Dell'opera,Allestito Al Regio Nella Serata Celebrativa

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del l'opera, allestito al Regio nella serata celebrativa tenutasi il14 febbraio 1901 , fu lei la prescel ta per onorare la memoria di Verdi, appena scomparso. Passarono due anni eZazà ritornò aTorino , ma al Vittorio Emanuele. Fu nuovamente la protago nista atrionfare, in questo caso la napoletana Emma Carelli, colei che, più di qualunque altra can tante, per vocazione ecaratteristiche, raccolse l'eredità della Bellincioni, diventando asua volta la primadonna verista per eccellenza. Nel 1903, all 'epoca del debutto torinese, la CareIli era già da quattro anni moglie di Walter Mocchi, uomo politico di estrema sinistra. Un matrimonio che lecreò difficoltà nell'ottenere scritture sulle scene italiane, ma che non le impedì di apparire più volte alla Scala con Toscanini , con un successo che le aprì le porte di molti teatri stranieri , primi fra tutti quelli sudamerican i. Anche a Torino l'ostracismo nei suoi confronti si fece sentire, costringendola ad una sola, sporadica e tardiva, apparizione al Regio (lris di Mascagni, nel 1909).1 torinesi, però, avevano già avuto la fortuna di applaudirla al Vittorio Emanuele nel 1903, intre "cavallidi battaglia" colti nel suo periodo migliore: Fedora, Santuzza e, come s'è detto, Zazà Una Zaz àsicuramente diversa da que lla inprecedenza proposta da Rosina Storchio, meno sottil mente costru ila, di grande effetto, ma senza intemperanzené volgarità. Si ritorna invecea parlare di artiste di portata storica facendo cenno, infine, a Cesira Ferrani e Maria Farneti. A Cesira Zanazzio , in arte Ferrani, torinese cresciuta alla scuola della Fricci con sp iccata altitud ine per il genere fyrique Manon Lescaut, musica di GiacomoPuccini. francese e per le tinte crepuscolari della Milano, Ricordi, 1893. Prima rappresentazio commedia borghese, il desti no riservò il ne:Torino, Teatro Regio, 10 Febbraio1893. privilegio(meritato) di essere, nel massimo (ASTR, Fondo Testa 887) teatro della sua città, la prima Manon Cesira Ferrani , prima interprete assoluta del Lescaut (1893) e Mimì pucciniana (1896, personaggio di Manon Lescaut nell'opera con ripresa nel 1898). Se parte delle carat omon ima di Giacomo Puccini, rappresentata te rist iche de lla Ferrani si ritroveranno in al Teatro Reg iodi Torino i1 1°Febbraio1893. una Storchio, laforlivese Maria Farneti, di Fotog rafia dei fratelli Lovazzano di Torino, quattord ici anni piùgiovane, è da annove condedica aGiulioRicordi. (ASTR) rarsi comeuno dei più luminosi esemp i di belcanto verista, per correttezza d'emissio Paginaafronte: ne, purezza di linea di canto , accuratezza GiacomoPuccini inuna fotografia con dedica del frasegg io , il tutto al servizio di aGiulioRicordi, maggio1893. (Milano, ArchivioStoricoRicordi) un'espressi vità tantointensa quanto sobria. ETorino fu fondamentalenell'awiarlaverso Arturo Toscan ini, direttore della prima rap una grande carr iera, tra iI 1900 e iI 1904: presentazione asso luta della Bohème di Desdemona de ll'Ofello di Verdi, Ricke in 0 GiacomoPuccini alTeatroRegiodi Torino,1 Germania di Franchetti , Tasca, Mirandol ina febbraio 1896. (ASTR) nell 'omon ima opera di Antonio Lozzi e, soprattutto, fris, della quale fu protagon ista in ben treed izioni successive che offrirono 22.

