Nabucco , the Opera Intermediate Unit #1, Pennsylvania That Was “Born Under a Lucky Star” and Launched His Career

Total Page:16

File Type:pdf, Size:1020Kb

Nabucco , the Opera Intermediate Unit #1, Pennsylvania That Was “Born Under a Lucky Star” and Launched His Career Meet the Composer Pittsburgh Opera Giuseppe Fortunino Francesco Verdi Education thanks our (October 9 or 10, 1813 – January 27, 1901) generous supporters: by Jill Leahy American Eagle Outfitters, Inc. Giuseppe Verdi, born in a Bayer USA Foundation small village in Parma in The Frick Fund of the northern Italy, was 20 years Buhl Foundation old when he moved to Milan The Jack Buncher Foundation to continue his studies. In Dominion Foundation 1839 he produced his first Eat ‘n Park Hospitality Group, Inc. successful opera, Oberto, ESB Bank Conte di San Bonifacio . First Commonwealth When his next opera failed, Financial Corporation he was ready to give up Solera Temistocle Librettoby The Grable Foundation composing. Fortunately for The Hearst Foundation us, his friend Bartolomeo G Hefren-Tillotson, Inc. Merelli encouraged him to continue writing operas. Charles Highmark Blue Cross Blue Shield Osborne, in The Complete Operas of Verdi , relates a The Huntington National Bank wonderful story about Verdi’s creation of Nabucco , the opera Intermediate Unit #1, Pennsylvania that was “born under a lucky star” and launched his career. Nabucco Photo from Israeli Opera production of Nabucco at the Masada (Hebrew for “fortress”), located atop an Department of Education isolated rock cliff at the western end of the Judean Desert overlooking the Dead Sea. On the east side, After repeatedly telling Verdi about the libretto by Solera, Levin Furniture the rock falls in a sheer drop of about 450 meters to the Dead Sea, and on the western edge it stands about 100 meters above the surrounding terrain. www.fromthegrapevine.com Merelli forced Verdi to read it. Verdi said, “When I got home, Martha Mack Lewis Foundation I threw the manuscript on the table with a violent gesture, People’s Natural Gas Drama Rooted in History . Rising from Family Tragedy and stood staring at it. It had fallen open, and without Reed Smith LLP The Techs - MetalTech At the age of 25 in 1839, Verdi experienced moderate success with his first realizing it I gazed at the page and read the line: “ Va opera, Oberto, at La Scala. However, following the deaths of his infant pensiero, sull’ ali dorate .” According to the story, Verdi was Triangle Tech Group United States Steel Corporation children and then his wife, his next opera, Un giorno di regno, failed. Verdi, deeply moved and read many passages from the Bible, but Verdi Giuseppe Music by in despair, decided to give up composing. Bartolomeo Merelli, La Scala's he was determined not to compose any more and took the “Va pensiero, sull'ali dorate” manager, gave the Nabucco libretto to Verdi, who at first refused to read it. libretto back to Merelli. “My friend said, ‘Set it to music. Set it (Chorus of the Hebrew Slaves) to music!’ And with that, he took the libretto and thrust it in The libretto for Nabucco (short for Nabucodonosor; in my overcoat pocket, grabbed me by the shoulders and not Fly, thought, on wings of gold; English, Nebuchadnezzar) is based on biblical stories only pushed me out of the room but locked the door in my go settle upon the slopes and the hills, where, soft and mild, the sweet airs from the Book of Jeremiah and the Book of Daniel face. What was I to do? I went home with Nabucco in my of our native land smell fragrant! (along with Kings, Chronicles, and Psalms), an 1836 pocket. One day a verse, the next day another, at one time play by Auguste Anicet-Bourgeois and Francis Cornue, a note, at another a phrase. Little by little the opera was Greet the banks of the Jordan and a ballet adaptation of the play by