Don Giovanni Page 1 of 2 Opera Assn

Total Page：16

File Type：pdf, Size：1020Kb

San Francisco War Memorial 1995 Don Giovanni Page 1 of 2 Opera Assn. Opera House New Production This production is made possible, in part, by generous gifts from Mr. George M. Bowles and the Estate of Edith Bentley Bailey Cook. Don Giovanni (in Italian) Opera in two acts by Wolfgang Amadeus Mozart Libretto by Lorenzo Da Ponte Conductor CAST Donald Runnicles Leporello Alfonso Antoniozzi* Production Donna Anna Deborah Riedel Lotfi Mansouri Don Giovanni Samuel Ramey (11/14,18,20) Set designer William Shimell (11/24,28;12/1,3,7) Gerard Howland The Commendatore Victor von Halem Costume Designer Don Ottavio John Mark Ainsley † (11/14,18,20,24,28) Thierry Bosquet Stanford Olsen (12/1,3,7) Lighting Designer Donna Elvira Daniela Dessì Michael Whitfield Zerlina Rebecca Evans* Sound Designer Masetto Earle Patriarco Roger Gans Chorus Director Ian Robertson *Role debut †U.S. opera debut Musical Preparation PLACE AND TIME: Seville in the middle of the seventeenth century Joyce Fieldsend Bryndon Hassman Ian Robertson Ernest Fredric Knell Adelle Eslinger Philip Eisenberg Prompter Philip Eisenberg Recitative accompaniment Donald Runnicles, harpsichord Recitative accompaniment David Kadarauch, cello Assistant Stage Director Beth Greenberg Sandra Bernhard Stage Manager Jerry Sherk Fight Consultant Larry Henderson Supertitles Christopher Bergen Tuesday, November 14 1995, at 8:00 PM The opera will be performed with one intermission. Saturday, November 18 1995, at 8:00 PM Monday, November 20 1995, at 7:30 PM Friday, November 24 1995, at 8:00 PM Tuesday, November 28 1995, at 8:00 PM Friday, December 1 1995, at 7:30 PM Sunday, December 3 1995, at 2:00 PM Thursday, December 7 1995, at 7:30 PM San Francisco War Memorial 1995 Don Giovanni Page 2 of 2 Opera Assn. Opera House Sponsors: The performance of November 14th is designated in honor of Mr. and Mrs. Myron Du Bain's membership in the Triple Gold Circle The performance of November 18th is designated in honor of Mr. and Mrs. Steven Read's membership in the Triple Gold Circle The performance of November 20th is sponsored by Powersoft Corporation The performance of November 23rd is sponsored by the Hendrickson family in honor of the Supernumeraries and in memory of Joseph Scott Hendrickson The performance of November 28th is sponsored by British Airways The performance of December 1st is designated in honor of Andrew J. Belotti's generous gift to San Francisco Opera's Pooled Income Fund The performance of December 3rd is sponsored by Autodesk The performance of December 3rd is designated in honor of the Triple Gold Circle membership of Annette Campbell- White and Ruediger Naumann-Etienne Notes: Scenery constructed in San Francisco Opera Scenic Studios Costumes executed by San Francisco Opera Costume Shop SUPERNUMERARIES Regina Bustillos Mary Hanni Susan Mead Valentina Simi Ceci Valente Laurel Winzler Jordan Berner Douglas Ceffalo Nigel Delaney Eddy Gordillo Joseph Kinyon Steve Lavezzoli Thomas Newman Barry Nielsen Louis Schilling Jim Shea Michael Strickland Mario Tarabini Thane Thomas.

Copy Link

Recommended publications

French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print.
[Show full text]
122 a Century of Grand Opera in Philadelphia. Music Is As Old As The
122 A Century of Grand Opera in Philadelphia. A CENTURY OF GRAND OPERA IN PHILADELPHIA. A Historical Summary read before the Historical Society of Pennsylvania, Monday Evening, January 12, 1920. BY JOHN CURTIS. Music is as old as the world itself; the Drama dates from before the Christian era. Combined in the form of Grand Opera as we know it today they delighted the Florentines in the sixteenth century, when Peri gave "Dafne" to the world, although the ancient Greeks listened to great choruses as incidents of their comedies and tragedies. Started by Peri, opera gradually found its way to France, Germany, and through Europe. It was the last form of entertainment to cross the At- lantic to the new world, and while some works of the great old-time composers were heard in New York, Charleston and New Orleans in the eighteenth century, Philadelphia did not experience the pleasure until 1818 was drawing to a close, and so this city rounded out its first century of Grand Opera a little more than a year ago. But it was a century full of interest and incident. In those hundred years Philadelphia heard 276 different Grand Operas. Thirty of these were first heard in America on a Philadelphia stage, and fourteen had their first presentation on any stage in this city. There were times when half a dozen travelling companies bid for our patronage each season; now we have one. One year Mr. Hinrichs gave us seven solid months of opera, with seven performances weekly; now we are permitted to attend sixteen performances a year, unless some wandering organization cares to take a chance with us.
