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«Je Me Figurais Être Orphée», Wrote Countess Sophie Fersen After At- Tending a Performance of Christoph Gluck's Orpheus Oc
Women in love: Gluck’s Orpheus as a source of romantic consolation in Vienna, Paris, and Stockholm JOHN A. RICE ABSTRACT Among those who witnessed early performances of Gluck’s Orfeo ed Euridice were Princess Isabelle of Parma, Julie de Lespinasse, and Countess Sophie Fersen. Orpheus, and the music Gluck wrote for him, stirred up similar responses in these passionate young women, all of whom found in the protagonist’s tragic plight consolation for own romantic yearning. This paper explores their emotio- nal states, as documented in their letters, and offers some explanations for their identification with a male character from Greek mythology, as brought to life by Gluck’s music and the men who sang it. «Je me figurais être Orphée», wrote Countess Sophie Fersen after at- tending a performance of Christoph Gluck’s Orpheus och Euridice in Stockholm in 1777. She was writing to a man with whom she had been involved in a brief and passionate love affair, and who had just left Sweden. Countess Fersen was not the only young woman who found romantic consolation in Gluck’s Orpheus. Already during the first run of performances in 1762, Princess Isabelle of Parma, recently married to Archduke (later Emperor) Joseph, wrote mournfully to her sister-in-law Marie Christine, whose company she much preferred to Joseph’s. Isabelle identified herself with Orpheus as a way of express- ing the depth and hopelessness of her love. And shortly after the première of the Paris version in 1774, Julie de Lespinasse wrote to her beloved Comte de Guibert, who was far from Paris, that she found a mixture of pain and pleasure in Gluck’s opera: «Je voudrois entendre dix fois par jour cet air qui me déchire, et qui me fait jouir de tout ce que je regrette: j’ai perdu mon Euridice». -
103 the Music Library of the Warsaw Theatre in The
A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska. -
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. -
Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
Das Tragico Fine Auf Venezianischen Opernbühnen Des Späten 18
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Heidelberger Dokumentenserver Das tragico fine auf venezianischen Opernbühnen des späten 18. Jahrhunderts Textband Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Ruprecht-Karls-Universität Heidelberg Zentrum für Europäische Geschichts- und Kulturwissenschaften Musikwissenschaftliches Seminar vorgelegt bei Prof. Dr. Silke Leopold von Katharina Kost November 2004 INHALT DANKSAGUNG............................................................................................. IV TEIL I: DIE FRAGE EINLEITUNG .................................................................................................................... 2 Die Geschichte des tragico fine in der italienischen Oper des 18. Jahrhunderts – Forschungsüberblick ........................................................................................................ 2 Tragico fine zwischen 1695 und 1780 ......................................................................... 4 Bislang in der Forschung berücksichtigte Aspekte im Repertoire ab 1780 .................. 9 Fragestellung und Vorgehensweise ................................................................................ 15 Die Eingrenzung des Repertoires .............................................................................. 15 Das Repertoire im Überblick ..................................................................................... 18 Untersuchung anhand von Vergleichen – Dramaturgie -
La Pantomima Del Grande Castrato E Le Sue Risultanze Coreutiche: L’Ezio Di Marchesi E Lefèvre*
Philomusica on-line 16 (2017) La pantomima del grande castrato e le sue risultanze coreutiche: l’Ezio di Marchesi e Lefèvre* Andrea Chegai Università di Roma “La Sapienza” [email protected] § Non è frequente che i coreografi § Choreographers writing about settecenteschi scrivano di melodramma melodrama and their opinions on e si pronunzino sui cantanti, o vice- singers and virtuosi are uncommon versa. La formazione professionale e la in the Eighteenth Century. The concezione del teatro da parte di professional training of dancers and ballerini e coreografi ci appare distinta choreographers and their conception e autonoma rispetto a quella dei grandi of theatre appear autonomous virtuosi del dramma per musica. La compared to those of the great reciproca influenza, che vi fu, pare virtuosi of the dramma per musica. quindi circoscriversi in Italia alla Their reciprocal influence, which was condivisione dei soggetti fra i due however present, seems therefore to generi di spettacolo e alla contiguità be limited in Italy to the sharing of temporale di atti d’opera ed entr’acte di subjects between the two kinds of danza. Il caso qui esaminato, che pone spectacle and the temporal contiguity al centro le figure del castrato Luigi of Opera acts and of entr’acte for Marchesi (1754-1829) e del coreografo dance. The case here examined, Domenico Lefèvre (173?