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Diapositiva 1
Biella, UPBeduca 15 giugno 2016 Alberto Galazzo Giovanna Astrua (1720-1756) Si perfeziona nel canto a Milano sotto la direzione di Giuseppe Ferdinando Brivio. Il suo esordio è a Torino nel 1737, in alcune repliche di Olimpiade composta dal suo maestro e del Demetrio di Geminiano Giacomelli, cui seguono nel 1738, sempre con parti di secondo piano, Demofoonte ancora di Brivio e La Clemenza di Tito di Giuseppe Arena. Il primo impegno importante della sua carriera è nel Ciro riconosciuto di Leonardo Leo su libretto di Pietro Metastasio. In seguito canta in alcuni dei principali teatri italiani; tra questi al Teatro San Samuele di Venezia dove, nel 1739, è protagonista di Creusa, libretto di Urbano Rizzi e musica di Pietro Leone Cardena. L'anno successivo è al Teatro Solerio di Alessandria con il Bajazet di Giovanni Colombi (libretto di Agostino Piovene). La serata registra la presenza di Carlo Emanuele III di Savoia che già aveva ascoltato la Astrua nella Olimpiade di Brivio. Dal 1741 al 1747 è stabilmente al Teatro San Carlo di Napoli dove partecipa come primadonna a tre/quattro allestimenti l'anno: porta in scena lavori di Leonardo Leo, Leonardo Vinci, Domenico Natale Sarro, Johann Adolph Hasse, Gennaro Manna, Egidio Romualdo Duni, Giuseppe de Majo nonché nel 1746 Ipermestra di Christoph Willibald Gluck. A Napoli lavora sovente in copia con Gaetano Majorano detto il Caffarelli. Alla Biblioteca del Conservatorio San Pietro a Majella di Napoli sono conservati due manoscritti. Di entrambi i duetti la Astrua è interprete in coppia con Caffarelli. Il primo è di Leonardo Leo: si tratta del Duetto a' due Canti con Violini dal titolo Ne' giorni tuoi felici tratto dall'opera Olimpiade, per un organico di due soprani, violino primo e secondo, viola e basso continuo.
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Programa-Manon.Pdf
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“La Bohème”. Di Rosanna Di Giuseppe
Il “realismo” poetico de “La Bohème”. di Rosanna Di Giuseppe Il libretto della Bohème, tratto dal romanzo di Henri Murger Scènes de la vie de bohème pubblicato a puntate sul <<Corsaire Satan>> dal 1846 a 1849( poi in volume nel 1851), nacque fra polemiche e fu oggetto di sofferte elaborazioni da parte dei due librettisti Luigi Illica e Giuseppe Giacosa, cui si affiancarono lo stesso Puccini, come sempre, e l’editore Giulio Ricordi, nel suggerire, consigliare, rifare non senza situazioni di stallo e di sconforto. Ci fu infatti bisogno di una gestazione di tre anni e nove mesi, prima che l’opera venisse rappresentata al Teatro Regio di Torino il 1° febbraio 1896 con Arturo Toscanini sul podio e il seguente cast: Cesira Ferrani (Mimì), Evan Gorga (Rodolfo), il mezzosoprano Camilla Pasini (Musetta), Antonio Pini Corsi (Shaunard), Michele Mazzara (Colline), Alessandro Polonini (Benoît e Alcindoro). Dal romanzo di Murger era stata tratta in Francia anche una pièce teatrale ad opera di Murger e Barrière data nel 1849, La vie de Bohème, titolo che poi passò al romanzo, ma fu soprattutto il romanzo a costituire la fonte del libretto di cui Illica fu maggiormente responsabile per la struttura, mentre Giacosa lo fu per la poesia e la versificazione. Il soggetto aveva subito attirato Puccini, risultando di grande interesse in quanto rispondeva al gusto e al clima della Scapigliatura dell’Italia postunitaria. L’opera si presenta divisa in quadri ed è costruita secondo una forma più statica che narrativa così com’è costituita da singole scene (episodietti le definiva Puccini), momenti che risultano non interpendenti tra loro ma piuttosto miranti a definire delle situazioni, in conformità con l’originale di Murger.
