Matteo Peirone Roma, in Bilbao, in Sevilla, at Regio Theater in Parma and at Opera Bastille in Parigi

Total Page:16

File Type:pdf, Size:1020Kb

Matteo Peirone Roma, in Bilbao, in Sevilla, at Regio Theater in Parma and at Opera Bastille in Parigi Saverio Clemente Andrea De Amici Luca Targetti He studied with Franca Mattiucci, Paolo Montarsolo and Renata Scotto. He won several International Lyric Conpetition (ASLICO Milano, Verdi Parma, Voltolini Mantova). He has already sang in the most important Opera Houses in Italy and abroad standing out as interpreter of the principal roles of Basso Buffo or Brillante and in other character play roles. He is regularly invited at Teatro alla Scala of Milan. He sang under the direction of R. Muti in the Marriage of Figaro, both at Milan and at Ravenna with Wiener Philarmoniker. Also intense his activity abroad: Barbican Hall di Londra, Teatro de la Bastille di Parigi, Opera du Rhin di Strasburgo, Montpellier, ABAO di Bilbao, Siviglia, Staatsoper di Dresda, Francoforte, Opera di Bonn, Bunka Kaikan Tokyo, Palm Beach Opera. He recently recorded for Decca the role of Sacrestano in Tosca conducted by Zubin Metha and released DVD productions for TDK of La Bohéme from La Scala and Xerses with Les Talens Lyriques of Christophe Rousset. He sang the role of Mamma Agata in the production of Viva la Mamma at Semperoper in Dresden, Dulcamara in L’Elisir d'amore in Tel Aviv, at Palm Beach Opera House in USA, at Regio Theater in Parma, Festival Donizettiano in Bergamo, Benoit/Alcindoro in La Bohème at La Scala, at Festival Stresa and for MITO Festival, Sagrestano in Tosca at Maggio Musicale in Florence, at San Carlo theatre in Naples, at Opera theatre in Matteo Peirone Roma, in Bilbao, in Sevilla, at Regio Theater in Parma and at Opera Bastille in Parigi. Basso In the 2010 he has spent long time in Japan, where he played with success the role of Dulcamara with the Teatro Donizetti from Bergamo. He came back in Tokyo with Teatro Regio of Turin with La Bohème and in China at Shangai for the Expo 2010. In 2011 at Palm Beach Opera House he debuted as Don Alfonso in Così fan tutte. He performer the role of Sagrestano in Tosca at Opera Bastille in Paris, at Regio theater of Turin under the baton of Gianandrea Noseda and at Festival of Verbier in Live worldwide web. He worked with some of the most important directors (Ronconi,Zeffirelli, Miller,Vick,...) and conductors (Muti, Metha, Oren, Bartoletti, Noseda, Dudamel,...). Intensive his activity in writing shows and in concert: spreading the pearls of the italian Opera buffa. Among his recent and future engagements: La Bohéme in Paris, Amsterdam, Genoa and Bari, Le nozze di Figaro in Turin, Bari and Amsterdam, Tosca and La Bohème at Teatro alla Scala, and Trittico in London and Rome. December 2015 InArt Management Via San Gregorio 53, 20124 Milano Tel. +39 02 97 37 41 66 / Fax +39 02 97 37 42 33 [email protected] www.inartmanagement.com .
Recommended publications
  • La Sonnambula 3 Content
    Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera.
    [Show full text]
  • Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
    ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms.
    [Show full text]
  • OPERAFASHION: OLTRE LO STILE DEL CANTO (Operafashion.Blog)
    OPERAFASHION: OLTRE LO STILE DEL CANTO (Operafashion.blog) AN UNUSUAL INTERVIEW WITH ELENA MOSUC Elena Mosuc is considered by international critics among the most expressive and versatile sopranos of Belcanto. She will be Mimì in “La Boheme” at Puccini Festival 2018 in the new production directed by Alfonso Signorini and the conduction of Alberto Veronesi. The Primadonna granted an interview to Operafashion with a lot of music, memories and fashion! What have been the key steps of your artistic career? ©Paulo César First of all, the year 1990, when I won the international singing competition ARD-Wettbewerb in Munich, which completely changed my life. I had been studying singing privately for 10 years and at that point I was already very well prepared from a vocal point of view. Winning this competition has opened the doors to a new beautiful world, which has offered me so much but has also asked a lot of work, a lot of preparation, many sacrifices. Let’s say that this was the key to my musical life. I haven’t got anything because I have beautiful blue eyes! Even though I was already very well prepared, I had to work to grow in my profession. What all my colleagues and I do is a job where you never stop working. As my dear maestro in Zurich – Ion Buzea, a great tenor with a great career – says, “the job of the singer continues even after retirement!”. Of course it is true for those who really want to achieve something in life and have great respect for the public and for the stage, which I consider a temple.
