Arrangements for String Quartet

Total Page:16

File Type:pdf, Size:1020Kb

Arrangements for String Quartet 10601 Music samples Opera Odyssey Arrangements for String Quartet Arranged and EditedSample by Joel Lish Music © 2011 Middle Fiddle Music Distributed by LAST RESORT MUSIC PUBLISHING, INC. www.lastresortmusic.com All rights reserved. Unauthorized duplication is a violation of the law. Table of Contents by Opera Title Violin 1 Piece Page Number Number 17 Aida Celeste Aida Verdi 38 14 Carmen Gypsy Dance Bizet 32 2 Cosi Fan Tutti Come Scoglio Mozart 6 13 Elixer of Love Barcarolle - Io son ricco e tu sei bella Donizetti 30 4 Eugene Onegin Waltz Tchaikowsky 10 11 Faust Jewel Song Gounod 26 20 Fidelio O war ich schon mit dir Beethoven 44 19 Julius Caesar Overture SampleHandel 42 23 L'Africaine O paradiso Meyerbeer 51 10 Lakme Flower Duet Delibes 24 21 Lohengrin Prelude to Act III Wagner 46 8 Lucia di Lammermoor Verano a te Donizetti 20 24 Madame Butterfly Humming Chorus Puccini 52 Music26 Magic Flute In diesen heil'gen Hallen Mozart 56 5 Marriage of Figaro Deh vieni, non tardar Mozart 13 1 Marriage of Figaro Dove Sono Mozart 5 25 Nabucco Va, pensiero Verdi 54 12 Norma Casta Diva Bellini 28 9 Pearl Fishers Duet - Au fond du temple saint Bizet 22 16 Rigoletto Quartet - Bella figlia dell' amore Verdi 36 3 Sadko Song of India Rimsky-Korsakov 9 6 Samson and Delilah Bacchanale Saint-Saens 14 18 Tamerlane A dispetto d'un volto ingrato Handel 40 22 Tamerlane Par che mi nasca Handel 49 7 Turk in Italy Non si da follia maggiore Rossini 17 15 Xerxes Ombra mai fu Handel 34 7. Non si da follia maggiore Violin I from "Il Turco in Italia" Gioacchino Rossini Arr. Joel Lish Allegro q = 100 . œ . # # œ™ œ œ œ œ. > .. œ™ œ œ œ œ. # 4 œ œ œ œ œ..œ . œ œ œ œ œ Œ œ œ œ œ..œ & 4 ™ œ œ œ p f p f 4 . .. .. ... .. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # > œ œ..œ œ..œ œ J & # œ œ œ p fp 7 . œ...œ œ œ. œ ... œ. œ œ > ### œ œ œ œ œ & œ œ ˙ Œ œ™ œ 10 A j > # # >œ™ j œ # œ œ œ œœœœœ ‰ œ œ œ œ œ œ œ œœœ™ œ ˙ œ Œ & ™ J J Sampleœ œœ œ 14 # # œ œ. œ œ . œ œ œ . & # ∑ ÓŒ ™ J œ œ œ# œn œ œ œ Œ œ™ œ J mf 18 # # œ œ œ™ œ. œ œ™ œ. Music& # œ ‰™ R œ œ Œ œ™ œ œ Œ ˙ Œ œ™ œ. f 22 B ≥ > > > # # œ œœœœ > œœœœ >œ œ œ œ œ & # œ ‰ œœ œ œ# œœœœœ œ œœœ œn œ œ# œ 25 ≥ > > > > # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # ˙ Œ œ™ œ. œ ‰ œ œ œ# œ œ œ œ œ 28 > > j # # œ œ > >œ ˙ œ œ œ œ œ œ œ œ & # œ œ œ œ œ œn œ œ œ œ œ œ œ œ ‰ 31 j # # ˙ œ œ œ œ œ œ œ œ 3 & # œ ™ œ# ™ ™ œn œ™ œ ˙ Ó 17 7. Non si da follia maggiore Viola from "Il Turco in Italia" Gioacchino Rossini Arr. Joel Lish Allegro q = 100 œ œ # #4 œ œ .. œ œ J B # 4 œ œ J‰Ó œ œ œ œ œ œ œ Œ ‰Ó f p fp 4 # # .. ... .. .. .. .. œn B # œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ p fp J 7 # # ... .. .. .. œ > B # œ œ œ œ œ œ œ œ œ œSampleœ œ œ ˙ Ó 10 A # > œ œ B ## Œ œ Œ Œ œ j ‰Œ œ ‰ œ ‰ J‰ J ‰ œ œ# œ œ œ ‰Œ Musicœ œ œ J J J 14 # ... .. j B ## œ...