Operas of Mozart (MUSI 6397), Fall 2005 Professor: Andrew Davis (Email)
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Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer. -
American Spiritual Program Spring 2009
American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall -
Viva!” Is the Final Number of Il Re Pastore (The Shepherd King), Which Mozart Composed in 1775 in Salzburg When He Was Just 19 Years Old
2 Editor’s Note Wolfgang Amadeus Mozart (1756-1791) was one of the most significant composers of the Viennese Classical style and is revered today as one of the greatest composers of all time. Mozart was a tremendously talented composer in the many forms of the Classical era, including operas, symphonies, concertos, chamber works, sonatas, choral works, arias, and songs. His works are highly revered today for their beautiful melodies and rich harmonies. Born in Salzburg, Austria, Mozart’s genius was apparent at a very early age. He became a well-known performer in many European cities by his early teens, eventually serving as concertmaster for the Archbishop of Salzburg. In 1781, after becoming discontented with his low salary and the lack of opportunity for more opera composition in Salzburg, Mozart quit the position and settled in Vienna. Achieving many successes in Vienna, he became known as the finest keyboardist in the city, and he completed a variety of works, including piano concertos and operas. Although he became famous for a while, Mozart’s career and finances gradually declined. He spent his remaining years without the security of a permanent position while struggling for recognition and commissions. “Viva!” is the final number of Il re pastore (The Shepherd King), which Mozart composed in 1775 in Salzburg when he was just 19 years old. Based on the 1751 libretto of Pietro Metastasio, this two-act work is often referred to as a “seranata” because it is a shortened version of an opera seria (serious opera). The production features a small cast of performers and was originally presented with very limited staging. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Dossier Pédagogique |
Sommaire Contacts 2 Préparer votre venue 3 Résumé 4 Synopsis 5 Wolfgang Amadeus Mozart (1756-1791) 7 Opera buffa et opera seria 8 La Finta Giardiniera avant Mozart 9 La Finta Giardiniera et la Commedia dell’arte 10 L’orchestre au cours du XVIIIème siècle 11 Guide d’écoute 13 Activités autour de La Finta Giardiniera 26 La musique baroque 28 La voix à l’Opéra 30 Pistes pédagogiques / Histoire des arts 31 Références 32 La Finta Giardiniera à l’Opéra de Lille 33 Le désordre libérateur du désir : note d’intention de David Lescot, metteur en scène. 34 Décor 35 Repères biographiques 36 L’Opéra de Lille. Un lieu, une histoire. 37 Annexes 41 Contacts Service des relations avec les publics : OPERA DE LILLE Claire Cantuel / Agathe Givry / Magali Gaudubois 2, rue des Bons-Enfants 03 62 72 19 13 BP 133 [email protected] 59001 Lille cedex Dossier réalisé avec la collaboration de Nicolas Buytaert, enseignant missionné à l’Opéra de Lille, et de Nicolas Flodrops, chargé de la bibliothèque et des études musicales au Concert d’Astrée. Janvier 2014. 2 Préparer votre venue Ce dossier vous aidera à préparer votre venue avec les élèves. L’équipe de l’Opéra de Lille est à votre disposition pour toute information complémentaire et pour vous aider dans votre approche pédagogique. Si le temps vous manque, nous vous conseillons, prioritairement, de : - lire la fiche résumé et le synopsis détaillé (p. 4 et 5), - faire une écoute des extraits représentatifs de l’opéra (guide d’écoute, p. 10). Si vous souhaitez aller plus loin, un dvd pédagogique sur l’Opéra de Lille peut vous être envoyé sur demande. -
Sogno Di Scipione Di Mozart Progetto Atelier Della Fenice Al Teatro Malibran
