Giacomo Meyerbeer
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Cast Amendment for Il Trovatore
8 DECEMBER 2015 CAST AMENDMENT IL TROVATORE (Giuseppe Verdi) 2, 4, 5, 7, 8, 9, 11, 12, 14 and 15 July at 7.15pm ; 17 July at 6.30pm Italian soprano Carmen Giannattasio has withdrawn from singing the role of Leonora in Il trovatore on 4, 7, 9, 12 and 15 July. The role will now be sung by Italian soprano Anna Pirozzi , who will make her Royal Opera debut in this new production by German director David Bösch . She will share the role with Armenian soprano Lianna Haroutounian (2, 5, 8, 11, 14 and 17 July) as previously announced. Anna Pirozzi was born in Naples and studied at the Istituto Musicale in Valle d’Aosta and at the Turin Conservatory with Silvana Moyso. She has won widespread acclaim for her performances as Abigaille ( Nabucco ), the role in which she made her Salzburg Festival debut in 2013 conducted by Riccardo Muti and which she has sung in Florence, Bologna, Parma, Leipzig, Stuttgart, Tel Aviv, Beijing, Valencia, and for Arena di Verona. Her other engagements include Amelia ( Un ballo in maschera ) for Teatro Regio, Turi, and in Parma, Lady Macbeth ( Macbeth ) in São Paulo and Bologna, Leonora (Il trovatore ) in Bologna, Santuzza ( Cavalleria rusticana ) for Rome Opera and Teatro di San Carlo, Naples, Elvira ( Ernani ) in Rome, Tosca for Deutsche Oper Berlin and in Leipzig and Turin, Luisa Miller in Genoa, Leonora and Maddalena ( Andrea Chénier ) for Teatro di San Carlo, Santuzza and Nedda ( Pagliacci ) in Macerata, Aida in Turin, and Elisabetta ( Roberto Devereux ) at the ABAO Bilbao. The rest of the cast remains unchanged, -
RSTD OPERN Nov Dez 212X476 15.10.12 17:48 Seite 1
RSTD OPERN_Nov_Dez_212x476 15.10.12 17:48 Seite 1 Opernprogramm November 2012 November Franz Liszt Legende der heiligen Elisabeth 20.00 - 22.35 Hermann: Kolos Kováts, Sophie: Éva Farkas, Ludwig: Sándor Sólyom-Nagy, Elisabeth: Éva Marton, 1 Friedrich II. von Hohenstaufen: József Gregor, Ungarischer Magnat: István Gáti, Seneschal: István Gáti. Donnerstag Ungarische Nationalphilharmonie, Leitung: Árpád Joó, 1984. November Léo Delibes Lakmé 20.00 - 21.55 Nilakantha: Clifford Grant, Lakmé: Joan Sutherland, Mallika: Huguette Tourangeau, Hadji: Graeme Ewer, 3 Gerald: Henri Wilden, Frederick: John Pringle, Ellen: Isobel Buchanan. Samstag Australian Opera Chorus, Elizabethan Sydney Orchestra, Leitung: Richard Bonynge, 1976. November Bedrichˇ Smetana Die verkaufte Braut 20.00 - 22.25 Marenka: Dana Burešová, Jenik: Tomáš Juhás, Kecal: Jozef Benci, Vašek: Aleš Vorácek, 6 Mícha: Gustáv Belácek, Háta: Lucie Hilscherová, Krušina: Svatopluk Sem, Ludmila: Stanislava Jirku. Dienstag BBC Singers, BBC Symphony Orchestra, Leitung: Jirí Belohlávek, 2011. November Wolfgang Amadé Mozart Le nozze di Figaro 20.00 - 23.00 Almaviva: Tom Krause, Gräfin: Anna Tomowa-Sintow, Susanna: Ileana Cotrubas, Figaro: José van Dam, Cherubino: Frederica 8 von Stade, Bartolo: Jules Bastin, Marcellina: Jane Berbié, Basilio: Heinz Zednik, Don Curzio: Kurt Equiluz. Donnerstag Chor und Orchester der Wiener Staatsoper, Leitung: Herbert von Karajan, 1977. November Christoph Willibald Gluck Alceste 20.00 - 22.25 Admete: Paul Groves, Alceste: Anne Sofie von Otter, Oberpriester: Dietrich Henschel, Euandros: Yann Beuron, 10 Herakles: Dietrich Henschel, Herold: Ludovic Tézier, Orakel: Nicolas Testé, Apollo: Ludovic Tézier. Samstag Monteverdi Choir, English Baroque Soloists, Leitung: Sir John Eliot Gardiner, 1999. November Christoph Willibald Gluck Paride ed Elena 20.00 - 22.30 13 Paride: Magdalena Kožená, Elena: Susan Gritton, Amore: Carolyn Sampson, Pallade: Gillian Webster. -
Management, Competition and Artistic Policy in London, 1861-70
