DOCSLIB.ORG

1 CRONOLOGÍA LICEÍSTA Se Incluye Una Lista Con Las Representaciones De La Gioconda, De Amilcare Ponchielli, En La Historia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 CRONOLOGÍA LICEÍSTA Se Incluye Una Lista Con Las Representaciones De La Gioconda, De Amilcare Ponchielli, En La Historia CRONOLOGÍA LICEÍSTA Se incluye una lista con las representaciones de La Gioconda, de Amilcare Ponchielli, en la historia del Gran Teatre del Liceu. • Estreno absoluto: Scala de Milán, 8 abril 1876. • Estreno de una versión revisada: Teatro Rossini de Venecia, octubre 1876. • Estreno de la tercera y definitiva versión: Scala de Milán, 12 febrero 1880. • Estreno en Barcelona y en el Liceu: 26 de febrero 1883. • Última representación en el Liceu: 25 octubre 2005. • Total de representaciones en el Liceu: 144. TEMPORADA 1882-1883 26-II-1883 Debut de la célebre prima donna assoluta Sra. Mariani-Masi: LA GIOCONDA • Es estreno en el Liceu y en Barcelona. • Libreto de Tobia Gorrio (anagrama de Arrigo Boito). Música de Amilcare Ponchielli. • Número de representaciones: 6 • Fechas: 26, 28 febrero; 3, 4, 10, 14 marzo 1883 • Número histórico: 1, 2, 3, 4, 5, 6 • Nota: Maddalena Mariani-Masi había intervenido en el estreno absoluto (Scala de Milán, 8 de abril de 1876), en el estreno de una versión revisada (teatro Rossini de Venecia, 18 octubre de 1876) y también en el estreno de la tercera y definitiva versión (Scala de Milán, 12 de febrero de 1880). Gioconda: Maddalena Mariani-Masi Laura Adorno: Giulia Novelli Alvise Badoero: Giulio Paoletti La cieca: Ebe Treves Enzo Grimaldo: Giovanni Sani Barnaba: Sante Athos Zuàne: Martí Verdaguer Un cantore: Josep Climent Isèpo: Melcior Puig Un pilota: Ignasi Costa Un barnabotto: Francesc Puigenero Director: Augusto Vianesi TEMPORADA 1885-1886 • Número de representaciones: 9 • Fechas: 29 octubre; 1, 7, 15 noviembre; 19, 20, 25, 27 diciembre 1885 / 6 enero 1886. • Número histórico: 7, 8, 9, 10, 11, 12, 13, 14, 15. • Nota: La temporada se vuelve a inaugurar con “La Gioconda”. El día de la inauguración hay muy poco público a causa de la epidemia de cólera. 1 Gioconda: Elena Theodorini Laura Adorno: Marthe Duvivier (octubre; noviembre) Louise Flotow (19, 20 diciembre) Elvira Ercoli (25, 27 diciembre) Corinna Cescatti (enero) Alvise Badoero: Pau Meroles La cieca: Saffo Bellincioni Enzo Grimaldo: Ottavio Nouvelli Barnaba: Enrico Rubirato Zuàne: Josep Saprisa Un cantore: Gabriel Planas Isèpo: Josep Massip Un barnabotto: Antoni Oliver Director: Joan Goula (octubre; noviembre) Francesc Pérez Cabrero (diciembre; enero) TEMPORADA DE PRIMAVERA DE 1886 • Número de representaciones: 4 • Fechas: 4, 5, 27, 30 maig 1886 • Número histórico: 16, 17, 18, 19 Gioconda: Mila Kupfer-Berger Laura Adorno: Emma Leonardi Alvise Badoero: Pau Meroles La cieca: Erina Borlinetto Enzo Grimaldo: Fernando Valero Barnaba: Livio Bianchi (días 4, 5) Ezio Ciampi-Cellaj (días 27, 30) Zuàne: Josep Saprisa Isèpo: Antoni Oliver Un barnabotto: Gabriel Planas Director: Joan Goula TEMPORADA DE PRIMAVERA DE 1887 • 11-IV-1887 Inauguración de la temporada de primavera: LA GIOCONDA • Número de representaciones: 4 • Fechas: 11, 13, 17 abril; 1 mayo 1887 • Número histórico: 20, 21, 22, 23. Gioconda: Mila Kupfer-Berger Laura Adorno: Ebe Treves (día 11) Giuseppina Pasqua Alvise Badoero: Giovanni Beltramo La cieca: Concepció Mas Enzo Grimaldo: Fernando Valero (abril) Ottavio Nouvelli (mayo) Barnaba: Eugeni Laban Zuàne: Josep Saprisa 2 Isèpo: Antoni Oliver Un pilota: Josep Massip Un barnabotto: Climent Calvet Director: Joan Goula TEMPORADA DE PRIMAVERA DE 1888 1-IV-1888 Inauguración de la temporada de primavera: LA GIOCONDA • Número de representaciones: 7 • Fechas: 1, 2, 12 abril; 12, 16 mayo; 5, 7 junio 1888 • Número histórico: 24, 25, 26, 27, 28, 29, 30. Gioconda: Medea Borelli Laura Adorno: Renée Vidal (abril; mayo) Emma Steinbach (junio) Alvise Badoero: Luis Visconti La cieca: Clorinda Pini-Corsi (abril; mayo) Giovanna Bardelli (junio) Enzo Grimaldo: Benedetto Lucignani (abril; mayo) Francesco Giannini (junio) Barnaba: Eugeni Laban Zuàne: Josep Saprisa Director: Joan Goula TEMPORADA 1888-1889 • Número de representaciones: 10 • Fechas: 31 octubre; 5, 9, 15, 18, 23 noviembre 1888 / 8, 9, 18, 30 enero 1889 • Número histórico: 31, 32, 33, 34, 35, 36, 37, 38, 39, 40 Gioconda: Gemma Bellincioni Laura Adorno: Emma Steinbach (octubre; noviembre) Pia Rolutti (enero) Alvise Badoero: Luis Visconti La cieca: Giovanna Bardelli Enzo Grimaldo: Francesco Baldini (octubre; 5, 9, 15, 18 noviembre) Franco Cardinali (23 noviembre) Emilio De Marchi (enero) Barnaba: Eugeni Laban (octubre; noviembre) Joaquim Aragó (enero) Zuàne: Josep Saprisa Isèpo: Antoni Oliver Director: Joan Goula TEMPORADA DE PRIMAVERA DE 1890 • Número de representaciones: 2 • Fechas: 9, 22 abril 1890 • Número histórico: 41, 42 Gioconda: Mila Kupfer-Berger Laura Adorno: Pia Rolutti (día 9) 3 Elisa Mattiuzzi (día 22) Alvise Badoero: Josep Boldú (día 9) Luis Visconti (día 22) La cieca: Tilde Carotini Enzo Grimaldo: Giuseppe Moretti Barnaba: Eugeni Laban Zuàne: Domènec Campins Isèpo: Antoni Oliver Director: Joan Goula TEMPORADA DE PRIMAVERA DE 1891 4-IV-1891 Inauguración de la temporada de primavera: LA GIOCONDA • Número de representaciones: 7 • Fechas: 4, 5, 7, 15, 28 abril; 3, 17 mayo 1891 • Número histórico: 43, 44, 45, 46, 47, 48, 49. Gioconda: Matilde Rodríguez Laura Adorno: Virginia Guerrini Alvise Badoero: Luis Visconti La cieca: Tilde Carotini Enzo Grimaldo: Emilio De Marchi Barnaba: Joaquim Aragó Zuàne: Domènec Campins Isèpo: Antoni Oliver Director: Edoardo Mascheroni TEMPORADA DE PRIMAVERA DE 1893 22-IV-1893 Inauguración de la Temporada de Primavera: LA GIOCONDA • Número de representaciones: 2 • Fechas: 22, 23 abril 1891 • Número histórico: 50, 51. Gioconda: Adalgisa Gabbi[-Ugoletti] Laura Adorno: Erina Borlinetto Alvise Badoero: Camillo Fiegna La cieca: Carolina Zauner Enzo Grimaldo: Giuseppe Moretti Barnaba: Arturo Pessina Zuàne: Salvador Mestres Director: Marino Mancinelli TEMPORADA 1895-1896 • Número de representaciones: 5 • Fechas: 15, 17, 19, 26 enero; 2 febrero 1896 • Número histórico: 52, 53, 54, 55, 56. 