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La Bohème Program Notes (Michigan Opera Theatre) Christy Thomas Adams, Ph.D
La bohème Program Notes (Michigan Opera Theatre) Christy Thomas Adams, Ph.D. University of Alabama School of Music Since its premiere at the Teatro Regio in Turin in 1896 under the baton of the young Arturo Toscanini, Giacomo Puccini’s La bohème has become one of the world’s most frequently performed operas. It is the first of Puccini’s most celebrated works, which also include Tosca (1900), Madama Butterfly (1904), and Turandot (1924), and along with these helped secure his position as the leading Italian opera composer of the era and as Giuseppe Verdi’s presumed successor. In staging canonic operas like La bohème, a major challenge facing opera directors today is how to make these operas fresh, engaging, and relevant. One approach is that of Regietheater or director’s theater, in which an opera’s setting is updated by adding, removing, or altering non-musical elements—for example, situating La bohème in 21st-century rather than 19th-century Paris and transforming Rodolfo and Mimì from a painter and seamstress to graffiti and tattoo artists. Reactions to such approaches are typically mixed: some laud them as visionary ways to reframe familiar works for contemporary audiences, while others criticize them as “Eurotrash,” mere window dressings that privilege a director’s vision over the composer’s. However, in his new production for the Michigan Opera Theatre, Yuval Sharon has taken a different approach, one that will force us to hear and experience this canonic opera anew while lovingly retaining the traditional setting of Puccini’s beloved work. Rather than changing the setting, this new production changes how we progress through what is otherwise a traditional staging: La bohème’s familiar narrative is presented in reverse order, beginning with Act IV and moving through Acts III and II before concluding with Act I. -
San Diego Symphony Orchestra Puccini's
SAN DIEGO SYMPHONY ORCHESTRA PUCCINI’S GLORIOUS MASS A Jacobs Masterworks Concert Speranza Scappucci, conductor March 22 and 23, 2019 FRANZ JOSEPH HAYDN Symphony No. 88 in G Major Adagio – Allegro Largo Menuetto: Allegretto Allegro con spirito INTERMISSION GIACOMO PUCCINI Messa di Gloria Kyrie Gloria Credo Sanctus – Benedictus Agnus Dei Leonardo Capalbo, tenor Daniel Okulitch, baritone Michael Sumuel, bass San Diego Master Chorale Symphony No. 88 in G Major FRANZ JOSEPH HAYDN Born March 31, 1732, Rohrau (Austria) Died May 31, 1809, Vienna Haydn spent 30 years as Kapellmeister to the Esterhazy family at their estates on the plain east of Vienna. If, as Haydn observed, that isolation forced him “to become original,” it also had the unfortunate effect of cutting him off from mainstream European musical life. Only gradually did his extraordinary achievement with the symphony and string quartet become known to musicians across Europe. By the 1780s, when Haydn was in his third decade with the Esterhazys, his prince finally allowed him to accept commissions from outside, and suddenly he had many requests for symphonies. For a concert series in Paris, he wrote his Symphonies No. 82-87 (known as the “Paris symphonies”), and for his two trips to England he composed his final twelve symphonies (Nos. 93-104), inevitably known as the “London symphonies.” Between these two great cycles, Haydn composed five individual symphonies, probably all of them written with Parisian audiences in mind. He wrote the first two, Nos. 88 and 89, in 1787, at exactly the same moment Mozart was composing Don Giovanni in Vienna. -
View the Program!
