DOCSLIB.ORG

±Âˆœf@%Ázž\÷Í¿{·Μ Ðl

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
±Âˆœf@%Ázž\÷Í¿{·Μ Ðl 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 12 VERDI Il Trovatore RIA CALL A AS Also available M 8.111278-79 8.111322-24 1 g 956 Recordin Maria Callas • Giuseppe Di Stefano • Rolando Panerai Fedora Barbieri • Nicola Zaccaria Chorus and Orchestra of La Scala, Milan Herbert von Karajan 8.111280-81 12 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 2 Great Opera Recordings prisoner, like a breath of hope (D’amor sull’ali rosee / No. 14 Last Finale ^ Manrico asks Azucena why she Vanne). does not sleep (Madre, non dormi?), and wonders if the ! The sound of the death knell is heard. Voices within cold troubles her, but she tells him that the air chokes Giuseppe sing the Miserere (Miserere d’un alma già vicina / Alla her: soon, though, she will be free, for the mark of death partenza che non ha ritorno!), praying for mercy on those is upon her. She sees in her mind the burning fire, and VERDI about to die. Leonora exclaims on the sound of these Manrico tries to comfort her, as she falls back in his (1813-1901) prayers. The voice of Manrico is heard from the tower, arms, and he lays her gently down on her mattress. bidding his Leonora farewell, as the chant goes on. Weariness comes upon her (Sì, la stanchezza @ Leonora declares that she will never forget him (Di te! m’opprime). Il Trovatore Di te! Scordarmi di te!). & Now she dreams of her home, the hills and the ancient peace. She falls asleep, Manrico kneeling by her Libretto by Salvatore Cammarano No. 13 Scena & Duetto. # A door opens and the Count side. The door opens and Leonora comes in. after a play by Antonio Garcia Gutiérrez and some of his followers come out. Leonora steps aside. * Manrico thinks that the light deceives him (Che! Non The Count now gives orders for the execution of the son m’inganna quel fioco lume?), but Leonora assures him and his mother (Udiste? Come albeggi, / La scure al figlio that now he will be safe: he can escape, but she must Manrico . Giuseppe Di Stefano (tenor) ed alla madre il rogo!), lamenting that he cannot find stay. Manrico has no desire for life without her and asks Leonora. At this she comes forward, telling him she has Leonora . Maria Callas (soprano) her what price she has paid for his freedom. She dare come, at the last moment, to ask for mercy, but he refuses Count di Luna . Rolando Panerai (baritone) not answer and he reproaches her (Parlar non vuoi?), her. The Count starts, as he hears Leonora’s voice. understanding what she must have done. She finds his Azucena . Fedora Barbieri (mezzo-soprano) $ She throws herself in desperation at his feet, pleading reproach unjustified, urging him to escape, while Ferrando . Nicola Zaccaria (bass) with him to have mercy on her tears (Mira, di acerbe Azucena is heard again in her sleep recalling her own Inez . Luisa Villa (mezzo-soprano) lagrime), but this only increases his thirst for revenge. country. Leonora falls at Manrico’s feet. Ruiz . Renato Ercolani (tenor) Now she offers him herself, if he will only release ( Manrico tells her to go (Ti scosta!), but she begs him An Old Gypsy . Giulio Mauri (bass) Manrico. He swears that he will do so, and she pledges not to blame her, falling to the ground and telling him at A Messenger . Renato Ercolani (tenor) herself to him. The Count now calls to a guard in the last that she is dying, the force of the poison quicker tower and speaks in his ear, while Leonora takes the than she had supposed. Manrico is now remorseful. At Chorus and Orchestra of La Scala, Milan poison secreted in her ring: the Count will have her, but this moment the Count comes in, as Leonora dies, (Norberto Mola, chorus master) she will be cold, not living. seeking the grace of heaven, and he realises he has been Herbert von Karajan, conductor % Leonora is now happy (Vivrà! Contende il giubilo / i deceived. He now orders Manrico to be taken to his detti a me, Signore): she will die, but Manrico will live. death, and the latter bids his mother farewell. The Count Recorded 3rd, 4th, and 6th - 9th August, 1956 in the Teatro alla Scala, Milan The Count seeks her assurance that she is his and she drags her to the window to see her son die, but Azucena pledges her faith. First issued on Columbia 33CX 1483s through 1485 tells him that Manrico was his brother (Egli era il tuo fratello!), as she falls to the ground, her revenge Scene 2. A wretched dungeon. There is a barred window achieved. Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn and a door in the background. A dim lamp hanging from a wall-ring sheds a pale light on the scene. Azucena is lying Keith Anderson Producer’s Note on a rough mattress and Manrico sits near her. This recording was transferred from the best portions of two first-edition British LP pressings, with one section (from the second verse of “Stride la vampa” to the end of “Il balen”) patched in from a later American pressing due to stamper defects on Side 2 of both of the copies I had of the earlier edition. Some overload distortion at the loudest passages appears to be inherent in the original master tape. Mark Obert-Thorn 8.111280-81 211 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 10 CD 2 enemy through her suffering and avenge his dead brother. CD 1 68:02 @ Soli or siamo 1:01 At a sign from the Count his men, threatening her with the (Manrico, Azucena) Act III. The Gypsy’s Son fires of hell, drag her away, while he withdraws into his Act I: The Duel 27:11 tent, followed by Ferrando. # Condotta ell’era in ceppi 4:53 Scene 1. An encampment. On the right is the pavilion of Scene 1 (Azucena, Manrico) the Count di Luna, carrying the commander’s standard. Scene 2. A room adjacent to the chapel of Castellor, with The towers of Castellor are seen above. Soldiers are an open gallery in the background. 1 All’erta, all’erta! 3:03 $ Non son tuo figlio? 2:29 gambling, while some polish their weapons and others (Ferrando, Retainers, Soldiers) (Manrico, Azucena) 5 pass to and fro. Ferrando comes out of the Count’s No. 11 Scena & Aria Leonora seeks to know the 2 meaning of the warlike preparations (Quale d’armi fragor Di due figli vivea 6:18 % Mal reggendo 4:37 pavilion. (Ferrando, Retainers, Soldiers) poc’anzi intesi?). Manrico tells her of their imminent (Manrico, Azucena, Messenger) No. 9 Introductory Chorus 1 Some of the soldiers call for danger and the assault expected at dawn: he, however, is 3 Sull’orlo dei tetti alcun l’ha veduta! 1:20 ^ Perigliarti ancor languente 2:28 another game (Or co’dadi, ma fra poco / Giuocherem ben certain of victory, since his men are as brave as the enemy. (Ferrando, Retainers, Soldiers) (Azucena, Manrico) altro gioco), while others see the banner of the Balestrieri, Leonora thinks this bodes ill for their marriage. Manrico the reinforcements they had awaited. Ferrando assures sings of the strength his love gives him (Amor, sublime Scene 2 Scene 2 them of certain victory, when the new day dawns. amor). 2 The men await the call to arms (Squilli, echeggi la 6 He is hers, and she his and this will make him the 4 Che più t’arresti? 2:17 & Tutto è deserto 1:35 tromba guerriera), eager for the spoils of battle. stronger. If it is his fate to be killed, yet his thoughts will (Inez, Leonora) (Count, Ferrando) turn to her, for death will only mean that he will be in No. 10 Scena & Terzetto 3 The Count is tormented by heaven before her. 5 Tacea la notte placida 4:24 * Il balen del suo sorriso 3:16 the thought of Leonora in the arms of his rival (In braccio 7 The organ is heard from the nearby chapel. Now they (Leonora, Inez) (Count) al mio rival!). A tumult is heard and Ferrando comes in, must go there together, as the mystic sounds touch their 6 Di tale amor che dirsi 1:40 ( telling him that a gypsy woman has been caught by their hearts (L’onda de’ suoni mistici). Ruiz calls to Manrico, Quel suono! Oh, ciel! … Per me ora fatale 3:41 (Leonora, Inez) (Count, Ferrando, Retainers) men. The noise comes nearer and Azucena, her hands telling him of the capture and imminent death by burning bound, is dragged in, protesting at her treatment. The of Azucena. Scene 3 ) Ah! Se l’error t’ingombra 2:00 Count interrogates her, asking where she was going, and 8 Manrico now reveals to Leonora that he is the gypsy’s (Nuns, Count, Ferrando, Retainers) she tells him that gypsies wander aimlessly; she comes, son. He can already see the flames in which Azucena must 7 Tace la notte! 