Rinaldo Press Release

Total Page：16

File Type：pdf, Size：1020Kb

operamission from the composer to the audience FOR IMMEDIATE RELEASE operamission presents Handel's Rinaldo at Merkin Concert Hall in New York City June 14 and 16, 2016. NEW YORK, New York (April 8, 2016) – operamission continues its ongoing series of George Frideric Handel's complete 39 operas with Rinaldo, HWV 7, premiered in London in 1711, libretto by Aaron Hill and Giacomo Rossi, based on Torquato Tasso's La Gerusalemme liberata. The complete opera will be presented in concert with period baroque orchestra in its original Italian at Merkin Concert Hall at Kaufman Music Center, 129 West 67th Street. The two performances, Tuesday, June 14 and Thursday, June 16, 2016, begin at 7:00 PM. Conductor Jennifer Peterson leads a full baroque orchestra from the harpsichord in a concert presentation with dramaturgical support from stage director Jeff Caldwell. Countertenor Randall Scotting, in his role debut as Rinaldo, leads a vibrant cast. Soprano Christine Arand as the Enchantress-Queen Armida and soprano Malia Bendi Merad as Almirena are joined by baritone Franco Pomponi as Argante and countertenors Nicholas Tamagna as Goffredo and Andrew Rader as Eustazio. Tickets are $55 and $75 ($45 for students and seniors) and on sale through the Kaufman Music Center Box Office, (212) 501-3330, KaufmanMusicCenter.org. Ticket links: Tuesday, June 14, 7:00 PM Thursday, June 16, 7:00 PM operamission has been bringing works both of today and the past to audiences with fully-staged operas, concerts, cabarets, recitals, and inventive workshops since its founding 2009. Additional inquiries, please contact: Jennifer Peterson – director, operamission +1 917 520-3163 [email protected] or twitter operamission.org donations – operamission.org/support Complete Press Kit # # #.

Copy Link

Recommended publications

Imperi, Giardini, Sepolcri. Ridimensionamenti Spazio-Temporali Nella Gerusalemme Liberata Di Torquato Tasso
ÉTUDES ROMANES DE BRNO 30, 2009, 1 JOANNA DIMKE-KAMOLA IMPERI, GIARDINI, SEPOLCRI. RIDIMENSIONAMENTI SPAZIO-TEMPORALI NELLA GERUSALEMME LIBERATA DI TORQUATO TASSO Pubblicata nel 1581, la Gerusalemme liberata è un’opera molto complessa, in cui sono compresenti diverse concezioni di tempo e in cui la rappresentazione degli stessi luoghi a seconda della prospettiva temporale assunta appare densa di connotazioni filosofiche. All’analisi del rapporto fra il tempo e lo spazio rappresentati nell’epos tassiano vorrei premettere alcune elementari distinzioni relative alla concezione del tempo e dello spazio nel rinascimento. Nella sincretistica visione del mondo – elaborata nel medioevo su capisaldi del pensiero biblico e classico e perfezionata dagli umanisti – rientrano tre principali categorie temporali: tempo lineare, tempo ciclico ed eternità. Come gli altri ele- menti della tradizionale visione dell’universo, le tre categorie temporali, cariche di connotazioni filosofiche e religiose, formano un sistema gerarchico. Al grado più basso della gerarchia si situa il tempo lineare, ossia la dimensione temporale della storia dell’umanità e dell’esistenza dei singoli individui. Sia nel suo aspet- to collettivo-storico che in quello individuale, questa categoria temporale viene associata con l’irreparabilità (il passato non torna mai), con l’incertezza (non conosciamo il futuro) ed infine con l’instabilità e l’inanità delle cose mondane, sottoposte all’azione devastatrice del tempo. Nell’immaginario rinascimentale il tempo lineare trova il suo correlativo spaziale nel mondo sublunare, formato di quattro elementi che continuamente si incrociano e si oppongono gli uni agli altri. Mentre l’idea dell’inarrestabile fuga del tempo è uno dei temi più assillanti della cultura antica, l’idea del tempo ciclico, ossia il susseguirsi regolare delle stagioni e di altri fenomeni misurati con i giri degli astri, produce piuttosto un effetto ras- sicurante.
