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A Midsummer Night's Dream
Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears -
Vettori, Italian
Rutgers, The State University of New Jersey Department of Italian 16:560:605 Dante Seminar Fall 2013 Alessandro Vettori Office Hours by appointment Department of Italian Tel 732-932-7536 84 College Avenue - Rm 101 Fax 732-932-1686 email: [email protected] The purpose of this course is the investigation of Dante’s opus in relation to other poets, philosophers, and theologians that had deep influences on his writing. Although only two of his major works will be read in their entirety, the Divine Comedy and the Vita nova, constant references will be made to other writings. Besides a stylistic and formal analysis, numerous thematic strains will be researched and followed throughout Dante’s production. Particular attention will be paid to such concepts as allegory, poetic auto-interpretation, autobiography, and the ever-changing concept of love. Learning goals: Students will be trained to do a close analysis of literary texts, to put poetic and prose texts in conversation with philosophical ideas, to discern the boundaries of literature, philosophy, and theology. They will be assessed by means of oral presentations (one long, one short), one short paper, one long (publishable) paper, and class participation. Syllabus Texts: Vita Nova (any annotated edition); Divina Commedia (any annotated edition); secondary materials will be made available on sakai. 09/09 Introduction. Exile, Poetry, Prayer. 09/16 Vita Nuova. Ronald Martinez, “Mourning Beatrice: The Rhetoric of Threnody in the Vita nuova,” Modern Language Notes 113 (1998): 1-29. 09/23 Vita Nuova. Teodolinda Barolini, “‘Cominciandomi dal principio infino a la fine’ (V.N. XXIII 15): Forging Anti-Narrative in the Vita Nuova,” La gloriosa donna de la mente. -
Children in Opera
Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls ................................................................................. -
Peasant Barn 2 Hip No. 1
Consigned by Adena Springs Barn Hip No. 2 Peasant 1 Vice Regent Deputy Minister ................ Mint Copy Awesome Again ................ Blushing Groom (FR) Peasant Primal Force ..................... Chestnut Colt; Prime Prospect May 28, 2008 Hold Your Peace Meadowlake...................... Suspicious Native Abby Girl .......................... (1997) Explodent Like an Explosion ............. Prove It Darling By AWESOME AGAIN (1994). Classic winner of $4,374,590, Breeders' Cup Classic [G1], etc. Sire of 9 crops of racing age, 678 foals, 388 starters, 34 black-type winners, 270 winners of 919 races and earning $42,101,581, including champions Ginger Punch ($3,065,603, Breeders' Cup Distaff [G1] (MTH, $1,220,400), etc.), Ghostzapper ($3,446,120, Breeders' Cup Classic [G1] (LS, $2,080,000)-ntr, etc.), and of Round Pond [G1] ($1,998,- 700), Toccet [G1] ($931,387), Spun Sugar [G1] ($929,171), Wilko [G1]. 1st dam ABBY GIRL, by Meadowlake. 3 wins at 2 and 3, $209,580, Santa Paula S. [L] (SA, $47,700), 2nd Oak Leaf S. [G1], Moccasin S. [L] (HOL, $20,000), 3rd Hollywood Starlet S. [G1]. Dam of 5 other registered foals, 5 of rac- ing age, 4 to race, 2 winners, including-- Ron Bob and Dave (g. by Touch Gold). 3 wins at 4, placed at 5, 2009, $124,880. Comical (c. by Ghostzapper). Placed in 1 start at 3, 2010, $8,200. 2nd dam LIKE AN EXPLOSION, by Explodent. Unplaced in 1 start. Sister to EXPLO- SIVE DARLING. Dam of 5 winners, including-- ABBY GIRL (f. by Meadowlake). Black-type winner, above. Laika. Sent to Argentina. Dam of 4 foals, 2 to race, including-- LINGOTE DE ORO (c. -