2:04 however, from Biscay, information that disturbs the die (Di quella pira l’orrendo foco) and feel them: he must (Count) ¡ Perchè piangete? 2:18 Count and Ferrando. save her. The men are called to arms, to fight or die with (Leonora, Inez, Count, Nuns) 4 Azucena tells them of her poverty and contentment and Manrico, who rushes out, followed by Ruiz and his 8 Deserto sulla terra 3:30 how now she seeks her son (Giorni poveri vivea / Pur soldiers.
Load more

Recommended publications
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • 'Let US Go Back to the Golden Age of Italian Opera'
    Click here for Full Issue of EIR Volume 15, Number 17, April 22, 1988 Renata Tebaldi 'Let US go back to the golden age of Italian opera' The foLLowing excerpts have been translatedfrom the Italian of the instruments came out better. So things went on, but transcript of Miss Tebaldi's speech to the Milan Schiller their ears adapted to the change of tuning, and hence also in Institute conference on April 9. Renata Tebaldi, a "spinto" performing operas they kept the brilliant sound which they soprano, particularly celebrated for her Verdi roles such as liked so much; without thinking about the problems which Desdemona, Aida, and Violetta, performed regularly at La both instrumentalists and singers would have. I remember Scala of Milan, and the Metropolitan Opera of New York. that in Naples, during rehearsals of the Gioconda, as I was talking to an oboist who had won the San Carlo competition, I am happy to be invited to speak on this subject because I we realized that the pitch had risen. think it is very important. The constant increase in the tuning Now La Gioconda is a hard opera, and a voice with body pitch brings on enormous difficulties for singers. Both in the has trouble adapting to a rise in pitch. I was supposed to sing conservatory and afterward, during the entire arc of one's four acts, one tougher than the other; not only that: At the operatic career, we study constantly to keep the "passage" of end, in the fourth act, there are ornamented passages which the voice in order, because this is what allows us to sing high have some problems.
    [Show full text]
  • CCF 18-27 RELEASE: September 24, 2018 The
    COLLECTORS’ CORNER with HENRY FOGEL Broadcast Schedule - Fall 2018 PROGRAM #: CCF 18-27 RELEASE: September 24, 2018 The Art of Sergei Lemeshev – Program 1 A program of arias and songs sung by the great Russian tenor (1902‐1977). Please consult cue sheet for details. PROGRAM #: CCF 18-28 RELEASE: October 1, 2018 The Art of Sergei Lemeshev – Program 2 A program of arias and songs sung by the great Russian tenor (1902‐1977). Please consult cue sheet for details. PROGRAM #: CCF 18-29 RELEASE: October 8, 2018 Music by Josef Suk – Program 1 All pieces composed by Josef Suk. Please consult cue sheet for details. Fantasy for Violin and Orchestra (Pamela Frank, violin; Sir Charles Mackerras, conductor; Czech Philharmonic Orchestra) Meditation on Saint Wenceslas (Rafael Kubelik, conductor; Czech Philharmonic Orchestra) Minuet, Op.21 (Ignaz Friedman, piano) Praga (Libor Pesek, conductor; Royal Liverpool Philharmonic Orchestra) A Summer’s Tale (Jiri Belohlavek, conductor; BBC Symphony Orchestra) PROGRAM #: CCF 18-30 RELEASE: October 15, 2018 Music by Josef Suk – Program 2 All pieces composed by Josef Suk. Please consult cue sheet for details. Symphony in C Minor for large orchestra, Op. 27, “Asrael” (Vaclav Talich, conductor; Czech Philharmonic Orchestra) The Ripening, Symphonic Poem, Op. 34 (Vaclav Talich, conductor; Czech Philharmonic Orchestra) Four pieces for violin and piano, Op. 17, “Burleska” (Nathan Milstein, violin; Artur Balsam, piano) Pieces for Violin and Piano, Op. 17, no. 2, “Appassionata” (Ginette Neveu, violin; Bruno Seidler‐Winkler, piano) PROGRAM #: CCF 18-31 RELEASE: October 22, 2018 Music by Ernest Bloch – Program 1 All pieces composed by Ernest Bloch.