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Opera in 'the Donizettian Dark Ages' : management, competition and artistic policy in London, 1861-70. Ringel, Matthew Laurence The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 Opera in 'The Donizettian Dark Ages' Management, Competition and Artistic Policy in London, 186 1-70 Matthew L. Ringel Dissertation submitted for the Ph.D. -
Figura 1. Teatri Di Venezia, Venezia Venezia 1868: L’Anno Di Ca’ Foscari a Cura Di Nico Stringa E Stefania Portinari
Figura 1. Teatri di Venezia, Venezia Venezia 1868: l’anno di Ca’ Foscari a cura di Nico Stringa e Stefania Portinari I teatri a Venezia nel 1868 Maria Ida Biggi (Università Ca’ Foscari Venezia, Italia) Abstract In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independ- ence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed. Keywords Theatres. Venice. 1868. La Fenice. Teatro San Benedetto then Rossini. Teatro Apollo. Teatro Malibran. Teatro San Samuele. Giuseppe Bertoja. Pietro Bertoja. La condizione dei teatri nel 1868 a Venezia risente hanno sempre tenuto sotto particolare controllo i degli effetti della situazione economica della città teatri e quanto in essi andava rappresentandosi. -
La-Traviata-Extract.Pdf
OVERTURE OPERA GUIDES in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago with the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with the repertory being staged by the company. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the libretto and the nuances of the score, readers’ understanding and appreciation of the opera and the art form in general will be enhanced. Daniel Kramer Artistic Director, ENO The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in association with English National Opera in 1980. It ran until 1994 and eventually included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, revised and newly commissioned articles, updated reference sections and a literal translation of the libretto that will enable the reader to get closer to the meaning of the original. -
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 -
Lucia Di Lammermoor
2 La Fenice prima dell’Opera 2011 2 2011 Fondazione Stagione 2011 Teatro La Fenice di Venezia Lirica e Balletto Gaetano Donizetti LuciaDi ammermoor l Lammermoor ucia di ucia di l onizetti d aetano aetano G FONDAZIONE TEATRO LA FENICE DI VENEZIA foto © Michele Crosera Visite a Teatro Eventi Gestione Bookshop e merchandising Teatro La Fenice Gestione marchio Teatro La Fenice® Caffetteria Pubblicità Sponsorizzazioni Fund raising Per informazioni: Fest srl, Fenice Servizi Teatrali San Marco 4387, 30124 Venezia Tel: +39 041 786672 - Fax: +39 041 786677 [email protected] - www.festfenice.com FONDAZIONE AMICI DELLA FENICE STAGIONE 2011 Incontro con l’opera lunedì 24 gennaio 2011 ore 18.00 ANGELA IDA DE BENEDICTIS Intolleranza 1960 martedì 22 febbraio 2011 ore 18.00 LUCA MOSCA La bohème martedì 22 marzo 2011 ore 18.00 GIORGIO PESTELLI Rigoletto lunedì 16 maggio 2011 ore 18.00 LORENZO ARRUGA Lucia di Lammermoor venerdì 17 giugno 2011 ore 18.00 GIORGIO PESTELLI Das Rheingold martedì 5 luglio 2011 ore 18.00 GIANNI GARRERA Sogno di una notte di mezza estate mercoledì 31 agosto 2011 ore 18.00 PAOLO COSSATO Il barbiere di Siviglia martedì 13 settembre 2011 ore 18.00 GIOVANNI BIETTI Don Giovanni martedì 11 ottobre 2011 ore 18.00 GIORGIO PESTELLI Clavicembalo francese a due manuali copia dello strumento di Goermans-Taskin, costruito attorno Le nozze di Figaro alla metà del XVIII secolo (originale presso la Russell lunedì 24 ottobre 2011 ore 18.00 Collection di Edimburgo). MICHELE DALL’ONGARO Opera del M° cembalaro Luca Vismara di Seregno Acis and Galatea (MI); ultimato nel gennaio 1998. -
Books About Music
