2013 17h Paolo Arrivabeni direction Valérie Nègre mise en scène Andrea Blum scénographie Guillaume Poix dramaturgie Aurore Popineau costumes Alejandro Leroux lumières Sophie Tellier choréraphie Théâtre des Champs-Elysées Alice Coote, Celso Albelo, Ludovic Tézier, Service de presse Carlo Colombara, Loïc Félix, Judith Gauthier tél. 01 49 52 50 70 [email protected] Orchestre National de France Chœur de Radio France theatrechampselysees.fr Chœur du Théâtre des Champs-Elysées Coproduction Théâtre des Champs-Elysées / Radio France La Caisse des Dépôts soutient l’ensemble de la Réservations programmation du Théâtre des Champs-Elysées T. 01 49 52 50 50 theatrechampselysees.fr 5 Depuis quelques saisons, le bel canto La Favorite et tout particulièrement Donizetti ont naturellement trouvé leur place au Gaetano Donizetti Théâtre puisque pas moins de quatre des opéras du compositeur originaire Opéra en quatre actes (1840, version française) de Bergame ont été récemment Livret d’Alphonse Royer et Gustave Vaëz, d’après Les Amours malheureuses présentés : la trilogie qu’il a consacré ou Le Comte de Comminges de François-Thomas-Marie de Baculard d’Arnaud aux Reines de la cour Tudor (Maria Stuarda, Roberto Devereux et Anna Bolena) donnée en version de direction musicale Paolo Arrivabeni concert et, la saison dernière, Don Valérie Nègre mise en scène Pasquale dans une mise en scène de Andrea Blum scénographie Denis Podalydès. Guillaume Poix dramaturgie Aurore Popineau costumes Compositeur prolifique, héritier de Rossini et précurseur de Verdi, Alejandro Le Roux lumières Donizetti appartient à cette lignée de chorégraphie Sophie Tellier musiciens italiens qui triomphèrent dans leur pays avant de conquérir Paris. -
Lucia Di Lammermoor
LUCIA DI LAMMERMOOR An in-depth guide by Stu Lewis INTRODUCTION In Gustave Flaubert’s Madame Bovary (1857), Western literature’s prototypical “Desperate Housewives” narrative, Charles and Emma Bovary travel to Rouen to attend the opera, and they attend a performance of Lucia di Lammermoor. Perhaps Flaubert chose this opera because it would appeal to Emma’s romantic nature, suggesting parallels between her life and that of the heroine: both women forced into unhappy marriages. But the reason could have been simpler—that given the popularity of this opera, someone who dropped in at the opera house on a given night would be likely to see Lucia. If there is one work that could be said to represent opera with a capital O, it is Lucia di Lammermoor. Lucia is a story of forbidden love, deceit, treachery, violence, family hatred, and suicide, culminating in the mother of all mad scenes. It features a heroic yet tragic tenor, villainous baritones and basses, a soprano with plenty of opportunity to show off her brilliant high notes and trills and every other trick she learned in the conservatory, and, to top it off, a mysterious ghost haunting the Scottish Highlands. This is not to say that Donizetti employed clichés, but rather that what was fresh and original in Donizetti's hands became clichés in the works of lesser composers. As Emma Bovary watched the opera, “She filled her heart with the melodious laments as they slowly floated up to her accompanied by the strains of the double basses, like the cries of a castaway in the tumult of a storm. -
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. -
Roberto Devereux