COMUNICATO STAMPA Venezia, febbraio 2019 Il sogno di Scipione di Mozart Progetto Atelier della Fenice al Teatro Malibran Il sogno di Scipione di Wolfgang Amadeus Mozart, azione teatrale in un atto su libretto di Pietro Metastasio, sarà in scena per la prima volta sul palcoscenico del Teatro Malibran, nell’ambito della Stagione Lirica e Balletto 2018-2019 della Fondazione Teatro La Fenice di Venezia. La ‘serenata’ musicata dal salisburghese, composta intorno al 1771-1772, sarà proposta in un nuovo allestimento con la direzione musicale di Federico Maria Sardelli alla testa dell’Orchestra e Coro del Teatro La Fenice – maestro del Coro Claudio Marino Moretti – e in una messinscena coordinata dal tutor di regia Elena Barbalich realizzata in collaborazione con l’Accademia di Belle Arti di Venezia e nell’ambito del progetto Atelier della Fenice al Teatro Malibran. Alla prima di venerdì 8 febbraio ore 19.00, seguiranno quattro repliche: il 10, 12, 14 e 16 febbraio 2019. Il progetto è sostenuto dalla Michelangelo Foundation for Creativity and Craftsmanship. Settimo lavoro di Mozart (1756-1791) per il teatro, composto a soli sedici anni, Il sogno di Scipione vide la luce tra Ascanio in Alba e Lucio Silla, per essere rappresentato probabilmente il 29 aprile o l’1 maggio del ‘72 in occasione dell’arrivo a Salisburgo del nuovo arcivescovo Hieronymous Joseph Franz von Paula, conte di Colloredo. La narrazione allegorica del libretto, tratto dal Somnium Scipionis di Cicerone, ricalca piuttosto fedelmente la fonte letteraria antica: addormentatosi nella reggia del re alleato Massinissa, in Numidia, Scipione Emiliano sogna di essere nel cielo degli eroi, dove incontra Costanza e Fortuna, che gli chiedono di scegliere chi, tra loro, seguire. -
WOLFGANG AMADEUS MOZART Works for the Stage
New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 5: OPERAS AND SINGSPIELS VOLUME 8: LA FINTA GIARDINIERA [The Pretended Garden-Girl] SUB-VOLUME 1: ACT I PRESENTED BY RUDOLPH ANGERMÜLLER AND DIETRICH BERKE 1978 International Mozart Foundation, Online Publications V New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications VI New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera CONTENTS Sub-volume 1: Editorial Principles ……………..…………………………………………………….. VII Foreword………….…….. …………….……………………………………………… VIII Facsimile: A page from the currently inaccessible autograph………………………….. -
IL RE PASTORE July 19 and 21 in San Francisco
MEROLA OPERA PROGRAM CONTINUES ITS 61 ST SEASON WITH IL RE PASTORE July 19 and 21 in San Francisco SAN FRANCISCO, CA (6 June 2018) – San Francisco’s acclaimed Merola Opera Program presents the stars of tomorrow in Mozart’s Il re pastore . Merola is one of the most prestigious and selective opera training programs in the world, featuring 29 artists selected from more than 800 international applicants. This exquisite early Mozart work featuring a string of thrilling arias explores the competing pulls of love and duty, as a young shepherd finds he must renounce his true love in order to reclaim his lost throne. Il re pastore will be performed 7:30pm, Thursday, July 19, and 2:00pm, Saturday, July 21, at the San Francisco Conservatory of Music . For tickets or more information, visit www.merola.org or call ( 415) 864-3330. In the spring of 1775, 19-year-old Mozart wrote Il re pastore in response to a commission by the Archbishop of Salzburg. With a plot that explored the demands of love against the demands of kingship, the young Mozart’s work shines with its rich orchestration and ingenious score. In addition to fulsome dramatic singing from all five soloists, highlights include Aminta’s famous arias “Aer tranquillo e di sereni” and “L'amerò, sarò costante.” Performances will be conducted by Stephen Stubbs, a leading figure in the American early music scene and winner of a Grammy Award for Best Opera Recording in 2015 for Charpentier: La descente d’Orphée aux enfers. In 2007, Stubbs established his production company, Pacific MusicWorks, based in Seattle, reflecting his lifelong interest in both early music and contemporary performance. -