-181?), e la centred on the figures of the castrato ricognizione sulla bibliografia critica Luigi Marchesi (1754-1829) and the dell’epoca mettono in luce alcuni non choreographer Domenico Lefèvre trascurabili punti di contatto fra canto (173?-181?), and the survey on the e ballo pantomimo riguardo alla critical bibliography of this period, recitazione scenica e ad alcune reveal some convergences between tipologie di aria d’opera, che ancora a singing and pantomime dance in fine Settecento risentono della stage acting and in some types of diffusione e del ruolo sociale della arie, which are still affected at the danza. -
PRESSQUOTES Hanna-Liisa Kirchin
PRESSQUOTES Hanna-Liisa Kirchin MEZZO SOPRANO Orfeo / Orfeo ed Euridice / Longborough Festival Opera / 2017 Cond. Jeremy Silver / Dir. Maria Jagusz “Her voice is fascinating: sweet and powerful, it had a plangent, matte finish that really did make her sound like something between a countertenor and a more conventional mezzo. In a role originally written for a castrato, and embodying a figure from myth, it was simultaneously strange and wonderfully fitting – heightened by the grace with which Kirchin walked the line between classical dignity and raw, wrenching pain.” (The Crtics’ Circle / Richard Bratby) “Hanna-Liisa Kirchin brings human nobility and ardour as Orfeo in lamenting the death of Euridice, which does not relent either as he undergoes the trial of leading her out of Hades whilst attempting to avoid the temptation of turning around to her, or in his final triumph." (Classicalsource / Curtis Rogers) “Hanna-Liisa Kirchin sang with heart on her sleeve emotion to carry the opera as Orfeo ... her ‘Che farò senza Euridice? was the grief-stricken highlight it must be.” (Seen & Heard International / Jim Pritchard) “As the mythic quester, Hanna-Liisa Kirchin displayed a mezzo which is not huge but which is sweet-toned and expressive. Interestingly, my guest remarked that at first he was uncertain whether Orfeo was being sung by a countertenor or a mezzo, for Kirchin’s voice does have an unusual colour - one which was most effective in a role initially taken by the castrato Gaetano Guadagni... Kirchin worked hard in ‘Che farò senza Euridice’: her voicing of loss was dignified and imbued with wrenching pain...” (Opera Today / Claire Seymour) "...and with a superb central performance as Orfeo movingly sung and acted by mezzo Hanna- Liisa Kirchin who clearly has a stellar career ahead of her. -
Los Castrados
LOS CASTRADOS “Mi querido niño [...] os diré con términos más insinuantes que debéis haceros pulir mediante una ligera operación, que os asegurará por mucho tiempo la delicadeza de vuestro cutis y la belleza de vuestra voz para toda la vida...” Charles de Saint-Evremond, 1685 Por Doña Juana La Loca Los castrados (castrati), evirados o i musicci, es como se denominó a aquellos niños a los que se les retiró los testículos antes de la pubertad, antes del desarrollo sexual secundario y que trajo consigo voces de una belleza sublime, los menos, así como infinidad de desgraciados infantes que fueron despreciados hasta el fin de sus días. En el siglo XVI, la iglesia no permitía que las mujeres cantaran en público y esto asociado a que los compositores de cámara empezaron a incluir complejas polifonías, en las cuales los niños empezaban a tener problemas para interpretarlas, ya que cuando todavía llegaban a los agudos no tenían la fuerza requerida y cuando adquirían esa fuerza durante la pubertad la ascensión al agudo se tornaba en sonidos galleados. El problema empezó a solucionarse con la traída, a la Capilla Sixtina, de españoles falsetistas, de los cuales se sospechaba que muchos de ellos eran ya castrados. Los rumores apuntaban a que ya hubo castrados en el coro de la iglesia de San Pedro de Roma desde 1533, pero fue a partir de 1589 cuando el papa Sixto V expidió una bula para la castración, pues cualquier tipo de mutilación estaba castigada por la propia iglesia salvo para salvar la vida, hecho que permitió la entrada de cuatro castrati a dicho coro. -
NEWSLETTER Editor: Francis Knights
