Destacados De Programación – Abril 2019
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Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Aida Abono Abono Nocturno |ANT Abono Gran Abono Abono |ANN Vespertino Abono AV
4 Ópera JEFE DE GOBIERNO Horacio Rodríguez Larreta VICEJEFE DE GOBIERNO Diego Santilli JEFE DE GABINETE Felipe Miguel MINISTRO DE CULTURA Enrique Avogadro DIRECTORA GENERAL María Victoria Alcaraz HOJAS GENERALES_2018.indd 1 3/23/18 17:04 Aida 6 7 Ópera en cuatro actos (1871) DIRECTOR MUSICAL INVITADO DIRECTOR DEL CORO ESTABLE Ópera Música de Giuseppe Verdi Carlos Vieu Miguel Martínez Ópera Libreto de Antonio Ghislanzoni CONCEPCIÓN ESCÉNICA Y DISEÑO DIRECTORA DEL BALLET ESTABLE DE ESCENOGRAFÍA Paloma Herrera PRODUCCIÓN DEL TEATRO COLÓN (1996) Roberto Oswald COREOGRAFÍA DIRECTOR DE ESCENA REPOSITOR Alejandro Cervera Y DISEÑO DE VESTUARIO Aníbal Lápiz COLABORADOR DEL DIRECTOR DE ESCENA REPOSITOR REPOSITOR DE ESCENOGRAFÍA Matías Cambiasso Christian Prego ASISTENTE DE COREOGRAFÍA DISEÑO DE ILUMINACIÓN Damián Malvasio Rubén Conde MAYO DOMINGO 27 17 H FE MARTES 29 20 H GA MIÉRCOLES 30 20 H FE JUEVES 31 20 H ANT JUNIO SÁBADO 2 20 H FE DOMINGO 3 17 H AV MIÉRCOLES 5 20 H ANN GA Gran Abono | ANT Abono Nocturno Tradicional | AV Abono Vespertino | ANN Abono Nocturno nuevo | FE Función Extraordinaria Reparto ORQUESTA ESTABLE DEL TEATRO COLÓN AIDA REY DE EGIPTO CORO ESTABLE DEL TEATRO COLÓN Latonia Moore (29, 31, 3, 5) Lucas Debevec Mayer (29, 31, 3, 5) 8 9 BALLET ESTABLE DEL TEATRO COLÓN Mónica Ferracani (27, 2) Emiliano Bulacios (27, 2) Haydee Dabusti (30) Roy Pullen Llermanos (30) Ópera Ópera AMNERIS SACERDOTISA Nadia Krasteva (29, 31, 3, 5) Marisú Pavón (29, 31, 3, 5) Guadalupe Barrientos (27, 2) Carolina Gómez (27, 30, 2) María Luján Mirabelli (30) -
1 Prime+Trama TRAVIATA
Parma e le terre di Verdi 1-28 ottobre 2007 La Traviata Musica di GIUSEPPE VERDI Parma e le terre di Verdi 1-28 ottobre 2007 Parma e le terre di Verdi 1-28 ottobre 2007 main sponsor media partner Il Festival Verdi è realizzato anche grazie a e con il sostegno e la collaborazione di Teatro Verdi di Busseto Teatro Comunale di Modena iTeatri di Reggio Emilia Soci fondatori Consiglio di Amministrazione Presidente Pietro Vignali Sindaco di Parma Consiglieri Paolo Cavalieri Maurizio Marchetti Sovrintendente Mauro Meli Direttore musicale Bruno Bartoletti Segretario generale Gianfranco Carra Collegio dei Revisori Giuseppe Ferrazza Presidente Nicola Bianchi Andrea Frattini La Traviata Melodramma in tre atti su libretto di Francesco Maria Piave dal dramma La Dame aux camélias di Alexandre Dumas figlio Musica di GIUSEPPE V ERDI Editore Universal Music Publishing Ricordi srl, Milano Villa Verdi a Sant’Agata La trama dell’opera Atto primo Parigi, alla metà dell’Ottocento. È estate e c’è festa nella casa di Violetta Valéry, una famosa mondana: è un modo per soffocare l’angoscia che la tormenta, perché ella sa che la sua salute è gravemente minata. Un nobile, Gastone, presenta alla padrona di casa il suo amico Alfredo, che l’ammira sinceramente. L’attenzione che Violetta dimostra per la nuova conoscenza non sfugge a Douphol, il suo amante abituale. Mentre Violetta e Alfredo danzano, il giovane le dichiara tutto il suo amore e Violetta gli regala un fiore, una camelia: rivedrà Alfredo solo quando sarà appassita. Alla fine della festa, Violetta deve ammettere di essersi innamorata davvero, per la prima volta. -
Spielplan-Präsentation
Spielplan-Präsentation Für weitere Informationen kontaktieren Sie bitte: Presse und Öffentlichkeitsarbeit Mag. Eva Koschuh: +43/1/514 44–3410, [email protected] Michael Bertha, MA: +43/1/514 44–3412, [email protected] Aktuelle Pressefotos finden Sie zum Download auf unserer Website https://www.volksoper.at/volksoper_wien/pressezentrum/pressefotos/Pressefotos.de.php Die Pressemappe finden Sie online unter https://www.volksoper.at/volksoper_wien/pressezentrum/pressemeldungen/Pressemeldungen.de.php Inhalt HERZLICH WILLKOMMEN ZUR SAISON 2020/21 .............................................................................. 1 SPIELPLANÜBERSICHT ........................................................................................................................ 2 PREMIEREN 2020/21 ............................................................................................................................. 