[Show full text]
MONTEVERDI Madrigals Book 3 Delitiæ Musicæ • Marco Longhini
555309 bk Monte 3 US 19/11/2003 11:57 am Page 16 Early Music • Alte Musik DDD Also available in this series: 8.555309 Claudio MONTEVERDI Madrigals Book 3 Delitiæ Musicæ • Marco Longhini 8.555308 8.555309 16 555309 bk Monte 3 US 19/11/2003 11:57 am Page 2 Claudio Monteverdi (1567-1643) Madrigals Book III Also available in this series: ΩMonteverdi’s Third Book of Madrigals was published The first madrigal, La giovinetta pianta, sets an in Venice in 1592 by Ricciardo Amadino and sold anonymous text and is well constructed but not overly extremely well, with five reprints before 1611. Two interesting musically even though it was usual practice further editions published in 1615 and 1621 included a for the first (and last) pieces of such a work to be basso continuo line “for harpsichord, chittarone or other remarkable in some way or another (a practice similar instrument” to aid the instrumentalists who Monteverdi had followed in the Second Book and would otherwise have had to work out their part from would do again in the Fourth, Fifth and Sixth, Naxos the vocal parts and transcribe it by hand. These 8.555310, 8.555311 and 8.555312). As with the First madrigals were clearly in the performance repertoire Book, however, what matters most here is not musical therefore for a good thirty years (quite remarkable innovation but the tribute to the dedicatee: Vincenzo given the rapidly changing tastes at the turn of the Gonzaga, hedonist, spendthrift and libertine (not unlike sixteenth century as monody and opera developed) and Verdi’s Duke of Mantua in Rigoletto...) would no doubt were the composer’s first major success.
[Show full text]
The Moslem Enemy in Renaissance Epic: Ariosto, Tasso, and Camoens
Marquette University e-Publications@Marquette History Faculty Research and Publications History, Department of 1-1-1977 The oM slem Enemy in Renaissance Epic: Ariosto, Tasso, and Camoens John Donnelly Marquette University, [email protected] Published version. Yale Italian Studies, Vol. I, No. 1 (1977): 162-170. © 1977 Yale Italian Studies. Used with permission. The Moslem Enemy in Renaissance Epic: Ariosto, Tasso and Camoens John Patrick Donnelly, S.J. The Renaissance produced many tracts and descriptions dealing with Mos- lems, such as those by Ogier de Busbecq and Phillipe du Fresne-Canaye,' which remain the main source for gauging western attitudes toward Moslems, but these can be supplemented by popular literature which reflects, forms, and gives classic expression to the ideas and stereotypes of a culture.' This study examines and compares the image.of the Moslem in the three greatest epics of the sixteenth century, Ariosto's Orlando furioso, Tasso's Gerusalemme liberata, and Camoens's Os Lusiadas." All three epics enjoyed wide popularity and present Christian heroes struggling against Moslem enemies. Ludovico Ariosto, courtier to the d'Este lords of Ferrara, first published Orlando furioso in 1516 but continued to polish and expand it until 1532. With 38,728 lines, it is the longest poem of the Renaissance, perhaps of west- ern literature, to attain wide popularity. It describes the defense of Paris by Charlemagne and his knights against the Moors of Spain and Africa. This was traditional material already developed by the medieval chansons de geste and by Orlando innamorato of Matteo Maria Boiardo, who preceded Ariosto as court poet at Ferrara.
[Show full text]
Carlo GESUALDO Da Venosa Madrigals Book 1 Delitiæ Musicæ • Marco Longhini
570548 bk Gesualdo US 29/1/10 13:06 Page 12 Carlo GESUALDO da Venosa Madrigals Book 1 Delitiæ Musicæ • Marco Longhini Marco Longhini Photo: Agnes Spaak 8.570548 12 570548 bk Gesualdo US 29/1/10 13:06 Page 2 Carlo * Danzan le ninfe oneste * The honest nymphs and shepherds dance GESUALDO – Seconda parte – Part Two da Venosa (Torquato Tasso) (1566-1613) Danzan le ninfe oneste e i pastorelli The honest nymphs and shepherds dance e i susurranti augelli in fra le fronde and amid the leaves the birds softly sing THE FIRST BOOK OF MADRIGALS, 1594 al mormorar dell’onde e vaghi fiori above the murmuring water, and the Graces IL PRIMO LIBRO DE’ MADRIGALI, 1594 donan le grazie ai pargoletti amori. give pretty flowers to the little cupids. 1 Baci soavi e cari (part 1) (a, b, d, e, f) 3:36 ( Son sì belle le rose ( The roses nature gave you 2 Quanto ha di dolce amore (part 2) (a, b, d, e, f) 3:15 (Livio Celiano) 3 Madonna, io ben vorrei (a, b, c, d, f) 3:35 Son sì belle le rose The roses nature gave you 4 Come esser può ch’io viva? (a, b, c, e, f) 2:41 che in voi natura pose are as beautiful 5 Gelo ha madonna in seno (a, b, c, d, f) 2:39 come quelle che l’arte as those that art 6 Mentre madonna (part 1) (b, c, d, e, f) 2:39 nel vago seno ha sparte. has strewn on your fair breast.