GAETANO DONIZETTI roberto devereux conductor Opera in three acts Maurizio Benini Libretto by Salvadore Cammarano, production Sir David McVicar after François Ancelot’s tragedy Elisabeth d’Angleterre set designer Sir David McVicar Saturday, April 16, 2016 costume designer 1:00–3:50 PM Moritz Junge lighting designer New Production Paule Constable choreographer Leah Hausman The production of Roberto Devereux was made possible by a generous gift from The Sybil B. Harrington Endowment Fund The presentation of Donizetti’s three Tudor queen operas this season is made possible through a generous grant from Daisy Soros, general manager in memory of Paul Soros and Beverly Sills Peter Gelb music director James Levine Co-production of the Metropolitan Opera principal conductor Fabio Luisi and Théâtre des Champs-Élysées 2015–16 SEASON The seventh Metropolitan Opera performance of GAETANO DONIZETTI’S This performance roberto is being broadcast live over The Toll Brothers– devereux Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury Maurizio Benini homebuilder®, with generous long-term in order of vocal appearance support from sar ah (sar a), duchess of not tingham The Annenberg Elīna Garanča Foundation, The Neubauer Family queen eliz abeth (elisabet ta) Foundation, the Sondra Radvanovsky* Vincent A. Stabile Endowment for lord cecil Broadcast Media, Brian Downen and contributions from listeners a page worldwide. Yohan Yi There is no sir walter (gualtiero) r aleigh Toll Brothers– Christopher Job Metropolitan Opera Quiz in List Hall robert (roberto) devereux, e arl of esse x today. Matthew Polenzani This performance is duke of not tingham also being broadcast Mariusz Kwiecien* live on Metropolitan Opera Radio on a servant of not tingham SiriusXM channel 74. -
Atti Parlamentari
Senato della Repubblica – 1121 – Camera dei deputati XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 562 VOL. II TEATRO:tìr REGIO TORINO RELAZIONE SULLA GESTIONE 5 Senato della Repubblica – 1122 – Camera dei deputati XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 562 VOL. II TEATRO'J/fìr REGIO TORINO 6 Senato della Repubblica – 1123 – Camera dei deputati XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 562 VOL. II TEATRO~r REGIO TORINO FONDAZIONE TEATRO REGIO DI TORINO. Sede in Torino – Piazza Castello, 215 ISCRIZIONE R.E.A. DI TORINO n. 928405 Codice Fiscale n. 00505900019 □ □ □ BILANCIO AL 31 DICEMBRE 2015 RELAZIONE SULLA GESTIONE INTRODUZIONE ll Bilancio consuntivo 2015 che la Sovrintendenza presenta al parere dell’Assemblea dei Fondatori e all’approvazione del Consiglio di Indirizzo si riferisce al sedicesimo esercizio di gestione della Fondazione e presenta quale risultato di esercizio un utile pari a Euro 2.295. A tale risultato si è pervenuti dopo aver imputato a conto economico imposte dell’esercizio per Euro 124.355 e dopo aver calcolato ammortamenti e svalutazioni per Euro 2.324.596. Gli obiettivi che la Fondazione ha perseguito con la gestione dell’esercizio 2015 sono, oltre a quelli indicati nello Statuto e nelle norme vigenti, quelli approvati dal Consiglio d’Indirizzo di concerto con l’assemblea dei Soci Fondatori e riassunti quantitativamente nel conto economico preventivo 2015. L’attività del 2015 si è concretizzata attraverso la produzione e la distribuzione di spettacoli nella sede principale, con il cartellone della Stagione d’Opera e dei Concerti al Teatro Regio, la rassegna The Best of Italian Opera programmata in concomitanza con l’Expo 2015, l’attività al Piccolo Regio. -
CHAN 3160 Gioachino Rossini (1792 –1868 ) The
