Elizabeth 2010 Resume.Pdf

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Elizabeth Hillebrand Soprano www.ElizabethH.com H: 5’4 W: 125 [email protected] Opera Performances Adele Die Fledermaus Liederkranz Opera Theatre, NYC 2009 Micaëla Carmen Opera of the Hamptons 2008 Elvira L’Italiana in Algere The Yard, Martha’s Vineyard 2008 Susanna Il Segreto di Susanna The Yard, Martha’s Vineyard 2008 Valencienne The Merry Widow Pineda Lyric Opera Company 2008 Apollo Il Parnaso Confuso (Gluck) Ridotto Concert Series, NY 2008 Josephine HMS Pinafore Opera Naples, FL 2008 Lauretta Gianni Schicchi Rockland Opera, NY 2008 Susanna Le Nozze di Figaro Eastern Festival Opera, NY 2007 Daughter The Juniper Tree Collegiate Chorale, Alice Tully Hall 2007 Servilia La Clemenza di Tito Opera dell’Arte 2007 Laurie The Tender Land The Bronx Opera 2007 Yum Yum The Mikado New York Gilbert and Sullivan Players 2007 Ernestine Mr. Choufleuri (Offenbach) Light Opera of New York 2007 Miss Silverpeal The Impressario The Bronx Opera 2006 Kathie The Student Prince Music by the Lake, Wisconsin 2006 Despina Così fan tutte The Bronx Opera 2006 Papagena Die Zauberflöte New Jersey Concert Opera 2006 Belinda Dido and Aeneas The Bronx Opera 2006 Gontran Une Education Manquée The Bronx Opera 2006 Galatea Acis and Galatea Champagne and Candlelight, NYC 2005 Rose Maybud Ruddigore New York Gilbert and Sullivan Players 2004 Phyllis Iolanthe International G&S Festival, England 2004 Rachel The Theory of Everything Encompass New Opera Theater 2004 Aminta Il Re Pastore (Mozart) Ridotto concert series 2004 Adele Die Fledermaus Opera New York 2004 Oratorio/Recital Soloist Concert Soloist Verbier Festival L’Eglise Concerts: Verbier, Switzerland 2009 Concert Soloist Night at the Oscars Hollywood Concert Orchestra (tour) 2009 Concert Soloist Israel Philharmonic Chamber Music Series: Tel Aviv,Israel 2008 Elijah (Mendelssohn) Collegiate Chorale Carnegie Hall 2007 Viennese Christmas New Romberg Orchestra National tour 2007 Soprano Arias Higher Ground Wisconsin Public Radio(Live) 2006 Mass in G (Schubert) Field Studies Institute Carnegie Hall 2006 Vivaldi Gloria Collegiate Chorale Metropolitan Museum of Art 2005 Carmina Burana Long Island Masterworks Tilles Center, Hempstead, NY 2005 Summer/Apprentice Programs & Awards Sigma Alpha Iota Verna Ross Orndorff Career Performance Grant winner 2003 International Vocal Arts Institute, Tel Aviv, Israel 2003 Wildwood Opera Theater Young Artist Program 2003 Mannes College of Music, Opera Workshop 2000 & ‘02 Education BM,Vocal Performance cum laude Lawrence University BA, Biology Phi Beta Kappa Lawrence University MS, Marine Biology Stony Brook University Teacher: Elaine Bonazzi, Robert White Coaches: Daniel Beckwith, Tim Long, Peter Mark, Marnie Nixon, Ira Siff, William Vendice Conductors: Robert Bass, David Lawton, Zubin Mehta, Willy Waters, Richard Westenberg Directors: Benjamin Spierman, Wendy Taucher .

