DOCSLIB.ORG

Lyric Vocal Songs for the Salon of Franco Alfano) Luvada A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lyric Vocal Songs for the Salon of Franco Alfano) Luvada A Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Liriche Vocale da Salotto di Franco Alfano (Lyric Vocal Songs for the Salon of Franco Alfano) Luvada A. Harrison Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LIRICHE VOCALE DA SALOTTO DI FRANCO ALFANO (LYRIC VOCAL SONGS FOR THE SALON OF FRANCO ALFANO) By LUVADA A. HARRISON A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Treatise of Luvada A. Harrison defended on 12 December 2006. ______________________________ Douglas L. Fisher Professor Directing Treatise ______________________________ Andre Thomas Outside Committee Member ______________________________ Matthew Lata Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Examples .................................................................................................. iv Abstract ...................................................................................................... vi 1. EARLY YEARS AND EDUCATION Posillipo ................................................................................................ 1 Leipzig ................................................................................................ 4 Berlin ................................................................................................ 5 2. BEGINNING HIS PROFESSIONAL LIFE Paris ................................................................................................ 6 Return to Italy ............................................................................................. 12 3. THE ART SONGS OF ALFANO ................................................................. 20 Felicità ................................................................................................ 21 Al chiarore della mattina............................................................................ 25 Rabindranath Tagore................................................................................... 31 Giorno per giorno....................................................................................... 33 È giunto il nostro ultimo autunno ............................................................... 39 Luce ................................................................................................ 46 CONCLUSION ................................................................................................ 51 APPENDIX A Art Song Catalog ........................................................................................ 54 REFERENCES ............................................................................................... 62 BIOGRAPHICAL SKETCH .............................................................................. 64 iii LIST OF EXAMPLES 1.1 Risurrezione, Act II. Recitative: “Giunge il treno”............................................. 9 1.2 Risurrezione measures 18-19............................................................................... 10 1.3 Katiusha’s Aria: “Dio pietoso,” Act II, measures 1-4 ......................................... 11 1.4 measures 34-41 .................................................................................................... 12 2.1 Felicita measures 1-2........................................................................................... 22 2.2 measures 6-8 ........................................................................................................ 23 2.3 measures 21-23 .................................................................................................... 23 2.4 measures 9-14 ...................................................................................................... 24 2.5 mesures 30-32 ...................................................................................................... 24 3.1 Al chiarore della mattina… measures 1-4 ........................................................... 26 3.2 mesaures 15-18 .................................................................................................... 27 3.3 measures 19-20 .................................................................................................... 28 3.4 measures 21-22 .................................................................................................... 29 3.5 measures 34-35 .................................................................................................... 30 3.6 measures 53-54 .................................................................................................... 30 4.1 Giorno per giorno measures 1-12........................................................................ 35 4.2 measures 18-22 .................................................................................................... 36 4.3 measures 52-55 .................................................................................................... 37 4.4 measures 60-63 .................................................................................................... 37 4.5 measures 68-71 .................................................................................................... 38 4.6 measures 88-91 .................................................................................................... 38 4.7 measures 98-101 .................................................................................................. 39 5.1 È giunto il nostro ultimo autunno measures 1-4.................................................. 41 5.2 measures 13-19 .................................................................................................... 42 5.3 measures 37-40 .................................................................................................... 