BIO-Sulimsky AUG20.Pdf
Vladislav Sulimsky Baritone Belarussian Verdi baritone Vladislav Sulimsky has rapidly become one of the leading singers of the world. In the summer of 2018, he made his debut at the Salzburg Festival as Tomsky (Queen of the Spades) under the baton of Mariss Jansons, followed by Count Luna (Il trovatore) at the Berlin State Opera, Jago (Otello) at the Vienna State Opera, and his role debut as Scarpia (Tosca) at the Malmö opera. He also made his house debut at the Munich State Opera with Count Luna and will appear for the first time at the Frankfurt Opera in the role of Siriex (Fedore) in January 2021, as well as with the Berlin Philharmonic and Kyrill Petrenko as Lanceotto Malatesta in Rachmaninov’s Francesca da Rimini. His house debut at the Paris Opera was cancelled due to the Covid-19 pandemic. Since 2004, baritone Vladislav Sulimsky has been a member of the Mariinsky Theatre in St. Petersburg, where he has sung countless parts including the title roles in Eugen Onegin and Gianni Schicchi, Ibn-Hakia (Iolanta), Kovalev (The Nose), Rodrigo (Don Carlo), Silvio (Pagliacci), Andrei Bolkonsky (War and Peace), Enrico (Lucia di Lammermoor), Giorgio Germont (La Traviata), Renato (Un ballo in maschera) and Ford (Falstaff). In 2010 Sulimsky sang Enrico Ashton (Lucia di Lammermoor) at the Mariinsky alongside Nathalie Dessay and Belcore in L’elisir d´amore with Anna Netrebko as Adina, followed by Giorgio Germont (La Traviata) and Robert in Iolanta. A frequent guest at the Bolshoi Theatre in Moscow, he has performed Prince Kurlyatev in Enchantress by Tchaikovsky and his parade title role Eugen Onegin. -
Dante's Divine Comedy
Criterion: A Journal of Literary Criticism Volume 10 | Issue 1 Article 7 2017 Dante’s Divine Comedy: A Pastoral Subversion Katie Francom Brigham Young University, [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/criterion Part of the Italian Literature Commons BYU ScholarsArchive Citation Francom, Katie (2017) "Dante’s Divine Comedy: A Pastoral Subversion," Criterion: A Journal of Literary Criticism: Vol. 10 : Iss. 1 , Article 7. Available at: https://scholarsarchive.byu.edu/criterion/vol10/iss1/7 This Article is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in Criterion: A Journal of Literary Criticism by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Dante’s Divine Comedy: A Pastoral Subversion Cover Page Footnote A huge thank you to Dr. Michael Lavers for encouraging me to write and publish this article and to Adrian Ramjoué for his editing expertise. This article is available in Criterion: A Journal of Literary Criticism: https://scholarsarchive.byu.edu/criterion/vol10/iss1/7 Dante’s Divine Comedy A Pastoral Subversion Katie Francom In Virgil’s writings, “pastoral poetry came to be used as a vehicle for allegory or veiled social and political comment” (“Pastoral Poetry”). It is thus fitting that Dante, in his attempt to write what he believed to be the greatest allegory ever created, chose Virgil to be his literary and narrative guide. Dante pulls from what Prue Shaw, a prominent Dante critic, calls the “fertilising powers” of Virgil’s allegorical and pastoral influences throughout The Divine Comedy (172). -
Il Trittico Pucciniano
