Giuseppe Verdi's Aida Op

Total Page:16

File Type:pdf, Size:1020Kb

Giuseppe Verdi's Aida Op Aida Book by Giuseppe Verdi Music by Giuseppe Verdi Lyrics by Antonio Ghislanzoni Production Information: Giuseppe Verdi’s Aida opened at the Glimmerglass Festival in Cooperstown, New York, on July 7th, 2012. Production owned by The Glimmerglass Festival Director: Francesca Zambello Conductor: Nader Abbassi Associate Director: N/A Choreographer: N/A Set Designer: Lee Savage Costume Designer: Bibhu Mohapatra Lighting Designer: Robert Wierzel Sound Designer: Joel Morain Projections Designer: N/A Projected Titles Translation: Kelley Rourke Projections: N/A Hair & Makeup Designer: Elsen Associates, Inc. Stage Manager: Brett Finley Cast Information: Principals: 03w, 05m Men’s Chorus: 20 Women’s Chorus: 19 Children’s Chorus: N/A Dancers: 8 (4m, 4w- included in chorus) Supers: 4 (Stage Hands in Costume) Costume Information: Built by: The Glimmerglass Festival Costume Shop. Shoes and undergarments NOT included. Audio/Video/Special Effects Information: Recorded Sound cues: Yes Sound Cues. List Unavailable Sound Cues were created by Joel Morain Disc of Sound Cues Available **Additional royalty required for use of sound effects. Projected Titles Information: Available in Powerpoint Format. **Additional royalty required for use of titles. Glimmerglass Festival General Information: Alice Busch Opera Theater Proscenium Height: 24’-0’’ Proscenium Width: 44’-0’’ Apron Depth: 4’-8’’ Stage Depth: 41’-5’’ (plaster line to back wall, 38’-0’’ to fire lane) Stage House Width: Center Line to Stage Left fly rail, 37’-1 ½’’ Center Line to Stage Right fire lane, 47’-1 ½’’ Number of Line sets: 49 Arbor Capacity: 1800 lbs. Loading Door: 12’-0’’ by 23’-0’’ Photos: William Brown Rental Fee: Base rental fee: contact Abby Rodd, Director of Production 607.547.0700 x222, or [email protected] Additional costs: ***deposit required*** -actual costs deducted from deposit Designer Royalties (Scenery and Costumes) Scenery Supervisor Wardrobe Supervisor Loading & Unloading costs Shipping Accommodations & Travel for Supervisors Insurance Administrative costs (drawings, copies, etc.) .
Recommended publications
  • El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
    Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini.
    [Show full text]
  • Giacomo Puccini Krassimira Stoyanova
    Giacomo Puccini Complete Songs for Soprano and Piano Krassimira Stoyanova Maria Prinz, Piano Giacomo Puccini (1858-1924) 5 Ave Maria Leopolda (Giacomo Puccini) Conservatory. It is introduced by solemn organ harmonies (Milan, 20 May 1896) with strong treble line. The melody is shaped by slow Songs This short song is a setting of one of the composer’s letters lingering inflections of considerable emotional intensity. The Giacomo (Antonio Domenico Michele Seconda Maria) Gramophone Company (Italy) Ltd. The tone of this song, to the conductor Leopoldo Mugnone (who conducted hymn moves on to a more questioning phase, and concludes Puccini (1858-1924) was born into a family with long musical by the famous librettist Illica, a man of exuberant and violent Manon Lescaut and La Bohème in Palermo). It is a jocular with a smooth organ postlude. The tune was used by the traditions. He studied with the violinist Antonio Bazzini passions, celebrates the positivism of the late 19th century. salutation, offering greetings to his spouse Maria Leopolda, composer in his first opera Le Villi (1883) as the orchestral (1818-1897) and the opera composer Amilcare Ponchielli The text reflects that, although life is transient, we sense the from the dark Elvira (Bonturi, Puccini’s wife) and the blonde introduction to No. 5 and the following prayer Angiol di Dio. (1834-1886), and began his career writing church music. existence of an ideal that transcends it, conquering oblivion Foschinetta (Germignani, Puccini’s stepdaughter), who He is famous for his series of bold and impassioned operas and death. The musical setting is confident and aspirational, send kisses and flowers.