43 5.4 measures 51-54 .................................................................................................... 44 iv 5.5 measures 68-70 .................................................................................................... 45 5.6 measures 96-100 .................................................................................................. 46 6.1 Luce measures 1-4................................................................................................ 48 6.2 measures 5-6 ........................................................................................................ 48 6.3 measures 14-15 .................................................................................................... 49 6.4 measures 24-25 .................................................................................................... 50 6.5 measures 32-33 .................................................................................................... 50 6.6 measures 42-43 .................................................................................................... 51 v ABSTRACT This treatise will focus on the solo art song literature of the Italian composer Franco Alfano (1875-1954). Although, Alfano composed a total of fifty-three solo vocal pieces, these works are not generally known and are deserving of more widespread performance and study. Franco Alfano is recognized outside of Italy solely as the composer who completed the third act duet of Giacomo Puccini’s final opera, Turandot, and little scholarly research in English is available on the subject of his art songs. The first part of this treatise will provide a brief biography of Alfano. The second part will discuss the poetry Alfano used for his art songs, focusing primarily on Rabindranath Tagore, the Bengali poet, composer and educator who was the recipient of the 1913 Nobel Prize in Literature. More than half of Alfano’s art songs are set to Tagore’s poetry. The third section will be a discussion of five art songs that are representative of the different compositional periods in Alfano life. The final section of the treatise is a catalogue of Alfano’s art songs, providing information on publishers, the voice types for which they are written, the general mood of each art song, style of accompaniment, and notes on potential difficulties for performers. vi EARLY YEARS AND EDUCATION Posillipo Franco Alfano was born on 8 March 1875i in the picturesque town of Posillipo (“respite from pain”) in the Campria (Campania) region of southern Italy. The town was given its name by the Greeks who first settled the area in the 6th century BC. The territory was later conquered by the Romans and renamed Neapolis (“the new city”) as part of the Holy Roman Empire. Posillipo became a favorite respite for vacationing Roman Emperors and nobility, who built lavish villas and exquisite gardens complete with baths into the hills overlooking the bay.1 Centuries later this beautiful location was the inspiration for a ballet composed by Alfano for the Folies Bergère. The area also inspired one of the most notable composers of Neapolitan songs, Sir Francesco Paolo Tosti (1846-1916)ii. The year of Alfano’s birth, 1875, brought forth a cornucopia of talented individuals who made major contributions in the fields of education, finance, science, psychology, literature and music. In the United States, Mary McLeod Bethune, African-American educator and founder of Bethune-Cookman College and financier,
Load more

Recommended publications
  • 10-12-2019 Turandot Mat.Indd
    Synopsis Act I Legendary Peking. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to the king, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful reverence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. Three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor. Act II Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality. In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded.
    [Show full text]
  • Network Notebook
    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • The Mysterious Affair of the Serenade
    THE MYSTERIOUS AFFAIR OF THE SERENADE The time has come for the revaluation of Aldo Finzi, a Jewish composer who was on the point of winning, with his “playful comedy” when the anti-Jewish laws were about to be issued in Italy, the competition for a new opera which the La Scala Theatre had published. Aldo Finzi’s “Serenade to the Wind”, an injustice to be repaired. “ ... go, serenade to the wind, but don’t reveal that your singing - hides a secret longing - for a weeping moment - of an intimate torment...” On 11th February 1936 Wolf Ferrari’s “Il campiello”was staged at the Scala Theatre , conducted by Gino Marinuzzi with an all star cast: Mafalda Favero, Margherita Carosio, Iris Adami- Corradetti, Giuseppe Nessi, the very colourful and sunny only scene by Pieretto Bianchi. It can still be admired in the nowadays impossible to find volume that La Scala caused to be published in 1946 (1). Just seven years before, Toscanini had conducted, in addition to Fidelio, also Falstaff and Meistersingers in what was going to be his last Scala season before World War II (2). In December of the same year, on Bronislaw Hubermann’s invitation, he went to Palestine ( Jerusalem and Tel Aviv) to conduct the first Israeli orchestra and he was so impressed by the new life of the country he was visiting that he stated: “Here in Palestine I have found the country where I can be only Man as I conceive him” (3). These were the times and the place where a Jewish composer, on the eve of those anti-Jewish laws that were to alter radically the landscape of Italian music, was about to set to music a libretto by Carlo Veneziani, a “comedy of manners” racy and romantic, spicy and amusing, in which graceful satire and tart repartees combined to create the kind of wit which, to quote Falstaff,” creates wit in others”.