[Show full text]
Torquato Tasso and the Problem of Vernacular Epic in 16Th-Century Italy
THE TRUMPET AND THE LYRE: TORQUATO TASSO AND THE PROBLEM OF VERNACULAR EPIC IN 16TH-CENTURY ITALY by Christopher Geekie A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy. Baltimore, Maryland July 19th, 2017 © Christopher Geekie 2017 All rights reserved ABSTRACT In this dissertation, I analyze conceptions of epic poetry in sixteenth century Italy, specif- ically the debates surrounding vernacular poetic language, which ultimately produce the first successful Italian epic, Torquato Tasso’s Gerusalemme liberata. While scholars have mainly focused on early interpretations of Aristotle’s Poetics and questions of narrative structure, I argue for a shift towards analyzing discourses of language and style, which provide a more concrete framework for understanding Tasso’s poetic innovation. Examin- ing linguistic and literary texts from the 1530s to 1560s, I focus on issues of establishing a stable vernacular poetic language capable of equalling classical forms, specifically that of epic, at a time when the epic genre is defined by an exacting set of aesthetic expec- tations seemingly at odds with a predominantly lyric tradition grounded in Petrarchan love poetry. I argue that an unstable critical moment emerges by the mid sixteenth cen- tury concerning the ability of poets to translate the ideal form of classical epic into the mellifluous Italian language. This tension leads to experimentation with various formal elements that concern sound, notably meter and rhyme. I conclude that Tasso addresses this issue of sound with a radical theory of epic style based on the unconventional aes- thetic qualities of harshness, dissonance, and sonority.
[Show full text]
Torquato Tasso, La Gierusalemme Liberata, 1590 Special Collections Featured Item for January 2005 by Tim Eggington, Former Rare Books Librarian
Tim Eggington Section name Librar y Torquato Tasso, La Gierusalemme liberata, 1590 Special Collections featured item for January 2005 by Tim Eggington, former Rare Books Librarian Tasso, Torquato,1544-1595. La Gierusalemme liberata di Torquato Tasso / con le figure di Bernado Castello ; e le annotationi di Scipio Gentili, e di Giulio Gustavini. In Genova : [appresso Girolamo Bartoli], 1590. Item held in the Reserve Collection, University of Reading Library Special Collections First published in 1581, Gierusalemme liberata is one of the most celebrated literary works of the late Renaissance. Following the epic ancient tradition, it recounts the capture of Jerusalem by the crusaders in 1099. Gierusalemme liberata strongly influenced the writings of later authors such as Spenser and Milton, among many others. It also provided the subject for operas by composers such as Monteverdi (Il Combattimento di Tancredi e Clorinda,1624), Handel (Rinaldo, 1711) and Rossini (Armida, 1817). Published during Tasso’s lifetime, this rare edition is particularly admired for its 20 full-page illustrations. These were engraved by Giacomo Franco and Agostini Carraci after designs by Bernardo Castelli. Bound in contemporary vellum, Reading’s copy also includes various indications of its provenance. One of them reveals the book to have resided in ‘Napoli Ottobre 1726’. ©University of Reading 2007 Page 1 Born in Sorrento, Tasso is remembered principally for his two masterpieces, Aminta (1573) and Gierusalemme liberata (1581). For much of his career Tasso resided at the court of the Duke of Ferrara, seven years of which were spent in confinement for apparent insanity. Tasso was particularly troubled about the reception of his works and the fate of his manuscripts, over which he lost control while confined.