4 Gioconda: Medea Borelli Laura Adorno: Tilde Carotini Alvise Badoero: Marc Barba La cieca: M. Zonghi Enzo Grimaldo: Franco Cardinali Barnaba: Eugeni Laban Director: Vittorio Maria Vanzo TEMPORADA 1896-1897 • Número de representaciones: 8 • Fechas: 25, 27 diciembre 1896 / 1, 10, 13, 17, 18, 24 enero 1897 • Número histórico: 57, 58, 59, 60, 61, 62, 63, 64. Gioconda: Eva Tetrazzini (diciembre; 1, 18, 24 enero) Elisa Petri (10, 13, 17 enero) Laura Adorno: Amanda Campodonico (diciembre; 1 enero) Ida Monteleone (10, 13, 17, 18, 24 enero) Alvise Badoero: Oreste Luppi La cieca: Fidela Gardeta Enzo Grimaldo: Fiorello Giraud Barnaba: Ramon Blanchart (diciembre; 13, 18, 24 enero) Rodolfo Angelini-Fornari (10, 10, 13 enero) Director: Cleofonte Campanini TEMPORADA 1897-1898 • Número de representaciones: 8 • Fechas: 1, 4, 5, 8, 12 diciembre 1897 / 16, 19 enero; 6 febrero 1898 • Número histórico: 65, 66, 67, 68, 69, 70, 71, 72. Gioconda: Elena Theodorini Laura Adorno: M. Solà-Conde Alvise Badoero: Michele Mazzari Enzo Grimaldo: Enrico Giannini-Griffoni Barnaba: Giuseppe Kaschmann Director: Rodolfo Ferrari TEMPORADA DE PRIMAVERA DE 1902 • Número de representaciones: 3 • Fechas: 15, 16, 23 abril 1902 • Número histórico: 73, 74, 75. Gioconda: Carme Bonaplata-Bau Laura Adorno: Blanca Lavín de Casas Alvise Badoero: Luigi Rossato Enzo Grimaldo: Giuseppe Agostini Barnaba: Franco Nicoletti (días 15, 16) Ramon Blanchart (día 23) 5 Director: Joan Goula TEMPORADA DE PRIMAVERA DE 1904 • Número de representaciones: 2 • Fechas: 27, 28 abril 1904 • Número histórico: 76, 77 Gioconda: Salomea Krusceniska Laura Adorno: Erina Borlinetto Alvise Badoero: Virgilio Mentasti La cieca: Maria Claessens Enzo Grimaldo: Manuel Izquierdo Barnaba: Giuseppe La Puma Director: Giuseppe Barone TEMPORADA 1909-1910 • Número de representaciones: 2 • Fechas: 1, 4 febrero 1910 • Número histórico: 78, 79. Gioconda: Cecilia Gagliardi Laura Adorno: Virginia Guerrini Alvise Badoero: Luigi Rossato La cieca: Giuseppina Giaconia Enzo Grimaldo: Josep Palet Barnaba: Ramon Blanchart (1 febrero) Arturo Romboli? (4 febrero) Director: Francesco Spetrino TEMPORADA 1911-1912 • Número de representaciones: 6 • Fechas: 13, 16, 21, 24, 25, 30 diciembre 1911 • Número histórico: 80, 81, 82, 83, 84, 85. Gioconda: Teresina Burchi Laura Adorno: Beatriz Costa Alvise Badoero: Luigi Nicoletti-Kormann La cieca: Fiora Perini Enzo Grimaldo: Emilio Perea Giuseppe Krismer (30 diciembre) Barnaba: Enrico Nani Un barnabotto: José de Rueda Director: Edoardo Mascheroni 6 TEMPORADA 1913-1914 • Número de representaciones: 2 • Fechas: 2, 4, diciembre 1913 • Número histórico: 86, 87 Gioconda: Betty Schubert Laura Adorno: Eleonora de Cisneros Alvise Badoero: Vincenzo Bettoni La cieca: Adele Ponzano Enzo Grimaldo: Pietro Gubellini Barnaba: Cesare Formichi Director: Giulio Falconi TEMPORADA 1915-1916 • Número de representaciones: 3 • Fechas: 23, 28 noviembre; 1 diciembre 1915 • Número histórico: 88, 89, 90. Gioconda: Elena Rakowska-Serafin Laura Adorno: Luisa Garibaldi Alvise Badoero: Luigi Nicoletti-Kormann La cieca: Elena Lucci Enzo Grimaldo: Joan Nadal Barnaba: Josep Segura-Tallien Zuàne: Ramon Bataller Un cantore: Ramon Escuté Isèpo: Julià Oliver Un pilota: Ignasi Costa Un barnabotto: Ramon Bataller Director: Alfredo Padovani TEMPORADA DE PRIMAVERA DE 1917 7-IV-1917 Inauguración de la temporada de primavera: LA GIOCONDA • Número de representaciones: 3 • Fechas: 7, 10, 30 abril 1917 • Número histórico: 91, 92, 93. Gioconda: Berthe Jullien-Venturini (en substitución de Tina Poli-Randaccio) Laura Adorno: Giuseppina Bertozzoli Alvise Badoero: Luigi Rossato La cieca: Elena Lucci Enzo Grimaldo: Beniamino Gigli (debut) Barnaba: Josep Segura-Tallien Zuàne: Maties Pascual Un cantore:
Load more

Recommended publications
  • Milan and Seregno
    MILAN AND SEREGNO LIDA EMILIANA MELETAKI VICTORIA MILIARAKI NIKOLETA XENAKI C’3 MILAN Milan is the capital of Lombardy and the second most populous city in Italy after Rome. It is located in the north- western section of the Po Valley, approximately halfway between the river Po to the south and the foothills of the Alps with the great lakes (Lake Como, Lake Maggiore, Lake Lugano) to the north, the Ticino river to the west and the Adda to the east. MUSEUMS Some of the most popular museums are: • Pinacoteca di Brera • The Last Supper • Fondazione Prada • Museo del Novecento • Mudec • Museo Civico di Storia Naturale di Milano • Museo Poldi Pezzoli • Villa Necchi Campiglio PINACOTECA DI BRERA FONDAZIONE PRADA MONUMENTS/LANDMARKS Santa Maria delle Grazie This church was built between 1466 and 1490 by Giuniforte Solari and later partly modified by Bramante who re- designed the apse, the Tribuna, the Cloister and the Old Sacristy. In the Refectory there is one of the most famous paintings of Leonardo da Vinci: the “Last Supper”. The works of the fresco started in 1495 and finished in 1498. Monumental Cemetery Carlo Maciachini built the Monumental Cemetery between 1863 and 1866 at Porta Volta. Villa Reale (Royal Villa) One of the most important Milanese neo- classical buildings, the Royal Villa, was built in 1790 by Leopoldo Pollak. It has been the residence of Napolen and Josephine and also of Eugene Beauharnais and the General Radetzky. Pilasters and columns decorate all the building that is surrounded by an English- style garden. The insides are finely decorated with candelabras, sculptures, frescoes and other decorations typical of Lombard neo- classicism.