    [Show full text]
  • Thoughts on Diegetic Music in the Early Operas of Zandonai1
    DAVID ROSEN THOUGHTS ON DIEGETIC MUSIC IN THE EARLY OPERAS OF ZANDONAI1 Diegetic music – «music that (apparently) issues from a source within the narrative» (Gorbman, 23)2 – plays an important role in Zandonai’s early operas: not only does it appear frequently, but it often pushes the action forward, eliciting responses from the characters who hear it. And some of its uses are unusual, if not unprecedented. In this essay I focus on Il grillo del focolare but make cross-references to diegetic music in L’uccellino d’oro, Conchita, and Melenis as well. Readers unfamiliar with these operas may want to consult plot summaries, for example, in Dryden (469-79). Table 1 lists the passages referred to in this essay. 1 I want to express my thanks to the Centro internazionale di studi «Riccardo Zan- donai», especially to Diego Cescotti, Irene Comisso, and Federica Fortunato for assistance of all sorts before, during, and after the conference. Thanks go also to Gary Moulsdale for his comments on an earlier version of this text, to Ann Beck- man and other friends on WM-L (my favorite online opera discussion group) for answering some questions about precedents for certain uses of diegetic music, and to Carol Rosen for having translated into Italian the version of this essay that I delivered at the conference. 2 Citations refer to the Selective Bibliography at the end of this essay. The category ‘diegetic music’ thus includes both ‘musica in scena’ and ‘musica di scena’ (for the distinction see, for example, Girardi, 101-102). That is, it may include music emanating from offstage (whether in the wings or from the orchestra pit) or on- stage in full view of the audience.
    [Show full text]
  • RISURREZIONE Dramma in Four Acts - Libretto by Cesare Hanau from the Novel by Leo Tolstoy Publisher: Casa Ricordi Milano
    7866.02 (DDD) Franco Alfano (Naples, 1875 – Sanremo, 1954) RISURREZIONE Dramma in four acts - Libretto by Cesare Hanau from the novel by Leo Tolstoy Publisher: Casa Ricordi Milano Katerina Mihaylovna (Katyusha) Anne Sophie Duprels Prince Dimitri Ivanovich Nehlyudov Matthew Vickers Simonson Leon Kim Sofia Ivanovna Francesca Di Sauro Matryona Pavlovna / Anna Romina Tomasoni An old maidservant Nadia Pirazzini Vera / Korablyova Ana Victoria Pitts Fenyichka Barbara Marcacci The Hunchback Filomena Pericoli The Redhead Nadia Sturlese A woman Silvia Capra Kritzlov / Second peasant Lisandro Guinis Chief Guard Gabriele Spina Guard Giovanni Mazzei Train-station officer Nicolò Ayroldi Officer / First peasant Nicola Lisanti Muzhik Egidio Massimo Naccarato Cossack Antonio Montesi Fedia Giulia Bruni First female prisoner Delia Palmieri Second female prisoner Monica Marzini Third female prisoner Giovanna Costa Chorus Livia Sponton, Sabina Beani, Katja De Sarlo, Nadia Pirazzini Orchestra e Coro del Maggio Musicale Fiorentino Conductor: Francesco Lanzillotta - Chorus Master: Lorenzo Fratini Recording: MASClassica Audio Recording - Claudio Speranzini, Antonio Martino Recorded at: Teatro del Maggio Musicale Fiorentino, 17th and 21st January 2020 Tracklist Cd 1 46:34 Act I 01 Piano, che non si versi (Housekeeper, Maidservant, Katyusha) 02:54 02 Cristo è risuscitato (Housekeeper, Maidservant, Katyusha, Chorus) 04:45 03 Dimitri, figliuol mio (Sofia, Dimitri) 02:10 04 Tu sei cambiato tanto (Sofia, Dimitri, Housekeeper, Katyusha) 02:24 05 Qualcuno là in giardino?