    [Show full text]
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
    [Show full text]
  • KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
    KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
    [Show full text]
  • Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
    ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms.
    [Show full text]
  • VINCENZO BELLINI, Norma, Orchestra Sinfonica E Coro Del Gran
    IV, 2018 VINCENZO BELLINI, Norma, Orchestra sinfonica e Coro del Gran Teatre del Liceu di Barcellona, direttore d’orchestra Renato Palumbo, regia di Kevin Newbury, 2 DVD C Major 737208, 2015. • Norma, Orchestra of the Royal Opera House, Royal Opera Chorus, direttore d’orchestra Antonio Pappano, regia di Àlex Ollé. 2 DVD Opus Arte OA 1247 D, 2016. La fortuna teatrale e discografica di Norma sta attraversando un periodo di intensa vitalità che sembrava quasi impossibile fino a qualche anno fa. Molteplici ragioni danno conto di questo rinnovato interesse. Da un lato, l’intenso lavoro critico attorno alla figura di Bellini e dei suoi interpreti ha contribuito a mettere in discussione la tradizione esecutiva dell’opera che si era cristallizzata durante la prima metà del Novecento e di cui, per molti aspetti, Maria Callas ha rappresentato l’apogeo. Dall’altro, la graduale estensione dell’uso di strumenti d’epoca nell’ambito del melodramma italiano del primo Ottocento ha reso possibile la coesistenza, e reciproca influenza, di prassi esecutive le cui premesse storiche e culturali erano in origine diverse. Molti degli sforzi di critici e studiosi interessati agli aspetti esecutivi di Norma sono stati dedicati alla definizione delle caratteristiche vocali e drammatiche dei cantanti per i quali i tre ruoli principali furono scritti: Giuditta Pasta (Norma), Giulia Grisi (Adalgisa) e Domenico Donzelli (Pollione). Tale attività di ricerca ha contribuito a scardinare luoghi comuni e consuetudini esecutive di lunga data, mettendo in luce tanto una frattura tra le concezioni della vocalità del tempo e quelle che dirigono le aspettative del pubblico contemporaneo, quanto il fatto che la proliferazione di soluzioni esecutive quanto mai diversificate non è solo caratteristica dei nostri giorni, ma ha accompagnato la fortuna dell’opera durante gran parte dell’Ottocento.