œ œ œ..œ œ œ œ œ œ œ œ ‰Œ j ‰ Œ j ‰ Œ œ œ œ 17 # .... .... .... .... .... .... B ## œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ pp 20 B # # œ....œ œ œ œ....œ œ œ œ....œ œ œ œ. œ B # œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ œ Ó 16 7. Non si da follia maggiore from "Il Turco in Italia" cello Gioacchino Rossini Arr. Joel Lish Allegro q = 100 œ œ..œ œ œ ?# #4 œ œ œ œ œ œ J # 4 œ œ œ J ‰Ó Œ œ ‰Ó f p fp 4 .. œ œ œ œ œ œ œ œ...œ œ œ..œ ... .. ?### Œ œ œ œ œ œ ˙™ œ# p fp 7 ... œ. œ ?# # œn œ œ œ œ..œ œ..œ œ œ œ > # œ ˙ Ó A Sample 10 ... .. ?# # œ >œ œ œ œ œ œ œœœ œ œ...œœœ..œ # Œ ŒŒ œ J ‰Œ ∑ œ# œ J ‰Œ 15 Musicœ œ œ...œ œ œ....œ œ œ .... .... œ....œ œ œ œ....œ œ œ ?### œ œ ‰Œ œ ‰Œ œ ‰Œ œ œ œ œ œ œ œ œ J J J pp 20 B .... .... œ....œ œ œ œ. ?### œ œ œ œ œ œ œ œ ŒŒ œ Ó œ Œ œ Œ œ Œ œ Œ p 25 ?# # œ œ # ‰ œ œ œ ŒŒ Ó œ Œ œ Œ œ Œ œ Œ œ œ œ œ mf œ œ œ œ 30 > ?# # œ >œ œœ> œ # œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ ˙ Ó œ œ œ œ œ œ œ œ œ f 16.
Recommended publications
  • Abstracts James Hepokoski Oberlin College
    Verdi Forum Number 11 Article 3 3-1-1983 Abstracts James Hepokoski Oberlin College David Lawton SUNY Stony Brook Martin Chusid New York University Andrew Hornick New York University John Nádas University of California, Santa Barbara See next page for additional authors Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons, Music Performance Commons, and the Music Theory Commons Recommended Citation Hepokoski, James; Lawton, David; Chusid, Martin; Hornick, Andrew; Nádas, John; Tomlinson, Gary; Garrison, Leonard; Powers, Harold S.; Harwood, Gregory W.; Beams, Richard B.; Cole, William P.; Cordell, Albert O.; Davis, Marianne; Frye, Loryn E.; King, Ben; Mason, James; McCauley, William E.; and Town, Stephen (1983) "Abstracts," Verdi Forum: No. 11, Article 3. Available at: http://scholarship.richmond.edu/vf/vol1/iss11/3 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Abstracts Abstract Abstracts of papers about Giuseppe Verdi and his works, presented at joint meetings of the AIVS and Greater NY Chapter of the American Musicological Society, 1979-81 (Hepokoski, Lawton, Chusid, Hornick, Nádas, Tomlinson, Garrison, Powers), at the 1982 national meeting of the American Musicological Society (Harwood), and at an NEH-sponsored summer seminar at NYU in 1980 (Beams, Cole, Cordell, Davis, Fry, King, Mason, McCauley, Town). Keywords Giuseppe Verdi, opera Authors James Hepokoski, David Lawton, Martin Chusid, Andrew Hornick, John Nádas, Gary Tomlinson, Leonard Garrison, Harold S. Powers, Gregory W.