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [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]
  • A Cta Œ Cumenica
    2020 N. 2 ACTA 2020 ŒCUMENICA INFORMATION SERVICE OF THE PONTIFICAL COUNCIL FOR PROMOTING CHRISTIAN UNITY e origin of the Pontical Council for Promoting Christian Unity is closely linked with the Second Vatican Council. On 5 June 1960, Saint Pope John XXIII established a ‘Secretariat for Promoting Christian Unity’ as one of the preparatory commissions for the Council. In 1966, Saint Pope Paul VI conrmed the Secretariat as a permanent dicastery CUMENICA of the Holy See. In 1974, a Commission for Religious Relations with the Jews was established within the Secretariat. In 1988, Saint Pope John Paul II changed the Secretariats status to Pontical Council. Œ e Pontical Council is entrusted with promoting an authentic ecumenical spirit in the Catholic Church based on the principles of Unitatis redintegratio and the guidelines of its Ecumenical Directory rst published in 1967, and later reissued in 1993. e Pontical Council also promotes Christian unity by strengthening relationships CTA with other Churches and Ecclesial Communities, particularly through A theological dialogue. e Pontical Council appoints Catholic observers to various ecumenical gatherings and in turn invites observers or ‘fraternal delegates’ of other Churches or Ecclesial Communities to major events of the Catholic Church. Front cover Detail of the icon of the two holy Apostles and brothers Peter and Andrew, symbolizing the Churches of the East and of the West and the “brotherhood rediscovered” (UUS 51) N. 2 among Christians on their way towards unity. (Original at the Pontical
    [Show full text]
  • SIBERIA Dramma in Tre Atti Libretto Di Luigi Illica
    Umberto Giordano SIBERIA Dramma in tre atti Libretto di Luigi Illica PERSONAGGI Stephana soprano Nikona Mezzosoprano La Fanciulla Soprano Vassili Tenore Glèby Baritono Il principe Alexis Tenore Ivan Tenore Il Banchiere Misklinsky Baritono Walinoff Basso Il Capitano Basso Il sergente Tenore Il cosacco Tenore Il Governatore Basso L’invalido Baritono L’Ispettore Basso Ufficiali, signori, Nobili, Contadini, Merciaie, Babe, Soldati, Condan- nati: uomini, donne, Soldati Prima rappresentazione Mialno, teatro alla Scala, 19 dicembre 1903 1 Giordano: Siberia - atto primo ATTO PRIMO La donna A Pietroburgo nella prima metà del secolo XIX. Nell’agosto all’alba della festa di S. Alessandro. Nella “Rotonda” della elegante palazzina, regalata IVAN dal principe Alexis Frouwor a Stephana «la Bella (sbadiglia, guarda, sorpreso, fuori) Orientale», Nikona veglia inquieta aspettando la sua padrona in compagnia di Ivan, uomo di fidu- Di già l’aurora!… cia, maggiordomo, cameriere, etc. Già, fuori, dalle Spegniamo!… chiese, le campane hanno preannunziato la immi- nente alba della «Festa di Sant’Alessandro». I trak- (nell’atto di spegnere si arresta e ascolta) tir hanno preparata la gran gioia russa tenendo can- Sulla rena tina aperta tutta la notte! I soldati dei reggimenti in dei passi… partenza per la Turchia hanno, ai melanconici canti del mugiki, ingombranti sempre fedelmente tutti i NIKONA traktir della capitale prima, durante e dopo ogni Guarda! festa, uniti i gloriosi canti di guerra. Stephana «la Bella Orientale» tarda più del con- IVAN sueto a rientrare, e la notte tumultuosa non è tale da rassicurare la povera e fedele Nikona, che ad ogni (alla balconata) momento si leva dalla poltrona per spiarne fuori Nessuno! dalla balconata il ritorno, finora sempre inutilmente.