4 Sweet Charity ...................................................................................................................................... 4 Hollands Meister .................................................................................................................................. 6 Die Zauberflöte .................................................................................................................................... 7 Die Macht des Schicksals .................................................................................................................... 9 Der Teufel auf Erden ........................................................................................................................ -
LA TRAVIATA Livret De Francesco Maria Piave D’Après La Dame Aux Camélias D’Alexandre Dumas fils
GIUSEPPE VERDI LA TRAVIATA Livret de Francesco Maria Piave d’après La Dame aux camélias d’Alexandre Dumas fils Opéra en trois actes 1853 OPERA de LYON Illustration. Bois gravés de la série Intimités (1898) de FÉLIX VALLOTTON LIVRET 5 Fiche technique 9 L’argument 13 Les personnages LA TRAVIATA 16 Atto primo / Premier Acte 48 Atto secondo / Deuxième Acte 122 Atto terzo / Troisième Acte CAHIER de LECTURES Michel Parouty 161 Le prélude de La Traviata Jacques Bourgeois 163 L’échec de la création Honoré de Balzac 166 Splendeurs & misères des courtisanes Dominique Jameux 167 Aliénation suprême Jean-François Labie 168 Politique de La Traviata Michel Schneider 171 Le livret inconscient deLa Traviata Roland Barthes 173 La Reconnaissance, mythe central de La Dame aux camélias Umberto Eco 175 Ordre bouleversé, ordre reconfirmé CARNET de NOTES Giuseppe Verdi 178 Repères biographiques 194 & Notice bibliographique La Traviata 195 Orientations discographiques LIVRET En 1852, lors d’un séjour à Paris, Verdi assiste au Théâtre du 5 Vaudeville à une représentation de La Dame au camélias, adaptation scénique du roman éponyme d’Alexandre Dumas fils publié en 1848. Il y voit vite « un sujet tout prêt et dont l’efficacité serait certaine... un sujet simple et affectueux et pour ainsi dire tout fait » (Lettre de juillet 1852 au directeur de la Fenice de Venise). Le livret est écrit par Francesco Maria Piave, en étroite collaboration avec le compositeur. Le premier titre donné à l’œuvre était Amore e morte. PARTITION Verdi compose la partition de La Traviata à partir de novembre 1852, parallèlement à celle du Trouvère, qui sera créée à Rome le 19 janvier 1853, moins de deux mois avant La Traviata . -
Boston Symphony Orchestra Concert Programs, Season 87, 1967-1968, Subscription
4k *.Mf2h "^"x .,,-.:<" r : v f- ai "\ /^<«*fe%<-, :.'., v S'j \~" S ,^ .,'(> ::~5§£4 hi BOSTON % \s Xv ;y SYMPHONY ORCHESTRA I FOUNDED IN 1881 BY -<:V HENRY LEE HIGGINSON EIGHTY-SEVENTH SEASON 1967-1968 I Exquisite Sound From the palaces \ of ancient EgyptJ to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. -
A Book of Operas
A Book of Operas Henry Edward Krehbiel A Book of Operas Table of Contents A Book of Operas................................................................................................................................................1 Henry Edward Krehbiel...........................................................................................................................1 CHAPTER I. "IL BARBIERE DI SIVIGLIA"........................................................................................1 CHAPTER II. "LE NOZZE DI FIGARO"..............................................................................................7 CHAPTER III. "DIE ZAUBERFLÖTE"...............................................................................................14 CHAPTER IV. "DON GIOVANNI".....................................................................................................20 CHAPTER V. "FIDELIO".....................................................................................................................27 CHAPTER VI. "FAUST"......................................................................................................................34 CHAPTER VII. "MEFISTOFELE".......................................................................................................39 CHAPTER VIII. "LA DAMNATION DE FAUST".............................................................................47 CHAPTER IX. "LA TRAVIATA"........................................................................................................50 CHAPTER -