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0 n 2. Sheet io TM rsi Ve Music 1 CD Tenor Arias The Ultimate Collection Table of Contents Welcome to the CD Sheet Music™ edition of Tenor Arias, The Ultimate Collection. This Table of Contents is interactive. Click on a title below or in the bookmarks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks be- come navigation aids to ﬁnd the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the ﬁles on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Contents of this CD-ROM (click below to go to that section of the Table of Contents) OPERA ARIAS EARLY ITALIAN SONGS AND ARIAS The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 Music 2 CD OPERA ARIAS LUDWIG VAN BEETHOVEN In des Lebens Fruehlingstagen (Fidelio) VINCENZO BELLINI A te o cara (I Puritani) GEORGES BIZET La fleur que tu m’avais jetée (Flower Song) (Carmen) Je crois entendre encore (Romance) (Les Pêcheurs de Perles) ADRIEN BOIELDIEU Viens, gentille dame (La Dame Blanche) ARRIGO BOITO Dai campi, dai prati (Mefistofele) Giunto sul passo estremo (Mefistofele) ALFREDO CATALANI Nei verde maggio (Loreley) M’hai salvato (La Wally) FRANCESCO CILEA È la solita storia del pastore (Lamento di Federico) (L’Arlesiana) DOMENICO CIMAROSA Pria che spunti in ciel l’aurora (Il Matrimonio Segreto) LEO DELIBES Ah, viens dans la forêt (Lakmé) Fantaisie aux divins mensonges (Lakmé) Sheet TM Version 2.0 Music 3 CD GAETANO DONIZETTI Com’ è gentil (Don Pasquale) Adina, credemi (L’Elisir d’Amore) Quanto è bella (L’Elisir d’Amore) Una furtiva lagrima (L’Elisir d’Amore) Spirto gentil (La Favorita) Amici miei che allegro giorno (La Figlia del Reggimento) Pour me rapprocher de Marie (La Fille du Régiment) Fra poco a me ricovero (Lucia di Lammermoor) F.
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Lucio Silla Wolfgang Amadeus Mozart S T a G I O N E D I O P E R a 2 0 1 4 / 2 0 1
6 W L u o c l i f o g a S n i l g l a A m a d e u s M o z a r t Lucio Silla Wolfgang Amadeus Mozart S t a g i o n e d i O p e r a 2 0 1 4 / 2 0 1 5 Stagione di Opera 2014 / 2015 Lucio Silla Dramma in musica in tre atti Libretto di Giovanni De Gamerra Musica di Wolfgang Amadeus Mozart Nuova produzione In coproduzione con Mozartwoche Salzburg/Fondazione Mozarteum e Festival di Salisburgo EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Giovedì 26 febbraio 2015, ore 20 - Turno E REPLICHE febbraio Sabato 28 Ore 20 – Turno D marzo Martedì 3 Ore 20 – ScalAperta Giovedì 12 Ore 20 – Turno B Sabato 14 Ore 20 – Turno A Martedì 17 Ore 20 – Turno C SOMMARIO 4 Lucio Silla . Il libretto 28 Il soggetto Argument – Synopsis – Die Handlung – ࠶ࡽࡍࡌ – Сюжет Cesare Fertonani 40 L’opera in breve Cesare Fertonani 42 La musica Giancarlo Landini 45 Luci del crepuscolo Il Lucio Silla di Mozart per Milano Raffaele Mellace 79 Modernità in veste storica Marc Minkowski parla di Mozart e di Lucio Silla 85 Wolfgang A. Mozart - Lucio Silla Ronny Dietrich 104 Lucio Silla alla Scala Luca Chierici 113 Marc Minkowski 115 Marshall Pynkoski 116 Antoine Fontaine 117 Jeannette Lajeunesse Zingg 118 Hervé Gary 119 Lucio Silla . I personaggi e gli interpreti 121 Wolfgang Amadeus Mozart. Cesare Fertonani Cronologia della vita e delle opere 128 Letture Cesare Fertonani 130 Ascolti Luigi Bellingardi 133 Coro del Teatro alla Scala 134 Orchestra del Teatro alla Scala 135 Corpo di Ballo del Teatro alla Scala 136 Teatro alla Scala Wolfgang Amadeus Mozart .