    [Show full text]
  • Nomination Form International Memory of the World Register
    1 Nomination form International Memory of the World Register Antonio Carlos Gomes: composer of two worlds ID[ 2016-73] 1.0 Summary (max 200 words) Antonio Carlos Gomes: composer of two worlds gathers together documents that are accepted, not only by academic institutions, but also because they are mentioned in publications, newspapers, radio and TV programs, by a large part of the populace; this fact reinforces the symbolic value of the collective memory. However, documents produced by the composer, now submitted to the MOW have never before been presented as a homogeneous whole, capable of throwing light on the life and work on this – considered the composer of the Americas – of the greatest international prominence. Carlos Gomes had his works, notably in the operatic field, presented at the best known theatres of Europe and the Americas and with great success, starting with the world première of his third opera – Il Guarany – at the Teatro alla Scala – in Milan on March 18, 1870. From then onwards, he searched for originality in music which, until then, was still dependent and influenced by Italian opera. As a result he projected Brazil in the international music panorama and entered history as the most important non-European opera composer. This documentation then constitutes a source of inestimable value for the study of music of the second half of the XIX Century. 2.0 Nominator 2.1 Name of nominator (person or organization) Arquivo Nacional (AN) - Ministério da Justiça - (Brasil) Escola de Música da Universidade Federal do Rio de
    [Show full text]
  • The Metropolitan Opera Presents Aida in HD
    Visions and Voices and the USC Libraries have collaborated to create a series of resource guides that allow you to build on your experiences at many Visions and Voices events. Explore the resources listed below and continue your journey of inquiry and discovery! USC LIBRARIES RESOURCE GUIDE VISIONS AND VOICES and the USC SCHOOL OF CINEMATIC ARTS, in conjunction with the METROPOLITAN OPERA in New York, present the HD telecast of Giuseppe Verdi’s Aida. To help you learn more about Verdi’s masterpiece, ROSS SCIMECA of the USC LIBRARIES has selected the following resources. Introduction Giuseppe Verdi composed 28 operas during his lifetime. Aida is the 26th, followed by his late masterpieces, Otello and Falstaff. What is unique about Aida is that it is a grand opera, meaning it features extended choruses, ballets and marches composed in a theatrically spectacular style. Like Don Carlos, which preceded Aida by five years and premiered at the Paris Opera, Verdi brilliantly integrated these spectacular elements with the vocal elements of traditional opera. Camille du Locle took the plot for his French-language libretto for Aida from the work of Egyptologist Mariette Bey. The libretto was later translated into Italian verse by Antonio Ghislanzoni. Commissioned by the Khedive of Egypt, Aida premiered at the Italian Theatre in Cairo on December 24, 1871. It was a sensational success, as it was two months later at Milan’s La Scala. The opera reached New York’s Academy of Music on November 26, 1873. You can find the Italian-language libretto of Aida and an English translation in the Opera Classics Library by clicking on the Databases tab at: www.usc.edu/libraries/eresources.
    [Show full text]
  • La Traviata March 5 – 13, 2011
    O p e r a B o x 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 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards.
