DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Insertion Arias for L'elisir D,Amore - Persiani, Tamburini, And 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.
Load more

Recommended publications
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
    Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'.
    [Show full text]
  • How Verdi's Operas Begin: an Introduction to the Introduzioni David Rosen Cornell University
    Verdi Forum Number 16 Article 1 1-1-1988 How Verdi's Operas Begin: An Introduction to the Introduzioni David Rosen Cornell University Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons Recommended Citation Rosen, David (1988) "How Verdi's Operas Begin: An Introduction to the Introduzioni," Verdi Forum: No. 16, Article 1. Available at: http://scholarship.richmond.edu/vf/vol1/iss16/1 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. How Verdi's Operas Begin: An Introduction to the Introduzioni Keywords Giuseppe Verdi This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss16/1 How Verdi's Operas Begin: an Int roduction to the "lntroduzioni" 1 David Rosen, Cornell University One of the most intriguing alterations denote anything from an opening chorus (e.g. made during Verdi's transformation of Ernani) to a complex organism making Stiffelio (1850) into Aro/do (1857) is his extensive use of the chorus, but not replacement of the elaborate introduzione of necessarily right at the opening (e.g., the the earlier opera with an off-stage chorus opening tableau of Rigoletto). That the term and the (newly-written) preghiera (prayer). is not used in l masnadieri and !/ corsaro-­ To be sure, there are problems specific to where the chorus is off stage and therefore this particular introduzione that may have at least visually subordinate -- might suggest led Verdi to make this drastic change, and I .the further requirement that the chorus be shall take them up in due course.
    [Show full text]
  • Cavatina from ’’6 Morceaux’’ Opus 85
    Cavatina from ’’6 Morceaux’’ Opus 85 Oboe & Piano Arr.: Jan Valta Joseph Joachim Raff EMR 31283 Print & Listen Drucken & Anhören Imprimer & Ecouter ! www.reift.ch Route du Golf 150 ! CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 ! Fax +41 (0) 27 483 42 43 ! E-Mail : [email protected] ! www.reift.ch Cavatina | from ''6 Morceaux'' Opus 85 Photocopying is illegal! Joseph Joachim Raff Arr.: Jan Valta Larghetto, quasi Andantino (q = 80) A Oboe p mp p Piano 5 10 B pp pp 15 f pp cresc. f pp cresc. EMR 31283 www.reift.ch © COPYRIGHT BY EDITIONS MARC REIFT CH-3963 CRANS-MONTANA (SWITZERLAND) ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED OBOE Oboe & Piano (Fortsetzung - Continued - Suite) EMR 20461 BORODINE, Alexander Polovetzian Dance EMR 25624 BRAHMS, Johannes Albumblatt OBOE TUTORS & STUDIES EMR 2027B BRUCKNER, Anton Ave Maria EMR 21776 BUTTALL, Philip R. Tutti Frutti EMR 109 REIFT, Marc Rhythmus Schule / School of Rhythm EMR 22893 CACCINI, Giulio Ave Maria OBOE SOLO EMR 25454A CAPLET, André Adagio EMR 25736 CARULLI, Ferdinando Andante Affettuoso EMR 13319 GRGIN, Ante Theme and Variations EMR 19001 CHESEAUX, Tony Easter Song EMR 25286A CHOPIN, Frédéric 2 Préludes OBOE & PIANO EMR 2070B CORELLI, Arcangelo Sonata in G Minor EMR 13436 ABREU, Zequinha Tico-Tico EMR 291T CORRETTE, Michel Sonata in D Minor EMR 28643 ALBINONI, Tomaso Concerto in Bb major EMR 25223A CZERNY, Carl 2 Marches EMR 28697 ALBINONI, Tomaso Concerto in D Minor EMR 21964 CZERNY, Carl Grande Marche EMR 28670 ALBINONI, Tomaso Concerto in F Major EMR 2168B DANE, Mary Las Cañadas EMR 317B ALBINONI, Tomaso Konzert B-Dur EMR 21272 DANKS, H.P.
    [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]
  • COURSE DESCRIPTION (C Group) Course Volume Course Course Valid Course Group in ECTS Course Valid to Reg
    COURSE DESCRIPTION (C group) Course volume Course Course valid Course group in ECTS Course valid to Reg. No. code since credits DAI5034 C 6 ECTS 2015 03 26 Course type (compulsory or optional) Compulsory Course level (study cycle) Graduate (MA program) Semester the course is delivered 2 (of 4) Study form (face-to-face or distant) Face-to-face Course title in Lithuanian MUZIKINIŲ SPEKTAKLIŲ PRAKTIKA II Course title in English PERFORMANCE OF MUSICAL THEATRE GENRES II Short course annotation in Lithuanian Muzikinių spektaklių praktika – studijų krypties dalykas, skirtas operos dainininko gebėjimų ugdymui. Jo studijos trunka keturis semestrus, kurių metu plečiamos ir gilinamos žinios apie operos, operetės ar miuziklo žanro muziką, analizuojamas muzikinis tekstas, lavinami meniniai įgūdžiai, atliekamas įvairių muzikos stilių bei sceninių žanrų repertuaras. Studijų metu įgyjama sceninė patirtis, ugdoma menininko – kūrėjo asmenybė. Tai yra 2 lygis iš 4 Short course annotation in English Performance of musical theatre genres is a study subject, designed for the development of the abilities of an opera singer. The course takes up four semesters, during which opera, operetta and musical genre‘ knowledge is expanded and deepened, musical text is analyzed, artistic skills are developed, repertoire of various musical styles is formed and performed. During the studies, stage experience is gained, artistic personality is developed. This is level 2 of 4. Prerequisites for entering the course The student must pass Performance of musical theatre genres I course and pass its exam Aim of the course The aim of the course is to perform opera’ vocal numbers, parts (aria, arioso, cavatina, rondo, monologue, recitative and so on), analyze stage circumstances, stage atmosphere, stage act, interpret characters in musical and stage aspects.