    [Show full text]
  • Bellini's Norma
    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
    [Show full text]
  • Il Trovatore
    Synopsis Act I: The Duel Count di Luna is obsessed with Leonora, a young noblewoman in the queen’s service, who does not return his love. Outside the royal residence, his soldiers keep watch at night. They have heard an unknown troubadour serenading Leonora, and the jealous count is determined to capture and punish him. To keep his troops awake, the captain, Ferrando, recounts the terrible story of a gypsy woman who was burned at the stake years ago for bewitching the count’s infant brother. The gypsy’s daughter then took revenge by kidnapping the boy and throwing him into the flames where her mother had died. The charred skeleton of a baby was discovered there, and di Luna’s father died of grief soon after. The gypsy’s daughter disappeared without a trace, but di Luna has sworn to find her. In the palace gardens, Leonora confides in her companion Ines that she is in love with a mysterious man she met before the outbreak of the war and that he is the troubadour who serenades her each night. After they have left, Count di Luna appears, looking for Leonora. When she hears the troubadour’s song in the darkness, Leonora rushes out to greet her beloved but mistakenly embraces di Luna. The troubadour reveals his true identity: He is Manrico, leader of the partisan rebel forces. Furious, the count challenges him to fight to the death. Act II: The Gypsy During the duel, Manrico overpowered the count, but some instinct stopped him from killing his rival. The war has raged on.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • LA SCALA ACADEMY of LYRIC OPERA Academic Years 2021-2023
    CALL FOR APPLICATIONS LA SCALA ACADEMY OF LYRIC OPERA academic years 2021-2023 Photo: Mario Wurzburger AT SCHOOL WITH LA SCALA LA SCALA ACADEMY he La Scala Academy provides thorough, in-depth OF LYRIC OPERA training to professional figures involved in the ounded by Riccardo Muti in 1997 under the artistic performing arts through its four departments: T direction of Leyla Gencer (and later of her successors Music, Dance, Stagecraft, Management. Its broad FMirella Freni and Renato Bruson), the La Scala Academy curriculum ranges from basic and core training courses of Lyric Opera carries forward the legacy of the “Cadetti to specialization courses and professional workshops. della Scala” school instituted in 1950 by Arturo Toscanini to The highest level of instruction is ensured by Teatro conserve and transmit the Italian operatic tradition to the alla Scala professionals, acclaimed performers, and new generations. renowned experts in the performing arts. The Academy provides young opera singers with a solid The teaching method derives from the philosophy of background in voice and music, honing their technical and learning by doing and prepares students for their future interpretive skills in a two-year program to prepare them for career through intense daily exposure to the performing a successful professional career. arts in a real world context. The teaching staff is composed of artists of the highest caliber who are able to transmit their stage experience to the students. They are led by Luciana D’Intino, head instructor, in charge of vocal and interpretive technique. Among her colleagues are the opera coaches Vincenzo Scalera, Umberto FOUNDING PARTNERS Finazzi, James Vaughan, Nelson Guido Calzi, and Michele D’Elia for role studies, and the director Marina Bianchi, who teaches stage arts.
    [Show full text]
  • El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
    Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini.