    [Show full text]
  • Opera Aida Directed by Olivier Py and Noda Kabuki Version of Princess Aida
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hosei University Repository Aida as a Drama: Opera Aida Directed by Olivier Py and Noda Kabuki Version of Princess Aida 著者 Hiranoi Chieko 出版者 法政大学人間環境学会 journal or 人間環境論集 publication title volume 17 number 1 page range 43-58 year 2016-12-21 URL http://hdl.handle.net/10114/13603 Aida as a Drama: Opera Aida Directed by Olivier Py and Noda Kabuki Version of Princess Aida Chieko Hiranoi 1. Classics in Modern Society This year 2016 is the 400th anniversary of William Shakespeare’s death, and various related events have been organized worldwide, especially in the United Kingdom. For instance, Shakespeare’s Globe made a series of short films abridged from every work of Shakespeare titled The Complete Walk, which surely reminds the audience of‘The Complete Works’ of the great poet and dramatist. The title was originally the name of an event, in which members of the audience walk and visit each location along the South Bank and Bankside such as in front of National Theatre, in front of Tate Modern, on the riverside opposite Royal Festival Hall, to watch originally made short films mainly composed of excerpts from the Globe performances, silent movies and newly shot location films for this event. This was a free event provided on the 23rd and the 24th of April in commemoration of Shakespeare's birthday as well as his death. Edinburgh International Festival also offered three programs of Shakespeare among its nine theatrical events, Richard III by Berlin’s Schaubühne Theatre, Measure for Measure from Britain’s Cheek by Jowl and Moscow’s Pushkin Theatre and a French adaptation of Twelfth Night by the company Eat a Crocodile.
    [Show full text]
  • The Autograph of Aida and the New Verdi Edition David Lawton SUNY Stony Brook
    Verdi Forum Number 14 Article 1 1986 The Autograph of Aida and the New Verdi Edition David Lawton SUNY Stony Brook Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Lawton, David (1986) "The Autograph of Aida and the New Verdi Edition," Verdi Forum: No. 14, Article 1. Available at: http://scholarship.richmond.edu/vf/vol1/iss14/1 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]. The Autograph of Aida and the New Verdi Edition Keywords Giuseppe Verdi; Aida; The orkW s of Giuseppe Verdi; opera This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss14/1 The Autograph of AIDA and the New Verdi Edition David Lawton The editorial guidelines for The Works number 42602.8 It contains a number of of Giuseppe Verdi establish the final authority corrections in the composer's hand, which of the composer's autograph as a fundamental correspond to those mentioned in his letters premise of the new critical edition: to Ricordi of 23 and 26 November 1871.9 The score presumably represents the version It was normally Verdi's habit of the piece performed in Cairo, and thus through most of his career to leave compensates to some extent for the Joss of his autograph manuscripts in a form the full score.
    [Show full text]
  • La Scapigliatura. Schreiben Gegen Den Kanon
    Farben: cyan magenta gelb schwarz sabine schrader La Scapigliatura. Schreiben schrader Italiens Weg gegen in die schrader Moderne den Kanon La Scapigliatura. Schreiben gegen den Kanon ie Scapigliatura (1858–1880) ist eine Mailänder Künstlergruppe, die der jungen Generation nach der Einigung Italiens ein Sprachrohr sein möchte. Die Schrift- gegen den Kanon Schreiben La Scapigliatura. steller und Publizisten Arrigo und Camillo Boito, Giovan- ni Camerana, Emilio Praga und I.U.Tarchetti suchen nach Schreibweisen jenseits des nationalen Kanons. Während Francesco de Sanctis in seiner italienischen Literatur- geschichte dem gerade geeinten Italien sein ideologisches Fundament verleiht, können diese Autoren nur Trümmer des Nationalen erkennen. Sie pflegen ein Diskontinuitäts- und Generationsbewusstsein, neue Formen der Perfor- mativität, der literarischen Sprachkritik und feiern die Langeweile. Mit ihrer Kritik an den positivistischen Wis- senschaften bewegen sich die Scapigliati in ihren fantasti- schen, grotesken, morbiden Texten auf der Schwelle zur ästhetischen Moderne. Das vorliegende Buch ist die erste deutschsprachige Monographie zur Scapigliatura. Es versteht sich daher auch als Einführung in das Text- und Selbstverständnis der Gruppe und strebt eine Neubewer- tung ihrer Rolle in der Literatur- und Kulturgeschichte an. Universitätsverlag winter isbn 978-3-8253-6172-3 Heidelberg studia romanica Band 176 Herausgegeben von Marc Föcking Klaus Heitmann Ulrich Mölk Edgar Radtke sabine schrader La Scapigliatura. Schreiben gegen den Kanon Italiens Weg in die Moderne Universitätsverlag winter Heidelberg Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Gedruckt mit freundlicher Unterstützung der Deutschen Forschungsgemeinschaft. umschlagbild © Hiltrud Gauf isbn 978-3-8253-6172-3 Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt.