[Show full text]
Jerusalem Delivered 1St Edition Pdf, Epub, Ebook
JERUSALEM DELIVERED 1ST EDITION PDF, EPUB, EBOOK Torquato Tasso | 9780801863233 | | | | | Jerusalem Delivered 1st edition PDF Book Now, years later, Anthony Esolen presents a new translation that transforms 'Jerusalem Delivered' into an English-language masterpiece. Contemporary Calf. Anthony Esolen is a professor of English at Providence College. Or is he actually the originator? Tasso's choice of subject matter, an actual historic conflict between Christians and Muslims albeit with fantastical elements added , had a historical grounding and created compositional implications the narrative subject matter had a fixed endpoint and could not be endlessly spun out in multiple volumes that are lacking in other Renaissance epics. Very good condition. Epic poems, and writings of this nature, deserve to be read with focused investment, by dwelling on the words selected, the scenes painted. Also entertaining. Reading epic poetry is always difficult, but I was surprised at how easily I read Tasso's Jerusalem Delivered. Violence can be righteous. Fairfax tried to fit Tasso's verse into Spenserian stanzas, adding to and subtracting from the original and often changing Tasso's meaning. The Muslim foes are given what was to me a surprising amount of respect and dignity. The first attempt to translate Gerusalemme liberata into English was made by Richard Carew , who published his version of the first five cantos as Godfrey of Bulloigne or the recoverie of Hierusalem in I recommend Edward Fairfax's seventeenth-century translation, if you can find it. Dec 31, Anand rated it it was amazing. Torquato Tasso. Absolutely beautiful work, and my favorite epic poem - hands down.
[Show full text]
Old and New Empires Between Humanist Debates and Tasso’S Gerusalemme Liberata
THE GEOGRAPHY OF THE ENEMY: OLD AND NEW EMPIRES BETWEEN HUMANIST DEBATES AND Tasso’s GERUSALEMME LIBERATA Andrea Moudarres Venient annis secula seris, quibus Oceanus vincula rerum laxet, & ingens pateat tellus Tiphisque novos detegat orbes, nec sit terris ultima Thule. (Seneca, Medea 375–379) Et alias oves habeo, quae non sunt ex hoc ovili: et illas oportet me adducere, et vocem meam audient, et fiet unum ovile et unus pastor. ( John 10:16)1 Introduction The apparent containment of multiplicity in Tasso’s Gerusalemme liberata has often been considered a reflection of the crusaders’ victory over the Muslims and of Goffredo’s repression of the humanistic-chivalric lures epitomized by Rinaldo and his ill-fated doubles, Argillano and Sveno. Likewise, the domestication of romance and individualism in the epic structure of the poem supposedly mirrors the conversions to Christianity of the female characters in the enemy camp: Clorinda, who is also killed by her lover Tancredi, Erminia, and, above all, Armida, who in the last canto of the poem seems to experience an unlikely and sudden rebirth 1 “During the last years of the world,/ the time will come in which Oceanus/ will loosen the bounds, and a huge landmass/ will appear; Tiphys will discover new worlds,/ and Thule will no longer be the most remote land.” Medea 375–79. “I have other sheep who are not from this fold and I must bring them, and they will hear my voice and there will be one fold and one shepherd.” John 10: 16. Both passages are quoted by Christopher Columbus in his Libro de las Prophecías.
[Show full text]
Goethe's Torquato Tasso and James's Roderick Hudson
Erschienen in: Anglia : Journal of English Philology ; 136 (2018), 4. - S. 687-704 https://dx.doi.org/10.1515/ang-2018-0068 Anglia 2018; 136(4): 687–704 Timo Müller* Framing the Romantic Artist: Goethe’s Torquato Tasso and James’s Roderick Hudson https://doi.org/10.1515/ang-2018-0068 Abstract: Johann Wolfgang Goethe’s Torquato Tasso (1790) and Henry James’s Roderick Hudson (1875) share not only a number of structural parallels but also an interest in the fate of the romantic artist in a regulated society. The article suggests Goethe’s play as a possible influence on James’s novel. After a brief outline of James’s relationship to Goethe and of the structural parallels between the texts, the article discusses the similarities of their stance on the romantic artist. Both texts contrast the protagonist’s classicist-idealist art with his broadly romantic personality, both remain ambivalent about the romantic conception of the poet-genius, and both take an analytical attitude toward their artist figures. On this poetological level, the article concludes, their portraits of a proto-Roman- tic and a late Romantic respectively form a revealing historical frame of the phenomenon of the Romantic artist. Henry James’s first Italian journey culminated in his visit to Rome in October 1869. “At last—for the first time—I live!” he wrote to his brother William. “I went reeling and moaning thro’ the streets, in a fever of enjoyment” (James 1974–1980: 160). James was not the first writer, of course, to find inspiration in Italy, but few have responded so enthusiastically.