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Manon Lescaut 8 from Novel to Opera 9 Act II: Bad Behavior 13
i The Taming of Manon and Mimì: Engaging with Women in Puccini’s Operas Emily Siar Senior Honors Thesis Music Department University of North Carolina at Chapel Hill Fall 2014 Approved: ii Table of Contents Preface iii Chapter 1: Introduction 1 Social and Political Climate 3 Gender Onstage 5 An “Effeminate” National Composer? 6 Chapter 2: Manon Lescaut 8 From Novel to Opera 9 Act II: Bad Behavior 13 Chapter 3: La Lupa 18 The Taming of the She-Wolf 20 Chapter 4: La Bohème 24 Mimi’s Transformation 25 “Good Girl” and “Bad Girl” Music 28 Vocal Oppositions 35 The Courtyard Act 36 The Domestication of Musetta 37 Chapter 5: Last Words 40 A Verdian Precedent 40 Non voglio morir! Manon’s Death 42 Silenzio: Mimì’s Death 46 iii Preface I began research on this thesis in the late fall of 2013 under the guidance of Tim Carter. The product that has resulted analyzes the female characters in two operas by Puccini, Manon Lescaut and La Bohème, and one interim project, La Lupa, which was never completed. For this thesis, I have drawn the Italian libretto texts from the website “Libretti d’opera italiani” (http://www.librettidopera.it/), and the English translation of these librettos from Dmitry Murashev’s website (http://www.murashev.com/opera/). The one exception is Musetta’s aria, which was translated by Aaron Green (http://classicalmusic.about.com/od/classicalmusictips/qt/quando-Men-Vo-Lyrics-And-Text- Translation.htm). Although the translations are drawn from Murashev and Green, I have modified some of them to ensure that they are accurate and literal translations of the Italian text.
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The Taming of Manon and Mimì
i The Taming of Manon and Mimì: Engaging with Women in Puccini’s Operas Emily Siar Senior Honors Thesis Music Department University of North Carolina at Chapel Hill Fall 2014 Approved: Tim Carter, Thesis Advisor Annegret Fauser, Reader Jeanne Fischer, Reader ii Table of Contents Preface iii Chapter 1: Introduction 1 Social and Political Climate 3 Gender Onstage 5 An “Effeminate” National Composer? 6 Chapter 2: Manon Lescaut 8 From Novel to Opera 9 Act II: Bad Behavior 13 Chapter 3: La Lupa 18 The Taming of the She-Wolf 20 Chapter 4: La Bohème 24 Mimi’s Transformation 25 “Good Girl” and “Bad Girl” Music 28 Vocal Oppositions 35 The Courtyard Act 36 The Domestication of Musetta 37 Chapter 5: Last Words 40 A Verdian Precedent 40 Non voglio morir! Manon’s Death 42 Silenzio: Mimì’s Death 46 iii Preface I began research on this thesis in the late fall of 2013 under the guidance of Tim Carter. The product that has resulted analyzes the female characters in two operas by Puccini, Manon Lescaut and La Bohème, and one interim project, La Lupa, which was never completed. For this thesis, I have drawn the Italian libretto texts from the website “Libretti d’opera italiani” (http://www.librettidopera.it/), and the English translation of these librettos from Dmitry Murashev’s website (http://www.murashev.com/opera/). The one exception is Musetta’s aria, which was translated by Aaron Green (http://classicalmusic.about.com/od/classicalmusictips/qt/quando-Men-Vo-Lyrics-And-Text- Translation.htm). Although the translations are drawn from Murashev and Green, I have modified some of them to ensure that they are accurate and literal translations of the Italian text.