    [Show full text]
  • 'Let US Go Back to the Golden Age of Italian Opera'
    Click here for Full Issue of EIR Volume 15, Number 17, April 22, 1988 Renata Tebaldi 'Let US go back to the golden age of Italian opera' The foLLowing excerpts have been translatedfrom the Italian of the instruments came out better. So things went on, but transcript of Miss Tebaldi's speech to the Milan Schiller their ears adapted to the change of tuning, and hence also in Institute conference on April 9. Renata Tebaldi, a "spinto" performing operas they kept the brilliant sound which they soprano, particularly celebrated for her Verdi roles such as liked so much; without thinking about the problems which Desdemona, Aida, and Violetta, performed regularly at La both instrumentalists and singers would have. I remember Scala of Milan, and the Metropolitan Opera of New York. that in Naples, during rehearsals of the Gioconda, as I was talking to an oboist who had won the San Carlo competition, I am happy to be invited to speak on this subject because I we realized that the pitch had risen. think it is very important. The constant increase in the tuning Now La Gioconda is a hard opera, and a voice with body pitch brings on enormous difficulties for singers. Both in the has trouble adapting to a rise in pitch. I was supposed to sing conservatory and afterward, during the entire arc of one's four acts, one tougher than the other; not only that: At the operatic career, we study constantly to keep the "passage" of end, in the fourth act, there are ornamented passages which the voice in order, because this is what allows us to sing high have some problems.
    [Show full text]
  • 111082 Bk Callaseu 15/03/2005 11:26Am Page 5
    111082 bk CallasEU 15/03/2005 11:26am Page 5 BELLINI: Norma: DONIZETTI: Lucia di Lammermoor: VERDI: La traviata: WAGNER: Tristan und Isolde: ADD 1 Casta Diva (Act I) 7:27 [Mad Scene, Act III] ! Libiamo ne’ lieti calici (Act I) 3:16 & Liebestod (Sung in Italian) 7:44 GREAT SINGERS • CALLAS Orchestra of Teatro alla Scala, Milan 5 Il dolce suono 3:01 with Francesco Albanese, Tenor Turin Italian Radio Symphony Orchestra 8.111082 Tullio Serafin, Conductor and Chorus Arturo Basile, Conductor Recorded in the Cinema Metropol, Milan, 1954 6 Ohimè! Sorge il tremendo 3:20 Recorded by CETRA on 8th November 1949 (From Naxos 8.110325-27) @ E’ strano! E’ strano! (Act I) 1:27 Matrix 2-71294/5; Cat. No. CB 20841 7 Ardon gli incensi; splendon le sacre faci 5:26 (From Naxos 8.110302-04) with Gino Sarri, Tenor # Ah, fors’è lui (Act I) 3:01 Maria BELLINI: I Puritani: Raffaele Arié, Bass Turin Italian Radio Symphony Orchestra 2 O rendetemi la speme (Act II) 1:47 and Chorus Gabriele Santini, Conductor with Nicola Rossi-Lemeni, Bass 8 Spargi d’amaro pianto 3:46 Recorded at the Auditorium RAI, Turin, 1953 CALLAS and Rolando Panerai, Baritone with Raffaele Arié, Bass (From Naxos 8.110300-01) Tito Gobbi, Baritone 3 Qui la voce sua soave (Act II) 8:41 and Chorus with Nicola Rossi-Lemeni, Bass PUCCINI: Tosca: and Rolando Panerai, Baritone Chorus and Orchestra of the Maggio Musicale $ Mario! Mario! Mario!... Son qui! (Act I) 2:07 A Portrait Fiorentino with Giuseppe Di Stefano, Tenor 4 Son vergin vezzosa (Act I) 3:46 Andrea Morosini, Chorus Master with Aurora Cattelani,
    [Show full text]
  • Verdi Otello
    VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers;
    [Show full text]
  • 1. Early Years: Maria Before La Callas 2. Metamorphosis
    ! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani.