    [Show full text]
  • Enrico Caruso
    NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’.
    [Show full text]
  • Media Release
    Media Release FOR IMMEDIATE RELEASE: July 16, 2019 Contact: Edward Wilensky (619) 232-7636 [email protected] San Diego Opera’s 2019-2020 Season Opens with Verdi’s masterpiece Aida Verdi specialist Michelle Bradley to make Company debut as Aida Theatrical Concert Opera will use sets, costumes, and lighting with the San Diego Symphony, San Diego Opera Chorus, and principal singers on stage Tenor Carl Tanner makes welcome return as Radames San Diego, CA – Verdi’s beloved opera Aida opens San Diego Opera’s 2019-2020 season in an entirely new theatrical concert performance utilizing set elements, costumes, lighting, and featuring the San Diego Symphony and San Diego Opera chorus onstage, alongside some of the greatest interpreters of Verdi’s music performing today. Aida opens on October 19, 2019 for four performances. Additional performances are October 22, 25, and 27 (matinee), 2019. All evening performances for the 2019-2020 season will begin at 7:30 PM for the convenience of our audiences. The matinee will remain at 2 PM. Assembled for the opening opera of the season is an exciting cast of singers including the Company debut of soprano Michelle Bradley as Aida who is quickly becoming one of the most sought after Verdi sopranos performing today. Making a welcome return to San Diego Opera in the role of Radames is tenor Carl Tanner who was last heard in San Diego Opera’s 2018 production of Turandot as Calaf. Also making house debuts are mezzo-soprano Olesya Petrova as Amneris and baritone Nelson Martinez as Amonasro. Bass Mikhail Svetlov returns to sing the King of Egypt, having last been heard as Ambimelech in 2013’s Samson and Delilah.
    [Show full text]
  • Aida-Dossier-Pedagogique-.Pdf
    AIDA GIUSEPPE VERDI © Christian-DRESSE DOSSIER PÉDAGOGIQUE 2016-2017 CONTACTS ACTION CULTURELLE Marjorie Piquette / 01 69 53 62 16 / [email protected] Eugénie Boivin / 01 69 53 62 26 / [email protected] RETROUVEZ NOTRE ACTUALITÉ SUR NOTRE BLOG : BLOG.OPERA-MASSY.COM 2 Vendredi 4 novembre | 20h Dimanche 6 novembre | 16h Durée : 3h15 (avec entracte) Aïda Direction musicale Paolo Olmi Mise en scène Charles Roubaud Assisté de Jean-Christophe Mast Chorégraphie Julien Lestel Décors Emmanuelle Favre Costumes Katia Duflot Eclairages Philippe Grosperrin Chef de Chant Hélène Blanic Opéra de massy Aïda Cécile Perrin Amneris Sylvie Brunet-Grupposo La grande prêtresse Ludivine Gombert Radamès Carl Tanner 2016-2017 Amonasro Tito You Ramphis Wojtek Smilek Le roi d’Égypte Jérôme Varnier Un messager Rémy Mathieu Orchestre National d’Île-de-France Chœur de l’Opéra Grand Avignon et de l’Opéra de Massy L’Opéra de massy est subventionné par: et remercie ses partenaires : Le service d’Action Culturelle de l’Opéra de Massy est membre du Réseau Européen pour la Sensibilisation à l’Opéra 3 SOMMAIRE 4 – COMPOSITEUR 6 – ANTONIO GHISLANZONI, LE LIBRETTISTE 6 – AUGUSTE MARIETTE, LA SOURCE LITTÉRAIRE. 7 – RÉSUMÉ Aïda 10 – PISTES D'ÉCOUTE 14 – CONTEXTE HISTORIQUE 15 – QUE S'EST-IL PASSÉ EN 1871 16 – PRODUCTION 17 – EN SAVOIR PLUS...SUR LA VOIX Opéra de massy 18 – LES INSTRUMENTS DE L'ORCHESTRE 21 – LES INGRÉDIENTS DE L'ORCHESTRE 2016-2017 © Christian-DRESSE 4 LE COMPOSITEUR GIUSEPPE VERDI (1813 - 1901) D’origine modeste, d’abord formé par l’organiste du village, Baistrocchi, il suit des études à Busseto avec le chef de fanfare Provesi.
    [Show full text]
  • Gigli's Non-Commercial Discography: Part 2—Soundtrack Recordings
    Gigli’s Non-Commercial Discography: Part 2—Soundtrack Recordings With his multiple appearances in the cinemas of Europe and the United States, Gigli succeeded in his aim of bringing classical music to the widest possible audience. Please note, where there is an accessible DVD of any of this material, I have tried to list them in the NOTES. An addendum with links to illustrate some of the items below is also included. 27.F01 4 April, the first public presentation was coupled with the premiere of the movie, “When a Man Loves,” at the Selwyn Theatre in New York City, 3 February 1927. The feature was recorded at the Manhattan Opera House, with the Metropolitan Opera chorus and the Vitaphone Symphony Orchestra conducted by Herman Heller. Vitaphone Varieties number 415. Rigoletto (Verdi) Cast: Marion Talley (Gilda); BG (Duca di Mantova); Giuseppe de Luca (Rigoletto); Jeanne Gordon (Maddalena); a) Act IV: Un di se ben … b) Act IV: Bella figlia LP: EJS 403 (a-c); CD: GOP 804 (a-b); CAMCD-1080 (a-b); URANIA URN 22.376 (a-b); NOTE: The above and all the 1927-28 recordings are part of the series of film shorts, Vitaphone Varieties, which were shown in cinemas with other feature films. These were among the first “talkie” (sound) films made. The initial date ascribed is the copyright date and not the recording date. Further information has been added where known. 27.F02 5 April, first shown at the Colony Theatre, New York. Recorded at the Manhattan Opera House, with the Metropolitan Opera chorus and the Vitaphone Symphony Orchestra conducted by Herman Heller.
    [Show full text]
  • The Synopsis of Aida
    Info Sheet The Synopsis of Aida Aida is set in ancient Egypt during the time of the Pharaohs, about 2000 BC. Egypt is at war with Ethiopia, and has taken prisoners that serve as slaves. The main characters are: Aida, an Ethiopian princess who is now a slave (soprano) Radames (RAH-duh- mees), Captain of the Egyptian guard (tenor) Amneris, an Egyptian princess (mezzo-soprano) King of Egypt, father of Amneris (bass) Amanasro, King of Ethiopia and father of Aida, also captured by the Egyptians (baritone) Ramphis, high Priest of Egypt (bass) Notice that the assigned voice parts for each character reflect something about their personalities. Aida, the Ethiopian princess, has fallen in love with Radames, who should be her enemy. Radames has fallen in love with her, as well. Radames does not know Aida is a princess. He has just captured her father, the king, but does not know it, since Amanasro is disguised as a peasant. Amneris, the Egyptian princess, is also in love with Radames, and has been for a long time. She is promised to him after his victory in battle. Amneris prepares for her wedding on the banks of the sacred Nile River while Aida and Radames meet to say a final farewell. Aida's father wants her to spy for Ethiopia and find out the Egyptian army's battle plan, but instead, Aida and Radames plan their escape together. Unfortunately, they are overheard when he accidentally tells her part of the battle plan. He is arrested, and will be tried for treason. Aida and her father escape.
    [Show full text]
  • Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis
    Parola Scenica: Towards Realism in Italian Opera ETDHendrik Johannes Paulus du Plessis A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of PhD by Thesis Abstract This thesis attempts to describe the emergence of a realistic writing style in nine- teenth-century Italian opera of which Giuseppe Verdi was the primary architect. Frequently reinforced by a realistic musico-linguistic device that Verdi would call parola scenica, the object of this realism is a musical syntax in which nei- ther the dramatic intent of the text nor the purely musical intent overwhelms the other. For Verdi the dramatically effective depiction of a ‘slice of a particular life’—a realist theatrical notion—is more important than the mere mimetic description of the words in musical terms—a romantic theatrical notion in line with opera seria. Besides studying the device of parola scenica in Verdi’s work, I also attempt to cast light on its impact on the output of his peers and successors. Likewise, this study investigates how the device, by definition texted, impacts on the orchestra as a means of realist narrative. My work is directed at explaining how these changes in mood of thought were instrumental in effecting the gradual replacement of the bel canto singing style typical of the opera seria of Rossini, Donizetti, and Bellini, by the school of thought of verismo, as exemplified by Verdi’s experiments. Besides the work of Verdi and the early nineteenth-cen- tury Italian operatic Romanticists, I touch also briefly on the œuvres of Puccini, ETDGiordano and the other veristi.