GIACOMO PUCCINI IL TRITTICO PUCCINIANO Il trittico viene rappresentato per la prima volta al Teatro Metropolitan di New York il 14 dicembre 1918. Il tabarro - Luigi Montesanto (Michele); Giulio Crimi (Luigi), Claudia Muzio (Giorgetta); Suor Angelica - Geraldine Farrar (Suor Angelica), Flora Perini (Zia Principessa); Gianni Schicchi - Giuseppe de Luca (Gianni Schicchi), Florence Easton (Lauretta), Giulio Crimi (Rinuccio); direttore d'orchestra Roberto Moranzoni. La prima italiana ha luogo, meno d'un mese dopo, al Teatro Costanzi (odierno Teatro dell'opera di Roma) l'undici gennaio 1919, sotto la prestigiosa direzione di Gino Marinuzzi, fra gli interpreti principali: Gilda dalla Rizza, Carlo Galeffi, Edoardo de Giovanni, Maria Labia, Matilde Bianca Sadun. L'idea d'un "Trittico" - inizialmente Puccini aveva pensato a tre soggetti tratti dalla Commedia dantesca, poi a tre racconti di autori diversi - si fa strada nella mente del Maestro almeno un decennio prima, già a partire dal 1905, subito a ridosso di Madama Butterfly. Tuttavia, sia questo progetto sia quello d'una "fantomatica" Maria Antonietta (che, come si sa, non fu mai realizzata) vengono per il momento accantonati in favore della Fanciulla del West (1910). La fantasia pucciniana è rivisitata dall'immagine d'un possibile "trittico" nel 1913, proprio mentre proseguono - gli incontri con Gabriele D'Annunzio per una possibile Crociata dei fanciulli...... Infatti, proprio nel febbraio di quello stesso anno Puccini è ripreso dall'urgenza del "trittico": immediatamente avvia il lavoro sul primo dei libretti che viene tratto da La Houppelande, un atto unico, piuttosto grandguignolesco, di Didier Gold, cui il compositore aveva assistito, pochi mesi prima, in un teatro parigino: sarà Il tabarro, abilmente ridotto a libretto da Giuseppe Adami. -
Suor Angelica & Gianni Schicchi Program
University of Southern Maine USM Digital Commons Programs 2008-2009 Season Theatre Programs 2000-2010 3-2009 Two Puccini Operas: Suor Angelica & Gianni Schicchi Program University of Southern Maine Department of Theatre Follow this and additional works at: https://digitalcommons.usm.maine.edu/theatre-programs-2008-2009 Part of the Theatre History Commons Recommended Citation University of Southern Maine Department of Theatre, "Two Puccini Operas: Suor Angelica & Gianni Schicchi Program" (2009). Programs 2008-2009 Season. 3. https://digitalcommons.usm.maine.edu/theatre-programs-2008-2009/3 This Book is brought to you for free and open access by the Theatre Programs 2000-2010 at USM Digital Commons. It has been accepted for inclusion in Programs 2008-2009 Season by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. UNIVERSITY OF [i]m SOUTHERN MAINE The School of Music and the Department of Theatre in collaboration present Suor Angelica and Gianni Schicchi by Giacomo Puccini Stage Director, Assunta Kent Music Director, Ellen Chickering Conductor, Robert Lehmann Sponsored by Drs. Elizabeth and John Serrage March 13-21, 2009 Main Stage, Russell Hall Gorham Campus Produced by special arrangement with Ricardi. lfL·--- - -- - - . Director's Note Suor Angelica and Gianni Schicchi by Giacomo Puccini (1858-1924) Once every four years Music and Theatre collaborate on a fully staged opera production- and this time, we offer you the rare Stage Director, Assunta Kent opportunity to sample grand opera in one evening, with Puccini' Conductor, Robert Lehmann Suor Angelica, an exqui ite tear-jerker, and Gianni Schicchi, a laugh Musical Director, Ellen Chickering out-loud comedy. -
Lectura Dantis 2002-2009
UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” LECTURA DANTIS 2002-2009 Dolce color d’orïental zaffiro (Purg. I 13) omaggio a Vincenzo Placella per i suoi settanta anni A cura di ANNA CERBO con la collaborazione di MARIANGELA SEMOLA Tomo IV 2009 NAPOLI 2011 Lectura Dantis 2002-2009 omaggio a Vincenzo Placella per i suoi settanta anni Opera realizzata con il contributo del Dipartimento di Studi Letterari e Linguistici dell’Europa e con i Fondi di Ricerca di Ateneo © 2011, UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” ISBN 978-88-95044-90-3 UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” www.unior.it IL TORCOLIERE • Officine Grafico-Editoriali d’Ateneo Edizione 2011 INDICE Tomo IV LECTURA DANTIS 2009 Lectura Dantis 2009 (a cura di Anna Cerbo e Mariangela Semola) AMNERIS ROSELLI, «La fretta che l’onestade ad ogn’atto dismaga». Un’eco ciceroniana in Purg. III 10-11 1173 JULIA BOLTON HOLLOWAY, La Vita Nuova: paradigmi di pellegrinaggio 1181 SANDRA DEBENEDETTI STOW, La mistica ebraica come chiave per l’apertura del livello anagogico del testo dantesco 1205 CRISTINA WIS MURENA, La profezia del Veltro e il Verbum Dei 1231 CLAUDIA DI FONZO, L’edizione dei commenti antichi alla Comedìa: redazioni o corpora? 1301 VINCENZO PLACELLA, Il canto XXXI dell’Inferno 1321 GIUSEPPE FRASSO, Il canto XXXII dell’Inferno 1353 SAVERIO BELLOMO, Il canto XXXIII dell’Inferno 1369 ENCARNACIÓN SÁNCHEZ GARCÍA - ROBERTO MONDOLA, Burgos 1515: cultura rinascimentale e ricezione della Comedìa 1387 Indice dei nomi 1417 Postfazione di Anna Cerbo 1429 SAVERIO BELLOMO IL CANTO XXXIII DELL’INFERNO Assieme all’episodio di Francesca, quello di Ugolino conobbe un successo, iniziato nel Trecento e che perdura tutt’oggi, superiore a qualunque altro della Commedia, e non solo in Italia1. -
Puccini's Gianni Schicchi
Puccini’s Gianni Schicchi - A survey by Ralph Moore Having already surveyed the first two operas in Puccini’s triptych Il trittico, I conclude with the last instalment, Gianni Schicchi. There are nearly fifty recordings if live recordings are counted but despite the claim on the Wikipedia that it “has been widely recorded”, it enjoys no more studio recordings than its two companion pieces. I survey below eleven, consisting of all nine studio accounts plus two mono radio broadcasts all in Italian; I am not considering any live recordings or those in German, as the average listener will want to hear the original text in good sound. The plot may be based on a cautionary tale from Dante’s Inferno about Schicchi’s damnation for testamentary falsification but its comic treatment by librettist Giovacchino Forzano, in the commedia dell'arte tradition, makes it a suitably cheery conclusion to a highly diverse operatic evening consisting of a sequence which begins with a gloomy, violent melodrama, moves on to a heart-rending tear-jerker and ends with this high farce. It is still genuinely funny and doubtless the advent of surtitles has enhanced its accessibility to non-Italian audiences, just as non-Italian speakers need a libretto to appreciate it fully when listening. This was Puccini’s only comic opera and satirises the timeless theme of the feigned grief and greed of potential heirs. The starring role is that of the resourceful arch-schemer and cunning impostor Gianni Schicchi but the contributions of both the soprano and tenor, although comparatively small, are important, as each has a famous, set piece aria, and for that reason neither part can be under-cast. -
A Twopart Curriculum Bulletin Pays Tribute to the Lite and Works of Dante Alighieri During the 700Th Annivarsary of His Birte