Antonio Cortese. and Zion's toppled towers . written.” The principal story in Nabucco is about the Assyrian Oh, my country, so beautiful and lost! conquest of Judah and the Babylonian captivity of the Verdi delivered the opera Nabucco to Merelli in the autumn Oh, remembrance, so dear and so fatal! Hebrews. However, many music historians have written of 1841, and because it was so late in the season and the about the parallels to the state of Italy at the time. Italy schedule was already full, Merelli couldn’t afford new For more information on was not united as a country; many areas were under scenery or costumes but promised to use whatever he could Pittsburgh Opera's education the control of Austria and France, and the Italian from his warehouse. According to Verdi, at the 1842 programs, please contact: Nabucco, 1842 people were fomenting Risorgimento , or re-unification. premiere, “The refashioned costumes looked splendid. The costume sketch Marilyn Michalka Egan, Ph.D. When Nabucco was first performed at La Scala on old scenery, touched up by the painter Perroni, made an Director of Education March 9, 1842 under its original name of Nabucodonosor, the audience extraordinary impression. The first scene in the temple, for [email protected] response was overwhelming and the Italian public regarded it as a symbol instance, produced such an effect that the audience 412-281-0912 ext 242 of the struggle against Austrian rule in northern Italy. applauded for ten minutes.” Pittsburgh Opera 2425 Liberty Avenue The question is still being argued today: Did Verdi intentionally create a Aren’t we lucky to benefit from both Merelli’s and Verdi’s Study Guide to the Opera Pittsburgh, PA 15222 “political opera” or, once he saw the result, did he then become a persistence? www.pittsburghopera.org spokesman for Italian freedom? by Jill Leahy Nabucco Synopsis continued Meet the Librettist Nabucco Synopsis Characters herself when, to the astonishment of all, Nabucco appears. He Setting: Jerusalem and Babylon, 6th century B.C.E. snatches the crown from her, faces the crowd and declares Nabucco [nah-BOO-kkoh] baritone himself not only their king but their god (Non son più re, son dio / Part I JERUSALEM King of Babylon I am no longer King! I am God!). For this blasphemy, a The Temple of Solomon in Jerusalem thunderbolt strikes him down. Abigaille, triumphant, retrieves the Thus saith the Lord, Behold, I shall The Israelites are Abigaille [ah-bee-gah-EEL-leh] soprano crown for herself. Intermission deliver this city into the hand of the praying for help A slave, presumed to be Nabucco’s King of Babylon, and he will burn it against Nabucco elder daughter Part III THE PROPHECY The Hanging Gardens of Babylon with fire. (Jeremiah 21:10) (Nebuchadnezzar), The Babylonians hail Therefore the wild beasts of the king of Babylon, who Zaccaria [dzahk-kah-REE-ah] bass Abigaille as their ruler. The has attacked them and is vandalizing the city (Gli arredi High priest of the Hebrews desert with the wild beasts of the islands shall dwell there, and the owls High Priest urges her to have festivi giù cadano infranti / Throw down and destroy shall dwell therein. (Jeremiah 50:39) the Israelites killed, but all festive decorations). Zaccaria, their high priest, Ismaele [eez-mah-EH-leh] tenor before she can give the by Jill Leahy enters with Nabucco’s daughter, Fenena, whom the Nephew of the King of Jerusalem order, the disheveled Nabucco wanders in. Abigaille dismisses the Temistocle Solera (1815–1878) Hebrews hold hostage. He reassures his people that the crowd and, alone with Nabucco, tricks him into signing the death was a professional librettist and Lord will not forsake them (D'Egitto là su i lidi / On the Fenena [fey-NAY-nah] mezzo warrant for the captive Israelites. He asks what will happen to composer of moderate shores of Egypt