ORC 26 Book ED.Qxd
MERCADANTE EMMA D’ANTIOCHIA ORC 26 in association with Slipcase : Destiny, 1900 (oil on canvas) by John William Waterhouse (1849-1917). Towneley Hall Art Gallery and Museum, Burnley, Lancashire/Bridgeman Art Library Booklet cover : Giuditta Pasta, Mercadante’s first Emma Opposite : Saverio Mercadante –1– Saverio Mercadante EMMA D’ANTIOCHIA Tragedia lirica in three acts Libretto by Felice Romani Emma, Princess of Antioch ......................................................Nelly Miricioiu Corrado di Monferrato, Count of Tyre .....................................Roberto Servile Ruggiero, his nephew ..................................................................Bruce Ford Adelia, the daughter of Corrado, betrothed to Ruggerio .........................................Maria Costanza Nocentini Aladino, a young Muslim slave belonging to Emma ............................Colin Lee Odetta, lady-in-waiting of Adelia ...................................Rebecca von Lipinski The Geoffrey Mitchell Choir Knights, crusaders, ladies and maidens, troubadours, soldiers, pages, squires and minstrels The London Philharmonic Orchestra Pieter Schoeman, leader David Parry, conductor The bass clarinet solo in Act II is played by Richard Addison –2– David Parry Producer and Artistic Director: Patric Schmid Managing Director: Stephen Revell Assistant Producer: Jacqui Compton Assistant Conductor: Robin Newton Répétiteur: Stuart Wild Italian coach: Maria Cleva Assistant to the Artistic Director: Marco Impallomeni Article, synopsis and libretto: Jeremy Commons Recording -
TRAVIATA GIUSEPPE VERDI Dyrektor Naczelny Tomasz Bęben
TRAVIATA GIUSEPPE VERDI dyrektor naczelny Tomasz Bęben dyrektor generalny Peter Gelb honorowy dyrektor muzyczny James Levine dyrektor muzyczny Yannick Nézet-Séguin główny dyrygent Fabio Luisi prezes Jacek Jankowski wiceprezes Łukasz Strutyński 2. Michael Fabiano jako Alfredo i Sonya Yoncheva jako Violetta w Traviacie Verdiego. Fot.: Marty Sohl/Metropolitan Opera Prapremiera – Wenecja, 6 marca 1853 roku Premiera niniejszej inscenizacji The Metropolitan Opera – 31 grudnia 2010 roku Transmisja z The Metropolitan Opera w Nowym Jorku – 11 marca 2017 roku Przedstawienie trwa około 2 godzin i 45 minut (w tym jedna przerwa) Przedstawienie w języku włoskim z napisami w języku polskim Giuseppe Verdi Traviata 3. LA TRAVIATA OPERA W TRZECH AKTACH LIBRETTO: FRANCESCO MARIA PIAVE WEDŁUG POWIEŚCI ALEKSANDRA DUMASA SYNA „DAMA KAMELIOWA” OSOBY Violetta Valéry sopran Alfred Germont tenor Giorgio Germont, jego ojciec baryton REALIZATORZY reżyseria Willy Decker scenografia i kostiumy Wolfgang Gussmann światło Hans Toelstede choreografia Athol Farmer OBSADA Violetta Valéry Sonya Yoncheva Alfred Germont Michael Fabiano Giorgio Germont, jego ojciec Thomas Hampson chór, orkiestra, balet dyrygent Nicola Luisotti Koprodukcja Salzburger Festspiele, De Nationale Opera w Amsterdamie oraz The Metropolitan Opera w Nowym Jorku. 4. NICOLA LUISOTTI DYRYGENT Włoski dyrygent, dyrektor muzyczny opery wystąpił po raz pierwszy z Toską G. Pucciniego w San Francisco (od 2009 r.). Ceniony zwłasz- w 2006 r., ponadto przygotował tam Dziew- cza jako interpretator dzieł G. Verdiego; jego czynę ze Złotego Zachodu (nagroda Premio pierwsze realizacje muzyczne to opery tego Puccini Prize na festiwalu Pucciniego w Torre kompozytora: Stiffelio (Triest, 2000 r.) i Truba- del Lago) i Cyganerię tego samego kompo- dur (Teatr Miejski w Stuttgarcie, 2001 r.). -
New Copy- Made in America