    [Show full text]
  • Lecco E Antonio Ghislanzoni — ------+------Humero Unico Illurstrato
    Ivecco, 19 Kov'em'bre 1893 Lecco e Antonio Ghislanzoni — ------------------------ +--------------------------- Humero Unico Illurstrato schezza, per l’onestà grande che ne traspirano. Esso I repressi cachinni. Ospite assidua, Fra noi respiri la gaiezza; scoppino A n t o n io G h is l a n z o n i è intitolato: Epistola al doti. L. V. — Dice: Gli epigrammi, i bei motti, le facezie, .... dai circoli Gli aneddoti giocondi, e in noi riflettasi L ’ilarità di tu tti......... A n t o n io G h is l a n z o n i è morto a quasi 70 Dei pusilli gaudenti, ove si biascica La nenia eterna del quieto vivere, 4 Così: anni, ma non era vecchio. — Tuttavia il Nè dai cupi, frementi conciliaboli, Gli odi e i rancor svaniscono; si appianano segreto della sua perenne giovinezza egli Ove ringbian tribuni e arrutfapopoli, I più tetri cipigli; e dell’innocuo non avrebbe potuto venderlo a nessuno, poi- Il verbo io presi mai. Prostrarmi agli idoli Lepor le donne amabilmente ridono ! A Non seppi. Liberal, volli esser libero! !______ chè consisteva appunto in ciò che egli non E sì libero fui, cbe, al breve svolgersi Il quadro è bello e Antonio Ghislanzoni l’ha rea­ volle mai vendere: la Coscienza. Di quattro o cinque mesi, in abbominio lizzato. E, nella quiete della campagna, egli continuò Venni ai rossi ed ai bianchi! Esordì col farsi dispensare dal seminario, dove non a lavorare indefessamente. Oltre i molti libretti che Allora egli sentì andavano naturalmente a genio certe sue arditezze di .... dentro l’interlinea egli compose — credo sian circa So ! ! — dal suo romi­ carattere.
    [Show full text]
  • 10-06-2018 Aida Mat.Indd
    GIUSEPPE VERDI aida conductor Opera in four acts Nicola Luisotti Libretto by Antonio Ghislanzoni production Sonja Frisell Saturday, October 6, 2018 PM set designer 1:00–4:40 Gianni Quaranta costume designer Dada Saligeri lighting designer Gil Wechsler choreographer Alexei Ratmansky The production of Aida was made revival stage director Stephen Pickover possible by a generous gift from Mrs. Donald D. Harrington The revival of this production is made possible by a gift from Viking Cruises general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,166th Metropolitan Opera performance of GIUSEPPE VERDI’S aida conductor Nicola Luisotti in order of vocal appearance r amfis a priestess Dmitry Belosselskiy Gabriella Reyes** r adamès amonasro Aleksandrs Antonenko Quinn Kelsey amneris Anita Rachvelishvili solo dancers Jennifer Cadden aida Bradley Shelver Anna Netrebko the king Ryan Speedo Green* a messenger Arseny Yakovlev** Saturday, October 6, 2018, 1:00–4:40PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex. Chorus Master Donald Palumbo Musical Preparation Derrick Inouye, Howard Watkins*, Carol Isaac, and Liora Maurer Assistant Stage Directors Jonathon Loy and J. Knighten Smit Stage Band Conductor Gregory Buchalter Italian Coach Loretta Di Franco Prompter Carol Isaac Met Titles Christopher Bergen Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Headdresses by Rodney Gordon Studios and Miles-Laity, Ltd.