He saved the life of Moses). As the Nabucco’s daughter Fenena, and Abigaille replies that she too must die. When success. He wrote the libretto Israelites leave, Ismaele, nephew of the king of Nabucco tries to find in his garments the document proving for Verdi’s first opera, Oberto , Jerusalem, is left alone with Fenena. The two fell in love High Priest bass Abigaille’s ancestry, she produces it and tears it to pieces. He and in addition to Nabucco , the during Ismaele’s imprisonment in Babylon. Fenena pleads in vain for Fenena’s life (Oh di qual onta aggravasi later operas I Lombardi , helped him escape and followed him to Jerusalem. Their Anna [AHN-nah] soprano questo mio crin canuto / Oh, what shame must my old head Giovanna d’Arco , and Attila . conversation is interrupted by the sudden appearance of Zaccaria's sister suffer). Fenena’s half-sister, Abigaille, and a band of disguised Solera used several books in Babylonian soldiers. Abigaille, who is also in love with Abdallo [ahb-DAHL-loh] tenor Along the banks of the Euphrates, the Israelites rest from forced the Old Testament as sources Ismaele, tells him that she can save his people if he will Babylonian soldier – an old officer of labor, their thoughts turning to their homeland. (Va pensiero, for the Nabucco libretto, as well return her love, but he refuses. The Israelites rush back Nabucco sull'ali dorate / Fly thought, on golden wings ). Zaccaria as the 1836 play by Auguste into the temple in a panic. When Nabucco enters with his predicts that they will overcome captivity and obliterate Babylon Anicet-Bourgeois and Francis warriors, Zaccaria confronts him, threatening to kill Other Roles with God’s help. Cornue. Solera also relied Babylonian Soldiers, Hebrew Soldiers, Levites, Fenena (Viva Nabucco / Long live Nabucco) . Ismaele heavily on Antonio Cortese's Hebrew Virgins, Babylonian Virgins, Babylonian disarms the priest and delivers Fenena to her father. Ladies, Magi, Babylonian Rulers, Slaves Part IV THE BROKEN IDOL Nabucco’s royal apartments ballet adaptation of the play.
Recommended publications
  • Libretto Nabucco.Indd
    Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane.
    [Show full text]
  • Verdi and Milan Transcript
    Verdi and Milan Transcript Date: Monday, 14 May 2007 - 12:00AM VERDI AND MILAN Professor Roger Parker This talk is about Verdi and Milan, and is in three acts, with a brief prelude and even briefer postlude. You may like to know that, as with most of Verdi's operas, the last act is quite a bit shorter than the first two. Prelude When the eighteen-year-old Verdi moved from provincial Busseto, a town near Parma, to Milan in June 1832, to complete his musical training privately after having been rejected from the Milan Conservatory, he must have felt keenly the change in cultural climate. From a small town in which his reputation had been as a promising church musician, and whose inhabitants he later reviled for their parochialism and petty jealousies, he transferred to one of Italy's major capital cities, an international operatic centre with a rich tradition of intellectual and cultural achievement. At the heart of this culture, and at the heart of the city, stood the Teatro alla Scala, one of the two or three major theatres in Italy. Much later in life Verdi recalled his lessons in Milan as extremely formal and academic: in particular he recalled no reference to the music of the present. But his recollections were written in 1871, some forty years after the events described, and they tell us more about the then-aging Verdi's reactions to an Italy increasingly influenced by 'foreign' opera composers (in particular Meyerbeer and Wagner) than it does about the reality of his own student experiences.
    [Show full text]
  • Verdi Falstaff
    Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably.