cast EDWARD KYNASTON Michael Kelly v Shea Owens 1 THOMAS BETTERTON Ron Loyd v Matthew Curran 1 VILLIERS, DUKE OF BUCKINGHAM Bray Wilkins v John Kaneklides 1 MARGARET HUGHES Maeve Höglund v Jessica Sandidge 1 LADY MERESVALE Elizabeth Pojanowski v Hilary Ginther 1 about the opera MISS FRAYNE Heather Hill v Michelle Trovato 1 SIR CHARLES SEDLEY Raùl Melo v Set in Restoration England during the time of King Charles II, Prince of Neal Harrelson 1 Players follows the story of Edward Kynaston, a Shakespearean actor famous v for his performances of the female roles in the Bard’s plays. Kynaston is a CHARLES II Marc Schreiner 1 member of the Duke’s theater, which is run by the actor-manager Thomas Nicholas Simpson Betterton. The opera begins with a performance of the play Othello. All of NELL GWYNN Sharin Apostolou v London society is in attendance, including the King and his mistress, Nell Angela Mannino 1 Gwynn. After the performance, the players receive important guests in their HYDE Daniel Klein dressing room, some bearing private invitations. Margaret Hughes, Kynaston’s MALE EMILIA Oswaldo Iraheta dresser, observes the comings and goings of the others, silently yearning for her FEMALE EMILIA Sahoko Sato Timpone own chance to appear on the stage. Following another performance at the theater, it is revealed that Villiers, the Duke of Buckingham, has long been one STAGE HAND Kyle Guglielmo of Kynaston’s most ardent fans and admirers. SAMUEL PEPYS Hunter Hoffman In a gathering in Whitehall Palace, Margaret is presented at court by her with Robert Balonek & Elizabeth Novella relation Sir Charles Sedley. -
“Turandot” by Giacomo Puccini Libretto (English-Italian) Roles Personaggi
Giacomo Puccini - Turandot (English–Italian) 8/16/12 10:44 AM “Turandot” by Giacomo Puccini libretto (English-Italian) Roles Personaggi Princess Turandot - soprano Turandot, principessa (soprano) The Emperor Altoum, her father - tenor Altoum, suo padre, imperatore della Cina (tenore) Timur, the deposed King of Tartary - bass Timur, re tartaro spodestato (basso) The Unknown Prince (Calàf), his son - tenor Calaf, il Principe Ignoto, suo figlio (tenore) Liù, a slave girl - soprano Liú, giovane schiava, guida di Timur (soprano) Ping, Lord Chancellor - baritone Ping, Gran Cancelliere (baritono) Pang, Majordomo - tenor Pang, Gran Provveditore (tenore) Pong, Head chef of the Imperial Kitchen - tenor Pong, Gran Cuciniere (tenore) A Mandarin - baritone Un Mandarino (baritono) The Prince of Persia - tenor Il Principe di Persia (tenore) The Executioner (Pu-Tin-Pao) - silent Il Boia (Pu-Tin-Pao) (comparsa) Imperial guards, the executioner's men, boys, priests, Guardie imperiali - Servi del boia - Ragazzi - mandarins, dignitaries, eight wise men,Turandot's Sacerdoti - Mandarini - Dignitari - Gli otto sapienti - handmaids, soldiers, standard-bearers, musicians, Ancelle di Turandot - Soldati - Portabandiera - Ombre ghosts of suitors, crowd dei morti - Folla ACT ONE ATTO PRIMO The walls of the great Violet City: Le mura della grande Città Violetta (The Imperial City. Massive ramparts form a semi- (La Città Imperiale. Gli spalti massicci chiudono circle quasi that enclose most of the scene. They are interrupted tutta la scena in semicerchio. Soltanto a destra il giro only at the right by a great loggia, covered with è carvings and reliefs of monsters, unicorns, and rotto da un grande loggiato tutto scolpito e intagliato phoenixes, its columns resting on the backs of a mostri, a liocorni, a fenici, coi pilastri sorretti dal gigantic dorso di massicce tartarughe. -
MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY.......................................................................................................... -
PARLOPHON Matrix Numbers — 2-9000 to 2-9999: British Discography Compiled by Christian Zwarg for GHT Wien Diese Diskographie Dient Ausschließlich Forschungszwecken