NEWSLETTER Editor: Francis Knights Volume v/1 (Spring 2021) Welcome to the NEMA Newsletter, the online pdf publication for members of the National Early Music Association UK, which appears twice yearly. It is designed to share and circulate information and resources with and between Britain’s regional early music Fora, amateur musicians, professional performers, scholars, instrument makers, early music societies, publishers and retailers. As well as the listings section (including news, obituaries and organizations) there are a number of articles, including work from leading writers, scholars and performers, and reports of events such as festivals and conferences. INDEX Interview with Bruno Turner, Ivan Moody p.3 A painted villanella: In Memoriam H. Colin Slim, Glen Wilson p.9 To tie or not to tie? Editing early keyboard music, Francis Knights p.15 Byrd Bibliography 2019-2020, Richard Turbet p.20 The Historic Record of Vocal Sound (1650-1829), Richard Bethell p.30 Collecting historic guitars, David Jacques p.83 Composer Anniversaries in 2021, John Collins p.87 v2 News & Events News p.94 Obituaries p.94 Societies & Organizations p.95 Musical instrument auctions p.96 Conferences p.97 Obituary: Yvette Adams, Mark Windisch p.98 The NEMA Newsletter is produced twice yearly, in the Spring and Autumn. Contributions are welcomed by the Editor, email [email protected]. Copyright of all contributions remains with the authors, and all opinions expressed are those of the authors, not the publisher. NEMA is a Registered Charity, website http://www.earlymusic.info/nema.php 2 Interview with Bruno Turner Ivan Moody Ivan Moody: How did music begin for you? Bruno Turner: My family was musical. -
FIORI DEL PARNASO Ritratti Di Artisti Della Scena Reggiana (Archivio Vivi)
Testi: dott. Paola Meschini dott. Luciana Bonilauri Ufficio Stampa: dott. Rita Pansa Realizzazione: Liliana Corvo Annunziata Di Somma Silvia Lo Rillo Laura Vacondio Fotografie: Giuliano Ferrari Stampa: Grafitalia Ministero per i Beni e le Attività culturali ARCHIVIO DI STATO DI REGGIO EMILIA Inventari e cataloghi collana diretta da Paola Meschini FIORI DEL PARNASO Ritratti di artisti della scena reggiana (Archivio Vivi) Reggio Emilia, 2010 I TEATRI Le prime notizie dell’esistenza di un luogo deputa- to alle rappresentazioni teatrali a Reggio Emilia risalgono alla seconda metà del ‘500, quando fu adibita a “luogo teatrale” la sala delle adunanze del Pubblico Consiglio nel vecchio palazzo comunale, ormai non più sede degli uffici del Comune; questo si era trasferito nel nuovo edi- ficio antistante al vecchio, nella parte meridionale della attuale piazza Prampolini. Funzionava, contemporaneamente alla “stanza delle Commedie”, e con analoga destinazione a luogo teatrale, un altro sito della Comunità: la vicina costru- zione delle vecchie beccherie, andata da poco in disuso. Essa ospitava, a differenza della “stanza delle Comme- die” (destinata al teatro serio, “ufficiale”), le recite degli istrioni, ovvero degli attori del teatro dell’Arte. In quel periodo, l’élite dirigente dell’aristocrazia di corte e della borghesia frequentava il colto teatro “ufficiale”, mentre il ceto degli artigiani e dei bottegai preferiva il semplice e popolare teatro dell’Arte. La “sala delle Commedie” fu poi, nel corso del secolo XVII, ampliata e adattata a vero e proprio teatro in sen- so moderno, con palcoscenico e palchi. Nel 1740 un in- cendio la distrusse completamente e, con l’occasione, il locale fu venduto al Santo Monte di Pietà, che già occu- pava il palazzo. -
Call for Papers Luigi Marchesi (1754-1829), “Ocean of Sopranos”: Career of a Castrato Singer
CALL FOR PAPERS LUIGI MARCHESI (1754-1829), “OCEAN OF SOPRANOS”: CAREER OF A CASTRATO SINGER Bergamo, October 16-17, 2015 CFP deadline: March 30, 2015 Luigi Marchesi was one of the most famous singers of the second half of the Eighteenth Century, acclaimed performer of operas by Pasquale An- fossi, Domenico Cimarosa, Alessandro Tarchi, Johann Simon Mayr, Nic- colò Zingarelli, Antonio Salieri, Giuseppe Sarti, Francesco Bianchi, Josef Mysliveček, etc. The brilliant career of this emblematic castrato spread across Europe: enormous triumphs throughout Italy were followed by travels to St. Peter- sburg, London, Warsaw and Vienna. Thanks to his incredible coloratura, a legendary range, and a dazzling singing technique, Marchesi proved himself to be the perfect performer for extremely virtuosic and heroic roles. With Rubinelli and Pacchierotti he was universally considered one of the most important singers of his time. Marchesi was also fiercely criticized: his style in embellishments and his acting became topics for discussions strongly influenced by the incipient sunset of the castrati era in theatres. Stile Galante (Amsterdam) wishes to dedicate to Luigi Marchesi a two-day international conference, to be held in Bergamo on October 16-17, 2015. CONFERENCE BOARD Nicholas Baragwanath (University of Nottingham) Rosa Cafiero (Università Cattolica di Milano) Damien Colas (CNRS) Paolo Fabbri (Università degli Studi di Ferrara) Giulia Giovani (Centro Studi sulla Cantata Italiana) Claudio Toscani (Università degli Studi di Milano). The international conference Luigi Marchesi, “Ocean of Sopranos”: Career of a Castrato Singer is a part of The Luigi Marchesi Project (<www.luigimarchesimusic.com>). Conference proceedings are going to be published by February 2016. -
MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A.