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METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M.
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Il Re Pastore
IL RE PASTORE CLASSICAL OPERA IAN PAGE (CONDUCTOR) WOLFGANG AMADEUS MOZART (1756-1791) IL RE PASTORE, K.208 Libretto by Pietro Metastasio (1698-1782) Performance material: New Mozart Edition (NMA) ALESSANDRO JOHN MARK AINSLEY tenor By kind permission of Bärenreiter-Verlag Kassel · Basel · London · New York · Praha Alexander the Great, King of Macedonia Recorded at St John’s Smith Square, London, UK from 17 to 25 July 2014 AMINTA SARAH FOX soprano Produced and engineered by Andrew Mellor A shepherd, in love with Elisa Assistant engineers: Claire Hay, Brett Cox Post-production by Andrew Mellor and Claire Hay Design by gmtoucari.com ELISA AILISH TYNAN soprano Cover image by Debbie Coates Photographs by Ruth Crafer unless otherwise stated A noble Phoenician girl, in love with Aminta Italian language coach: Rosalba Lo Duca Harpsichord technician: Malcolm Greenhalgh TAMIRI ANNA DEVIN soprano Daughter of the tyrant Strato, in love with Agenore Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George and Efthalia Koukis for sponsoring this recording. AGENORE BENJAMIN HULETT tenor We are also grateful to the following people for their generous support: Kate Bingham and Jesse A nobleman of Sidon, in love with Tamiri Norman, Sir Vernon and Lady Ellis, Kevin Lavery, Robin and Amanda Osmond, Hamish and Carol Ritchie, Pierce and Beaujolais Rood, and all the other individuals who supported this project. THE ORCHESTRA OF CLASSICAL OPERA Special thanks to: Kate Aldridge, Pawel Siwczak, Stephen Page and TallWall Media. Leader: Matthew Truscott Continuo: Steven Devine (harpsichord), Joseph Crouch (cello), Cecelia Bruggemeyer (double bass) IAN PAGE conductor 2 MOZART / IL RE PASTORE MOZART / IL RE PASTORE 3 IL RE PASTORE, K.208 Scena V Page 11 Recitativo: “No, voi non siete, o Dei” (Tamiri) 0’34 36 CD 1 ACT ONE (62’38) 12 No.
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The Magic Flute
The Magic Flute Opera Box Table of Contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .9 Reference/Tracking Guide . .10 Lesson Plans . .13 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Wolfgang Amadeus Mozart – a biography ......................49 Catalogue of Mozart’s Operas . .51 Background Notes . .53 Emanuel Schikaneder, Mozart and the Masons . .57 World Events in 1791 ....................................63 History of Opera ........................................66 2003 – 2004 SEASON History of Minnesota Opera, Repertoire . .77 The Standard Repertory ...................................81 Elements of Opera .......................................82 Glossary of Opera Terms ..................................86 GIUSEPPE VERDI NOVEMBER 15 – 23, 2003 Glossary of Musical Terms .................................92 Bibliography, Discography, Videography . .95 Word Search, Crossword Puzzle . .98 GAETANO DONIZETTI JANUARY 24 – FEBRUARY 1, 2004 Evaluation . .101 Acknowledgements . .102 STEPHEN SONDHEIM FEBRUARY 28 – MARCH 6, 2004 mnopera.org WOLFGANG AMADEUS MOZART MAY 15 – 23, 2004 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide.
