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Insertion Arias for L'elisir D,Amore - Persiani, Tamburini, And

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7 Insertion Arias for L'elisir d,amore - Persiani, Tamburini, and,.. One ol thc a.ticles in the progftm€ for fie reoeft (rnd d.lighttul) producrio! of L'elisir d @oe .r C@nr (hlden nEntion.d rhar Donizctti added new dis for Aftonio Ttnburini dd F$ny [email protected] for th. pads p.oduction in 1839 Th. music for th*. additiotrll aiae c& be fourd s sppl.*,io in ,*A *," p{blish.d by Bern rd trfl€, P&iq ! copy ofwhich is hcld by ihe British Libnry." Th3l for PeBi&i cane a . $rpdrc Th. ilrds of the 6Bt serion, with the 6ingle cha.g. ol"@ngi' to "phchi" !.e still thos. for th. odsinrl."redi pcr me ci libdo". Bul lhe c.baletta b in fict thc cib.l.tr! 8on Bi&q'. &t I eia.No, tu che infelice appi€no in Ugo, Cdte di P@igt, th. music lilied without any v.ry rignificanl chang!, and with lon rcw words lpposit. to Ilril .s folloB: E/dr (for P6iei) Biss: No, cfu ir&li& Ippi@ AdiD: Nq cl'c infelie appido [email protected],o&to, @ ni hbsti, o &ro, S. nEor ni d dato S. n&quisr! m'a drlo !l mio @aggio d6. chi mi e ka. ogmr Voh d'A&lia in 3m. .! to@ a trilLmi in !@ An Eh slla sFnc o @r .I toma dl. sioj! il @r. Cnor: Ddl'Aquitalilgius. AdiB: O sioja i,Gpimibilc r!di. v!di, v!di, !!di Of oous. I shouldn l h.rc hen surpds.d B Jcmy Comons. booktct not.g fo. th. Opqd P&r CDs of Uaa infom I that Biaacsh sr,ra w.s us.d !s .n did di ,drrd by P.Biiri i^ Elisit a by Patt, in Arua Boteu. Thc rdoM of thcse suhiitute eiar wu cl.aly widceprsd ed thcy wrrc ldlpld for irstrumental worksl with tlcir titl6 .efeniry t,o the uiu' &E po3irioor. For oomptq in a coll@tion of pi6rs for hu? by Cusl.ru V Eoht Grardfathq ofrhe Holst ofPt E/Jfsrno, the v D6i4fi's f.rcudrc Cav*io "l,to, m che iGti@ .!pi@", hkodu.€d by Mnbru PEr. in A@ 8ola4 ArDlg.d for th! tlID ajd Drdieted to Mis; M.ry Ie Wiggi& ty Guehtu V tloln. Th€n th@ is r Piuo Fanoey by Att.A "Varistioc t i h vi.ttq lur un lir de l'Elisirc d'Amore", whor. thme i! rlis Uao clbaleflr And orc Lolig M..scmr.ok6 amte a "Frntabic a Vriatiom pour Pirro, sui l,rir .h&ra p0r Madame P.rsidi .ha L'EliiE d'Anorc de Do.izeni d&i€d a Monsiff l€ Co;ie c.5totr Bffiblllt de Dudzeelc . Aft...n inrroductioq tlle ih.m. of lh! pi.c. iq !gd4 rcne o er thu Bie@t cabsletl.. Tlleft &6 rhen rE! vsrinions on it aollowd by a hrgnetto i. G mino., which is simply "UB tuniva lagrima,', and a FiDle bas6d on Adim\ line Aon the Adiru/DulMr duei i. Acr II The ext6 sris for