[Show full text]
The Music of the Spheres: Music and the Gendered Mind in Nineteenth-Century Britain
THE MUSIC OF THE SPHERES: MUSIC AND THE GENDERED MIND IN NINETEENTH-CENTURY BRITAIN A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Anna Peak August, 2010 Examining Committee Members: Dr. Sally Mitchell, Advisory Chair, English and Women‘s Studies Dr. Peter M. Logan, English Dr. Steve Newman, English Dr. Ruth A. Solie, External Member, Music and Women‘s Studies, Smith College ii © by Anna Louise Peak 2010 All Rights Reserved iii ABSTRACT This interdisciplinary study examines how nineteenth-century British ideas about music reflected and influenced the period‘s gendering of the mind. So far, studies of Victorian psychology have focused on the last half of the century only, and have tended to elide gender from the discussion. This study will contribute to a fuller picture of nineteenth-century psychology by demonstrating that the mind began to be increasingly gendered in the early part of the century but was largely de-gendered by century‘s end. In addition, because music was an art form in which gender norms were often subverted yet simultaneously upheld as conventional, this study will also contribute to a fuller understanding of the extent to which domestic ideology was considered descriptive or prescriptive. This work makes use of but differs from previous studies of music in nineteenth- century British literature in both scope and argument. Drawing throughout on the work of contemporary music historians and feminist musicologists, as well as general and musical periodicals, newspapers, essays, and treatises from the long nineteenth century, this dissertation argues that music, as a field, was increasingly compartmentalized beginning early in the century, and then unified again by century‘s end.
[Show full text]
Don Giovanni Opera Box Lesson Plan Title Page with Related Academic Standards
Opera Box 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. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes. In addition, you are encouraged to include any original lesson plans. The Teacher’s Guide is intended to be a living reference book that will provide inspiration for other teachers. If you feel comfortable, include a name and number for future contact from teachers who might have questions regarding your lessons and to give credit for your original ideas. You may leave lesson plans in the Opera Box or mail them in separately. Before returning, please double check that everything has been assembled. The deposit money will be held until I personally check that everything has been returned (i.e. CDs having been put back in the cases).
[Show full text]
Reflections on the Figurative Art of Singing
REFLECTIONS ON THE FIGURATIVE A R T O F S ING ING BY GIAMBATTISTA MANC INI Singing Master at the Imperial Court of Vienna Translated by PIETRO BUZZI Founder and Director of the Verdi School of Singing , Los Angeles RICHARD G . BADGER THE GORHAM PRESS BOSTON REFLECTIONS ON THE FIGURATIVE A R T O F S ING ING GIAMBATTISTA MANCINI Singing Master at the Imperial Court of Vienna Translated by PIETRO BUZZI Founder and Director of the Verdi School of Singing , Los Angeles C RI HARD G . BADGER THE GORHA M PRESS BOSTON GIAMBATTISTA MANCINI, singing mast er at the Imperial Court of Vienna, st udied the art of singing under Antonio Bem acchi s of Bo logna and Leonardo Leo of Naple . Born in Ascoli Piceno (Ita ly) in the year MDCC XVI and died in Vienna in t he year MDCCC . Third edit ion reviewed, c orrected and augmented by t he aut hor was published in Milan (It aly) in the year MDCCLXXVII,by Giuseppe Galeaz z i, Print er of t he Royal House. This work has been t ranslated int o t he French lang uage by t wo different writ ers; one edit ion was published in th e year MDCCLXXVI under the “ ’ ” t it le L art du chant figure and another edit ion was printed also in Paris in t he year MDCCLXXXXVI under the t it le of ‘ fl s fi ure Re exion prat iques sur le chant g . TO HER ROYAL HIGHNESS The serene Mary Eliz abeth Archduchess of Aust ria , r t .