    [Show full text]
  • Catalogo Delle Opere a Stampa E Una Cartolina Con Firma Autografa, Il Primo 24 Pp
    Lim Antiqua s.a.s - Studio bibliografico Via della Chiesa IX, 44 Loc. Monte San Quirico 55100 LUCCA Telefono e Fax +39 0583 34 2218 (dalle 9 alle 13) +39 333 2551758 www.limantiqua.com/it email: [email protected] P. IVA 01286300460 Dati per bonifico: C/C postale n. 11367554 IBAN: IT 67 Q 07601 13700 000011367554 BIC: BPPIITRRXXX Orario di apertura Lunedì – Venerdì ore 9.00/14.00 Gli ordini possono essere effettuati per telefono, email o via fax. Il pagamento può avvenire tramite contrassegno, bollettino postale, bonifico sul conto postale o PayPal. Le spese di spedizione sono a carico del destinatario. I prezzi indicati sono comprensivi di IVA. Gli ordini saranno ritenuti validi e quindi evasi anche in caso di disponibilità parziale dei pezzi richiesti. Compositori p. 2 Direttori d’orchestra p. 26 Strumentisti e pianisti p. 38 Cantanti d’opera p. 43 5. Pierre Boulez Compositori 1. Franco Alfano (Napoli 1875 – Sanremo 1954) Lettera autografa firmata del compositore napoletano noto per aver completato Turandot di Puccini, indirizzata al giornalista Giorgio Pillon. Dat. 12 gennaio 1946: “Chiarissimo Professore, la notizia della morte di Romualdo Pantini, mio vecchio caro amico, mi è giunta di sorpresa …Io devo a Pantini innumerevoli consigli se non altrettante reali collaborazioni. “Eliana” datosi al Teatro Reale di Roma, dopo l’estero, due anni fa, appartiene a queste ultime. Anche per “Sakuntala” egli mi è stato largo di suggerimenti”. Franco Alfano rivestì prestigiosi incarichi tra i quali ricordiamo l'insegnamento al Liceo di Bologna, nel 1918 la direzione del Conservatorio di Bologna e dal 1923 la direzione del conservatorio "Giuseppe Verdi" di Torino che mantenne sino al 1939.
    [Show full text]
  • Bellini's Norma
    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
    [Show full text]
  • Il Trovatore
    Synopsis Act I: The Duel Count di Luna is obsessed with Leonora, a young noblewoman in the queen’s service, who does not return his love. Outside the royal residence, his soldiers keep watch at night. They have heard an unknown troubadour serenading Leonora, and the jealous count is determined to capture and punish him. To keep his troops awake, the captain, Ferrando, recounts the terrible story of a gypsy woman who was burned at the stake years ago for bewitching the count’s infant brother. The gypsy’s daughter then took revenge by kidnapping the boy and throwing him into the flames where her mother had died. The charred skeleton of a baby was discovered there, and di Luna’s father died of grief soon after. The gypsy’s daughter disappeared without a trace, but di Luna has sworn to find her. In the palace gardens, Leonora confides in her companion Ines that she is in love with a mysterious man she met before the outbreak of the war and that he is the troubadour who serenades her each night. After they have left, Count di Luna appears, looking for Leonora. When she hears the troubadour’s song in the darkness, Leonora rushes out to greet her beloved but mistakenly embraces di Luna. The troubadour reveals his true identity: He is Manrico, leader of the partisan rebel forces. Furious, the count challenges him to fight to the death. Act II: The Gypsy During the duel, Manrico overpowered the count, but some instinct stopped him from killing his rival. The war has raged on.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • MASCAGNI Overload Distortion
    111025 bk CavalleriaEU 28/10/05 13:29 Page 8 Producer’s Note Cavalleria was Callas’s third opera recording for EMI, and only her second with the La Scala forces. It shares a number of sonic shortcomings with her recording of I Puritani which immediately preceded it, particularly MASCAGNI overload distortion. The original engineering (uncredited, but probably by the same Italian staff responsible for Puritani working in the same venue) imparts a harsh, unpleasant tone to the voices, a fault which cannot entirely be mitigated in remastering. Some portions, like the Turiddu/Santuzza duet, were so badly recorded that it is a Cavalleria Rusticana wonder the set was passed for issue. Just a month later, EMI’s British engineering team was able to achieve markedly superior results in Callas’s classic Tosca recording. IA CAL Mark Obert-Thorn AR LA M S Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of 195 ing specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been 3 Record nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard Maria Callas • Giuseppe Di Stefano with the greatest clarity.
    [Show full text]