    [Show full text]
  • Gabriel Anechina
    M° Gabriel Anechina Nato a Buenos Aires. Studia violino, chitarra, Direzione Corale e Orchestrale. Ottiene il diploma Superiore in Pedagogia Musicale nel Conservatorio Provinciale di Musica di Moròn (Buenos Aires). Intraprende lo studio del canto lirico, e nell'Istituto Superiore d’arte del Teatro Colòn di Buenos Aires, frequenta i Master Class di: Alfredo Kraus, Monserrat Caballè, Sherril Milnes, Delia Rigal. Si trasferisce a Philadelphia, dove si perfeziona nello studio del canto lirico e tecnica vocale presso l’Università di Musica della suddetta. Terminerà i suoi studi in Italia sotto la guida del Mezzosoprano Franca Mattiucci ed il Tenore Vittorio Terranova. Partecipa ai Concorsi Internazionali di canto "Luciano Pavarotti" e “Placido Domingo", classificandosi come semifinalista. Debutta a Buenos Aires nel 1982 cantando come tenore, la Messa Brevi in Sì b M. di Mozart. Nel 1986 entra a far parte de “L'Opera da Camera di Buenos Aires”. È uno degli artisti fondatori del ciclo “Andiamo all'Opera” nel Teatro Cervantes, dove debutta nell’opera "il Flauto Magico". Dal 1984 fino al suo trasferimento in Europa si dedica all'insegnamento della musica ai ragazzi e bambini, utilizzando vari metodi: Dalcroze, Suzuki, Kodaly, etc. Nel 1992 si trasferisce definitivamente in Italia. Lavora come Artista del Coro nel Teatro alla Scala di Milano, L’Arena di Verona, Teatro La Fenice di Venezia, Teatro di Cagliari, Regio di Torino, Teatro Comunale Treviso. Debutta in Italia nel 1993 come solista cantando nel Teatro di Mantova, Reggio Emilia, Teatro Nuovo di Verona, Milano, Teatro di Pisa, Cremona, nelle seguenti Opere: "La Traviata", "Lucia di Lammermoor", "Rigoletto", "La Boheme", "Tosca", "Il Trovatore", "Pagliacci", “L’Enfant Prodigue”, ecc, e contemporaneamente svolge un'intensa attività concertistica in Italia e all’estero, nel seguente repertorio sinfonico- corale: Requiem di Verdi", ”Messa in Sol di Schubert”, "Carmina Burana", "Il Misa Criolla", "Messa di Gloria di Puccini", "Requiem di Donizetti", "Vesprae Solemmes de Confessore KV 339”, “ Requiem di Gounod”,etc.
    [Show full text]
  • ˚Iuiû€Û”Ëúiå ¨?¹˛XX¸
    660203-04 bk Ciro US 12/12/06 11:09 Page 12 Antonino Fogliani 2 CDs Born in 1976, Antonino Fogliani made an early start in his international career as a conductor. He studied piano and ROSSINI composition in Bologna and conducting at the Verdi Conservatorio in Milan. He not only attended master-classes with Gianluigi Gelmetti, but worked with him in productions at major opera-houses in Rome, Venice, Turin, London and Munich. He also worked with Alberto Zedda at the Accademia Rossiniana in Pesaro. Guest Ciro in Babilonia engagements have taken him to Milan, Bologna, Siena, Sofia, La Coruña, Parma, Sydney and Santiago de Chile. In his own country he has won a number of prizes, including, in 2000, at the Accademia Chigiana and in 2001 in San Remo the Premio Martinuzzi for young conductors. He has conducted Rossini’s Le Comte Ory in Paris, Donizetti’s Gemmabella • Islam-Ali-Zade • Botta Don Pasquale in Rome, Ugo, Conte di Parigi at the Donizetti Festival in Bergamo and at La Scala, and Lucia di Lammermoor. Other engagements have taken him to Liège and Naples, in addition to performances in Asia. He has Gierlach • Soulis • Trucco • ARS Brunensis Chamber Choir conducted several times at the Rossini Opera Festival in Pesaro and for Rossini in Wildbad he has conducted and recorded L’occasione fa il ladro and Mosè in Egitto. Württemberg Philharmonic Orchestra ARS Brunensis Chamber Choir Antonino Fogliani The ARS Brunensis Chamber Choir was founded in Brno in 1979 and since then has participated in many international competitions, winning, among other successes, the IFAS in Pardubice in 1998.
