Lirica for Dummies: Il Trovatore Al Teatro Carlo Felice Di Emanuela Mortari 21 Novembre 2019 – 18:26

Total Page:16

File Type:pdf, Size:1020Kb

Lirica for Dummies: Il Trovatore Al Teatro Carlo Felice Di Emanuela Mortari 21 Novembre 2019 – 18:26 1 Lirica for dummies: Il Trovatore al Teatro Carlo Felice di Emanuela Mortari 21 Novembre 2019 – 18:26 Genova. Amori non corrisposti, uccisioni, inganni, vendette. Ci sono tutti gli ingredienti di un drammone come si deve per l’inaugurazione della stagione 2019-2020 di opera e balletto del Teatro Carlo Felice. Il Trovatore è composto da quattro parti e otto quadri. La musica è di Giuseppe Verdi su libretto di Salvadore Cammarano e Leone Emanuele Bardare. L’ambientazione è tra la Biscaglia e l’Aragona all’inizio del XV Secolo. Il soggetto è tratto da “El Trovador” dello scrittore spagnolo Antonio Garcìa-Gutiérrez. La prima rappresentazione fu a Roma, al Teatro Apollo, il 19 gennaio 1853. Per la trama (particolarmente intricata) e il cast vi rimandiamo all’articolo scritto in occasione della conferenza stampa. Riassumendo (MEGA SPOILER): Manrico e il Conte di Luna, innamorati della stessa donna, si fronteggiano fino alla morte come nemici, senza sapere che sono fratelli. Intanto ecco i personaggi e i loro registri vocali (per sapere cosa sono vedi descrizione e immagine sotto): Il conte di Luna, giovane gentiluomo aragonese (baritono); Leonora, dama di compagnia della Principessa d’Aragona (soprano); Azucena, zingara della Biscaglia (mezzosoprano o contralto); Manrico, ufficiale del principe Urgel e presunto figlio di Azucena (tenore); Ferrando, capitano degli armati del conte di Luna (basso); Ines, Genova24.it - 1 / 3 - 30.09.2021 2 confidente di Leonora (soprano); Ruiz, soldato al seguito di Manrico (tenore); Un vecchio zingaro (basso); Un messo (tenore). Compagne di Leonora e religiose, familiari del conte, uomini d’arme, zingari e zingare (coro). I registri vocali sono classificazioni che vengono associate alla voce in base all’estensione, ma anche ad altri parametri che possono variare a seconda dell’epoca e della cultura di appartenenza. Dal più acuto al più grave l’estensione vocale è così suddivisa: soprano; mezzosoprano; contralto; tenore; baritono; basso. Successivamente si sono create ulteriori categorie: soprano drammatico, soprano di coloratura, tenore di grazia, basso profondo eccetera (lo scopriremo in altri episodi di lirica for dummies). I brani celebri Premessa: l’impostazione narrativa di molte parti del Trovatore procede per ballate e per canzoni più che per arie. Vedi! Le fosche notturne spoglie Genova24.it - 2 / 3 - 30.09.2021 3 Il coro è protagonista, la melodia è riconoscibile e resta subito in testa. Siamo nel secondo atto Di quella pira Chi interpreta Manrico, in questa cabaletta (breve aria d’opera, di movimento vivace, talvolta con variazioni. Di solito si trova alla fine di un duetto, di una scena o di un concertato) del terzo atto, dà prova della propria abilità Condotta all’era in ceppi Torniamo nel secondo atto, in questo caso è Azucena a dare prova di grande intensità, nel racconto di ciò che successe tempo fa, la scena del rogo D’amor sull’ali rosee Atto IV, Leonora si rivolge al Conte di Luna nella vana speranza di veder liberato Manrico Genova24.it - 3 / 3 - 30.09.2021.
Recommended publications
  • 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
    [Show full text]
  • Kenneth E. Querns Langley Doctor of Philosophy
    Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • Musical Voices of Early Modern Women 1St Edition Pdf, Epub, Ebook
    MUSICAL VOICES OF EARLY MODERN WOMEN 1ST EDITION PDF, EPUB, EBOOK Thomasin LaMay | 9781351916288 | | | | | Musical Voices of Early Modern Women 1st edition PDF Book Charles C. The band formed in , with folk musician Mike Settle guitar and backing vocals and the operatically-trained Thelma Camacho lead vocals completing the lineup. Learn how and when to remove these template messages. Most serious collectors want the 'true first edition' - the 'first edition, first printing' - and sometimes detective work is required to identify which edition that is. There are a number of these type of sellers out there. The third single from the album, a version of Merle Haggard 's "Today I Started Loving You Again" reached the lower regions of the country charts in mid Choral Opera Lied Vocables. Monumental tried to give them just this. The Guardian notes that Tolkien inscribed it with a poem in Old English, which roughly translates to:. American country rock group. As with the Ordinary, the earliest settings are in plainchant, and troping also existed in the Propers. The current retail value of your book is probably somewhere in that neighborhood. Slowly growing apart from the others, Camacho began to feel restricted by the band in a number of ways. Today is National Voter Registration Day! Each time a publisher releases a new instance of the same title, or when a book is released in a new format, these may also be considered first edition books. Women are typically divided into three groups: soprano , mezzo-soprano , and contralto. Recorded over six months in , and released in March , The Ballad of Calico was written by future star Michael Murphey and the First Edition's musical director and arranger Larry Cansler.