    [Show full text]
  • CARTEGGIO PONCHIELLI-RICORDI (1873-1877) Edizione Delle Lettere Con Uno Studio Su: Il Parlatore Eterno (1873)
    UNIVERSITÀ DEGLI STUDI DI PAVIA Dipartimento di Musicologia e Beni Culturali Laurea Magistrale in Musicologia CARTEGGIO PONCHIELLI-RICORDI (1873-1877) Edizione delle lettere con uno studio su: Il parlatore eterno (1873) Relatore: Prof. Carlo BIANCHINI Tesi di laurea di: Correlatore: Prof. Pietro ZAPPALÀ, Licia SIRCH Roberto MAIETTA Matricola: 404966 Anno Accademico 2016/2017 Indice Introduzione p. 1 PARTE PRIMA: Frammenti di un’epoca Capitolo 1: Inquadramento storico - § 1.1 ‘Artigianato’ vs ‘intellettualismo’ p. 4 - § 1.2 Ponchielli e la rappresentazione delle proprie opere p. 7 - § 1.3 Alla ricerca del librettista p. 10 - § 1.4 Riflessioni d’autore sulla forma p. 12 Capitolo 2: Ponchielli e i suoi editori - § 2.1 I primi editori di Ponchielli p. 14 - § 2.2 L’editoria italiana negli anni Settanta dell’Ottocento: Ricordi vs. Lucca p. 14 - § 2.3 La battaglia fra Lucca e Ricordi per I promessi sposi p. 15 - § 2.4 Un problema di rappresentanza: Giuseppe Lamperti p. 16 - § 2.5 Una guerra sotterranea nel carteggio Ponchielli-Ricordi p. 17 - § 2.6 Giulio Ricordi editore e agente di Ponchielli p. 18 Capitolo 3: Il parlatore eterno, un unicum del Ponchielli comico - § 3.1 Precedenti e genesi dell’opera p. 21 - § 3.2 Dalla farsa francese al libretto di Ghislanzoni p. 22 - § 3.3 Il libretto di Ghislanzoni p. 23 - § 3.4 Opera comica, operetta e teatro di rivista in Italia negli anni Settanta p. 27 dell’Ottocento - § 3.5 Alcune osservazioni sulla musica di Ponchielli p. 28 - § 3.6 Il primo parlatore: profilo vocale del baritono Ignazio Viganotti p. 30 Capitolo 4: La scrittura di Ponchielli - § 4.1 Neologismi, giochi linguistici, caricature p.
    [Show full text]
  • Aida Synopsis 5 Guiding Questions 7
    2 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of Aida Synopsis 5 Guiding Questions 7 The History of Verdi’s Aida 9 Guided Listening Se quell guerrier io fossi!...Celeste Aida 12 Ritorna vincitor 14 Possente Fthà 15 Fu la sorte dell’armi a’tuoi funesta 16 “Gloria all’Egitto, ad Iside” and “Marcia e Ballabile/Marche triomphale et Ballet” 17 Qui Radamès verrà!...O Patria mia 18 Ciel mio padre...Rivedrai le foreste imbalsamate 19 Fuggiam gli ardori inospiti 20 Aida Resources About the Composer 22 Exoticism and Opera 25 Online Resources 28 Additional Resources Reflections after the Opera 30 The Emergence of Opera 31 A Guide to Voice Parts and Families of the Orchestra 35 Glossary 36 References Works Consulted 40 2 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. Meet the Characters / The Story/ Resources Fostering familiarity with specific operas as well as the operatic art form, these sections describe characters and story, and provide historical context. Guiding questions are included to suggest connections to other subject areas, encourage higher-order thinking, and promote a broader understanding of the opera and its potential significance to other areas of learning. Guided Listening The Guided Listening section highlights key musical moments from the opera and provides areas of focus for listening to each musical excerpt.
    [Show full text]