Tamburi.i lal<es B€lcore's musi6 fton rhe cabaletta of tie Nqnorinotselore duet in Act tr dd .l.boote it idto a firl-scale abalertl The ,jr,J,. (foi Tmbunni) B6vo, bavo il mio B€l@e del tuo gdo e queslo on lmpo f ompl4$, sopB e s.tto, tu mi mbn u bum Ggliuolo * ni pmde, * ni pBde ad 6on0lar @l tuo Bcdio ol tuo sdio snSoLt Ho bg6ggiilo il nio ri'de Ho ingassiato il n@ rivale echc qGra a d! onllr, si. ach. qucsts e da 6l!r, si P..smably thc rcw oiee r.rl&es the frnsl sdtion ofthe duet Cleadv Belcore is on $ase alone i. ihe rdised v.Bioir add6sinS hiNelf with .o littl€ plide \4herc oriAmly he tells N.norino flur he, Nenorino, eill soon bc a oryool, in the @ision he forese! himsolts no l.ss thd t g.rcrdl! The n music co@ntrltcs on rhe 6nt line Md th. last lwo lio.s of lexl. Thc liple$ of rhe original ar. .xlended into e .labo6t. displ.y pie.€ for the vi.tuoso bliitone. Thc utrena contains a paesag. of lixtm tripl.ts follow.d, in four lolcs! by l6p! ofs tw.lfll! ldth and..i.th (high F down lo 86, b&k up 10 D ald down lo C) The Puis Ndorino in Jeuary 1839 *4 Nicola Ivuofl eid one wondeu how h. feh ar lolin8 his susic. ,.. rnd Malibrm in the light of C€cilis B.rtoli Thc .q Decca CD &on C€.ilia Banoli "Mrda", devot.d to th. famo$ mezzo Muis Malibo!! slso conlain! an ..ia for ins.don inlo /,'.ri!t d m@- Two.l{ns are madc tur this, th.i ih. dit ws qntlh by Mdibo ud rhd this is . world Drcmi.rc r.cordins The sond of rh.s. chim i, oily plni.llv rruc. Th. fi's slior ;t fie lda my well bc ,pneeins for the very fr.sl tin - bur rhe Gond c.n.inlv kni. Joan Sult.dand ad Riohard BonyngE used il in th.ir l97l rc6rdin8 of Z elisl d'.n@, thou8h ldnjhcdly ii an orch€strdion by Doug,&! Gan.y tht sounds ! lide oul of pqiod. suth.dand d$ sitr8s two lmes whqcrr B.noli 8iv.s us onlv on . This isn't th. nrst fim. lhat D€..a ha3 foBoitm th.ir om r.cordings: the lwo_ CD @mDihiion ku.d to m* Suih.rled s 8oth bidhday claircd rh,rl $i! wu thc fid rim; rhsl the onplerc we fion Rono,e d hghilkftd had b.en isued on CD (it ws oisjnally ! supplmot ro he. n6t LP EcordinA ofl,!c,4), wh€.€.s in lsct it rppd!, dl of il, on "Prim. Doma Assolul." (D66 425 605_2, ..leas.d in 1989) Frcm the LP bootlet it is cl* thai Bonynge th@glt lhis rcph@ment 0m wa witt@ by MltibM 3 husbrnd, Chdles do B{tiot Th. book thrt acsmPmis "Mana" .ome dopn rtrongly in fr@r of M.libM heru€lf. I rodel? Is ll .e![v ! Bi$.rditrg to i .aret "M. de Bddot" s Mo$i.ur de Bdriot .dhd thu Msria? (I prcsme thal the s@r; wilh thh ir the one Eonynse found.) tud h it r.a[y "s..onglv supportiu" .vidm@ lhat !tuter Paulire perfomed it s "Gros Aric von Malibm" in Bedin ir 1848? A Brilish Libory sorc of Z .litl publilh€d by Bemrd Latre of Peis, 10 which de dtached u appeddic.s the Persian md Tmbu.ini ari.s dissed above, hs rhe follo*ing pencil motalion od the title p{ge (al8 unsigned ud und3l€d): k lee edlti@ rL "L'ElGire d'An@ 61 l'@ de Peini,r pobabl@r m 1832 C.lA ddilion MDlait 2oO pasB. La 2 aiE ajelis &s et|c 6ditid .', iguiat I TIE PaisiI tuic publishq, not dE @mp.s. 9 pa, a ma comisd€ il ne nsnrmr que daB l adind p.emte. A cese plnirioh est _Prodi pr(jMt l dr p.r me ' awo une noulue nusique dc Chr 6 & BCnd, .ompose cxpres potrr Mana MalbEr, Dooueti alail @n! une nusiqle dc cer atr pdur Me lThe nN cdtron of l Elisir d morc n the ono of P mi probally or l&32 That edinon had 200 paBs The 2 .d.led ai^ in this cdition rere mt hclude{ in my belief tner ae *Prc!d, inclndcd only tn lnn cdilron In this score n p.cseDl the air po ne" wilh nsr music by Charls & Benot rvitrn *p4$ly aor Mana M.librd; DonEeti had mnposcd a snnib an 6r Madme Pesiani l I am indebied to ou Chairtun loi deciphering sone of ihe lrrench and lor the l.anslation He .lso poinls out lhat lhere ue inaccuracies in th€ s1a1ene.t and mirtakes in the French, leading him 10 the mnclusion rhal thc w!it€! was plobably 6 bookeller and not F@nch. Hoveer. it surely does rev.llrhat someone thon rhoughl thr De Bdlioi did vrire a replaceheit lor "Prendiper me". lfil isn'r the o.e reoorded by Badoli, whar aid whereisii? A second area of concern is lhat lhe.e seems lo me to be some rather dubious ,,Ah, luslincation for Badolii a$unption of lhe lols of Amina a.d No@ non credea hay lic weu for s mdro, but I hrve doubts thal the A l aria would. specislly $€ cabaleita, elen al rhe dighlly lower pilch used And is rhere diy reat evidence thal "Amina s ressitura . for 1he nost par1, is uncomfodably low for sopBnos'? I'n more inclined io b€lieve thal B.llid t&ilored fi$e paas 10 the vocal qualities ofPa$a, and thar modrn inierpreiem ofthen suoh as Csllas and Suthenaid come closer vooslly io ihe r€qunemenrs ofthe mmplete roles rhan does a hezzo such as Bartoli There are passsAcs in om4 ihat d€mand s 3oprNo's eas€ on hieh (he cabalelta to Casia Diva . the Act I confrontation wilh Pollione. the end of ,,Ei toriera", etc ) and I don'i imagine a mao such as Banoli in th.se wnh pleasur. ''Ca$ta Diva" nself may gain from inlina.y, bul Noma aho needs 10 evincc auihority. even at p6y€r Max Lopp.n s d.s.liption oflhi! (Opera, November 2007) as miorophone croonins sems alltoo rpt.