    [Show full text]
  • Donizetti Operas and Revisions
    GAETANO DONIZETTI LIST OF OPERAS AND REVISIONS • Il Pigmalione (1816), libretto adapted from A. S. Sografi First performed: Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo. • L'ira d'Achille (1817), scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini. First performed: Possibly at Bologna where he was studying. First modern performance in Bergamo, 1998. • Enrico di Borgogna (1818), libretto by Bartolomeo Merelli First performed: November 14, 1818 at Teatro San Luca, Venice. • Una follia (1818), libretto by Bartolomeo Merelli First performed: December 15, 1818 at Teatro San Luca,Venice. • Le nozze in villa (1819), libretto by Bartolomeo Merelli First performed: During Carnival 1820-21 at Teatro Vecchio, Mantua. • Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), libretto by Gherardo Bevilacqua-Aldobrandini First performed: December 26, 1819 at the Teatro San Samuele, Venice. • Zoraida di Granata (1822), libretto by Bartolomeo Merelli First performed: January 28, 1822 at the Teatro Argentina, Rome. • La zingara (1822), libretto by Andrea Tottola First performed: May 12, 1822 at the Teatro Nuovo, Naples. • La lettera anonima (1822), libretto by Giulio Genoino First performed: June 29, 1822 at the Teatro del Fondo, Naples. • Chiara e Serafina (also known as I pirati) (1822), libretto by Felice Romani First performed: October 26, 1822 at La Scala, Milan. • Alfredo il grande (1823), libretto by Andrea Tottola First performed: July 2, 1823 at the Teatro San Carlo, Naples. • Il fortunate inganno (1823), libretto by Andrea Tottola First performed: September 3, 1823 at the Teatro Nuovo, Naples.
    [Show full text]
  • NABUCCO Composed by Giuseppe Verdi Libretto by Temistocle Solera First Performed : Milan, Teatro Alla Scala, March 9, 1842. A
    NABUCCO Composed by Giuseppe Verdi Libretto by Temistocle Solera First Performed : Milan, Teatro alla Scala, March 9, 1842. Act I The Hebrews have been conquered by the armies of the king of Babylon, Nebuchadnezzar. The great priest Zachary attempts to restore their courage by revealing that he has succeeded in capturing the enemy king's daughter, Fenena. But Ismael, nephew to the king of Jerusalem, has fallen in love with the young girl. While he tries to deliver her, Abigail, the slave, and Nebuchadnezzar arrive. Zachary tries to kill Fenena, but Ismael prevents him. Hebrews curse him and accuse him of treason. Act II In Nebuchadnezzar's absence, Fenena reigns. Abigail plots to kill her and seize the throne. Meanwhile, the great priest Zachary converts Fenena to Judaism. Abigail is about to reach her goal when she hears false news that Nebuchadnezzar is dead. But the king returns unexpectedly and proclaims himself God in front of a shocked audience. Act III Abigail has finally succeeded to dethrone Nebuchadnezzar, and reigns as a fierce tyrant. She decides to sacrifice the captive Hebrews. Fenena, who has converted to the enemies' religion, will die as well. Lamenting their martyrdom, the Hebrews sing the hymn "Va pensiero." Act IV The king, to reconquer his kingdom, forms an alliance with the Assyrians and declares war to Babylon. He arrives in time to save his daughter. Abigail kills herself, but, before dying, she begs forgiveness from Fenena and bids Nebuchadnezzar to allow his daughter to marry Ismael. .
    [Show full text]
  • 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]
  • FALSTAFF Verdi's Last Masterpiece
    FALSTAFF Verdi’s Last Masterpiece By Rosalba Pisaturo The Guild of Mercury Opera Rochester Guild Address P.O.Box 92245 Rochester NY 14692 Mercury Opera Website www.mercuryoperarochester Guild Website http//www.mercuryoperarochester.org/guild.htm Guild Contacts Dr. Agneta Borgstedt, President (585) 334-2323 Art Axelrod, Vice President (585) 377-6133 Helga Strasser, Trip Coordinator (585) 586-2274 Falstaff Commedia lirica in three acts Music by Giuseppe Verdi Libretto by Arrigo Boito After Shakespeare’s plays “The Merry Wives of Windsor” and “Henry IV” • Verdi’s operatic timing • Verdi and his librettist Arrigo Boito • Falstaff, the character • Opera Synopsis • Conclusion • Verdi’s operatic timing Giuseppe Verdi was born in 1813 and died in 1901. He composed his first opera, Oberto, when he was 26 years old and his last, Falstaff, when he was 80. In between he composed 28 other operas, but only two of these are comic works. • His second opera, Un giorno di Regno, in 1940 turned out to be a fiasco. • His last opera, Falstaff, premiered in 1893 at La Scala of Milano, was a big success. Why, when we think of Verdi, we immediately think of Aida, La Traviata, Rigoletto, Il Trovatore, Nabucco, and many more of his operas, but we do not think of Falstaff? Perhaps it is because this opera is so much different and so modern that it does not seem to be a work of Verdi. For over 50 years this composer had given the opera houses masterpiece which dealt with every aspect of death; death by natural forces, by disease, by fate, for vengeance, for jealousy, for mistaken identity, and so on.