[Show full text]
Abcdefghijklmnopqrstuvwxyz
www.classclef.com Page 1 ABCDEFGHIJKLMNOPQRSTUVWXYZ (Abbreviations: I = Italian, L = Latin, F = French, G = German, lit. = literally) A A B form See two-part form. A B A form See three-part form. Aber (G) But Absolute Music Instrumental music having no intended association with a story, poem, idea, or scene; nonprogram music. A capella (I) Choral music without instrumental accompaniment. Accelerando (I) Becoming Faster. Accent Emphasis of a note, which may result from its being louder (dynamic accent), longer, or higher in pitch than the notes near it. Accompanied recitative Speech-like melody that is sung by a solo voice accompanied by the orchestra. Accordion Instrument consisting of a bellows between two keyboards (piano like keys played by the right hand, and buttons played by the left hand) whose sound is produced by air pressure which causes free steel reeds to vibrate. Adadietto (I) Rather slow, but faster than adagio Adagio (I) Slow (lit. ‘at ease’), generally held to indicate a tempo between andante and largo. A deux (F) For two performers or instruments (in orchestral or band music, it means that a part is to be played in unison by two instruments) Ad libitum, ad lib. (L) At choice, meaning either that a passage may be performed freely or that an instrument in a score may be omitted. Aerophone Any instrument-such as a flute or trumpet-whose sound is generated by a vibrating column of air. Affettuoso (I) Tenderly Affrettando, affret. (I) Hurrying Agitato (I) Agitated Al, alla (I) To the, in the manner of Allargando (I) Broadening, i.e.
[Show full text]
Edition 4 | 2018-2019
PROMPTER TABLE OF THE BUSHNELL CENTER CONTENTS for the PERFORMING ARTS TRUSTEE OFFICERS Message from the President & CEO ..................... 5 Jay S. Benet Chair Hamilton December 11-30 Robert E. Patricelli Co-sponsored by Immediate Past Chair People’s United Bank & Travelers .......................... 17 Thomas O. Barnes Vice Chair Annual Fund Donor Honor Roll ......................... 29 Jeffrey N. Brown Vice Chair An Extra Special Thank You ............................... 36 Jeffrey S. Hoffman Vice Chair The Bushnell Services ....................................... 45 David G. Nord Vice Chair David M. Roth Vice Chair Henry M. Zachs Vice Chair Arnold C. Greenberg Treasurer Mark N. Mandell Assistant Treasurer Eric D. Daniels Secretary EXECUTIVE STAFF David R. Fay President and CEO Ronna L. Reynolds Executive Vice President Elizabeth Casasnovas Vice President, Development, and Chief Development Officer Patti Jackson Vice President, Finance, and Chief Financial Officer Yolande Spears Senior Vice President, Education and Community Initiatives Ric Waldman Vice President, Programming and Marketing The Bushnell is a 501(c)(3) not-for-profit organization that is proud to serve Connecticut and its citizens. | 3 MESSAGE FROM THE PRESIDENT & CEO It’s Here! It seems like Child, has created a fresh supply of innovative we’ve all been productions on Broadway that will make their anticipating Hamilton way to Hartford and The Bushnell over the next forever, but it’s few years. been less than four years since it made And don’t make The Bushnell your only its Off-Broadway debut at visit downtown Harford this December. Our the Public Theatre before transferring to the friends at Hartford Stage and Theaterworks Richard Rodgers Theatre on Broadway.
[Show full text]
La Scala in May
. I | THURSDAY,JUNE 11,2015 ADVERTISING SUPPLEMENT INTERNATIONAL NEW YORK TIMES INTERNATIONAL NEW YORK TIMES ADVERTISING SUPPLEMENT THURSDAY,JUNE 11,2015 | II ‘‘Turandot’’ was performed at La Scala in May. Here, Nina Stemme as Turandot at center stage; above her, Carlo Bosi as the emperor; and, on the right, Aleksandr Antonenko as Calaf. LOOKING TO THE FUTURE How do opera houses, festivals and orchestras maintain tradition while moving their art forms forward, build and educate new audiences, and take advantage of technical innovations in communications and stagecraft? LEADER’S VISION PUCCINI CYCLE GREAT MUSIC FOR NEW GENERATIONS A REAPPRAISAL OF AN ITALIAN MASTER lexander Pereira wakes up every morning with productions to be developed in-house. The programming hen the latest production of ‘‘Turandot’’ Chailly —along with other Puccini scholars —argue that 50 things he wants to accomplish that day. This breakdown calls for roughly one-third new productions, opened at La Scala on May 1, it was the 28th Puccini’s importance as acomposer spanning the 19th- A bodes for a certain degree of frustration when one-third from La Scala’s archives and one-third co- W version of this world-renowned work to be per- century Italian tradition and 20th-century modernism they can’t all be achieved, but the general manager of La productions new to the Milan audience. formed at the Milan opera house. But some operas by has been undervalued. Unlike Verdi and Rossini, Pereira Scala is undeterred: ‘‘I always feel I have too much Pereira would like to maintain a balance of 50-50 be- Giacomo Puccini are underrepresented or presented in explains, Puccini continues to be seen by many as a sen- energy,’’ he says.