    [Show full text]
  • Artikelverzeichnis (PDF)
    Artikelverzeichnis des Lexikons der Gesangsstimme A Äußere Kehlkopfmuskeln Äußere Zwischenrippenmuskeln Abbellimenti → Verzierungen Aussprache → Bühnenaussprache Abdominalatmung → Bauchatmung Austin, Gene Accent / Accento / Accentus Aznavour, Charles Acciaccatura Adamsapfel Agilità della voce B Agréments → Verzierungen Albers, Hans Bahr-Mildenburg, Anna Alexander, Peter Balancement Alt Baritenore Altus → Countertenor Bariton Ambitus → Stimmumfang Barnes, Chris Anatomie Bartoli, Cecilia Andersen, Lale Baryton-Martin Ansatzrohr Bass /Basso Anschleifen Bassbariton Anthropologie des Singens Basse-chantante Anticipatione della nota / sillaba Basse-contre Antikus Basse-taille Aphonie Bassi, Luigi Appoggiatura Basso cantante Appoggio → Atemstützfunktion Battement du gosier Archilei, Vittoria Battistini, Mattia Armstrong, Louis Bauchatmung Arpeggiato Bauchmuskeln Artikulationsorgane Beatboxing Aryknorpel Behauchtheit Atem–Tonus–Ton (ATT) Belcanto / bel canto Atemapparat Bellincioni, Gemma Atemmechanik Belt / Belting Atemruhelage Benucci, Francesco Atemstützfunktion Berberian, Cathy Atemvolumina Bernac, Pierre Atmung Bernacchi, Antonio Maria Ausatemmuskeln Bernardi, Francesco → Senesino Ausatmung Bernoulli-Effekt 16 Artikelverzeichnis Björk Chorgesang Björling, Jussi Chorknabe Bocca chiusa / Bouche fermée Circulo Bockstriller Cocker, Joe Bonci, Alessandro Colbran, Isabella Bordoni, Faustina Cole, Nat »King« Bowie, David Complete Vocal Technique (CVT) Bravura con slancio Brel, Jacques Concordant Brillanz Contralto Broschi, Carlo → Farinelli Contralto
    [Show full text]
  • GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA in ENGLISH BARRY BANKS Tenor Sings BEL CANTO ARIAS
    CHAN 3112 Book Cover.qxd 20/9/06 11:02 am Page 1 GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA IN ENGLISH BARRY BANKS BANKS BARRY tenor sings BEL CANTO ARIAS sings BEL CANTO PETER MOORES FOUNDATION CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 2 Christian Steiner Barry Banks sings Bel canto Arias 3 CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 4 Time Page Time Page Gioachino Rossini (1792–1868) Igor Stravinsky (1882–1971) from The Italian Girl in Algiers from The Rake’s Progress Lindoro’s Cavatina (Languir per una bella) Tom Rakewell’s Recitative and Aria 1 ‘In dreams of endless pleasure’ 7:16 [p. 46] 6 ‘Here I stand’ – ‘Since it is not by merit’ 2:40 [p. 48] London Philharmonic Orchestra London Philharmonic Orchestra from Stabat Mater (Cujus animam) Gaetano Donizetti (1797–1848) 2 ‘Through her soul in endless grieving’ 6:25 [p. 46] London Philharmonic Orchestra from Don Pasquale Ernesto’s Prelude and Aria (Cercherò lontana terra) from Count Ory 7 ‘Poor lost Ernesto’ – Count’s Cavatina (Que le destin prospère) 3 ‘I shall go, no more returning’ 9:47 [p. 48] ‘May destiny befriend you’ 4:38 [p. 46] London Philharmonic Orchestra London Philharmonic Orchestra from CHAN 3011(2) Don Pasquale from Moses in Egypt from The Elixir of Love Amenophis’ and Pharaoh’s Duet (Parla, spiegar non posso) Nemorino’s Romance (Una furtiva lagrima) 4 ‘The blow at last has fallen’ 7:10 [p. 46] 8 ‘Only one teardrop’ 5:14 [p.