    [Show full text]
  • MICHAEL FINNISSY at 70 the PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’S College, London
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2016). Michael Finnissy at 70: The piano music (9). This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17520/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] MICHAEL FINNISSY AT 70 THE PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’s College, London Thursday December 1st, 2016, 6:00 pm The event will begin with a discussion between Michael Finnissy and Ian Pace on the Verdi Transcriptions. MICHAEL FINNISSY Verdi Transcriptions Books 1-4 (1972-2005) 6:15 pm Books 1 and 2: Book 1 I. Aria: ‘Sciagurata! a questo lido ricercai l’amante infido!’, Oberto (Act 2) II. Trio: ‘Bella speranza in vero’, Un giorno di regno (Act 1) III. Chorus: ‘Il maledetto non ha fratelli’, Nabucco (Part 2) IV.
    [Show full text]
  • I Due Foscari
    I DUE FOSCARI I cinque atti del dramma di Byron narrano la tortura e la confessione del gio- vane Foscari, la condanna all’esilio, la morte mentre lo portano alla nave, e quella di suo padre, il Doge, che il Consiglio aveva costretto a dimettersi. È un dramma monotono, senza avvenimenti importanti, interamente intonato in chiave minore, e persino Verdi, rileggendo la sinossi, si rese conto che non sarebbe stato suf- ficiente per stare “attaccato a Byron”. Scrisse a Piave «Osservo che in quel di Byron non c’è quella grandiosità scenica che è pur voluta dalle opere per musica: metti alla tortura il tuo ingegno e trova qualche cosa che faccia un po’ di fracasso specialmente nel primo atto.» E nella stessa lettera: «Fallo con impegno, perché è un bel soggetto, delicato e assai patetico.» Delicatezza e pathos: queste le qualità di rilievo dell’opera. I personaggi sono altrettanto ben definiti che nell’Ernani, ma così diversi da invertire la normale gerarchia verdiana del potere vocale: Jacopo Foscari, passivamente coraggioso, romanticamente devoto alla città che l’ha cacciato, un uomo che riesce ad affron- tare la prigione e la tortura più prontamente dell’esilio; suo padre, un vecchio di ottantaquattro anni, un Captain Vere veneziano, deciso a reprimere i propri sen- timenti paterni quando sono in contrasto col suo dovere verso lo Stato e le sue leggi; Lucrezia, la moglie (Marina, nel dramma), per la quale l’amore per il marito significa tutto e le leggi del suo paese nulla; e infine, Loredano, freddo e impla- cabile, che non sarà soddisfatto finché la morte di suo padre e di suo zio non sarà vendicata da quella dei due Foscari.