[Show full text]
Translating, Adapting, and Performing Opera in Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte at the King's Theatre" (2017)
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Translating, Adapting, And Performing Opera In Eighteenth- Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Lily Tamara Kass University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Comparative Literature Commons, Music Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Kass, Lily Tamara, "Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre" (2017). Publicly Accessible Penn Dissertations. 2379. https://repository.upenn.edu/edissertations/2379 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2379 For more information, please contact [email protected]. Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Abstract This dissertation examines music and text circulation in cosmopolitan Europe during the last decades of the eighteenth century through the lens of translation. London in the late eighteenth and early nineteenth centuries was the largest center of Italian operatic performance outside of Italy. All performances sung at the King’s Theatre, London, were sung in Italian, the presumed language of opera, even when the works had been originated in other languages. This created the need for a culture of translation and adaptation of works from abroad, making them suitable for a London audience partially through the retention of foreignness and partially through domesticating practices. In the 1790s, a period of political tension between Britain and post-Revolution France, four French operas were presented at the King's Theatre in Italian translations attributed to the poet Lorenzo Da Ponte (1749-1838): Gluck's Iphig�nie en Tauride, Gr�try's Z�mire et Azor, Monsigny's La belle Ars�ne, and Sacchini's Arvire et �v�lina.
[Show full text]
Contents : Music in the Seventeenth and Eighteenth Centuries
Contents : Music In The Seventeenth And Eighteenth Centuries http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... Oxford History of Western Music: Richard Taruskin Contents Chapter: MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES Source: Introduction xi Preface xxi Chapter 1 Opera from Monteverdi to Monteverdi 1 Princely and Public Theaters; Monteverdi’s Contributions to Both Court and commerce • From Mantua to Venice • Poetics and esthesics • Opera and its politics • Sex objects, sexed and unsexed • The quintessential princely spectacle • The carnival show Chapter 2 Fat Times and Lean 35 Organ Music from Frescobaldi to Scheidt; Schütz’s Career; Oratorio and Cantata Some organists • The toccata • Sweelinck—His patrimony and his progeny • Lutheran adaptations: The chorale partita • The chorale concerto • Ruin • A creative microcosm • Luxuriance • Shriveled down to the expressive nub • Carissimi: Oratorio and cantata • Women in music: A historians’ dilemma Chapter 3 Courts Resplendent, Overthrown, Restored 85 Tragédie Lyrique from Lully to Rameau; English Music in the Seventeenth Century Sense and sensuousness • The politics of patronage • Drama as court ritual • Atys , the king’s opera • Art and politics: Some caveats • Jacobean England • Masque and consort • Ayres and suites: Harmonically determined form • Distracted times • Restoration • Purcell • Dido and Aeneas and the question of “English opera” • The making of a classic Chapter 4 Class and Classicism 139 Opera Seria and Its Makers Naples • Scarlatti • Neoclassicism • Metastasio • Metastasio’s musicians • The fortunes of Artaserse • Opera seria in (and as) practice • “Performance practice” Chapter 5 The Italian Concerto Style and the Rise of Tonality-Driven Form 177 Corelli, Vivaldi, and Their German Imitators Standardized genres and tonal practices • What, exactly, is “tonality”? • The spread of “tonal form” • The fugal style • Handel and “defamiliarization” • Bach and “dramatized” tonality • Vivaldi’s five hundred • “Concerti madrigaleschi” Chapter 6 Class of 1685 (I) 233 Careers of J.
[Show full text]
Over 100 Opera Makers
#OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too .
[Show full text]
An Introduction to Opera - Frequently Asked Questions
AN INTRODUCTION TO OPERA - FREQUENTLY ASKED QUESTIONS What is Opera? Opera is a complex art form that has been around since about 1600. Today there are many styles of opera performance, but basically, they all have one thing in common – an opera is a play that is sung. What is Music Theatre? Simply put, Music Theatre is a dramatic performance that includes music. It usually includes dialogue, music, dance and theatrical elements like set, costume, props, makeup, lights and sound. Which languages are commonly used in opera? The main four languages of Opera are Italian, French, German and English. What are the different voice types used in opera? Soprano – the highest sounding female voice, Mezzo-Soprano – the lower sounding female voice; Contralto – the lowest sounding female voice, but not common in opera; Countertenor – the highest sounding male voice Tenor – a high sounding male voice Baritone – the middle sounding male voice; Bass – the lowest sounding male voice. There are further categories defining each particular voice. A few of these are; Coloratura – a very high range with the ability to sing with agility complicated parts Dramatic – a heavy sounding, powerful voice Lyric – an average sized voice with the ability to sing long beautiful phrases Heldentenor – this is often seen as the heroic tenor, a very big role that requires a powerful sound What does the conductor do in an opera? The conductor is crucial to the success of the performance. He or she stands in front of the orchestra and conducts them, making sure they are in time, in balance and playing at the right volume to allow the singers to be heard.
[Show full text]