Idomeneo Synopsis
Idomeneo Synopsis Background Helen, the beautiful wife of King Menelaus of Greece, was carried off by Paris, son of King Priam of Troy, triggering the Trojan War. Agamemnon, Menelaus's brother, rallied the other Greek kings and joined forces to lay siege to the city of Troy. One of Agamemnon's allies was King Idomeneo of Crete, whose army helped to deliver a victory over the Trojans. After ten long years of war, Idomeneo is finally on his way home. Some of his forces have already returned, bringing back Trojan captives including Priam's daughter, Princess Ilia. The ship carrying Ilia was hit by a storm and sank, but she was rescued from the waves by Idomeneo's son, Idamante. Upon his own return from war, Agamemnon was murdered by his wife, Clytemnestra, and her lover, Aegisthus; Elettra's brother, Orestes, took revenge on the unfaithful by killing them both. Elettra fled from their home in Argos, and is now taking refuge in Crete. ACT I Island of Crete, c. 1200 B.C. At the palace, Ilia is grieving for her father and brothers who were killed by the Greek army in the siege on Troy. But while she hates Idomeneo, she has fallen in love with his son, Idamante, who has ruled Crete in his father's absence ("Padre, germani, addio!"-Father, brothers, farewell!). Although Idamante proclaims his love for her, Ilia, cannot bring herself to admit her feelings for him ("Non ho colpa"-I am not guilty). As a gesture of goodwill, Idamante releases the Trojan captives; they join the Cretans in rejoicing this newfound peace ("Godiam la pace"-Let us enjoy peace). -
Mozart's Operas, Musical Plays & Dramatic Cantatas
Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct. -
Classical Opera Ian Page (Conductor)
ZAIDE CLASSICAL OPERA IAN PAGE (CONDUCTOR) 7586_CO_Zaide_BOOKLET_FINAL.indd 1 13/06/2016 10:15 WOLFGANG AMADEUS MOZART (1756 - 1791) ZAIDE, K.344 Libretto by Johann Andreas Schachtner (1731 - 1795) ZAIDE SOPHIE BEVAN soprano Performance material: New Mozart Edition (NMA) By kind permission of Bärenreiter-Verlag GOMATZ ALLAN CLAYTON tenor Kassel · Basel · London · New York · Praha Recorded at the Church of St. Augustine, Kilburn, London, UK from 10 to 13 March 2016 ALLAZIM JACQUES IMBRAILO baritone Produced and engineered by Andrew Mellor Assistant engineer: Claire Hay SULTAN SOLIMAN STUART JACKSON tenor Post-production by Andrew Mellor and Claire Hay Design by gmtoucari.com Cover image by Debbie Coates OSMIN DARREN JEFFERY bass-baritone Photographs by Benjamin Ealovega German language coaches: Johanna Mayr and Rahel Wagner VORSINGER JONATHAN McGOVERN baritone Harpsichord technician: Malcolm Greenhalgh ZARAM DARREN JEFFERY Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George and Efthalia Koukis for supporting this recording. SKLAVEN PETER AISHER, ROBIN BAILEY, We are also grateful to the following people for their generous support: Kate Bingham and Jesse Norman, Sir Vernon and Lady SIMON CHALFORD GILKES, Ellis, John Warrillow and Pamela Parker, Kevin Lavery, Pearce and Beaujolais Rood, John Chiene and Carol Ferguson, and all ED HUGHES, STUART LAING, the other individuals who supported this project. NICK MORTON, DOMINIC WALSH Special thanks to: Mark Braithwaite, Anna Curzon, Geoff Dann, Chris Moulton, Verena Silcher, Alice Bellini, Léa Hanrot, Simon Wall and TallWall Media. THE ORCHESTRA OF CLASSICAL OPERA Leader: Bjarte Eike IAN PAGE conductor 2 MOZART / ZAIDE MOZART / ZAIDE 3 zaide7586_CO_Zaide_BOOKLET_FINAL.indd booklet FINALEsther.indd 2 2-3 09/06/2016 15:58:54 zaide booklet FINALEsther.indd 3 09/06/201613/06/2016 15:58:54 10:15 ZAIDE, K.344 ACT ONE Page 1 [Overture – Entr’acte from Thamos, König in Ägypten, K.345] 3’23 32 2 No. -
A European Singspiel
Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel.