DOCSLIB.ORG

CHAN 3044 BOOK COVER.Qxd 22/8/07 3:45 Pm Page 1 CHAN 3044 BOOK.Qxd 22/8/07 3:49 Pm Page 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CHAN 3044 BOOK COVER.Qxd 22/8/07 3:45 Pm Page 1 CHAN 3044 BOOK.Qxd 22/8/07 3:49 Pm Page 2 CHAN 3044 BOOK COVER.qxd 22/8/07 3:45 pm Page 1 CHAN 3044 BOOK.qxd 22/8/07 3:49 pm Page 2 John Tomlinson during the recording sessions Bill Cooper Bill Great Operatic Arias with John Tomlinson 3 CHAN 3044 BOOK.qxd 22/8/07 3:49 pm Page 4 Time Page Time Page George Frideric Handel (1685–1759) Giuseppe Verdi (1813–1901) from Acis and Galatea from Simon Boccanegra, Prologue Polyphemus’ Recitative and Air Fiesco’s Scena and Aria 1 ‘I rage, I rage, I rage, I melt, I burn!’ – 6 ‘A last farewell I bid you’ ‘O ruddier than the cherry’ 4:43 58 (A te l’estremo addio) – ‘My soul is torn with suffering’ 6:19 60 Wolfgang Amadeus Mozart (1756–1791) (Il lacerato spirito) from The Abduction from the Seraglio with Geoffrey Mitchell Choir Osmin’s Song, Act I 2 ‘When a maiden takes your fancy’ 2:57 58 Modest Mussorgsky (1839–1881) (Wer ein Liebchen hat gefunden) Mephistopheles’ Song of the Flea (from Goethe’s ‘Faust’) 7 Osmin and Blonde’s Duet, Act II ‘There lived a king of old’ 3:37 61 (Zhil bil korol kogdato) 3 ‘I’m going, but take my advice’ 3:46 58 (Ich gehe, doch rate ich dir) with Helen Williams soprano Alexander Borodin (1833–1887) from Prince Igor Pedrillo and Osmin’s Duet, Act II Prince Igor’s Aria, Act II 4 ‘Vivat Bacchus! Long live Bacchus!’ 2:20 60 8 No rest, no slumber’ 8:00 62 (Vivat Bacchus! Bacchus lebe!) (Ni sna, ni otdikha) with Barry Banks tenor Galitsky’s Aria, Act I George Frideric Handel 9 ‘The Prince has drunk his fill?’ – from Samson, Act II ‘The sober life of boredom’ 4:07 62 Harapha’s Air (Greshno tait) 5 ‘Honour and arms scorn such a foe’ 6:29 60 with Geoffrey Mitchell Choir 4 5 CHAN 3044 BOOK.qxd 22/8/07 3:49 pm Page 6 Time Page Time Page Khan Konchak’s Aria, Act II Sir Arthur Sullivan (1842–1900) 10 ‘Igor, listen’ 5:42 63 from The Mikado, Act II (Zdorov li, Knaz?) The Mikado’s Song 14 ‘A more humane Mikado… My object all sublime’ 4:30 66 Alexander Sergeyevich Dargomïzhsky (1813–1869) with Geoffrey Mitchell Choir from Russalka, Act I Miller’s Song Jacques Offenbach (1819–1880) 11 ‘Like every maiden in the whole of Russia’ 4:06 64 from Geneviève de Brabant (Okh, toto vse vi devky molodiye) Gendarmes’ Duet 15 ‘We’re public guardians bold yet wary’ 2:45 67 Giuseppe Verdi with Andrew Shore baritone from Ernani, Act I Silva’s Scena and Cavatina Sir Arthur Sullivan 12 ‘Can I believe it?’ from The Pirates of Penzance, Act II (Che mai vegg’io!) – Policeman’s Song ‘Vain illusion! When I believed her’ 7:09 65 16 ‘When a felon’s not engaged in his employment’ 2:37 68 (Infelice! …e tuo credevi) with Geoffrey Mitchell Choir with Geoffrey Mitchell Choir Liza Lehmann (1862–1918) John Tomlinson bass from In a Persian Garden Philharmonia Orchestra Myself when young Gareth Hancock, Stephen Clarke assistant conductors 13 ‘Myself when young did eagerly frequent’ 3:43 66 David Parry 6 7 CHAN 3044 BOOK.qxd 22/8/07 3:49 pm Page 8 Time Page Bonus track: John Tomlinson as Harapha in The Royal Opera’s Modest Mussorgsky 1985 production of Handel’s Samson from Boris Godunov, Prologue, Scene 2 Zoë Dominic Zoë (Coronation Scene) Boris’s Prayer 17 ‘My soul is sad’ 3:59 68 (Skorbit dusha!) John Tomlinson bass Chorus of Opera North Choristers of Leeds Parish Church English Northern Philharmonia Paul Daniel (from CHAN 3007) TT 77:42 00 Further appearances in Opera in English John Tomlinson: Julius Caesar (CHAN 3019(3)), Mary Stuart (CHAN 3017(2)), Rigoletto (CHAN 3030(2)), Werther (CHAN 3033(2)) and highlights from Boris Godunov (CHAN 3007) and Der Rosenkavalier (CHAN 3022) Helen Williams: The Elixir of Love (CHAN 3027(2)) and Il trovatore (CHAN 3036(2)) Barry Banks: Don Pasquale (CHAN 3011(2)) and The Elixir of Love (CHAN 3027(2)) Andrew Shore: Don Pasquale (CHAN 3011(2)), The Elixir of Love (CHAN 3027(2)), The Barber of Seville (CHAN 3025(2)), La bohème (CHAN 3008(2)), Tosca (CHAN 3000(2)) and highlights from Der Rosenkavalier (CHAN 3022) 8 CHAN 3044 BOOK.qxd 22/8/07 3:49 pm Page 10 role.) With Fischer in his cast for The duet (‘Old Mohammad wasn’t thinking when Great Operatic Arias Abduction from the Seraglio, Mozart made he put a ban on drinking’); its start is Osmin a more important character than he had rhythmically identical. Charles Burney in his General History of Music Handel’s basses, when not subsidiary been in the source libretto. Osmin’s first aria, The bass role in Ottocento opera seria was makes a striking remark: ‘Handel’s genius and characters such as captains or companions, can ‘When a maiden takes your fancy’ 2 , playfully typically a noble, authoritative ruler, a grave fire never shine brighter than in the bass songs be kindly mages, grave fathers or – like pictures his amorous possessiveness and morose priest, or a loving, possibly severe father. Don which he composed for Boschi and Polyphemus, and like Harapha in Samson – suspicions – and also exploits one of Fischer’s Ruy Gomez de Silva in Verdi’s Ernani is an Montagnana.’ Giuseppe Maria Boschi sang in blustering braggarts. The part of Harapha was specialities as a melody obsessively centred on exception: the bass as a lover, one of the three Handel’s Venetian opera Agrippina (1709), in composed for Theodore Reinhold, Handel’s middle G suddenly plunges to low G and then men – the tenor, the baritone and the bass – Rinaldo (1711), and then as the bass in all principal bass from 1736 to 1751. His later takes an octave-and-a-fifth leap upward. who seek the heroine’s hand. Elvira is in fact Handel’s operas during the eight years of the bass characters could also be tragic heroes – In Osmin’s duet with Blonde, ‘I’m going, betrothed to her elderly guardian, Silva. The Royal Academy at the King’s Theatre (1720–8). Reinhold was Handel’s first Saul and his first but take my advice’ 3 , Mozart pits a spirited, aria ‘Vain illusion! When I believed her’ 12 is We don’t know who was the bass in the Duke Hercules – but Harapha, the giant of Gath fearless young Englishwoman against the his lament and reproach when, entering her of Chandos’s musical establishment at Cannons, taunting the blinded Samson, conforms to the bloodthirsty keeper of the seraglio: a wide- chamber on the eve of his wedding, he finds but the role of Polyphemus in Acis and Galatea earlier type as he boasts in his braggadocio ranging soprano against a wide-ranging bass. the other two men there. The Venetian (1718) points to an able singer. Winton Dean virtuoso display of octave leaps, stepwise (She was Therese Teyber, and her role runs company for which Verdi composed Ernani describes the one-eyed giant, feaster on human ascents running through the registers, and from low A flat up to E in altissimo, just a did not have a leading bass, and Silva was flesh, but tenderly in love with Galatea, as coloratura. To close the middle section of the semitone below the Queen of the Night’s originally designated a basso comprimario role. ‘Handel’s first immortal stage figure’. In this aria ‘Honour and arms’ 5 , on ‘I disdain’ famous Fs.) Osmin tries to cow his ‘slave’ into But in later productions, when the great bass pastoral, the composer treats the ogre with a Mr Tomlinson extends the written range by a obedience in a stepwise descent to bottom E Ignazio Marini undertook the part, a humorous and almost affectionate touch. The fourth, down to bottom D. followed by a soaring arpeggio. Blonde, ‘vengeance cabaletta’ was added to the brief tune of Polyphemus’ amorous ditty ‘O ruddier Mozart, like Handel, wrote important bass unimpressed, mimics and mocks him. solo. Its authorship remains in doubt. The than the cherry’ 1 was in fact composed by roles for a benevolent mage, a stern father, and ‘Vivat Bacchus!’ 4 is a lively drinking-song coda is lifted from Nabucco, and self- Reinhard Keiser, for the opera Janus (Hamburg, a ferocious blusterer viewed in humorous after Pedrillo has persuaded Osmin to taste borrowing of that kind, common enough 1698); but the tootling of a sopranino recorder fashion. His first Osmin was Karl Ludwig wine for the first time. Haydn’s opera among Verdi’s predecessors, was not his high above the tune – a merry, fanciful Fischer, famous for a compass that extended L’incontro improviso, another escape-from-the- practice. On the other hand, the piece did depiction of the gigantic panpipe constructed from bottom C to high A, and for his florid seraglio comedy with a cast of two sopranos, appear in Ernani scores published in his for the giant’s ‘capacious mouth’ – is, so far as technique. (Mozart even thought of rewriting two tenors and a bass, composed seven years lifetime, and in modern performances of the we know, Handel’s own invention. Idomeneo so that Fischer could sing the title before Mozart’s, has a comparable tenor-bass opera it is more often heard than not. (A 10 11 CHAN 3044 BOOK.qxd 22/8/07 3:49 pm Page 12 complete recording of Ernani sung in English in at short notice for an indisposed colleague. in 1867 (the year of Napoleon III’s Grand pedantry would seek to alter its ambiguity.) is soon to be released on Chandos [CHAN He sang the role in London in 1931, at the Exposition, and of Don Carlos).
Load more

Recommended publications
  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.
    [Show full text]
  • Catalogo Nr.32 Primavera 2009
    LIBRERIA MUSICALE GALLINI VIA GORANI 8 - 20123 MILANO (ITALY) - TEL. e FAX. 0272.000.398 CATALOGO NR.32 PRIMAVERA 2009 INDICE: Biografie ......................................pag. 2 (da nr. 1 a 150) Libri di argomento musicale ..........pag. 10 (da nr. 151 a 238) Libri su strumenti musicali .............pag. 15 (da nr. 239 a 291) Spartiti d’opera per canto e pf ......pag. 19 (da nr. 292 a 435) Lettere autografe di musicisti ........pag. 29 (da nr. 436 a 454) Lettere autografe di letterati ..........pag. 31 (da nr. 455 a 504) Condizioni di vendita ................................. pag. 38 / 39 - 2 - BIOGRAFIE DI MUSICISTI: 1) AA.VV. (a cura di G.Taborelli e V.Crespi): “Ritratti di compositori”. Milano, Banco Lariano e Amici della Scala 1990. 4° leg. ed. con sovracoperta pp.160 con moltissimi ritratti di compositori a colori e in b.n. Ricca bibliografia. Un semiologo dell’immagine (A.Veca), due storici dell’arte (V. Crespi e G.Fonio), uno storico della musica (F. Pulcini) e uno storico della cultura (G. Taborelli) prendono in esame una serie di ritratti di compositori dipinti dal rinascimento ai nostri giorni. A volte la loro effigie, a volte quella che posteri reverenti hanno loro attribuito. Molto bello e interessante. € 75,00 2) Félix CLEMENT: “Les musiciens célèbres depuis le seizième siècle jusqu’a nos jours Paris, Hachette 1873 (II edizione). 8° leg. edit., tit. oro al dorso, pp. XI + 660. Bibliografia. F.t. 40 ritratti di musicisti (acqueforti di Masson, Delblois e Massard). Ritratti di Gluck, Mondoville e della famiglia Mozart, riproduzioni eliografiche di incisioni settecentesche di A Durand.
    [Show full text]
  • The Cambridge Companion to Greek Mythology (2007)
    P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr.
    [Show full text]
  • 7Th Grade Lesson Plan: It's Greek to Me: Greek Mythology
    7th grade Lesson Plan: It’s Greek to me: Greek Mythology Overview This series of lessons was designed to meet the needs of gifted children for extension beyond the standard curriculum with the greatest ease of use for the edu- cator. The lessons may be given to the students for individual self-guided work, or they may be taught in a classroom or a home-school setting. This particular lesson plan is primarily effective in a classroom setting. Assessment strategies and rubrics are included. The lessons were developed by Lisa Van Gemert, M.Ed.T., the Mensa Foundation’s Gifted Children Specialist. Introduction Greek mythology is not only interesting, but it is also the foundation of allusion and character genesis in literature. In this lesson plan, students will gain an understanding of Greek mythology and the Olympian gods and goddesses. Learning Objectives Materials After completing the lessons in this unit, students l D’Aulaires’ Book of Greek Myths by Ingri and will be able to: Edgar Parin D’Aulaire l Understand the Greek view of creation. l The Gods and Goddesses of Olympus by Aliki l Understand the terms Chaos, Gaia, Uranus, Cro- l The Mighty 12: Superheroes of Greek Myths by nus, Zeus, Rhea, Hyperboreans, Ethiopia, Mediter- Charles Smith ranean, and Elysian Fields. l Greek Myths and Legends by Cheryl Evans l Describe the Greek view of the world’s geogra- l Mythology by Edith Hamilton (which served as a phy. source for this lesson plan) l Identify the names and key features of the l A paper plate for each student Olympian gods/goddesses.
    [Show full text]
  • Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
    1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business.
    [Show full text]
  • SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr.
    [Show full text]
  • Royal Opera House Performance Review 2006/07
    royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 1 Royal Opera House Performance Review 2006/07 The Royal Ballet - The Royal Opera royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 2 Contents 01 TH E ROYA L BA L L E T PE R F O R M A N C E S 02 TH E ROYA L OP E R A PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 3 3 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 01 TH E ROYA L BA L L E T PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 4 4 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 GI S E L L E NU M B E R O F PE R F O R M A N C E S 6 (15 matinee and evening 19, 20, 28, 29 April) AV E R A G E AT T E N D A N C E 91% CO M P O S E R Adolphe Adam, revised by Joseph Horovitz CH O R E O G R A P H E R Marius Petipa after Jean Coralli and Jules Perrot SC E N A R I O Théophile Gautier after Heinrich Meine PRO D U C T I O N Peter Wright DE S I G N S John Macfarlane OR I G I N A L LI G H T I N G Jennifer Tipton, re-created by Clare O’Donoghue STAG I N G Christopher Carr CO N D U C T O R Boris Gruzin PR I N C I PA L C A S T I N G Giselle – Leanne Benjamin (2) / Darcey Bussell (2) / Jaimie Tapper (2) Count Albrecht – Edward Watson (2) / Roberto Bolle (2) / Federico Bonelli (2) Hilarion – Bennet Gartside (2) / Thiago Soares (2) / Gary Avis (2) / Myrtha – Marianela Nuñez (1) / Lauren Cuthbertson (3) (1- replacing Zenaida Yanowsky 15/04/06) / Zenaida Yanowsky (1) / Vanessa Palmer (1) royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 5 5 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 LA FI L L E MA L GA R D E E NU M B E R O F PE R F O R M A N C E S 10 (21, 25, 26 April, 1, 2, 4, 5, 12, 13, 20 May 2006) AV E R A G E AT T E N D A N C E 86% CH O R E O G R A P H Y Frederick Ashton MU S I C Ferdinand Hérold, freely adapted and arranged by John Lanchbery from the 1828 version SC E N A R I O Jean Dauberval DE S I G N S Osbert Lancaster LI G H T I N G John B.
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]
  • Phonographic Bulletin
    iasa Intern<Jtional Association of Sound Archives Association Internationale d'Archives Sonores Internation~le Vereinigung derSchallarchive phonographic bulletin no.35/March 1983 PHONOGRAPHIC BULLETIN Journal of the International Association of Sound Archives IASA Organe de 1 'Association Internationa1e d'Archives Sonores IASA Zeitschrift der Internationa1en Vereinigung der Schallarchlve IASA Editor: Ann Brieg1eb. Ethnomusico1ogy Archives. Mlisic Department. U.C.L.A .• ·Los Angeles, California 90024, USA. Editorial board: Technical Editor, Dr.Dietrich SchUl1er. Phonogrammarchiv der Osterreichischen Akademie der Wissenschaften, Wien, Austria; Review and Recent Publication Editor, Joe1 Gardner, 1011 Forge Ave., Baton Rouge. LA 70808" USA; News and Notes Editor, Peter Burgis, Sound Recording Collection, National Library of Australia, Canberra, A.T.C., Australia 2618. ------~-------------------------------~--------------------------------------------~----------- The PHONOGRAPHIC BULLETIN is published three times a year and is sent to all members of IASA. Applications for membership in IASA should be senfto the Membership Secretary (see 1i.st of officers below). The annual dues are at the moment 25.-Deutsche Mark for individual members and 60.-Deutsche Mark for institutional members. Back copies of the PHONOGRAPHIC BULLETIN from 1971 are available at lS.-Deutsche Mark for each year's issue, .inc1uding postage. Subscriptions to the current year's issues of the PHONOGRAPHIC BULLETIN . are also available to non-members at a cost of about 25.-Deutsche Mark. '. ' . Le Journal de 1 'Association internationale d'archives sonores,' le PHONOGRAPHIC BUtLETIN;est pub1ie trois fois 1 'an et distribue a tous les members. Veui1lez envoyer vos demandesd ' adhesion au secretaire dont vous trouverez 1 'adresse ci-dessous. Les cotisations annuel1es sont en ce moment de 25.-Deutsche Mark pour 1es membres individue1s et 60.-Deutsche Mark Dour 1es membres institutionnels.
