Madame Butterfly
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1718Studyguidetosca.Pdf
TOSCA An opera in three acts by Giocomo Puccini Text by Giacosa and Illica after the play by Sardou Premiere on January 14, 1900, at the Teatro Constanzi, Rome OCTOBER 5 & 7, 2O17 Andrew Jackson Hall, TPAC The Patricia and Rodes Hart Production Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Floria Tosca, a celebrated singer Jennifer Rowley* Mario Cavaradossi, a painter John Pickle* Baron Scarpia, chief of police Weston Hurt* Cesare Angelotti, a political prisoner Jeffrey Williams† Sacristan/Jailer Rafael Porto* Sciarrone, a gendarme Mark Whatley† Spoletta, a police agent Thomas Leighton* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY SETTING: Rome, 1800 ACT I - The church of Sant’Andrea della Valle quickly helps to conceal Angelotti once more. Tosca is immediately suspicious and accuses Cavaradossi of A political prisoner, Cesare Angelotti, has just escaped and being unfaithful, having heard a conversation cease as she seeks refuge in the church, Sant’Andrea della Valle. His sis - entered. After seeing the portrait, she notices the similari - ter, the Marchesa Attavanti, has often prayed for his release ties between the depiction of Mary Magdalene and the in the very same chapel. During these visits, she has been blonde hair and blue eyes of the Marchesa Attavanti. Tosca, observed by Mario Cavaradossi, the painter. Cavaradossi who is often unreasonably jealous, feels her fears are con - has been working on a portrait of Mary Magdalene and the firmed at the sight of the painting. -
Index of Authors
Index of Authors Abel, Richard 19, 20, 134, 135, 136, Alexander, David 441 Andre, Marle 92 Aros (= Alfred Rosenthal) 196, 225, 173 Alexander, lohn 274 Andres, Eduard P. 81 244, 249, 250 Abel, Viktor 400 Alexander, Scott 242, 325 Andrew, Geoff 4, 12, 176, 261,292 Aros, Andrew A. 9 Abercrombie, Nicholas 446 Alexander, William 73 Andrew, 1. Dudley 136, 246, 280, Aroseff, A. 155 Aberdeen, l.A. 183 Alexowitz, Myriam 292 330, 337, 367, 368 Arpe, Verner 4 Aberly, Rache! 233 Alfonsi, Laurence 315 Andrew, Paul 280 Arrabal, Fernando 202 About, Claude 318 Alkin, Glyn 393 Andrews, Bart 438 Arriens, Klaus 76 Abramson, Albert 436 Allan, Angela 6 Andrews, Nigel 306 Arrowsmith, William 201 Abusch, Alexander 121 Allan, Elkan 6 Andreychuk, Ed 38 Arroyo, lose 55 Achard, Maurice 245 Allan, Robin 227 Andriopoulos, Stefan 18 Arvidson, Linda 14 Achenbach, Michael 131 Allan, Sean 122 Andritzky, Christoph 429 Arzooni, Ora G. 165 Achternbusch, Herbert 195 Allardt-Nostitz, Felicitas 311 Anfang, Günther 414 Ascher, Steven 375 Ackbar, Abbas 325 Allen, Don 314 Ang, Ien 441, 446 Ash, Rene 1. 387 Acker, Ally 340 Allen, Jeanne Thomas 291 Angelopoulos, Theodoros 200 Ashbrook, lohn 220 Ackerknecht, Erwin 10, 415, 420 Allen, lerry C. 316 Angelucci, Gianfranco 238 Ashbury, Roy 193 Ackerman, Forrest }. 40, 42 Allen, Michael 249 Anger, Cedric 137 Ashby, lustine 144 Acre, Hector 279 Allen, Miriam Marx 277 Anger, Kenneth 169 Ashley, Leonard R.N. 46 Adair, Gilbert 5, 50, 328 Allen, Richard 254, 348, 370, 372 Angst-Nowik, Doris ll8 Asmus, Hans-Werner 7 Adam, Gerhard 58, 352 Allen, Robert C. -
National-Council-Auditions-Grand-Finals-Concert.Pdf
NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Bertrand de Billy National Council Auditions host and guest artist Grand Finals Concert Joyce DiDonato Sunday, April 29, 2018 guest artist 3:00 PM Bryan Hymel Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb music director designate Yannick Nézet-Séguin 2017–18 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Bertrand de Billy host and guest artist Joyce DiDonato guest artist Bryan Hymel “Martern aller Arten” from Die Entführung aus dem Serail (Mozart) Emily Misch, Soprano “Tacea la notte placida ... Di tale amor” from Il Trovatore (Verdi) Jessica Faselt, Soprano “Va! laisse couler mes larmes” from Werther (Massenet) Megan Grey, Mezzo-Soprano “Cruda sorte!” from L’Italiana in Algeri (Rossini) Hongni Wu, Mezzo-Soprano “In quali eccessi ... Mi tradì” from Don Giovanni (Mozart) Today’s concert is Danielle Beckvermit, Soprano being recorded for “Amour, viens rendre à mon âme” from future broadcast Orphée et Eurydice (Gluck) over many public Ashley Dixon, Mezzo-Soprano radio stations. Please check “Gualtier Maldè! ... Caro nome” from Rigoletto (Verdi) local listings. Madison Leonard, Soprano Sunday, April 29, 2018, 3:00PM “O ma lyre immortelle” from Sapho (Gounod) Gretchen Krupp, Mezzo-Soprano “Sì, ritrovarla io giuro” from La Cenerentola (Rossini) Carlos Enrique Santelli, Tenor Intermission “Dich, teure Halle” from Tannhäuser (Wagner) Jessica Faselt, Soprano “Down you go” (Controller’s Aria) from Flight (Jonathan Dove) Emily Misch, Soprano “Sein wir wieder gut” from Ariadne auf Naxos (R. Strauss) Megan Grey, Mezzo-Soprano “Wie du warst! Wie du bist!” from Der Rosenkavalier (R. -