PARLOPHON Matrix Numbers — 2-9000 to 2-9999: British Discography compiled by Christian Zwarg for GHT Wien Diese Diskographie dient ausschließlich Forschungszwecken. Die beschriebenen Tonträger stehen nicht zum Verkauf und sind auch nicht im Archiv des Autors oder der GHT vorhanden. Anfragen nach Kopien der hier verzeichneten Tonaufnahmen können daher nicht bearbeitet werden. Sollten Sie Fehler oder Auslassungen in diesem Dokument bemerken, freuen wir uns über eine Mitteilung, um zukünftige Updates noch weiter verbessern und ergänzen zu können. Bitte senden Sie Ihre Ergänzungs- und Korrekturvorschläge an: [email protected] This discography is provided for research purposes only. The media described herein are neither for sale, nor are they part of the author's or the GHT's archive. Requests for copies of the listed recordings therefore cannot be fulfilled. Should you notice errors or omissions in this document, we appreciate your notifying us, to help us improve future updates. Please send your addenda and corrigenda to: [email protected] master 2-9000 master 2-9001 master 2-9002 master 2-9003 1911.08. D30 AN GBR: London, Beka Record Co. Head Office, 77 City Road, E.C. Where My Caravan Has Rested — Song (Hermann Löhr / Edward Teschemacher) Julian Jones (MD). — (orchestra). Giuseppe Lenghi-Cellini (tenor). master 2-9004 1911.08. D30 AN GBR: London, Beka Record Co. Head Office, 77 City Road, E.C. RIGOLETTO (Giuseppe Verdi / Francesco M. Piave) I/ 1: Questa o quella — Ballata {Duca} Questa o quella Julian Jones (MD). — (orchestra). Giuseppe Lenghi-Cellini (tenor). master 2-9005 1911.08. D30 AN GBR: London, Beka Record Co. -
Zur Rolle Von Giacomo Puccinis La Bohème in Norman Jewisons MOONSTRUCK Niclas Stockel (Mainz)
Puccini und Romantic Comedy: Zur Rolle von Giacomo Puccinis La Bohème in Norman Jewisons MOONSTRUCK Niclas Stockel (Mainz) Abstract Unter den zahlreichen Filmproduktionen, die sich Inhalte und Musiken aus Opern zu eigen machen, nimmt der Film MOONSTRUCK (USA 1987, Norman Jewison) eine Sonderposition ein. Ohnehin fragliche Etiketten wie ›Opernfilm‹ und ›Filmoper‹ lassen sich hier nicht anwenden, denn MOONSTRUCK entzieht sich derlei Kategorisierungen: Giacomo Puccinis Oper La Bohème (1896) wird zwar explizit erwähnt, einzelne Aufführungsszenen werden ins Bild gesetzt und das Musikerlebnis einzelner Arien exponiert, doch entspinnt sich all das stets als ein Spiel mit verschiedenen Situationen und Sinnzusammenhängen der Opernhandlung. Interpretations- und Reflexionsräume werden durch den Film gerade da geöffnet, wo sich Analogien nicht so einfach ziehen lassen. Motive aus der Oper, seien sie personeller, emotionaler oder situativer Art, werden aus ihrem Kontext herausgelöst und in den neuen filmischen überführt, wodurch sich Bedeutungsverschiebungen ergeben – eine Verfahrensweise, die der Motivtechnik in der Opernmusik Puccinis ähnlich ist. La Bohème und MOONSTRUCK Etwa neunzig Jahre liegen zwischen den Uraufführungen beider Werke. In dieser Zeitspanne hat sich Puccinis Oper La Bohème zu einer der weltweit meistgespielten Opern entwickelt. Der Film MOONSTRUCK aus dem Jahr 1987 gesellt sich in gewisser Weise zu einer Reihe von zahlreichen Filmproduktionen, die seit Anbeginn der Filmgeschichte den Stoff aus La Kieler Beiträge zur Filmmusikforschung, 11, 2014 // 184 Bohème entweder schlicht adaptierten, deren Musik vereinzelt integrierten oder auf sonstige Art zu ihr Bezug nahmen. Hinsichtlich dieser Zuordnung kommt Norman Jewisons Film eine Sonderrolle zu. Der Film verweist gleich auf mehreren Ebenen auf die Oper, ohne jedoch allzu vordergründig deren Handlung zu adaptieren oder einen Großteil der Opernmusik als Filmmusik zu verwenden. -
Giacomo Puccini's LA RONDINE Press Kit