    [Show full text]
  • Ceriani Rowan University Email: [email protected]
    Nineteenth-Century Music Review, 14 (2017), pp 211–242. © Cambridge University Press, 2016 doi:10.1017/S1479409816000082 First published online 8 September 2016 Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti* Davide Ceriani Rowan University Email: [email protected] The world premiere of Pietro Mascagni’s Cavalleria rusticana on 17 May 1890 immediately became a central event in Italy’s recent operatic history. As contemporary music critic and composer, Francesco D’Arcais, wrote: Maybe for the first time, at least in quite a while, learned people, the audience and the press shared the same opinion on an opera. [Composers] called upon to choose the works to be staged, among those presented for the Sonzogno [opera] competition, immediately picked Mascagni’s Cavalleria rusticana as one of the best; the audience awarded this composer triumphal honours, and the press 1 unanimously praised it to the heavens. D’Arcais acknowledged Mascagni’smeritsbut,inthesamearticle,alsourgedcaution in too enthusiastically festooning the work with critical laurels: the dangers of excessive adulation had already become alarmingly apparent in numerous ill-starred precedents. In the two decades prior to its premiere, several other Italian composers similarly attained outstanding critical and popular success with a single work, but were later unable to emulate their earlier achievements. Among these composers were Filippo Marchetti (Ruy Blas, 1869), Stefano Gobatti (IGoti, 1873), Arrigo Boito (with the revised version of Mefistofele, 1875), Amilcare Ponchielli (La Gioconda, 1876) and Giovanni Bottesini (Ero e Leandro, 1879). Once again, and more than a decade after Bottesini’s one-hit wonder, D’Arcais found himself wondering whether in Mascagni ‘We [Italians] have finally [found] … the legitimate successor to [our] great composers, the person 2 who will perpetuate our musical glory?’ This hoary nationalist interrogative returned in 1890 like an old-fashioned curse.
    [Show full text]
  • La Gioconda (Review) William Ashbrook
    La Gioconda (review) William Ashbrook The Opera Quarterly, Volume 18, Number 1, Winter 2002, pp. 128-129 (Review) Published by Oxford University Press For additional information about this article https://muse.jhu.edu/article/25455 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 128 recordings La Gioconda. Amilcare Ponchielli La Gioconda: Giannina Arangi-Lombardi Isepo/Singer: Giuseppe Nessi Laura: Ebe Stignani Zuane/Singer: Aristide Baracchi La Cieca: Camilla Rota Orchestra and Chorus of La Scala, Milan Enzo Grimaldo: Alessandro Granda Lorenzo Molajoli, conductor Barnaba: Gaetano Viviani Naxos Historical 8.110112–14 (3 CDs) Alvise Badoero: Corrado Zambelli This is the complete Gioconda from 1931, recorded by Italian Columbia, but never issued in the United States during the 78 r.p.m. era. Here it is, vividly remastered by Ward Marston, with bonus tracks consisting of eight arias and two duets featuring the soprano Giannina Arangi-Lombardi, whom Max de Schauensee always referred to as “the Ponselle of Italy.” I have a special aVection for La Gioconda, as it was my first opera, seen when I was seven. Three things made an unforgettable impression on me. Hearing big voices live had quite an impact, since before then I had heard opera only on acoustic records (I still think that Julia Claussen, the Laura of that occasion, could sing louder than anyone I have heard since); although the plot made no sense to me, the Dance of the Hours seemed perfectly logical; and I got cold chills from the moment the big ensemble was launched at the end of act 3.
    [Show full text]
  • El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
    Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini.
    [Show full text]
  • Giacomo Puccini Krassimira Stoyanova
    Giacomo Puccini Complete Songs for Soprano and Piano Krassimira Stoyanova Maria Prinz, Piano Giacomo Puccini (1858-1924) 5 Ave Maria Leopolda (Giacomo Puccini) Conservatory. It is introduced by solemn organ harmonies (Milan, 20 May 1896) with strong treble line. The melody is shaped by slow Songs This short song is a setting of one of the composer’s letters lingering inflections of considerable emotional intensity. The Giacomo (Antonio Domenico Michele Seconda Maria) Gramophone Company (Italy) Ltd. The tone of this song, to the conductor Leopoldo Mugnone (who conducted hymn moves on to a more questioning phase, and concludes Puccini (1858-1924) was born into a family with long musical by the famous librettist Illica, a man of exuberant and violent Manon Lescaut and La Bohème in Palermo). It is a jocular with a smooth organ postlude. The tune was used by the traditions. He studied with the violinist Antonio Bazzini passions, celebrates the positivism of the late 19th century. salutation, offering greetings to his spouse Maria Leopolda, composer in his first opera Le Villi (1883) as the orchestral (1818-1897) and the opera composer Amilcare Ponchielli The text reflects that, although life is transient, we sense the from the dark Elvira (Bonturi, Puccini’s wife) and the blonde introduction to No. 5 and the following prayer Angiol di Dio. (1834-1886), and began his career writing church music. existence of an ideal that transcends it, conquering oblivion Foschinetta (Germignani, Puccini’s stepdaughter), who He is famous for his series of bold and impassioned operas and death. The musical setting is confident and aspirational, send kisses and flowers.