    [Show full text]
  • Attila Dramma Lirico in Un Prologo E Tre Atti
    FONDAZIONE TEATRO LA FENICE DI VENEZIA Paolo Costa presidente Cesare De Michelis Pierdomenico Gallo Achille Rosario Grasso Mario Rigo Luigino Rossi Valter Varotto Giampaolo Vianello consiglieri sovrintendente Giampaolo Vianello direttore artistico Sergio Segalini direttore musicale Marcello Viotti Angelo Di Mico presidente Adriano Olivetti Paolo Vigo Maurizia Zuanich Fischer SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. FONDAZIONE TEATRO LA FENICE DI VENEZIA Attila dramma lirico in un prologo e tre atti libretto di Temistocle Solera musica di Giuseppe Verdi PalaFenice venerdì 26 marzo 2004 ore 19.00 turno A domenica 28 marzo 2004 ore 15.30 turni B-H martedì 30 marzo 2004 ore 19.00 turno D giovedì 1 aprile 2004 ore 19.00 turni E-I sabato 3 aprile 2004 ore 15.30 turno C La Fenice prima dell’Opera 2004 3 Ritratto fotografico di Verdi con dedica autografa alla Direzione del Teatro. Venezia, Archivio Sto- rico del Teatro La Fenice. La Fenice prima dell’Opera 2004 3 Sommario 5 La locandina 7 «Qual risorta fenice novella» … di Michele Girardi 9 Attila, libretto e guida all’opera a cura di Marco Marica 57 Attila in breve a cura di Gianni Ruffin 59 Argomento – Argument – Synopsis – Handlung 69 Marco Marica Verdi, Mozart e l’opera del Settecento 83 Emanuele Senici «Prima donna Sig.na Sofia Loewe, primo tenore Guasco»: cantanti, caratterizzazione e scelte compositive nell’Attila 99 Guido Paduano Il gioco delle parti nella drammaturgia di Attila 101 Lorenzo Bianconi Risposta a Giuliano Procacci 117 Stefano Castelvecchi Verdi per la storia d’Italia 123 John Rosselli Risposta a Giuliano Procacci 129 Walter Le Moli Attila: un’esperienza di lavoro registico 139 Marco Marica Bibliografia 151 Online: L’Unno nazionale a cura di Roberto Campanella 161 Giuseppe Verdi a cura di Mirko Schipilliti Locandina della prima rappresentazione di Attila.
    [Show full text]
  • Contemporary Productions of Gilbert & Sullivan's the Pirates of Penzance
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2007 Food For Joyous Laughter: Contemporary Productions Of Gilbert & Sullivan's The Pirates Of Penzance Julia Winstead University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Winstead, Julia, "Food For Joyous Laughter: Contemporary Productions Of Gilbert & Sullivan's The Pirates Of Penzance" (2007). Electronic Theses and Dissertations, 2004-2019. 3414. https://stars.library.ucf.edu/etd/3414 FOOD FOR JOYOUS LAUGHTER: CONTEMPORARY PRODUCTIONS OF GILBERT & SULLIVAN’S THE PIRATES OF PENZANCE. by JULIA COURTNEY WINSTEAD B.A. Murray State University, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts & Humanities at the University of Central Florida Orlando, Florida Summer Term 2007 ABSTRACT The operetta, The Pirates of Penzance, is a classic work by Gilbert and Sullivan, a work that continues to be produced frequently despite its Victorian setting and operatic style. For many years the standard performance style of all the operettas by Gilbert and Sullivan was upheld by the D‟Oyly Carte Opera Company, who attempted to perform the operettas as they had originally been done.
    [Show full text]
  • Catalogue 1926
    This (1926) edition of the 'Vocalion' Record Catalogue in its new and simplified form will it is hoped, enable the Public to select to the best advantage from the wide and representative range of records enumerated therein. The present edition contains all Records issued up to and including November, 1925. The five distinct Sections into which the Catalogue is divided enable the customer to find any required record at a glance. Key to Indices. (a) Alphabetical List Artists: of - gives the page numbers on which will be found the works recorded by individual Artists. Alphabetical List of Titles :- shows all titles other than Dance numbers, the latter appearing separately at the end of the Catalogue, on tinted paper. In giving this general list of titles, the reverse side of each Record is shown in italics, excepting where various works appear under Subject Headings, in which case the reverse side will be found under the name of the piece itself. (continued overleaf (c) Artists and their Records :- This Section is sub-divided into five parts :- 1. Operatic, Oratorio, Songs and Ballads 2. Instrumental 3. Band 4. Orchestral 5. Miscellaneous Each part being arranged alphabetically under the names of the Artists and in the order of Solos, Duets, Trios, Quartettes, etc. (d) Composers' List :- To enable the customer to select from the works of well known composers, a simple list has been inserted, giving the page number on which such works will be found. (e) Dance Section:- The very great demand for Dance Music has prompted us to arrange this Section distinct from the main part of the Catalogue, and in alphabetical headings Fox-trots, order of titles under the respective of Highland Reels, Lancers, One-steps, Tangos and Waltzes, the reverse side being shown in italics.
    [Show full text]