Giacomo Puccini's LA RONDINE Press Kit PRESENTS LA RONDINE Opera in three acts Music by Giacomo Puccini Libretto by Giuseppe Adami First performed March 27, 1917 at the Grand Théâtre de Monte Carlo in Monte Carlo, Monaco. Sung in Italian with English supertitles. Supported, in part, by a grant from the Applied Materials Foundation and a Cultural Affairs Grant from the City of San José. PRESS CONTACT Bryan Ferraro Communications Manager Office (408) 437-2229 Mobile (408) 316-2008 [email protected] operasj.org For additional information go to https://www.operasj.org/about-us/press-room/ CAST IN ORDER OF APPEARANCE YVETTE Maya Kherani BIANCA Katharine Gunnink PRUNIER Mason Gates MAGDA Amanda Kingston LISETTE Elena Galván SUZY Teressa Foss RAMBALDO Trevor Neal GOBIN Dane Suarez RUGGERO Jason Slaydon RABONNIER Babatunde Akinboboye 4 Opera San José ARTISTIC TEAM CONDUCTOR MUSIC STAFF Chistopher Larkin Veronika Agranov-Dafoe STAGE DIRECTOR Victoria Lington Candace Evans SUPERTITLE CUEING SET DESIGNER Nicholas Dold Larry Hancock COSTUME DESIGNER Elizabeth Poindexter LIGHTING DESIGNER Kent Dorsey WIG AND MAKEUP DESIGNER Christina Martin CHOREOGRAPHER Michelle Klaers D’Alo PROPERTIES MASTER Lori Scheper-Kesel TECHNICAL DIRECTOR John Draginoff ASSISTANT DIRECTOR Seamus Ricci PRODUCTION STAGE MANAGER Nathan Erwin Brauner ASSISTANT STAGE MANAGERS Rebecca Bradley Rachel Nin ASSISTANT CONDUCTOR Andrew Whitfield La rondine Press Kit 5 1ST VIOLIN Cynthia Baehr, Concertmaster Alice Talbot, Asst. Concertmaster Matthew Szemela Valerie Tisdel Chinh Le Virginia -
Simon K. Lee, Tenor
SIMON K. LEE, TENOR Tenor Simon K. Lee was born in Busan, South Korea where he began his musical training. He moved to Italy, where it was discovered that he had a natural affinity for the verismo style. Carlos Montané and Mtro Ubaldo Gardini gave him confidence that his voice suits for Verdi and Puccini. Mr. Lee went on to perform a recital at the first annual Festival Notte Musicali Modenesi in Italy. Mr. Lee then moved to the United States where he participated in the Sherrill Milnes Opera Program and while there worked with Sherrill Milnes and Inci Bashar. Under the direction of world renowned opera singers, Jennifer Larmore and Giacomo Aragall, Mr. Lee continued his career to include his Carnegie Hall debut for Haydn's Paukenmesse with the New England Symphony, Giles Corey in Crucible, Cavaradossi in Tosca, Calaf in Turandot, Rodolfo in La Boheme, Alfredo in La Traviata, Radames in Aida, Duke in Rigoletto, Manrico in Il Trovatore, Riccardo in Un Ballo in Maschera, Rodolfo in La Boheme, 3rd Jew in Salome, Luigi in Il Tabarro, Rinuccio in GianniSchicchi and even a rarely heard Verdi opera the I Lombardi in his Chicago Premiere with the da Corneto Opera as Arvino. Mr. Lee has appeared in the leading tenor roles with companies in the US, Europe as well as in Asia. Mr. Lee has performed with such companies as Singapore Lyric Opera, Busan Natoyan Opera, Opera New Hampshire, Vail Opera, Palm Desert Opera, the Gold & Treasure Coast Operas, Panama City Opera, Utah Festival Opera, da Corneto Opera, Chamber Opera Chicago, Chicago Festival Opera, Kansas City Puccini Festival, Opera North Carolina, Opera Tulsa, Sunstate Opera, Teatro Lirico D'Europa and World Classical Musical Society. -
The Baritone to Tenor Transition
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2018 The Baritone to Tenor Transition John White University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Pedagogy Commons, and the Music Performance Commons Recommended Citation White, John, "The Baritone to Tenor Transition" (2018). Dissertations. 1586. https://aquila.usm.edu/dissertations/1586 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. THE TENOR TO BARITONE TRANSITION by John Charles White A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. J. Taylor Hightower, Committee Chair Dr. Kimberley Davis Dr. Jonathan Yarrington Dr. Edward Hafer Dr. Joseph Brumbeloe ____________________ ____________________ ____________________ Dr. J. Taylor Hightower Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School December 2018 COPYRIGHT BY John Charles White 2018 Published by the Graduate School ABSTRACT Many notable opera singers have been virtuosic tenors; Franco Corelli, Plácido Domingo, James King, José Carreras, Ramón Vinay, Jon Vickers, and Carlo Bergonzi. Besides being great tenors, each of these singers share the fact that they transitioned from baritone to tenor. Perhaps nothing is more destructive to the confidence of a singer than to have his vocal identity or voice type challenged. -