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IL RE PASTORE Dramma Per Musica in Due Atti
Wolfgang Amadeus Mozar IL RE PASTORE Dramma per musica in due atti Libretto di Pietro Metastasio PERSONAGGI Aminta pastorello, amante di Elisa, che, ignoto prima anche a se stesso, si scopre poi unico legittimo erede del regno di Sidone Soprano Alessandro Re di Macedeonia Tenore Tamiri principessa fuggitiva, figliola del tiranno Stratone, in abiti di pastorella, amante di Agenore Soprano Elisa snobile ninfa di Fenicia, dell’antica stirpe di Cadmo, amante di Aminta Soprano Agenore nobile di Sidone, amico di Alessandro, amante di Tamiri Tenore La scena si finge nella campagna dove è attendato il campo macedone, a vista della città di Sidone. Prima rappresentazione: Salisburgo, Erzbischöflicher Palast, 23 aprile 1775 Mozart: Il re pastore - atto primo ATTO PRIMO ELISA Deh, m’ascolta. Ho colmo il core Scena I° Di felici speranze: e non ho pace Finché con te non le divido. Vasta e amena campagna irrigata dal fiume Bostreno, sparsa di greggi e di pastori. Largo ma AMINTA rustico ponte sul fiume. Innanzi tuguri pastorali. Altrove Veduta della città di Sidone in lontano. Più sicura potrai… Aminta assiso sopra un sasso, cantando al suono delle avene pastoralì: indi Elisa. ELISA [N° 1 Ouverture – Aria] Ma d’Alessandro Fai torto alla virtù. Son della nostra AMINTA Sicurezza custodi Intendo amico rio Quelle schiere, che temi. Ei da un tiranno Quel basso mormorio: Venne Sidone a liberar: né vuole Tu chiedi in tua favella Che sia vendita il dono: Il nostro ben dov’è? Ne franse il giogo, e ne ricusa il trono. (Vedendo Elisa getta le avene, e corre ad incon- AMINTA trarla) Chi sarà dunque il nostro Re? Bella Elisa? idol mio? dove? ELISA ELISA Si crede, Che ignoto anche a se stesso occulto viva (lieta, e frettolosa) Il legittimo erede.
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METASTASIO BENADERD DOOR MOZART Een Achttiende-Eeuws
,- 1 210 METASTASIO BENADERD DOOR MOZART Een achttiende-eeuws voorbeeld van musico-theatrale adaptatiel Bruno FORMENT In opdracht van Muziektheater Transparant creëerde Ramsey Nasr een eigenzin- nige versie van Mozarts opera Il re pastore (1775). 2 Nasrs gewaagde hertaling (Onnozele Koning)3 en enscenering werden door menigeen als blasfemisch erva- ren. Rond het adapteren van libretti hangt duidelijk een taboesfeer, wat we wel- licht in verband moeten brengen met het sacrosancte wereldje van de 'oude muziek'. Ironisch genoeg is de eis tot 'historische authenticiteit', in dit geval tot de nauwgezette conservatie van een oorspronkelijke dramatekst, in onmiddellijke tegenspraak met de achttiende-eeuwse operapraktijk. 1. Tekst vs. muziek vs. uitvoering In een artikel over Guy Joostens regie van Le Nozze di Figaro stelde Bram Van Oostveldt de veronderstelde eenheid tussen de drama-, muziek- en opvoerings- tekst van de opera in vraag, precies omwille van de fundamentele historiciteit van elke betekenislaag.4 Het achttiende-eeuwse dramma per musica (ook wel: opera seria) cultiveerde als het ware deze 'drieheid'. Op de hoogste echelon bevond zich de dramatische dichter (librettist), met name Pietro Metastasio (1698-1782), wiens libretti men tot de canon rekende. Nog tijdens zijn leven werd zijn werk veelvuldig in volledige edities en bloemlezingen uitgegeven. Na een diner bij de Milanese graaf Firmian ontving de veertienjarige Mozart een prachtige Metastasio-editie uit handen van de gulle aristocraat. "Du kannst dir leicht vor- stellen, daB dieB ein so wohl mir als dem Wolfg: sehr angenehmes present ist," (sic) schreef vader Leopold nadien.s Ten opzichte van Metastasio, de 'Sophocles' en de 'Racine' van zijn tijd, was elke componist - ook het wonderkind Mozart - de hiërarchisch ondergeschikte; ten aanzien van Metastasio's klassieke drammi was vrijwel elke operapartituur een hoogst efemeer artefact.