J & J LUBRANO MUSIC ANTIQUARIANS BOOKS ABOUT MUSIC Biographies & Critical Studies of Composers & Musicians Music History & Criticism Musical Instruments Opera & Dance Reference Works, Bibliographies, Catalogues, &c. 6 Waterford Way, Syosset, NY 11791 USA [email protected] Telephone 516-922-2192 www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website at www.lubranomusic.com by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to ensure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. -
Fondazione Teatro La Fenice Di Venezia
Fondazione Teatro La Fenice di Venezia 2018-19 FONDAZIONE TEATRO LA FENICE DI VENEZIA Concerto di Capodanno 2019 È un vero piacere per me essere a Venezia, al Teatro La Fenice e dedicare questo concerto ad una causa vicina al mio cuore: il futuro dei bambini. Come Goodwill Ambassador dell’UNICEF conosco la qualità del loro lavoro a favore dei bambini, un lavoro che si può realizzare solo grazie al supporto anche economico di tutti noi. Pertanto, vi invito a donare a chi ne ha più bisogno e a recarvi alla postazione dell’UNICEF situata oggi in Teatro e dare il vostro aiuto che raggiungerà molti bambini che hanno bisogno di tutto. It’s a real pleasure for me to be in Venice, at La Fenice and dedicate this concert to a cause close to my heart: the future of children. As UNICEF Goodwill Ambassador, I know the quality of their work for children, a work that can only be achieved thanks to the economic support of all of us. Therefore, I invite you to give to those who need it most and to go to the UNICEF’s desk located in the theater today and give your help that will reach many children in need. Myung-Whun Chung Teatro La Fenice di Venezia albo dei soci soci fondatori soci sostenitori e partner FONDAZIONE TEATRO LA FENICE DI VENEZIA in coproduzione con 2018-19 TEATRO LA FENICE sabato 29 dicembre 2018 ore 20.00 domenica 30 dicembre 2018 ore 17.00 lunedì 31 dicembre 2018 ore 16.00 martedì 1 gennaio 2019 ore 11.15 in diretta su ore 12.20 e in replica su ore 18.30 Il concerto di martedì 1 gennaio 2019 sarà trasmesso in versione integrale martedì 1 gennaio ore 20.30 su e giovedì 7 febbraio ore 21.15 su concerti in collaborazione con Myung-Whun Chung Unicef Goodwill Ambassador foto © Silvia Lelli foto Myung-Whun Chung, Unicef Goodwill Ambassador. -
From the Vocal Studio to the Practice Room: an Overview of the Literature on Effective Practicing and an In-Depth Study of Vocal Exercise Books
ABSTRACT Title of Document: FROM THE VOCAL STUDIO TO THE PRACTICE ROOM: AN OVERVIEW OF THE LITERATURE ON EFFECTIVE PRACTICING AND AN IN-DEPTH STUDY OF VOCAL EXERCISE BOOKS. Rebecca Bell Echols, Doctor of Musical Arts, 2013 Directed By: Professor Dominic Cossa, School of Music The purpose of this dissertation was to compile a list of resources to aid singers in their pursuit toward effective practicing. A survey was given to one hundred anonymous participants: fifty vocal students and fifty vocal teachers. The data collected from this survey showed that vocal students would like more resources available to aid in practicing more effectively. Additionally, the study reveals that many of the vocalise books that are in the vocal repertoire have fallen from tradition for reasons unknown, while one composer’s vocalise book, Nicola Vaccai’s, still remains in the teacher and student repertoire. This study provides resources culled from journals, text books, and musical scores. Also provided is a library of vocalises, which are divided into categories on specific vocal matters. The vocalises are categorized alphabetically, by both the category and composer. The final chapter shows the results of the surveys. FROM THE VOCAL STUDIO TO THE PRACTICE ROOM: AN OVERVIEW OF THE LITERATURE ON EFFECTIVE PRACTICING AND AN IN-DEPTH STUDY OF VOCAL EXERCISE BOOKS. By Rebecca Bell Echols Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of DMA 2013 Advisory Committee: Professor Dominic Cossa, Chair Professor Martha L. Randall Professor Timothy McReynolds Professor Delores Ziegler Professor Denny Gulick, Dean’s Representative © Copyright by Rebecca Bell Echols 2013 Dedication I’d like to thank my friends, family, and mentors for all of their support not only throughout this process, but throughout my entire musical career. -