DOCUMENT RESUME ED 036 241 FL 001 644 AUTHOR CAVICCHIA, GIDA; CCSTADASI, VIRGINIA TITLE DANTE, SEVENTH CENTENNIAL, 1265-1965: RESOURCE MATERIALS FOR TEACHERS. CURRICULUM BULLETIN, 1965-66 SERIES, NUMBER 16. INSTITUTION NEW YORK CITY BOARD aF EDUCATION, BROOKLYNe N.Y. PUB DATE SEP 65 NOTE 111P. AVAILABLE FRCM BOARD OF-EDUCATION OF THE CITY OF NEW YORK, PUBLICATIONS SATES OFFICE, 110 LIVINGSTON STREET, BROOKLYN, NEW YORK 11201 ($1.50) EDRS PRICE EDRS PRICE MF-r$0.50 HC NOT AVAILABLE FROM EDRS. DESCRIPTORS AUTHORS, BIOGRAPHIES, CHORAL SPEAKING, CCMPOSITICN SKILLS {_LITERARY), *CURRICULUM GUIDES, FINE ARTS, INSTRUCTIONAL AIDS, INSTRUCTIONAL PROGRAM DIVISIONS, *INTERDISCIPLINARY APPROACH, *ITALIAN, LITERARY ANALYSIS, LITERARY STYLES, LITERATURE, MATHEMATICS, *POETS, READING COMPREHENSION, READING MATERIAL SELECTION, SOCIAL STUDIES, TEACHING GUIDES, VOCABULARY DEVELOPMENT IDENTIFIERS *DANTE ALIGHIERI, *DIVINE COMEDY ABSTRACT A TWOPART CURRICULUM BULLETIN PAYS TRIBUTE TO THE LITE AND WORKS OF DANTE ALIGHIERI DURING THE 700TH ANNIVARSARY OF HIS BIRTE. PART ONE INCLUDES HIS BIOGRAPHY, A DISCUSSION OF HIS MINOR WORKS, A SUMMARY OF "THE DIVINE COMEDY", DANTE'S IMPACT ON OTHER LANDS, AND DANTEAN THOUGHT. SUGGESTIONS FOR TEACHING A RESOURCE UNIT FOR ELEMENTARY AND JUNIOR HIGH SCHOOL GRADES ARE PROVIDED. OTHER LANGUAGE ARTS TOPICS ARE (1) A GUIDED READING LESSON, (2)A COMPOSITION LESSON FOR VOCABULA.RY ENRICHMENT,(3) CHORAL SPEAKING, (4) POETRY APPRECIATICN, AND (5) LITERATURE. MATERIALS RELATED TO DANTE IN SOCIAL STUDIES, MATHEMATICS, ASTRONOMY, MUSIC, THE DANCE, ART, AND GUIDANCE ARE OFFERED ALONG WITH A BIBLIOGRAPHY. AN ORIGINAL PLAY, "DANTE AND BEATRICE", IS FOUND IN THE APPENDIX. (EL) U.S.DEPARIZTOTIFEAiTH.,EDLTIIIiWELFARE THIS DOCUMENT HAS BEEN REPRODUCEDOFFICE OF EDUCATION EXACTLY AS RECEIVED FROM THE !PERSON!STATEDPOSITION elmosizageolowei DOOR OR EDONOT ORGANIZATIONmum NECESSARILY ORIGINATING362,41 REPRESENT IT. -
Beyond Bayonetta's Barbie Body
Selected Papers of Internet Research 16: The 16th Annual Meeting of the Association of Internet Researchers Phoenix, AZ, USA / 21-24 October 2015 BEYOND BAYONETTA'S BARBIE BODY Todd Harper University of Baltimore Introduction In recent history, there have been few video game characters as divisive, hotly contested, or controversial as Bayonetta, the star of the game series of the same name from developer Platinum Games. Following in the footsteps of predecessors like Devil May Cry, Bayonetta is a “character brawler;” a third person action game of over the top violence where the iconic main character is a significant selling point. Bayonetta herself, at first glance, seems to be everything wrong with the design of women main characters in video games today: her physical proportions are highly exaggerated, emphasizing traditionally sexualized characteristics such as a large bust and a long, thin, slightly S-curved body that’s mostly leg. Platinum character designer Mari Shimazaki has discussed the ways in which she tried to make Bayonetta “more appealing as an action game character by adjusting her proportions and extending her limbs” (Shimazaki, 2009). A recurring in-game gimmick for Bayonetta is that she magically conjures giant fists or feet to attack her enemies that are formed from her long hair, which also forms her outfit; the result is that, when she uses such attacks, she is left mostly naked. Unsurprisingly, both the character and the games have come under fire from critics for this sexualized representation, particularly from some feminist critics who argue that she is yet another in a long line of problematic women characters served up for heterosexual male consumption.