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A Much Loved Opera: La Bohème
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Programma Di Sala
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Pathways for Understanding; La Boheme
2 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of La Bohème 5 The History of Puccini’s La Bohème 7 Guided Listening Che gelida manina! 10 Sì. Mi chiamano Mimì 11 O soave fanciulla 12 Quando me'n vo' 13 Donde lieta uscì 14 O Mimì, tu più non torni 15 Vecchia zimarra, senti 16 La Bohème Resources About the Composer 17 Puccini, Verismo, and La Bohème 20 Online Resources 23 Additional Resources The Emergence of Opera 24 Metropolitan Opera Facts 28 Reflections after the Opera 30 A Guide to Voice Parts and Families of the Orchestra 31 Glossary 32 References Works Consulted 36 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. Main topics and questions are introduced, giving teachers of all musical backgrounds (or none at all) the means to discuss the music of the opera with their students.
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THE WOMEN in PUCCINI Daniela
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Giacomo Puccini from Wikipedia, the Free Encyclopedia
Giacomo Puccini From Wikipedia, the free encyclopedia Giacomo Puccini Giacomo Antonio Domenico Michele Secondo Maria Puccini ( 22 December 1858 – 29 November 1924) was an Italian composer whose operas are among the important operas played as standards. Puccini has been called "the greatest composer of Italian opera after Verdi". While his early work was rooted in traditional late-19th-century romantic Italian opera, he successfully developed his work in the realistic verismo style, of which he became one of the leading exponents. Family and education Puccini was born Giacomo Antonio Domenico Michele Secondo Maria Puccini in Lucca in Tuscany, in 1858. He was one of nine children of Michele Puccini and Albina Magi. The Puccini family was established in Lucca as a local musical dynasty by Puccini's great-great grandfather – also named Giacomo (1712–1781).This first Giacomo Puccini was maestro di cappella of the Cattedrale di San Martino in Lucca. He was succeeded in this position by his son, Antonio Puccini, and then by Antonio's son Domenico, and Domenico's son Michele (father of the subject of this article). Each of these men studied music at Bologna, and some took additional musical studies elsewhere. Domenico Puccini studied for a time under Giovanni Paisiello. Each composed music for the church. In addition, Domenico composed several operas, and Michele composed one opera. Puccini's father Michele enjoyed a reputation throughout northern Italy, and his funeral was an occasion of public mourning, at which the then-famed composer Giovanni Pacini conducted a Requiem. With the Puccini family having occupied the position of maestro di cappella for 124 years (1740–1864) by the time of Michele's death, it was anticipated that Michele's son Giacomo would occupy that position as well when he was old enough.
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The Impact of Jules Massenet's Operas in Milan
THE IMPACT OF JULES MASSENET’S OPERAS IN MILAN, 1893–1903 Matthew Martin Franke A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2014 Approved by: John L. Nádas Anne MacNeil Severine Neff David Garcia Bryan Gilliam © 2014 Matthew Martin Franke ALL RIGHTS RESERVED ii ABSTRACT Matthew Martin Franke: The Impact of Jules Massenet’s Operas in Milan, 1893–1903 Under the direction of John L. Nádas The reception of French opera in Italy in the late nineteenth century has received little scholarly attention. This dissertation attempts to fill at least part of that gap through studying the reception of three operas by Jules Massenet (1842–1912), the most internationally successful French composer of the fin de siècle, in Milan, the capital of the Italian music publishing industry. Massenet’s Italian reception demonstrates that opera’s relationship to Italian identity politics in the late nineteenth century was far more complex than has been previously imagined. Massenet’s operas, performed in Italian translation, occupied an ambiguous middle ground in Italian identity politics. Italian critics described Massenet’s operas as purely French, as contributing to Italian musical culture, and as inherently cosmopolitan works. Critics thus translated Massenet’s operas into Italian culture, whether as role models for or foils to Italian musical developments. Massenet also participated directly in Italian musical culture, visiting Milan frequently to supervise productions of his operas and serving as a judge in an Italian competition for new operas.
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