    [Show full text]
  • 110273-74 Bk Boito EC 02/06/2003 09:04 Page 12
    110273-74 bk Boito EC 02/06/2003 09:04 Page 12 Great Opera Recordings ADD 8.110273-74 Also available: 2 CDs BOITO Mefistofele Nazzareno de Angelis Mafalda Favero Antonio Melandri Giannina Arangi-Lombardi Chorus and Orchestra of La Scala, Milan 8.110117-18 Lorenzo Molajoli Recorded in 1931 8.110273-74 12 110273-74 bk Boito EC 02/06/2003 09:04 Page 2 Ward Marston Great Opera Recordings In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Arrigo ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also BOITO served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov (1842-1918) recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Mefistofele In the past, Ward Marston has produced records for a number of major and specialist record companies.
    [Show full text]
  • NEW YORK CRITICS REVIEW MARIA CALLAS and RENATA TEBALDI: a Study in Critical Approaches to the Inter-Relationship of Singing
    NEW YORK CRITICS REVIEW MARIA CALLAS AND RENATA TEBALDI: A Study in Critical Approaches to the Inter-relationship of Singing and Acting in Opera by MarikolVan Campen B. A., University orBritish Columbia, 1968 A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts in The Faculty of Graduate Studies Department of Theatre, Faculty of Arts, University of British Columbia We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1977 1977 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of THEATRE The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date Oct. 5, 1977 i ABSTRACT The following study is an analysis of New York reviews of performances of Maria Callas and Renata Tebaldi which attempts to discover what opera critics feel to be the most effective artistic balance between singing and acting in opera. Callas and Tebaldi have been chosen as the subjects of the reviews because of their renown as singers, the closely coinciding cir• cumstances of their careers and the polarities which they represented in the issue of acting versus singing in operatic performance.
    [Show full text]
  • Background Amilcare Ponchielli
    Background Amilcare Ponchielli (1834 - 1886) was born in Paderno, Italy and studied at the Milan Conservatory between the ages of nine and eighteen. While there he composed his first opera, Il Sindaco Babbeo in collaboration with three other students. Following his studies, he worked for a time as an organist in Cremona and later as bandmaster in Piacenza. From 1856 to 1867 six operas preceded the one for which he became world famous, La Gioconda (La Jaconde or Mona Lisa). Il Convegno (the meeting) is a brilliant clarinet duo with band accompaniment. Faint-of-heart would-be soloists need not apply. It demands virtuosity and rigorously rehearsed timing throughout. Though its composition date is uncertain, newspaper reports from as early as 1869 have been found of its performance in Cremona. Raffaella Barbieatro at the Biblioteca Statale reports having uncovered as many as forty-three copies of the original score which is assumed to have been lost or stolen. She suspects that one or two additional manuscripts may still lurk uncatalogued This arrangement is adapted from the Alessandro Vessella manuscript #287 courtesy of the Biblioteca di Archeologia e Storia dell'Arte Roma - Ministero per i Beni e Le Attività Culturali – Italia and the piano reduction by Elio Peruzzi. The parts for the accompanying instruments have been transcribed faithfully from the Vessella manuscript with the single exception that all repeated 32nd notes indicated in the first movement for accompanying clarinets have been changed to 16ths. Alessandro Vessella was conductor of the Banda Municipale di Roma and exerted a lasting influence on the evolution of the instrumentation of the Italian band in the late 19th and early 20th centuries.
    [Show full text]