    [Show full text]
  • COUNTERPOINT Uniform with This Volume the Musician's Bookshelf
    THE MUSICIAN'S BOOKSHELF EDITED BY CLAUDE LANDI COUNTERPOINT Uniform with this volume THE Musician's Bookshelf Crown 8vo. occasionally illustrated EDITED BY CLAUDE LANDI, L.R.A.M., A.R.C.M. MUSICIANS OF TO-DAY, by ROMAIN ROLLAND, Author of 'Jean-Christophe.' SOME MUSICIANS OF FORMER DAYS by ROMAIN ROLLAND. ON LISTENING TO MUSIC, by E. MARKHAM LEE, M.A. , Mus. Doc. PRACTICAL SINGING, by CLIFTON COOKE COUNTERPOINT BY G. G. BERNARDI Professor in the Civico Liceo Benedetto Marcello, Venice TRANSLATED BY CLAUDE LANDI With musical illustrations in the text FACULTY OF MUSIC ) 0. O 9- G UNIVERSITY OF TORONTO A- ?-C LONDON KEGAN PAUL, TRENCH, TRUBNER & CO., LTD. NEW YORK : E. P. DUTTON & CO. 1921 Ml" 55 1 'if/ ' \ ? //'' CONTENTS PAGE Preliminaries 5 GENERAL PART BOOK I Chapter I. Of Melody 8 II. Of Rhythm 9 III. Of Intervals 16 BOOK II General Rules of Counterpoint - 24 SPECIAL PART COUNTERPOINT ON THE CANTO FERMO Preliminaries 32 BOOK I TWO-PART COUNTERPOINT Section I. Principles and General Rules 37 ,, II. Simple Counterpoint 40 ,, III. Compound Counterpoint 51 Chapter I. General Rules Governing all the Species 5 1 ,, II. Two Notes against One 55 ,, III. Three Notes against One 64 68 ,, IV. Four Notes against One ,, V. Six Notes against One 77 v vi CONTENTS BOOK II THREE- PART COUNTERPOINT PAGE Section I. Simple Counterpoint 83 ,, II. Compound Counterpoint 91 Chapter I. Rules Common to All Species 91 - ,, II. One Part in Second Species 93 ,, III. Three Notes against One 106 ,, IV. Four Notes against One 107 ,, V. Six Notes against One 109 ,, VI.
    [Show full text]
  • Dictionary of Music.Pdf
    The FACTS ON FILE Dictionary of Music The FACTS ON FILE Dictionary of Music Christine Ammer The Facts On File Dictionary of Music, Fourth Edition Copyright © 2004 by the Christine Ammer 1992 Trust All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Ammer, Christine The Facts On File dictionary of music / Christine Ammer.—4th ed. p. cm. Includes index. Rev. ed. of: The HarperCollins dictionary of music. 3rd ed. c1995. ISBN 0-8160-5266-2 (Facts On File : alk paper) ISBN 978-1-4381-3009-5 (e-book) 1. Music—Dictionaries. 2. Music—Bio-bibliography. I. Title: Dictionary of music. II. Ammer, Christine. HarperCollins dictionary of music. III. Facts On File, Inc. IV. Title. ML100.A48 2004 780'.3—dc22 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by James Scotto-Lavino Cover design by Semadar Megged Illustrations by Carmela M. Ciampa and Kenneth L. Donlan Grateful acknowledgment is made for permission to reprint an excerpt from Cornelius Cardew’s “Treatise.” Copyright © 1960 Hinrichsen Edition, Peters Edition Limited, London.
    [Show full text]
  • Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century
    Cambridge Opera Journal, 32,1,1–26 © The Author(s), 2020. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http:// creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/S0954586720000099 Rethinking Operatic Masculinity: Nicola Tacchinardi’s Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy PARKORN WANGPAIBOONKIT* Abstract: This article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women’s feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi’s criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self- definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d’Irminsul, La donna del lago and Norma demonstrate how singers established the compo- nents of masculine-heroic conventions through sensitive consideration of dramaturgy.
    [Show full text]
  • Connecting with the Arts
    PRESENTS Connecting with the Arts The Tenor Voice A Tenor is a male singer that can sing at the highest natural vocal ranges that the male voice is capable of. There are many types of tenors that sing at various vocal ranges that serve a variety of roles in vocal performances. Comic Tenor Spinto Tenor The Comic Tenor, or the tenor The Spinto Tenor, much like the buffo, is a role reserved for Lyric Tenor, has a strong voice tenors with the ability to act in a that can be heard above the comedic role as a part of an opera playing of an orchestra but this performance. tenor has the ability to reach Leggiero Tenor more dramatic climaxes. The Leggiero Tenor voice can Dramatic Tenor sing at a higher octave than other The Dramatic Tenor, also known tenors. Some refer to the Leggiero as “tenore di forza” has a very Tenor as “tenore di grazia.” powerful and booming voice Lyric Tenor and often is given roles that The Lyric Tenor has a strong voice require a more dramatic voice that can be heard above the or presence. playing of an orchestra. There are two types of Lyric Tenors, the Light Lyric Tenor and the Full Lyric Tenor. Try this: 1) Identify the vocal range that each of these tenor voices would fall into and what types of roles each tenor would fill in a live performance. 2) Attend a live performance. OCCC presents The Texas Tenors on Thursday, October 1, 2015, at 7:30 P.M. in the Visual and Performing Arts Center Theater located at 7777 S.