    [Show full text]
  • Bartók Gergely: „A Török Itáliában…”
    „A török Itáliában…” Leyla Gencer portréja Nagyapám, Papp Jenő Imre emlékére Bartók Gergely 2016 „Nem nagyon sok idő telik el, s nemcsak neved és személyed feledi el tökéletesen és maradéktalanul a világ, nemcsak műved emlékét lepi be a feledés pora, hanem műved anyaga is elporlad, a könyvek papírja és vászonkötése elillan a semmiségben, a képek, melyeket festettél, nem láthatók többé sehol a világon, s a márványszobrokat, alkotásaidat, finom porrá morzsolta az idő. Mindez egészen biztosan bekövetkezik, s az idő óráján csak másodpercek teltek el, míg te, s minden, amit jelentettél a világban, tökéletesen és maradék nélkül megsemmisül…” /Márai Sándor/ Gina Cigna, Iris Adami Corradetti, Maria Caniglia, Carla Gavazzi, Clara Petrella, Marcella Pobbe, Gigliola Frazzoni, Antonietta Stella, Rosanna Carteri, Anita Cerquetti… Csak néhány név – a teljesség igénye nélkül – a háború előtti és az azt szorosan követő évtizedek legendás, olasz énekes generációinak szopráncsillagai közül. Egykor ünnepelt, briliáns tehetségű énekművészek, „istennők”, „prima donna assoluták” voltak, kiknek lábai előtt hevert koruk zeneértő és -rajongó közönsége, aztán mintha homokba íródtak volna ezek a nevek, úgy vesztek el szépen lassan a feledés homályában. Művészek fényben és árnyékban… Köztudott, hogy a háború után a szinte tömeghisztériává duzzasztott „sztárcsinálás” éppen akkoriban élte reneszánszát, s olyan ikonokat nevelt ki, mint például az „angyali hangú” Renata Tebaldi vagy a „tigrisasszony” Maria Callas, kiknek neve s művészete, mint egyfajta cégér mind a mai napig garancia a legtökéletesebb minőségre. Az utókor a helyes megítélés tekintetében viszont sok esetben hálátlannak és felettébb méltánytalannak bizonyul, hiszen a „sztárok” árnyékában működött „másod-élvonalbelieknek” bélyegzett énekesnők sokszor éppen akkora tömegeket vonzottak, mint nagyobb celebritással bíró kolléganőik.
    [Show full text]
  • Gioachino ROSSINI
    ROSSINI Péchés de vieillesse • 9 (Sins of Old Age) Chamber Music and Rarities • 2 Alessandro Marangoni, Piano Laura Giordano, Soprano • Alessandro Luciano, Tenor Bruno Taddia, Baritone Gioachino from Volume III – Morceaux réservés 0 No. 2, L’esule, for tenor and piano 4:07 ROSSINI ! No. 9, Le Sylvain (Romance), for tenor and piano 8:26 (1792–1868) from Volume II – Album français PÉCHÉS DE VIEILLESSE • 9 @ No. 2, Roméo, for tenor and piano 4:41 (Sins of Old Age) Unassigned Chamber Music and Rarities • 2 # Allegretto moderato, for piano (1862)* 0:18 $ Allegretto ‘del pantelegrafo’, for piano (1860)* 0:15 from Volume I – Album italiano % Allegretto – Un rien, for piano (1860)* 0:18 1 No. 3, Tirana alla spagnola (rossinizzata), for soprano and piano 6:36 ^ Vivace, for piano (1846)* 0:14 2 No. 5, La fioraja fiorentina, for soprano and piano 4:24 from Volume I – Album italiano from Volume XI – Miscellanée de musique vocale & No. 4, L’ultimo ricordo, for baritone and piano 3:51 3 No. 7, Arietta all’antica, dedotta dal ‘O salutaris Hostia’, for soprano and piano (1857) 2:16 from Volume II – Album français * No. 8, Le Lazzarone. Chansonette de cabaret, for baritone and piano 3:26 from Volume II – Album français 4 No. 3, La grande coquette (Ariette Pompadour), for soprano and piano (1862) 4:56 from Volume III – Morceaux réservés Alessandro Marangoni, Piano 5 No. 8, Au chevet d’un mourant (Élégie), for soprano and piano 6:30 Laura Giordano, Soprano 1–7 Unassigned Alessandro Luciano, Tenor 8–@ 6 Mi lagnerò tacendo, for soprano and piano* 1:00 Bruno Taddia, Baritone &–* from Volume XI – Miscellanée de musique vocale 7 No.
    [Show full text]