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    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 A Study of Six Selected Coloratura Soprano "Mad Scenes" in Nineteenth Century Opera. Charlotte Fakier Pipes Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pipes, Charlotte Fakier, "A Study of Six Selected Coloratura Soprano "Mad Scenes" in Nineteenth Century Opera." (1990). LSU Historical Dissertations and Theses. 5087. https://digitalcommons.lsu.edu/gradschool_disstheses/5087 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
  • Stanisław MONIUSZKO Halka Sutowicz Molendowska Goliński Korpik Wilczyńska-Goś Konieczek

    Stanisław MONIUSZKO Halka Sutowicz Molendowska Goliński Korpik Wilczyńska-Goś Konieczek

    Stanisław MONIUSZKO Halka Sutowicz Molendowska Goliński Korpik Wilczyńska-Goś Konieczek Poznań Opera House Orchestra and Chorus Gabriel Chmura 1 Overture 7:33 $Aria Stanisław I ty mu wierzysz, biedna dziewczyno Act I (Jontek, Halka, Chorus) 4:58 %Finale MON(18I1U9–1S872Z) KO 2Scene 1: Polonaise Puszczajcie mnie! Niechaj żyje para młoda (Halka, Jontek) 1:31 (Dziemba, Stolnik, Chorus, Guest I, Guest II) 4:30 ^Scene 4 3Scene 2: Trio Wszak ci mówiłem Halka Pobłogosław, ojcze panie (Janusz, Jontek) 3:10 Opera in four acts (1848, rev. 1858) (Janusz, Zofia, Stolnik, Halka) 6:03 &Scene 5 4Scene 3: Recitative Dziwna jakaś dziewka! Libretto by Włodzimierz Wolski (1824–1882) Skąd tu przybyła mimo mej woli? – Song of Janusz: (Dziemba, Chorus, Jontek, Stolnik, Sung in Polish Czemuż mnie w chwilach samotnych owych Zofia, Janusz, Halka) 1:40 (Janusz) 2:37 First performance: 1 January 1858 at the Teatr Wielki, Warsaw, Poland 5Scene 4: Song Act III Jako od wichru krzew połamany * Jontek . Dominik Sutowicz, Tenor (Halka) 2:09 Entr’acte 2:43 Halka . Magdalena Molendowska, Soprano 6Duet O Jaśko! Mój drogi! (Scene 1 Janusz . Łukasz Goliński, Bass-baritone (Halka, Janusz, Chorus) 7:23 Po nieszporach przy niedzieli Stolnik . Rafał Korpik, Bass 7Scene 5: Chorus )(Highlander, Chorus) 5:11 Tańce góralskie (‘Highland Dances’) 4:20 Zofia . Magdalena Wilczyńska-Goś, Mezzo-soprano Gdzieżeś, gdzieżeś panie młody? (Chorus, Janusz, Guest III, Guest IV) 1:37 ¡Scene 2 Dziemba . Damian Konieczek, Bass 8Aria Patrzajta! Cóż tam? Highlander . Piotr Friebe, Tenor O mościwi mi panowie! (Chorus, Jontek, Halka) 7:00 9(Stolnik, Janusz, Dziemba) 2:53 ™Finale Piper, Guest I .
  • Rossini's Reform: the Controversy Surrounding the Use of Embellishment

    Rossini's Reform: the Controversy Surrounding the Use of Embellishment

    Rossini's Reform: The controversy surrounding the use of embellishment By Adele Phillips Dissertation submitted in partial fulfillment of the requirements for the degree of Bachelor of Music with Honours University of Tasmania Conservatorium of Music November 1999 Acknowledgements An expression of thanks must go to my supervisor Dr Maria Grenfell whose friendly advice and encouragement was consistent throughout the year. Special thanks also go to Marilyn Smith for her support and guidance. Others that I would like to acknowledge include Illeana Timmins for the translation of Italian text, Eve Cookson, Meagan Currie, Warwick Oliver, David Anderson and Scott Phillips for their helpful computer knowledge and the library staff at the Tasmanian Conservatorium for their cheerful and ever-obliging assistance. Table of Contents 1. Introduction page 1 2. The history of ornamentation in solo singing 3 3. Rossini's Reform 6 4. Form of Rossini arias 10 5. Analysis: Cruda Sorte! 5.1 Synopsis, character and text 13 5.2 The Music 14 6. Analysis: Una Voce Poco Fa 6.1 Synopsis and character 24 6.2 Ornamentation 26 6.3 The Music 27 7. Conclusion 34 Appendix A: Brief biography of Rossini Appendix B: List of Rossini operas 11 Appendix C: Cruda Sortel Appendix D: Una Voce Poco Fa Bibliography 111 Abstract This dissertation discusses the evolution of Rossini's intricate vocal writing style. In 1824 the French biographer Stendhal provided a monologue of Rossini's reasoning behind his florid tunes. The monologue however was fictitious and may have contributed to a blurred understanding of the composer's style amongst later researchers.