    [Show full text]
  • An Analysis of the Characterizations of Aida and Amneris. Myrtle Yvette Mcdaniel Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1991 An Analysis of the Characterizations of Aida and Amneris. Myrtle Yvette Mcdaniel Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Mcdaniel, Myrtle Yvette, "An Analysis of the Characterizations of Aida and Amneris." (1991). LSU Historical Dissertations and Theses. 5196. https://digitalcommons.lsu.edu/gradschool_disstheses/5196 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 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 face, 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.
    [Show full text]
  • Aida Chicagotribune
    The spectacle — and the singing — make Lyric's 'Aida' grand -- chicagotribune.com Pagina 1 www.chicagotribune.com/entertainment/music/ct-ent-0123-aida-review-20120123,0,2627148.column chicagotribune.com The spectacle — and the singing — make Lyric's 'Aida' grand John von Rhein Classical music critic January 23, 2012 As every opera lover knows, ours is not exactly a golden age of Verdi singing. With full-fledged advertisement Italian dramatic voices in short supply, even the major opera companies must scramble to assemble even satisfactory casts for such enduringly popular if vocally demanding fare as Verdi's "Aida." Surprise! The international cast Lyric Opera has assembled for its first set of performances of the Verdi work — the grandest money machine in grand opera — is one of the strongest the company has fielded in the 29 years the Nicolas Joel production has held the boards at the Civic Opera House. Different singers are to assume the five principal roles for a second series of performances in March. "Aida," which had its first performance of the season on Saturday night, perfectly satisfies the craving most opera-goers have for big vocal display, lavish spectacle and intimate human tragedy, all wrapped in some of Verdi's most gloriously inspired music. Shakespeare would have been proud to have penned such a libretto: In "Aida" the characters' passions compel them to make what they believe are necessary choices that nonetheless make their fate inescapable. It helped to have Italian conductor Renato Palumbo, who displayed his Verdian credentials at the helm of "Macbeth" last year and "Ernani" the season before that, back in the pit, shaping instrumental lines and keeping things moving with keen dramatic thrust and musical sensitivity.
    [Show full text]
  • AIDA GIUSEPPE VERDI Dyrektor Naczelny Tomasz Bęben Dyrektor Artystyczny Paweł Przytocki Chórmistrz, Szef Chóru Dawid Ber
    AIDA GIUSEPPE VERDI dyrektor naczelny Tomasz Bęben dyrektor artystyczny Paweł Przytocki chórmistrz, szef chóru Dawid Ber dyrektor generalny Peter Gelb honorowy dyrektor muzyczny James Levine dyrektor muzyczny Yannick Nézet-Séguin główny dyrygent Fabio Luisi 2. Anna Netrebko jako Aida. Fot. Marty Sohl/Metropolitan Opera Prapremiera w Operze w Kairze – 24 grudnia 1871 roku Premiera niniejszej inscenizacji w The Metropolitan Opera w Nowym Jorku – 12 sierpnia 1988 roku Transmisja z The Metropolitan Opera w Nowym Jorku – 6 października 2018 roku Przedstawienie trwa ok. 3 godzin 40 minut, z dwiema przerwami Przedstawienie w języku włoskim z napisami w języku polskim Giuseppe Verdi Aida 3. AIDA OPERA W CZTERECH AKTACH LIBRETTO: ANTONIO GHISLANZONI wg AUGUSTE’A MARIETTE’A OSOBY Aida sopran Amneris mezzosopran Radames tenor Amonasro baryton Faraon bas REALIZATORZY reżyseria Sonja Frisell scenografia Gianni Quaranta kostiumy Dada Saligeri światło Gil Wechsler choreografia Alexei Ratmansky OBSADA Aida Anna Netrebko Amneris Anita Rachvelishvili Radames Aleksandrs Antoņenko Amonasro Quinn Kelsey Faraon