Grand Finals Concert
NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel) -
M. Butterfly As Total Theatre
M. Butterfly as Total Theatre Mª Isabel Seguro Gómez Universitat de Barcelona [email protected] Abstract The aim of this article is to analyse David Henry Hwang’s M. Butterfly from the perspective of a semiotics on theatre, following the work of Elaine Aston and George Savona (1991). The reason for such an approach is that Hwang’s play has mostly been analysed as a critique of the interconnections between imperialism and sexism, neglecting its theatricality. My argument is that the theatrical techniques used by the playwright are also a fundamental aspect to be considered in the deconstruction of the Orient and the Other. In a 1988 interview, David Henry Hwang expressed what could be considered as his manifest on theatre whilst M. Butterfly was still being performed with great commercial success on Broadway:1 I am generally interested in ways to create total theatre, theatre which utilizes whatever the medium has to offer to create an effect—just to keep an audience interested—whether there’s dance or music or opera or comedy. All these things are very theatrical, even makeup changes and costumes—possibly because I grew up in a generation which isn’t that acquainted with theatre. For theatre to hold my interest, it needs to pull out all its stops and take advantage of everything it has— what it can do better than film and television. So it’s very important for me to exploit those elements.… (1989a: 152-53) From this perspective, I would like to analyse the theatricality of M. Butterfly as an aspect of the play to which, traditionally, not much attention has been paid to as to its content and plot. -
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.......................................................................................................... -
Americans
Differentia: Review of Italian Thought Number 6 Combined Issue 6-7 Spring/Autumn Article 9 1994 "Impressioni d'America": Italia->America; Italians; Americans; ItalianAmericans; Italians>I< Americans: Giacosa's Voyage of Discovery of Self/Other Ben Lawton Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Lawton, Ben (1994) ""Impressioni d'America": Italia->America; Italians; Americans; ItalianAmericans; Italians>I< Americans: Giacosa's Voyage of Discovery of Self/Other," Differentia: Review of Italian Thought: Vol. 6 , Article 9. Available at: https://commons.library.stonybrook.edu/differentia/vol6/iss1/9 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. lmpressioni d'America: ltalia->America; Italians; Americans; Ital ianAmericans; Ital ians>l<Americans Giacosa's Voyage of Discovery of Self/Other Ben Lawton Part One-FROM OPERATION DESERT STORM TO THE UNIVERSITY OF AUCKLAND, NEW Z EALAND: Literature,Voyage, Quest During the Spring of 1991, my wife, Lorraine, and I had the questionable privilege and unquestionable displeasure of partici pating in the first postmodern war. 1 Life in the Arabian desert is not particularly enjoyable in the best of circumstances. While wearing a MOPP suit, an M-17 mask, a kevlar helmet, and an LBE,2with temperatures hovering around 120 degrees Fahrenheit during the day and dropping below freezing at night, with SCUDs popping overhead and terrorists lurking behind the dunes,3 it was downright unpleasant. -
The Miss Saigon Controversy