CHAN 3160 Gioachino Rossini (1792 –1868 ) THE © Lebrecht Music & Arts Photo Library Photo & Arts Music © Lebrecht ItaliaN GIRL IN AlgiERS Highlights Dramma giocoso in two acts to a libretto substantially derived from Angelo Anelli’s libretto for Luigi Mosca’s L’italiana in Algeri English translation by David Parry Mustafà, Bey of Algiers Alastair Miles bass Elvira, Mustafà’s wife Sarah Tynan soprano Zulma, slave, and Elvira’s confidante Anne Marie Gibbons mezzo-soprano Haly, Captain of the Algerian Corsairs David Soar bass Lindoro, Mustafà’s favourite slave Barry Banks tenor Isabella, Italian lady Jennifer Larmore mezzo-soprano Taddeo, Isabella’s companion Alan Opie baritone Geoffrey Mitchell Choir Philharmonia Orchestra Martin Fitzpatrick assistant conductor Brad Cohen Gioachino Rossini 3 Time Page Time Page 1 Overture 8:13 [p. 32] 9 ‘Please tell me where my niece is’ – 2:08 [p. 36] Taddeo, Haly, Mustafà, Isabella Act I 10 from ‘Though we must part from you’ – 3:47 [p. 37] 2 No 2, Cavatina: ‘In dreams of endless pleasure’ 7:16 [p. 32] Elvira, Zulma, Lindoro, Isabella, Haly, Taddeo Lindoro 11 ‘Tell me, who is this woman?’ 5:27 [p. 38] 3 No 3, Duet: ‘When I choose a girl to marry’ 4:13 [p. 32] Isabella, Mustafà, Elvira, Zulma, Lindoro, Taddeo, Haly, Chorus Lindoro, Mustafà 4 from No 4, Cavatina: ‘Fate is cruel!’ 4:46 [p. 33] from Act II Isabella, Chorus 12 No 10, Aria: ‘All this shouting makes my head ache’ 3:45 [p. 39] 5 No 5, Duet: ‘From the buffets of misfortune’ 7:34 [p. 34] Taddeo, Chorus Isabella, Taddeo 13 No 11a, Cavatina: ‘Sweetest treasure, dearest pleasure’ 7:27 [p. -
The American Opera Series May 16 – November 28, 2015
The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary. -
L'opera a Portata Di Mano Aida
Bologna, lunedì 21 gennaio 2008 COMUNICATO STAMPA L’OPERA A PORTATA DI MANO La FONDAZIONE DEL MONTE di BOLOGNA E RAVENNA PRESENTA AIDA Di come la Guerra seppellisce l’Al’Amoremore di Gabriele Duma e Andrea Stanisci Si apre il 23 gennaio sera nel teatro di Marzabotto la tournèe dell’opera lirica AIDA , proposta attraverso una rivisitazione che permette a tutti coloro che per i più diversi motivi (luogo di abitazione, tempo, disponibilità economica, difficoltà di prenotazione, limitato periodo di programmazione…), pur desiderandolo, non riescono a frequentare le stagioni liriche. L’AIDA, infatti, verrà rappresentata nei teatri di Marzabotto, Casalecchio, San Giovanni in Persiceto, Budrio, Pieve di Cento. Il ciclo di rappresentazioni dell’AIDA è realizzato con il contributo della Fondazione del Monte di Bologna e Ravenna, la collaborazione della Associazione Eptagon Bonaventura ed il sostegno dell’Assessorato alla Cultura del comune di Porretta Terme e degli altri comuni promotori della Rassegna Crinali, che ha messo d’accordo i teatri di Marzabotto, Casalecchio, San Giovanni in Persiceto, Budrio, Pieve di Cento. Si tratta di un’operazione culturale che promuove un modello di spettacolo, come quello dell’opera lirica, che per molti fattori tende ad essere poco raggiungibile - tanto concettualmente quanto logisticamente ed economicamente - sia dal pubblico che dai teatri stessi: con questa rivisitazione, ridotta ad un ora e un quarto, nella quale si colgono i nuclei centrali dell’AIDA viene impiegata una compagnia di alto livello ma molto ridimensionata rispetto agli sfarzi che di solito impone l’opera verdiana, viene proposto un modello, per così dire, “sostenibile” per il pubblico e per gli stessi teatri (non sempre in grado di mettere in scena un’opera lirica per gli alti costi di rappresentazione e di allestimento). -
Mcdonald, Bernard M. (2010) Cavalli's "Ormindo": Tonality and Sexuality in Seventeenth-Century Venice
McDonald, Bernard M. (2010) Cavalli's "Ormindo": tonality and sexuality in seventeenth-century Venice. MMus(R) thesis. http://theses.gla.ac.uk/1958/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Cavalli’s Ormindo: Tonality and Sexuality in Seventeenth-Century Venice by Bernard Michael McDonald Submitted in fulfilment of the requirements of the degree of Master of Music to The Department of Music Faculty of Arts University of Glasgow April 2010 © Bernard McDonald 2010 ABSTRACT Ormindo, the third collaboration between the composer Francesco Cavalli and the librettist Giovanni