Bob & Phyllis Neumann
The Pescadero Opera Society presents La Bohème Music by Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica After Henry Murger’s novel, Scènes de La Vie de Bohème Opera in Four Acts Setting: The Latin Quarter in Paris Time: Christmas Eve, 1957 Characters Rodolfo, a poet (tenor) ........................................................................ David Hobson Mimì, a seamstress (soprano) .............................................................. Cheryl Barker Marcello, a painter (baritone) ............................................................... Roger Lemke Musetta, a singer (soprano) ............................................................Christine Douglas Schaunard, a musician (baritone) .......................................................... David Lemke Colline, a philosopher (bass) ................................................................. Gary Rowley Students, working girls, townsfolk, shopkeepers, street-vendors, soldiers, waiters and children Conducted by Julian Smith Directed by Baz Luhrmann Performed by the Australian Opera and Ballet Orchestra Première performance at the Teatro Regio in Turin, Italy on February 1, 1896 ©Phyllis Neumann • Pescadero Opera Society • http://www.pescaderoopera.com 2 Synopsis Act I A garret in the Latin Quarter of Paris on Christmas Eve, 1957 The near-destitute artist, Marcello and poet Rodolfo try to keep warm on Christmas Eve by feeding the stove with pages from Rodolfo’s latest drama. They are soon joined by their roommates, Colline, a young philosopher, and Schaunard, a musician who has landed a job bringing them all food, fuel and money. While they celebrate their unexpected fortune, the landlord, Benoit, arrives to collect the rent. Plying the older man with wine, the Bohemians urge him to tell of his flirtations, then throw him out in mock indignation at his infidelity to his wife. Schaunard proposes that they celebrate the holiday at the Café Momus. Rodolfo remains behind to try to finish an article, promising to join them later. -
Giacomo Puccini: Messa Di Gloria Messa Di Gloria
Giacomo Puccini: Messa di Gloria Giacomo Puccini schrieb die "Messa á 4 voci con orchestra", wie der ursprüngliche Titel lautete, als zwanzigjähriger, noch bevor er sein Studium am Mailänder Konservatorium aufnahm. Der Vater war Organist und Chorleiter am Dom seiner Heimatstadt Lucca. Puccini selbst war schon im Alter von 14 Jahren ein versierter Organist, dem so eine Karriere als Kirchenmusiker vorausgesagt wurde. In dieser Familientradition entstand im Jahr 1878 das Credo, das zum Fest des Stadtpatrons St. Paolino aufgeführt wurde. Zwei Jahre später komponierte Puccini die anderen Messteile und vollendete somit sein Jugendwerk. Im Jahr 1880 wurde es in Lucca mit großem Erfolg uraufgeführt. Bemerkenswert ist, dass schon in diesem Frühwerk die Qualitäten seiner späteren Kompositionen klar zu erkennen sind, welche neben einer guten Instrumentierung und Satztechnik vor allem in der Erfindung äußerst suggestiver Melodien liegen. Mit der Oper Manon Lescaut, in der Puccini das Agnus Dei der Messe mitverwendete, gelang ihm im Jahr 1893 ein Werk, das ihm sehr großen Erfolg und finanzielle Unabhängigkeit bescherten, so dass er sich ganz auf dieses Metier konzentrierte. Die Welterfolge wie Madame Butterfly, La Bohème oder Tosca zählen noch heute zu den meistgespielten und geliebten Opern der Theater in der ganzen Welt. Die Messe blieb somit das einzige geistliche Werk des Komponisten, fand auch lange Zeit keine Beachtung und geriet in Vergessenheit. Erst nach dem zweiten Weltkrieg wurde sie in Lucca von Fra Dante del Fiorentino wiederentdeckt. Wegen der großen Ausdehnung des Glorias in der Messe gab er ihr den heute bekannten Namen "Messa di Gloria". Nikolaus Indlekofer Messa di Gloria Kyrie Kyrie eleison! Herr, erbarme Dich unser! Christe eleison! Christus, erbarme Dich unser! Kyrie eleison! Herr, erbarme Dich unser! Gloria Gloria in excelsis Deo.