The Miss Saigon Controversy In 1990, theatre producer Cameron Mackintosh brought the musical Miss Saigon to Broadway following a highly successful run in London. Based on the opera Madame Butterfly, Miss Saigon takes place during the Vietnam War and focuses on a romance between an American soldier and a Vietnamese orphan named Kim. In the musical, Kim is forced to work at ‘Dreamland,’ a seedy bar owned by the half-French, half-Vietnamese character ‘the Engineer.’ The production was highly anticipated, generating millions of dollars in ticket sales before it had even opened. Controversy erupted, however, when producers revealed that Jonathan Pryce, a white British actor, would reprise his role as the Eurasian ‘Engineer.’ Asian American actor B.D. Wong argued that by casting a white actor in a role written for an Asian actor, the production supported the practice of “yellow-face.” Similar to “blackface” minstrel shows of the 19th and 20th centuries, “yellow-face” productions cast non-Asians in roles written for Asians, often relying on physical and cultural stereotypes to make broad comments about identity. Wong asked his union, Actors’ Equity Association, to “force Cameron Mackintosh and future producers to cast their productions with racial authenticity.” Actors’ Equity Association initially agreed and refused to let Pryce perform: “Equity believes the casting of Mr. Pryce as a Eurasian to be especially insensitive and an affront to the Asian community.” Moreover, many argued that the casting of Pryce further limited already scarce professional opportunities for Asian American actors. Frank Rich of The New York Times disagreed, sharply criticizing the union for prioritizing politics over talent: “A producer's job is to present the best show he can, and Mr. -
FINAL Tosca 2018
Stories Told Through Singing TOSCA Giacomo Puccini OPERA: Stories Told Through Singing At Palm Beach Opera, we believe that opera tells stories to which we can all relate, and that is why the operatic art form has thrived for centuries. The education programs at Palm Beach Opera plug the community directly into those stories, revealing timeless tales of love, passion, and joy. We challenge each person to find their own connection to opera’s stories, inspiring learners of all ages to explore the world of opera. At Palm Beach Opera there is something for everyone! #PBOperaForAll 1 PBOPERA.ORG // 561.833.7888 TOSCA Giacomo Puccini The Masterminds pg 3 Who's Who pg 7 Understanding the Action pg 9 Engage Your Mind pg 13 PBOPERA.ORG // 561.833.7888 2 The Masterminds 3 PBOPERA.ORG // 561.833.7888 Giacomo Puccini Composer Giacomo Puccini (December 22, 1858 – November 29, 1924) was born into a musical family. He studied composition at the Milan Conservatory, writing his first opera in 1884 at the age of 26. A prolific composer, Puccini wrote many operas including several that are still in performance today: Manon Lescaut, Tosca, Madama Butterfly, La fanciulla del West, La rondine, Suor Angelica, Gianni Schicchi, Turandot, and La bohème. Although the designation of Puccini as a verismo composer is debated, many of his works can fit in this category. Verismo is derived from the Italian word ‘vero’ meaning'true;' the style is distinguished by realistic lines and genuine characters. Fun Factoid: Puccini's full name was Giacomo Antonio Domenico Michele Secondo Maria Puccini. -
Fantasy, Narcissism and David Henry Hwang's M. Butterfly
Advances in Social Science, Education and Humanities Research, volume 554 Proceedings of the 7th International Conference on Humanities and Social Science Research (ICHSSR 2021) Fantasy, Narcissism and David Henry Hwang’s M. Butterfly Shu-Yuan Chang1 1School of Foreign Languages, Zhaoqing University, Zhaoqing 526061, China *Corresponding author. Email: [email protected] ABSTRACT David Henry Hwang’s M. Butterfly deconstructs Giacomo Puccini’s Madame Butterfly by entwining a fact happened in 1986 — a French diplomat Bernard Bouriscot who has a multi-year affair with a Chinese man disguised as a woman. Hwang displays how cultural imperialism and the stereotype of the Asian persona through the protagonist Gallimard who unconsciously perceives superiority of Western power over Eastern weakness, and the Western colonial male over the Asian female. Gallimard falls in love with the Chinese actress Song Liling to whom he projects his fantasy of a “perfect woman” without noticing the fact Song Liling is a man and a spy. His relationship with Song can be interpreted by concept of the Other in Western concept. This study discusses how Gallimard in M. Butterfly reflects the “Narcissus myth”, how “Othered self” and “selfed Other” work upon him as well as how Song, as a man, satisfies his Western superiority to the power of control and fantasy to an Oriental woman. Keywords: Cultural imperialism, Stereotype of the Asian persona, Superiority, Fantasy, Narcissus myth, The Other concluded that the diplomat [Bouriscot] must have fallen 1. INTRODUCTION in love not with a person but with a fantasy stereotype” When it comes to the issue of the East and the West, [1]. -