Faustini, was created for the 1644 carnival opera season at Venice’s Teatro San Cassiano. This thesis, aimed at performers as well as scholars, begins with a brief consideration of the cultural context of early public opera in Venice and the emergence of the musical language of tonality. It goes on to examine how, in setting Faustini’s text, Cavalli represents desire and sexuality, constructs character, and creates a musical narrative. Cavalli’s implementation of the precepts of the seconda prattica is also considered in terms of textural and rhetorical devices. -
Gaetano Donizetti
Gaetano Donizetti ORC 3 in association with Box cover : ‘ Eleonore, Queen of Portugal’ by Joos van Cleve, 1530 (akg-images/Erich Lessing) Booklet cover : The duel, a scene from Gioja’s ballet Gabriella di Vergy , La Scala, Milan, 1826 Opposite : Gaetano Donizetti CD faces: Elizabeth Vestris as Gabrielle de Vergy in Pierre de Belloy’s tragedy, Paris, 1818 –1– Gaetano Donizetti GABRIELLA DI VERGY Tragedia lirica in three acts Gabriella.............................................................................Ludmilla Andrew Fayel, Count of Vergy.......................................................Christian du Plessis Raoul de Coucy......................................................................Maurice Arthur Filippo II, King of France......................................................John Tomlinson Almeide, Fayel’s sister...................................................................Joan Davies Armando, a gentleman of the household...................................John Winfield Knights, nobles, ladies, servants, soldiers Geoffrey Mitchell Choir APPENDIX Scenes from Gabriella di Vergy (1826) Gabriella..............................................................................Eiddwen Harrhy Raoul de Coucy............................................................................Della Jones Royal Philharmonic Orchestra Conductor: Alun Francis –2– Managing director: Stephen Revell Producer: Patric Schmid Assistant conductor: David Parry Consultant musicologist: Robert Roberts Article and synopsis: Don White English libretto: -
Roger Parker: Curriculum Vitae
1 Roger Parker Publications I Books 1. Giacomo Puccini: La bohème (Cambridge, 1986). With Arthur Groos 2. Studies in Early Verdi (1832-1844) (New York, 1989) 3. Leonora’s Last Act: Essays in Verdian Discourse (Princeton, 1997) 4. “Arpa d’or”: The Verdian Patriotic Chorus (Parma, 1997) 5. Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, 2006) 6. New Grove Guide to Verdi and his Operas (Oxford, 2007); revised entries from The New Grove Dictionaries (see VIII/2 and VIII/5 below) 7. Opera’s Last Four Hundred Years (in preparation, to be published by Penguin Books/Norton). With Carolyn Abbate II Books (edited/translated) 1. Gabriele Baldini, The Story of Giuseppe Verdi (Cambridge, 1980); trans. and ed. 2. Reading Opera (Princeton, 1988); ed. with Arthur Groos 3. Analyzing Opera: Verdi and Wagner (Berkeley, 1989); ed. with Carolyn Abbate 4. Pierluigi Petrobelli, Music in the Theater: Essays on Verdi and Other Composers (Princeton, 1994); trans. 5. The Oxford Illustrated History of Opera (Oxford, 1994); translated into German (Stuttgart. 1998), Italian (Milan, 1998), Spanish (Barcelona, 1998), Japanese (Tokyo, 1999); repr. (slightly revised) as The Oxford History of Opera (1996); repr. paperback (2001); ed. 6. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford, 2001); ed. with Mary Ann Smart 7. Verdi in Performance (Oxford, 2001); ed. with Alison Latham 8. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli (Turin, 2002); ed. with Stefano La Via 9. Puccini: Manon Lescaut, special issue of The Opera Quarterly, 24/1-2 (2008); ed.