[Show full text]
Byron's Occasional Verses in Italy
1 BYRON’S OCCASIONAL VERSES IN ITALY edited by Peter Cochran [The poems here complement those in Poems Written … to Teresa Guccioli .] The Lament of Tasso from a letter to John Murray, November 25th 1816 (on Canova’s Helen) from a letter to Thomas Moore, February 28th 1817 (So, we’ll go no more a-roving) On the birth of John William Rizzo Hoppner Venice. An Ode Two Sonnets: Translation from Vittorelli. On a Nun and Sonnet on the nuptials of the Marquis Antonio Cavalli with the Countess Clelia Rasponi of Ravenna enclosed with a letter to Thomas Moore, December 12th 1821 (Oh, talk not to me of a name great in story) Stanzas to a Hindoo Air Three poems for Lady Blessington 2 The Lament of Tasso Tasso, and Tasso by Delacroix. Torquato Tasso (1544-95), is one of the great poets of Italy. His most important work is the epic Gerusalemme Liberata (first published in mutilated form 1580), about the capture of Jerusalem in the First Crusade, by the Christians under Godfrey of Boulogne. Byron knew it well: one line from it serves as epigraph to The Corsair . He sold four copies in 1816 (see Byron’s Library , on this website), and parts of Don Juan can be read as inversions of Tasso’s solemn material. There are no jokes in Tasso, and very little sex: in this he contrasts with Ariosto, whom Byron also studied. A very devout Catholic, he was shocked on a visit to France to find that protestant worship was tolerated there. He was also scrupulous and sensitive to an excessive degree, paranoid, even, and had, from 1579 to 1586, to be placed in the madhouse of St Anna at Ferrara.
[Show full text]
Tasso's Autograph Retraced and Rediscovered. the Poem
TERMINUS t. 16 (2014), z. 3 (32), s. 351–365 doi:10.4467/20843844TE.14.010.3087 www.ejournals.eu/Terminus TASSO’S AUTOGRAPH RETRACED AND REDISCOVERED. THE POEM OFFERED TO THE POLISH AMBASSADOR STANISŁAW RESZKA IN THE COPY OF THE BRITISH LIBRARY JACEK PARTYKA Biblioteka Jagiellońska, Kraków Abstract Th e goal of this article is to present a new reading of a short dedicatory poem off ered by an outstanding poet of the Italian Renaissance, Torquato Tasso, to Stanisław Reszka, the abbot in Jędrzejów, the secretary of Stanisław Hozjusz, and, in this specifi c case, the ambassador of the Polish king Sigismund III to the Kingdom of Naples. Th e poet and the ambassador met in 1594 in Naples, where both were recover- ing from illnesses. Th eir meeting took place shortly after the publication ofJerusalem conquered, which was a recomposed version of Jerusalem delivered, published in 1593. Th e poet wished to present his newly created work to men of letters and in common opinion it would have been diffi cult to fi nd in Naples anyone more estimable than Reszka in those days. Torquato Tasso off ered to Stanisław Reszka a copy of his new book with a dedica- tion in the form of a short, eight-verse poem of his own creation. Until now, the ottava was known from the transcription contained in Bibliografi a critica by S. Ciampi and in the Italian edition of Tasso’s letters, published by C. Guasti. In Polish literary circles the text of the poem was known thanks to the work of Professor Windakiewicz, who at the close of the 19th century published it in Polish translation and some time later the original text of the poem.
[Show full text]
Byron's the Lament of Tasso and the Mannerism of Madness Mirka Horova
1 Byron’s The Lament of Tasso and the Mannerism of Madness Mirka Horova Byron to Murray, Rome, May 5th, 1817: … “The Lament of Tasso ” which I sent from Florence has I trust arrived – I look upon it as a “these be good rhymes” – as Pope’s papa said to him – when he was a boy. – – For the two – it & the drama – you will disburse to me (via Kinnaird ) Six hundred guineas – you will perhaps be surprized that I set the same price upon this – as upon the drama – but besides that I look upon it as good – I won’t take less than three hundred gs for anything. – – – The two together will make you a larger publication than the “Siege & Parisina” – so you may think yourself let off very easy – that is to say – if these poems are good for anything, which I hope and believe. 1 Murray to Byron, London, May 13th, 1817: … I instantly sent the Lines upon Tasso to Mr G – who called with them soon afterwards and assured me that they were exceedingly good & that there was besides a difference in the style which would by being novel prove exceedingly interesting …2 Torquato Tasso’s work was especially admired in the Romantic era for its extraordinary imagery, and the poet himself for his tragic fate. Written following Byron’s visit to Ferrara on 19 April 1817, The Lament of Tasso is marked by Byron’s ‘inclination to seek his own image throughout history’.3 The dramatic monologue this inspired can also be read in the context of Mannerist aesthetics, as its expressiveness performs a madness that Byron’s Tasso is himself manifestly not suffering from, to produce a writhing, wailing, passionately tortured text full of agony and ecstasy.
[Show full text]