    [Show full text]
  • 1 the STORY of OPERA: UCT Summer School 2021: Lecture 3
    1 THE STORY OF OPERA: UCT Summer School 2021: Lecture 3: THE ITALIANS, from Rossini to Puccini Presented by Elizabeth Handley – MUSIC OF NOTE ♫ I ITALIAN OPERA IN THE PRIMO OTTOCENTO (1800-1850) INTRODUCTION - Early 19th C ItalY: new works expected every season -> a system of rapid production, self-borrowing and plagiarism. Quantity rather than quality. Opera house the centre of Italian social life. - The aria del sorbetto (sorbet aria) and the aria di baule ( [trunk] aria). - Opera seria – still the most prestigious genre for star singers: splendid sets and costumes, expensive. - Castrati phased out -> new types of singer emerged. Tenors allotted more major roles. - A new breed of singing actress, eg. Isabella Colbran (1785-1845) & Giuditta Pasta (1797-1865). 1. Gioachino Antonio Rossini (1792 – 1868) - The most creative and influential opera composer of the early 19th C. - Developed new musical forms, eg. the cavatina (slow) & virtuosic cabaletta (fast); the scena (scene). - The “Rossini crescendo”: to increase the excitement. - Jenny Lind (1820-87): the “Swedish Nightingale”. Recommended Listening: La Scala di Seta (1812): Overture Il Signor Beruschino (1812): Overture Tancredi (1812-13): Di tanti palpiti L’Italiana in Algeri (1813): Overture Il Barbiere di Siviglia (1816) - same Beaumarchais play as Mozart’s Le Nozze di Figaro: Ecco ridente in cielo, La calunnia e un venticello, Fredda ed immobile, Buona sera, mio signore Otello (1816) La Cenerentola (1816-17): Signor, una parola, Nacqui all’affanno...Non piu mesta La Gazza Ladra (1817): Overture Mosè in Egito (1818): Dal tuo stellato soglo Semiramide (1822-23): Overture, Bel raggio lusinghier (coloratura) Le Comte Ory (1828) William Tell (1828-29): Overture Stabat Mater and Petite messe solonelle Donizetti and the “Rossiniani” 2.
    [Show full text]
  • Cavatina and Variations Eupho Bar
    Cavatina and Variations Euphonium or Baritone ( + ) & Piano Arr.: Bertrand Moren Jean-Baptiste Arban EMR 20543 Print & Listen Drucken & Anhören Imprimer & Ecouter ≤ www.reift.ch Route du Golf 150 ••• CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 ••• Fax +41 (0) 27 483 42 43 ••• E-Mail : [email protected] ••• www.reift.ch | Photocopying Cavatina and Variations is illegal! Jean-Baptiste Arban Arr.: Bertrand Moren Andante Solo Euphonium / Baritone in B b ff p Piano ff p 7 A 3 p mf 3 3 mf 12 rit. 6 3 3 p 3 p 17 B Cadenza ad lib. C A tempo 3 3 f p fp p EMR 20543 © COPYRIGHT BY EDITIONS MARC REIFT CH-3963 CRANS-MONTANA (SWITZERLAND) www.reift.ch ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED 4 21 3 3 3 3 6 25 opt. 6 3 3 3 6 6 3 3 3 6 f p f p 29 D Cadenza ad lib.E A tempo e maestoso f p p ff f
    [Show full text]
  • Les Pêcheurs De Perles Movement Director Andrew Dawson Was Made Possible by a Generous Gift from the Gramma Fisher Foundation, Marshalltown, Iowa
    lesGEORGES BIZET pêcheurs de perles The Pearl Fishers conductor Opera in three acts Gianandrea Noseda Libretto by Eugène Cormon and production Penny Woolcock Michel Carré Saturday, January 16, 2016 set designer Dick Bird 1:00–3:35 PM costume designer Kevin Pollard New Production lighting designer Jen Schriever projection design 59 Productions The production of Les Pêcheurs de Perles movement director Andrew Dawson was made possible by a generous gift from the Gramma Fisher Foundation, Marshalltown, Iowa Additional funding was received from The Annenberg Foundation; Mr. William R. Miller, general manager in memory of Irene D. Miller; and American Express Peter Gelb music director James Levine A co-production of the Metropolitan Opera and principal conductor English National Opera, originally created by Fabio Luisi English National Opera 2015–16 SEASON The 9th Metropolitan Opera performance of GEORGES BIZET’S This performance les pêcheurs is being broadcast live over The de perles Toll Brothers– The Pearl Fishers Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury Gianandrea Noseda ® homebuilder , with in order of vocal appearance generous long-term support from zurga, vill age he adman The Annenberg Mariusz Kwiecien* Foundation, The Neubauer Family nadir, a pe arl diver Foundation, the Matthew Polenzani Vincent A. Stabile Endowment for leïl a, priestess of br ahma Broadcast Media, Diana Damrau and contributions from listeners nour abad, high priest of br ahma worldwide. Nicolas Testé There is no Toll Brothers– Metropolitan Opera Quiz in List Hall today. This performance is also being broadcast live on Metropolitan Opera Radio on SiriusXM channel 74.
    [Show full text]
  • "Mad Scenes" in Nineteenth Century Opera. Charlotte Fakier Pipes Louisiana State University and Agricultural & Mechanical College
    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.
    [Show full text]
  • 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 .
    [Show full text]
  • 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.
    [Show full text]