    [Show full text]
  • The Evolution of the Heldentenor
    THE EVOLUTION OF THE HELDENTENOR : SIEGMUND, GRIMES, SAMSON, AND OTELLO by JAMES HENRY SEAY, III SUSAN CURTIS FLEMING, COMMITTEE CHAIR PAUL H. HOUGHTALING STEPHEN V. PELES LINDA PAGE CUMMINS AMANDA W. PENICK ELIZABETH S. AVERSA A DMA MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright James Henry Seay, III 2014 ALL RIGHTS RESERVED ABSTRACT The purpose of this manuscript is to set into context a recital which highlights the attributes of the Heldentenor. The recital was held on 11 March 2014 and was comprised of operatic excerpts from Wagner’s Die Walk üre (1870), Saints-Sa ëns’ Samson et Dalila (1877) , Britten’s Peter Grimes (1945), and Verdi’s Otello (1887). All four of these operas have become mainstays in the repertoire of the Heldentenor . The program from the recital appears in the appendix at the end of this manuscript, and the program includes translations of the operatic excerpts and the text of spoken introductions that were read as part of the recital. Since the mid-nineteenth century, the Heldentenor voice classification has played an integral role in popular opera theater. The origin of the Heldentenor classification can be traced back to the abrupt change in the performance practice of the upper register of the tenor voice with the now famous performance of the full-throated, chest high Cs in Rossini’s Guillame Tell sung by Gilbert-Louis Duprez (1806-1896) at the national opera in Paris in 1837.1 As the technique involving the upper register of the tenor voice changed, the vocal and dramatic demands placed on the voice type increased.
    [Show full text]
  • Di Cimarosa | GBOPERA 19/05/17 15:30
    Bari:”L’impresario in angustie” di Cimarosa | GBOPERA 19/05/17 15:30 (http://www.gbopera.it) HOME (/) CHI SIAMO (/CHI-SIAMO-AUTORI/) OPERA (HTTP://WWW.GBOPERA.IT/ARCHIVES/CATEGORY/RECENSIONI/) CONCERTI (HTTP://WWW.GBOPERA.IT/ARCHIVES/CATEGORY/CONCERTI/) DANZA (HTTP://WWW.GBOPERA.IT/ARCHIVES/CATEGORY/DANZA/) RICERCA BARI:”L’IMPRESARIO IN ANGUSTIE” DI CIMAROSA INDIRIZZI UTILI (HTTP://WWW.GBOPERA.IT/LINK/) INTERVISTE (HTTP://WWW.GBOPERA.IT/ARCHIVES/CATEGORY/INTERVISTE/) MEDIA SEARCH ! NEWS (HTTP://WWW.GBOPERA.IT/ARCHIVES/CATEGORY/NEWS-ED-EVENTI/) RUBRICHE CONTATTI (HTTP://WWW.GBOPERA.IT/CONTATTI/) ARTICOLI CORRELATI (http://www.gbopera.it/2017/05/lucia-di- lammermoor-al-teatro-lirico-di-cagliari/) (http://www.gbopera.it/2017/05/opera-di-firenze- don-carlo/) (http://www.gbopera.it/2017/05/staatsoper- stuttgart-death-in-venice/) (http://www.gbopera.it/2017/05/milano-teatro- alla-scala-la-gazza-ladra/) Bari, Auditorium Santa Teresa dei Maschi “L’IMPRESARIO IN ANGUSTIE” (http://www.gbopera.it/2017/05/bomarzo-di- Farsa per musica in un atto, libretto di Giuseppe Maria Diodati ginastera-al-teatro-real-di-madrid/) Musica di Domenico Cimarosa Don Crisobolo impresario PIETRO NAVIGLIO Don Perizonio librettista GIUSEPPE NAVIGLIO Fiordispina SARA BINO Merlina CRISTINA GRIFONE Doralba MARIA SILECCHIO (http://www.gbopera.it/2017/05/verona-teatro- http://www.gbopera.it/2017/05/barilimpresario-in-angustie-di-cimarosa/ Pagina 1 di 4 Bari:”L’impresario in angustie” di Cimarosa | GBOPERA 19/05/17 15:30 Gelindo compositore ROSARIO TOTARO filarmonico-norma/) Strabinio
    [Show full text]