Associació Wagneriana. Apartat Postal 1159. Barcelona 08080 [email protected]
WAGNERIANA CATALANA Nº 50 ANY 2019 TEMA 1: VIDA DE WAGNER, BIOGRAFIA, ANÈCDOTES TÍTOL: UN PASSEIG PER LA VIDA DE WAGNER AUTOR: Dr. Julius Kapp En ocasió del 50è aniversari de la defunció de Wagner, (1933), el Dr. Julius Kapp va voler deixar constància resumida de l’existència del Mestre, amb la publicació d’aquest article, en el que va resseguint els infortunis, els èxits i diferents residències en què es va allotjar el músic, circumstàncies i llocs que li van servir d’inspiració per crear les seves obres. s una curiosa coincidència que mentre el poble alemany s'aixecava amb prou feines d'una profunda humiliació i defensava la seva llibertat política en la É Batalla de les Nacions a Leipzig, naixès, en aquesta mateixa ciutat, l'home, al qual se li ha d'atribuir de manera similar en l'àmbit de l'art un fet llibertador: Richard Wagner. Leipzig, l'antiga alta cimera de la música, que encara avui dia conclou amb els mundialment coneguts com a «Concerts de la Gewandhaus» (1) pot reclamar l'elevat honor de dir «fill» al major geni del món de la música dramàtica. Richard Wagner va néixer a Leipzig el 22 de maig de 1813. La casa natal, la porta de la qual estava coronada per un portentós lleó de pedra, es trobava en una dels carrers comercials, avui dia, principals de la ciutat: Brühl, Núm. 3. En 1885 va ser enderrocada lamentablement per trobar-se en deplorables condicions. En el nou edifici construït allí mateix (el centre comercial Brühl) hi ha un bust de Wagner i una placa commemorativa (al pati) que indica el significatiu que és el lloc. -
Shakespeare in the Music Library (PDF)
If music be the food of love: Shakespeare in the Music Library An exhibit in commemoration of the 400th anniversary of the death of William Shakespeare Curated and written by John Bewley, Ph.D. Associate Librarian Music Library University at Buffalo April 2016-June 2016 Music provides a kaleidoscopic array of perspectives through which scholars can view the works and influences of William Shakespeare. While many people are familiar with the most famous uses of Shakespeare in music in such works as Tchaikovsky’s Romeo and Juliet Overture-Fantasy, Verdi’s Shakespeare operas (Falstaff, Macbeth, and Otello), Mendelssohn’s incidental music for A Midsummer Night’s Dream, and Prokofiev’s Romeo and Juliet ballet, this exhibit will highlight some of the most significant topics related to the intersections of Shakespeare and music with some lesser-known examples from the holdings of the Music Library. The use of music in Shakespeare’s plays Music plays a significant role in Shakespeare’s plays through three guises: music performed as part of the play, references in the text to song titles, and the use of words with musical connotations. Shakespeare’s use of performed music in his plays was so extensive that only The Comedy of Errors is without music. One of the remarkable aspects of Shakespeare’s use of music is how integral it is to the dramatic structure in the plays. Some of the music serves as a direct part of the action, such as fanfares associated with processions or to mark royal entrances. In other instances Shakespeare used music as an agent for an action, such as when a lullaby is sung to put a character to sleep.