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Alcina Alcina
ALCINAALCINA George Frideric Handel NEW PRODUCTION Four Hundred Forty-Fourth Program of the 2014-15 Season _______________________ Indiana University Opera Theater presents as its 440th production Alcina Music by George Frideric Handel Libretto by Antonio Fanzaglia Arthur Fagen, Conductor Chas Rader-Shieber, Stage Director Robert Perdziola, Set and Costume Designer Patrick Mero, Lighting Designer Eiddwen Harrhy, Baroque Style Coach Daniela Siena, Italian Diction Coach Vincent Liotta, Supertitle Author _________________ Musical Arts Center Friday, February Sixth Saturday, February Seventh Friday, February Thirteenth Saturday, February Fourteenth Eight O’Clock music.indiana.edu Cast of Characters Friday, February 6 Saturday, February 7 Saturday, February 14 Friday, February 13 Alcina . Shannon Love Elizabeth Toy Morgana . Kellie Motter Monica Dewey Bradamante . Rachel K . Evans Kaitlyn McMonigle Oronte . Christopher Sokołowski Issa Ransom Melisso . Eunje Cho Ross Coughanour Ruggiero . Deniz Uzun Michael Linert Supernumeraries . Andrew Copeland Andrew Copeland Colin Ellis Colin Ellis Moses Mayabilo Moses Mayabilo Jake Rhoad Jake Rhoad The Georgina Joshi Foundation, Inc. Handel Underwriting Through the vision of Georgina’s mother, Louise Addicott-Joshi, The Georgina Joshi Foundation, Inc ,. was established in 2007 as a 501(c)(3) charitable foundation to provide, among other things, educational and career development opportunities for young musicians and to encourage and support the public performance of music . - let music flow and surround the world let humanity be drown in beautiful music - George Frideric Handel, a German-English baroque composer, was famous for his operas, oratorios, and concerti grossi . He was strongly influenced by the techniques of the great composers of the Italian Baroque period and English composer Henry Purcell .
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Mozart's "Mezzos": a Comparative Study Between Castrato and Female Roles in Mozart's Operas
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2019 Mozart's "Mezzos": A Comparative Study Between Castrato and Female Roles in Mozart's Operas Erin Gonzalez Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Gonzalez, Erin, "Mozart's "Mezzos": A Comparative Study Between Castrato and Female Roles in Mozart's Operas" (2019). UNLV Theses, Dissertations, Professional Papers, and Capstones. 3604. http://dx.doi.org/10.34917/15778439 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. MOZART’S “MEZZOS”: A COMPARATIVE STUDY OF CASTRATO AND FEMALE ROLES IN MOZART’S OPERAS By Erin Gonzalez Bachelor of Music Chapman University 2008 Master of Music Eastman School of Music 2011 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of
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From the Biblioteca Da Ajuda, Lisbon
EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740 - 1770 Unit Six: Manuscripts, Catalogue No.s 1242 - 2212 EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740-1770 Unit Six: Manuscripts, Catalogue No.s 1242 - 2212 First published in 2000 by Primary Source Microfilm. Primary Source Microfilm is an imprint of the Gale Group. Gale Group is a trading name of Gale International Limited. This publication is the copyright of Gale International Limited. Filmed in Portugal from the holdings of The Biblioteca da Ajuda, Lisbon by The Photographic Department of IPPAR. All rights reserved. No part of this publication may be reproduced without prior permission. GALE GROUP GALE GROUP 50 Milford Road 12 Lunar Drive Reading Woodbridge Berkshire RG1 8LJ Connecticut 06525 United Kingdom U.S.A. CONTENTS Introduction 5 Publisher’s Note 9 Contents of Reels 11 Listing of Manuscripts 15 INTRODUCTION The Ajuda Library was established after the Lisbon earthquake of 1755 near the royal palace of the same name to replace the court library which had been destroyed in the earthquake, and from its creation it incorporated many different collections, which were either acquired, donated or in certain cases confiscated, belonging to private owners, members of the royal family or religious institutions. Part of the library holdings followed the royal family to Brazil after 1807 and several of these remained there after the court returned to Portugal in 1822. The printed part of those holdings constituted the basis of the National Library of Rio de Janeiro.