    [Show full text]
  • Staged Treasures
    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
    [Show full text]
  • Caecilia May 1957
    caeci la Pentecost, The Epiphany of Easter •••• Edward Malone, O. S. B. Introduction to the Gregorian Melodies ••••••••Peter Wagner ([) VOLUME 84, NO. 2 MAY, 1957 .. ".'l._ ."'''''''-., '.. .1 Fifth Annual Liturgical Music Workshop "THE CHOIRMASTER'S WORKSHOP" BOYS TOWN, NEBRASKA AUGUST 19th THROUGH THE 30th Chant, Polyph.ony, Contemporary Music, Litturgy, History of Music, Boy Choir, Seminars FEES Workshop Fee _.._._ $40.00 Registration Fee _ _._ __ _ $10.00 _ (For accreditation only) Organ Master Classes 1 fi 2 __ .._._._ __ $15'.00 Organ Master Classes 3 _._ $25.00 Individual Instruction 3 . _ _ $ 6.00 lndividual Instruction 1 & 2 _ $ 4.00 Organ and piano rehearsal rooms .free of charge 3 HOURS CREDIT, CREIGHTON UNIVERSITY Flor Peeters Rev. Francis Bronner Roger Wagner James Welch Dom Ermin Vitry Rev. Richard Schuler Sister M. Theciphane, OS.F. Eugene Selhorst Paul Koch Rev. Elmer Pfeil Rev. Francis Schmitt Apply: MUSIC DEPARTMENT BOYS TOWN, NEBRASKA CAECILIA PubUshed four times a year, February, May, August and November. Application for second-class privileges is pending at Omaha, Nebr. Subscription price----$3.00 per year; ~5.00 for two years. All articles for publication must be in the hands of the editor, P. O. Box 1012, Omaha 1, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the d.rcu1ation manager: Paul Sing, P. O. Box 1012, Omaha 1, Nebraska Poetmuter: Form 3579 to Caeci1ia, P. O. 80s 1012, Omaha 1, Nebr. caeci la TABLE OF CONTENTS Editorials _ _ 79 Pentecost, the Epiphany of Easter-Edward Malone, OS.B•...................
    [Show full text]
  • Hérodiade H Ér O D Ia
    LIVRET DE PAUL MILLIET ET D’HENRI GRÉMONT INSPIRÉ D’HÉRODIAS DE GUSTAVE FLAUBERT CRÉATION LE 19 DÉCEMBRE 1881 À BRUXELLES DIRECTION MUSICALE JEAN-YVES OSSONCE MISE EN SCÈNE JEAN-LOUIS PICHON HÉRODIADE DÉCORS ET COSTUMES JÉRÔME BOURDIN LUMIÈRES MICHEL THEUIL COPRODUCTION OPÉRA DE SAINT-ÉTIENNE, OPÉRA DE MARSEILLE HÉRODIADE OPERA.SAINT-ETIENNE.FR SAISON 2018-2019 HÉRODIADE PASSEZ LE RÉVEILLON À L’OPÉRA ! IL BARBIERE DI SIVIGLIA OPÉRA BOUFFE EN 2 ACTES GIOACCHINO ROSSINI Adapté de la première pièce de la « Trilogie de Figaro » de Beaumarchais, le livret de Sterbini met en scène un comte Almaviva amoureux, tentant de séduire la belle Rosina enfermée par son oncle Bartolo. Pour parvenir à ses fins, le comte n’hésitera pas à se servir du talent pour la ruse du barbier Figaro, qui l’entraînera dans des plans rocambolesques. Malgré une première devenue légendaire par sa débâcle, l’opéra de Rossini s’affirme comme une œuvre majeure : revisitant les canons de l’opera buffa et poussant le genre dans ses derniers retranchements, 2 I Le Barbier de Séville impressionne toujours. Alliant à la virtuosité du bel canto le raffinement de l’opera seria, l’écriture vocale de Rossini est d’une grande habileté mélodique. Composée très rapidement, l’œuvre se savoure comme une musique de l’instant ; Rossini a su allier un langage généreux et une écriture précise, donnant à l’auditeur l’illusion de la spontanéité. Cette œuvre est aussi l’occasion de découvrir une Rosina mutine et effrontée, très éloignée de la comtesse des Noces de Figaro. SAM. 29 DÉC.
    [Show full text]