MADE IN AMERICA: THE ORGAN WORKS OF ARTHUR FOOTE BY PATRICK KRONNER Submitted to the faculty of the Jacobs School of Music in partial fulfilment of the requirements for the degree, Doctor of Music Indiana University July, 2017 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Doctoral Committee _______________________________________ Janette Fishell, Research Director and Chair _______________________________________ Andrew Mead _______________________________________ Frank Samaratto _______________________________________ Christopher Young July 11, 2017 ii Copyright © 2017 Patrick J. Kronner iii In memoriam George Grobbel. iv Acknowledgements Thank you to Claire Caruso, Paul Cienniwa, Susan Clermont, Leo Collins, Sallyjo Belanger, Barbara Benedett, George Bozeman, Janette Fishell, Wayne Leupold, Maria Jane Loizou, Andrew Mead, Barbara Owen, Paul Peeters, Maryalice Perrin-Mohr, Mike and Susan Powell, Frank Samarotto, Jacob Taylor, Christopher Young, my friends and colleagues at the University of Notre Dame and my family. v Table of Contents Acknowledgments………...……………………………………………………………….v Table of Contents…………………………………………………………………….…...vi List of Examples………………………..…...…………………………………………..viii List of Tables……………….………………………………………………………….….x List of Appendices ............................................................................................................. xi Chapter 1: Introduction ...................................................................................................... -
TRAVIATA» Di Michele Girardi*
«ELLE MOURUT AINSI, DOUCEMENT BERCÉE ET CONSOLÉE EN MILLE PAROLES TOUCHANTES». REALISMO POETICO NELLA PARTITURA DElla «TRAVIATA» di Michele Girardi* Ah! Vi piace La traviata? Quella povera peccatrice così sfortunata a Venezia! Cercherò bene di metterla all’onore del mondo. A Napoli no, perché i vostri preti e i vostri frati avrebbero paura di vedere sulle scene quelle certe cose che loro fanno bene all’oscuro. [Verdi a De Sanctis, 1854] Ha fatto La traviata pura e innocente. Tante grazie! Così ha guastato tutte le posizioni, tutti i caratteri. Una puttana deve essere sempre puttana. Se nella notte splendesse il sole, non vi sarebbe più notte. [Verdi a Luccardi, 1854] La traviata ha fatto fiasco! […] Perché sul vostro S. Carlo non si potrà rappresentare indifferen- temente una Regina od una paesana, una donna virtuosa od una puttana? Perché non un medico che tasta il polso, non dei balli mascherati etc. etc.? Non è degno!! Perché se si può morire di veleno o di spada, perché non si può morire di tisi o di peste!! Tutto ciò non succede forse nella vita comune?… [Verdi a De Sanctis, 1855] [In Macbeth] la Ristori faceva un rantolo; il rantolo della morte. In musica non si deve né si può fare; come non si deve tossire nell’ultimo atto della Traviata… [Verdi a Escudier, 11 marzo 1865] Cependant Marie Duplessis n’a pas eu toutes les aventures pathétiques que je prête a Marguerite Gautier […]. Elle n’a pu jouer, à son grand regret, que le premier et le deuxième acte de la pièce. [Alexandre Dumas figlio, À propos de la Dame aux camélias, dicembre 1867] I. -
An Historical Timeline of Events Concerning the Boston Music Hall, the "Great Organ" and the Methuen Memorial Music Hall
AN HISTORICAL TIMELINE OF EVENTS CONCERNING THE BOSTON MUSIC HALL, THE "GREAT ORGAN" AND THE METHUEN MEMORIAL MUSIC HALL 1837 The initial development of the organization that was later to become known as "The Harvard Musical Association" was started by a group of Harvard College graduates in July. As students, these graduates had been members of the Pierian Sodality, established in 1808. The graduates met with some fifty prominent citizens of Boston to form a new society, the chief goals of which were to be "...the promotion of musical taste and science in the University, ...to enrich the walls of Harvard with a complete musical library, ...and to prepare the way for regular musical instruction in the College". The new society was initially known as "The General Association of Past and Present Members of the Pierian Sodality". 1840 The society known as "The General Association of Past and Present Members of the Pierian Sodality" changed its name to "The Harvard Musical Association". 1851 The need for a large and centrally-located concert hall for Boston was discussed at the annual meeting of The Harvard Musical Association on Friday, January 31. A Music Hall Committee, comprised of members Robert E. Apthorp, George Derby, John Sullivan Dwight, Charles Callahan Perkins and Dr. Jabez Baxter Upham, was appointed to address the matter. The Music Hall Committee of The Harvard Musical Association selected a site for the proposed hall in the center of the block bounded by Tremont Street, Washington Street, Winter Street and Bromfield Street in February. The Music Hall Committee of The Harvard Musical Association engaged architect George Snell to draw up plans for the proposed hall in April.