(“You Love Opera: We'll Go Twice a Week”), Des Grieux Promise
MANON AT THE OPERA: FROM PRÉVOST’S MANON LESCAUT TO AUBER’S MANON LESCAUT AND MASSENET’S MANON VINCENT GIROUD “Vous aimez l’Opéra: nous irons deux fois la semaine” (“You love opera: we’ll go twice a week”), Des Grieux promises Manon in Histoire du Chevalier des Grieux et de Manon Lescaut, as the lovers make plans for their life at Chaillot following their first reconciliation.1 Opera, in turn, has loved Manon, since there exist at least eight operatic versions of the Abbé Prévost’s masterpiece – a record for a modern classic.2 Quickly written in late 1730 and early 1731, the Histoire du Chevalier des Grieux et de Manon Lescaut first appeared in Amsterdam as Volume VII of Prévost’s long novel Mémoires d’un homme de qualité.3 An instantaneous success, it went 1 Abbé Prévost, Histoire du Chevalier des Grieux et de Manon Lescaut, ed. Frédéric Deloffre and Raymond Picard, Paris: Garnier frères, 1965, 49-50. 2 They are, in chronological order: La courtisane vertueuse, comédie mȇlée d’ariettes four Acts (1772), libretto attributed to César Ribié (1755?-1830?), music from various sources; William Michael Balfe, The Maid of Artois, grand opera in three Acts (1836), libretto by Alfred Bunn; Daniel-François-Esprit Auber, Manon Lescaut, opéra comique in three Acts (1856), libretto by Eugène Scribe; Richard Kleinmichel, Manon, oder das Schloss de l’Orme, romantic-comic opera in four Acts (1887), libretto by Elise Levi; Jules Massenet, Manon, opéra comique in five Acts and six tableaux (1884), libretto by Henri Meilhac and Philippe Gille; Giacomo Puccini, Manon Lescaut, lyrical drama in four Acts (1893), libretto by Domenico Oliva, Giulio Ricordi, Luigi Illica, Giuseppe Giacosa, and Marco Praga; and Hans Werner Henze, Boulevard Solitude, lyric drama in seven Scenes (1951), libretto by Grete Weil on a scenario by Walter Jockisch. -
Rapsodia Satanica Cavalleria Rusticana Cavalleria
7 TEATRO MASSIMO TEATRO Membro di PIETRO MASCAGNI | RAPSODIA SATANICA | CAVALLERIA RUSTICANA | CAVALLERIA SATANICA RAPSODIA Pietro Mascagni RAPSODIA SATANICA CAVALLERIA RUSTICANA seguici su: STAGIONE teatromassimo.it Piazza Verdi - 90138 Palermo OPERE E BALLETTI ISBN: 978-88-98389-73-5 euro 10,00 STAGIONE OPERE E BALLETTI SOCI FONDATORI PARTNER PRIVATI REGIONE SICILIANA ASSESSORATO AL TURISMO SPORT E SPETTACOLI ALBO DEI DONATORI FONDAZIONE ART BONUS TEATRO MASSIMO TASCA D’ALMERITA Francesco Giambrone Sovrintendente CAFFÈ MORETTINO CONSIGLIO DI INDIRIZZO Leoluca Orlando (sindaco di Palermo) SAIS AUTOLINEE Presidente Leonardo Di Franco Vicepresidente AGOSTINO RANDAZZO Daniele Ficola DELL’OGLIO Francesco Giambrone Sovrintendente Enrico Maccarone FILIPPONE ASSICURAZIONE Anna Sica GIUSEPPE DI PASQUALE COLLEGIO DEI REVISORI Maurizio Graffeo Presidente ALESSANDRA GIURINTANO DI MARCO Marco Piepoli ISTITUTO CLINICO LOCOROTONDO Gianpiero Tulelli TURNI RAPSODIA SATANICA CAVALLERIA RUSTICANA RAPSODIA SATANICA Proiezione del film muto del 1915 di Nino Oxilia restaurato dalla Cineteca di Bologna Musiche originali di Pietro Mascagni eseguite dal vivo Prima esecuzione Roma, Teatro Augusteo, 3 luglio 1917 Revisione della partitura a cura di Marcello Panni Editore proprietario: Ed. Curci - Milano Data Turno Ora Prime Venerdì 8 giugno 20.30 CAVALLERIA RUSTICANA Domenica 10 giugno D 18.30 melodramma in un atto Libretto di Giovanni Targioni-Tozzetti e Guido Menasci Domenica 17 giugno Opera 18.30 Musica di Pietro Mascagni Martedì 19 giugno B 18.30 Prima rappresentazione Giovedì 21 giugno C 18.30 Roma, Teatro Costanzi, 17 maggio 1890 Sabato 23 giugno F 20.30 Editore proprietario: Casa Musicale Sonzogno di Piero Ostali, Milano La recita di domenica 17 giugno sarà trasmessa in diretta su maxischermo in piazza Verdi e in streaming su teatromassimo.it Allestimento del Teatro Massimo di Palermo ARGOMENTO 13 SYNOPSIS 15 ARGUMENT 17 HANDLUNG 19 RAPSODIA SATANICA 25 Monika Prusak INTRODUZIONE A CAVALLERIA RUSTICANA 29 Dario Oliveri FOTOGRAFIE DELL’ITALIA.