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Trouser Roles - the Development of the Role in Opera from the Seventeenth to Twentieth Century
Georgia State University ScholarWorks @ Georgia State University Music Theses School of Music Fall 11-26-2012 Trouser Roles - The development of the role in opera from the seventeenth to twentieth century Tabita C. Iwamoto Follow this and additional works at: https://scholarworks.gsu.edu/music_theses Recommended Citation Iwamoto, Tabita C., "Trouser Roles - The development of the role in opera from the seventeenth to twentieth century." Thesis, Georgia State University, 2012. https://scholarworks.gsu.edu/music_theses/3 This Thesis is brought to you for free and open access by the School of Music at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Music Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TROUSER ROLES THE DEVELOPMENT OF THE ROLE IN OPERA FROM THE SEVENTEENTH TO TWENTIETH CENTURY by TABITA IWAMOTO Under the Direction of Kathryn Hartgrove ABSTRACT This document presents the development trouser role. The first part is concentrated in the seventeenth century when the use of castrati was the main business in church music. Later in the same chapter is presented the development of women in opera, which so far was not a common practice, and how and why they dominate the opera after the castrati were not an ac- cepted practice anymore. The following chapters contain demonstrations of trouser role’s types. Each chapter is based in one role of an opera from a different period of history. From Gluck’s Orfeo ed Euridice to Strauss’ Der Rosenkavalier, the pants role is exemplified from a different point of view according to their importance in opera.
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Stagione 2018-2019 RE PASTORE
Progetto5_v 18/12/15 18:51 Pagina 2 Eau de Parfum pour Homme et pour Femme Merging of olfactory notes with musical harmonies. themerchantofvenice.com Progetto5_v 18/12/15 18:51 Pagina 1 In vendita presso il bookshop del Teatro La Fenice On sale at the Teatro La Fenice bookshop www.zafferanoitalia.com - www.teatrolafenice.it Il lie to calice Il calice disegnato da Federico de Majo e realizzato da Zafferano per Fondazione Teatro La Fenice. Omaggio a “La traviata” di Giuseppe Verdi. The wine glass designed by Federico de Majo and created by Zafferano for the Teatro La Fenice A tribute to “La Traviata” by Giuseppe Verdi. In vendita presso il bookshop del Teatro La Fenice On sale at the Teatro La Fenice bookshop www.zafferanoitalia.com - www.teatrolafenice.it Il lie to calice Il calice disegnato da Federico de Majo e realizzato da Zafferano per Fondazione Teatro La Fenice. Omaggio a “La traviata” di Giuseppe Verdi. The wine glass designed by Federico de Majo and created by Zafferano for the Teatro La Fenice A tribute to “La Traviata” by Giuseppe Verdi. Fondazione Teatro La Fenice di venezia Radio3 per la Fenice Opere della Stagione Lirica 2018-2019 trasmesse in diretta o in differita dal Teatro La Fenice o dal Teatro Malibran venerdì 23 novembre 2018 ore 19.00 Macbeth venerdì 8 febbraio 2019 ore 19.00 Il sogno di Scipione venerdì 15 febbraio 2019 ore 19.00 Il re pastore domenica 24 febbraio 2019 ore 15.30 L’italiana in Algeri martedì 23 aprile 2019 ore 19.00 Dorilla in Tempe venerdì 10 maggio 2019 ore 19.00 Turandot sabato 18 maggio 2019 ore
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