Ryan Speedo Green soliści, chór, balet i orkiestra The Metropolitan Opera dyrygent Nicola Luisotti AKCJA ROZGRYWA SIĘ W EGIPCIE PODCZAS PANOWANIA FARAONÓW 4. NICOLA LUISOTTI DYRYGENT Światowej sławy dyrygent operowy – dyrektorem muzycznym Teatro San Carlo i koncertowy. W latach 2009-2018 dyrektor w Neapolu. Występuje w Wiedeńskiej Ope- muzyczny Opery w San Francisco, z którą jest rze Państwowej, Teatro Alla Scala, weneckiej związany od 2005 r. Za doskonałość artystycz- La Fenice, Teatro Comunale w Bolonii, operach ną otrzymał medal tej Opery. Jest także drugim we Frankfurcie, Stuttgarcie, Dreźnie, Walencji, dyrygentem w Teatro Real w Madrycie. Karierę Los Angeles, Toronto, Tokio i innych. Otrzy- dyrygencką rozpoczął jako kierownik chóru mał 39.
    [Show full text]
  • Aida Synopsis 5 Guiding Questions 7
    2 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of Aida Synopsis 5 Guiding Questions 7 The History of Verdi’s Aida 9 Guided Listening Se quell guerrier io fossi!...Celeste Aida 12 Ritorna vincitor 14 Possente Fthà 15 Fu la sorte dell’armi a’tuoi funesta 16 “Gloria all’Egitto, ad Iside” and “Marcia e Ballabile/Marche triomphale et Ballet” 17 Qui Radamès verrà!...O Patria mia 18 Ciel mio padre...Rivedrai le foreste imbalsamate 19 Fuggiam gli ardori inospiti 20 Aida Resources About the Composer 22 Exoticism and Opera 25 Online Resources 28 Additional Resources Reflections after the Opera 30 The Emergence of Opera 31 A Guide to Voice Parts and Families of the Orchestra 35 Glossary 36 References Works Consulted 40 2 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. Meet the Characters / The Story/ Resources Fostering familiarity with specific operas as well as the operatic art form, these sections describe characters and story, and provide historical context. Guiding questions are included to suggest connections to other subject areas, encourage higher-order thinking, and promote a broader understanding of the opera and its potential significance to other areas of learning. Guided Listening The Guided Listening section highlights key musical moments from the opera and provides areas of focus for listening to each musical excerpt.
    [Show full text]
  • Aida Opera Guide
    FEBRUARY 27, MARCH 2,5,7(M), 2O1O Opera Guide Synopsis: Aida In the temple of Vulcan, the priests he makes her promise to find out from consecrate Radamès. Ramfis orders him Radamès which route the Egyptian to protect the homeland. army will take to invade Ethiopia (Duet: “Rivedrai le foreste imbalsamate”). act ii Amonasro hides as Radamès enters and Ethiopia has been defeated, and Amn- assures Aida of his love (Duet: “Pur ti eris waits for the triumphant return of riveggo, mia dolce Aida”). They dream Radamès. When Aida approaches, the about their future life together, and princess sends away her other attendants Radamès agrees to run away with her. so that she can learn her slave’s private Aida asks him about his army’s route, feelings (Duet: “Fu la sorte dell’armi”). and just as he reveals the secret, Amo- She first pretends that Radamès has nasro emerges from his hiding place. fallen in battle, then says he is still alive. When he realizes that Amonasro is the Aida’s reactions leave no doubt that she Ethiopian king, Radamès is desperate loves Radamès. Amneris, determined about what he has done. While Aida to be victorious over her rival, leaves for Aida by J.D. Scott and Amonasro try to calm him, Ramfis the triumphal procession. and Amneris step out of the temple. act i At the city gates the king and Amneris Father and daughter are able to escape, Egypt, during the reign of the pharaohs. observe the celebrations and crown Ra- but Radamès surrenders to the priests.
    [Show full text]