    [Show full text]
  • BAZZINI Complete Opera Transcriptions
    95674 BAZZINI Complete Opera Transcriptions Anca Vasile Caraman violin · Alessandro Trebeschi piano Antonio Bazzini 1818-1897 CD1 65’09 CD4 61’30 CD5 53’40 Bellini 4. Fantaisie de Concert Mazzucato and Verdi Weber and Pacini Transcriptions et Paraphrases Op.17 (Il pirata) Op.27 15’08 1. Fantaisie sur plusieurs thêmes Transcriptions et Paraphrases Op.17 1. No.1 – Casta Diva (Norma) 7’59 de l’opéra de Mazzucato 1. No.5 – Act 2 Finale of 2. No.6 – Quartet CD3 58’41 (Esmeralda) Op.8 15’01 Oberon by Weber 7’20 from I Puritani 10’23 Donizetti 2. Fantasia (La traviata) Op.50 15’55 1. Fantaisie dramatique sur 3. Souvenir d’Attila 16’15 Tre fantasie sopra motivi della Saffo 3. Adagio, Variazione e Finale l’air final de 4. Fantasia su temi tratti da di Pacini sopra un tema di Bellini Lucia di Lammeroor Op.10 13’46 I Masnadieri 14’16 2. No.1 11’34 (I Capuleti e Montecchi) 16’30 3. No.2 14’59 4. Souvenir de Transcriptions et Paraphrases Op.17 4. No.3 19’43 Beatrice di Tenda Op.11 16’11 2. No.2 – Variations brillantes 5. Fantaisia Op.40 (La straniera) 14’02 sur plusieurs motifs (La figlia del reggimento) 9’44 CD2 65’16 3. No.3 – Scène et romance Bellini (Lucrezia Borgia) 11’05 Anca Vasile Caraman violin · Alessandro Trebeschi piano 1. Variations brillantes et Finale 4. No.4 – Fantaisie sur la romance (La sonnambula) Op.3 15’37 et un choeur (La favorita) 9’02 2.
    [Show full text]
  • 15, Mezzo-Soprano Denes Van Parys, Piano
    SCHOOL OF MUSIC SENIOR RECITAL JENNIFER ANN MAYER ’15, MEZZO-SOPRANO DENES VAN PARYS, PIANO SUNDAY, MARCH 8, 2015 SCHNEEBECK CONCERT HALL 5 P.M. “Esurientes implevit bonis” ...................................................... Johann Sebastian Bach from Magnificat (1685–1750) “Lobe, Zion, deinen Gott” from Cantata No. 190 From Zwei Gesänge, Opus 91 ............................................................Johannes Brahms Geistliches Wiegenlied (1833–1897) with Forrest D. Walker, viola Nuit d’étoiles ........................................................................................ Claude Debussy (1862–1918) Le Spectre de la Rose ..............................................................................Hector Berlioz from Les Nuits d’Été (1803–1869) “Faites-lui mes aveux” ..........................................................................Charles Gounod from Faust (1818–1893) INTERMISSION From Sea Pictures, Opus 37 ...................................................................... Edward Elgar Where Corals Lie (1857–1934) Sabbath Morning at Sea “Lullaby” .......................................................................................... Gian Carlo Menotti from The Consul (1911–2007) “Il segreto per esser felici” ................................................................Gaetano Donizetti from Lucrezia Borgia (1797–1848) A reception will follow the recital in School of Music, Room 106. VOCALIST JENNIFER ANN MAYER ’15, mezzo-soprano, is double-majoring in music and communication studies. She studies voice
    [Show full text]
  • Fly, Thought, on Golden Wings
    Fly, thought, on golden wings Rose Marie Boudeguer Yerkovic Director, Research Services MONTHLY STRATEGY REPORT July 2015 Monthly Strategy Report. July 2015 Fly, thought, on golden wings “It is said that success requires talent, hard work, and an embrace of the opportunities that arise. But equally as important is the ability to overcome defeat. This month’s story is a tale of triumph, like many others in fields as diverse as art, sport, and business”. The young man sheepishly opened the immense door of the audition room and entered. Opposite him, the three examiners from the Conservatory leered with curiosity and suspicion. They had never assessed someone so old. He played two pieces, but his fate was sealed after the first. The examiners were appalled at the curvature of his back and the way in which he rested his fingers on the keyboard. The second piece was an original composition to which the examiners paid no attention. They had already made their decision. “We are sorry, your technique is unsatisfactory and nineteen is too old to correct it,” they said. “But I don’t want to be a pianist,” he protested, “I want to be a composer.” Sixty-six years later, the same man received a letter from the Ministry of Culture suggesting his name grace the Conservatory. “If you didn’t want me when I was young, you shan’t have me old,” he responded. But ultimately the Milan Conservatory prevailed, changing its name to the Giuseppe Verdi Conservatory of Music. Verdi was born on 10 October 1813 in a small town near the city of Busseto, in the Duchy of Parma.
    [Show full text]