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Musical Landmarks in New York
MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere. -
The Psychiatry of Opera
Psychiatric Bulletin (1990), 14,417-421 The psychiatry ofopera Don Giovanni MARK J?NES, Registrar, Department ofPsychological Medicine, St Bartholomew's HospItal, London EC3 In the second ofthis occasional series, Mark Jones looks at his composer father, the move to Vienna came in Mozartand his 1788 masterpiece, DonGiovanni and inter 178~/81 and was accompanied by a blossoming ofhis views Tom Sutcliffe, opera critic ofThe Guard;m; about his portra~al genIus. It was here that the vital meeting with the views on this problematical work and its on the powerful poet and intellectual, Lorenzo da Ponte stage. ~rred in 1782, and so began probably the most In these articles different aspects of our under Important collaboration of librettist and composer standing ofhuman nature as illustrated in opera will to date. Interestingly, da Ponte was a political exile tx: looked ~t. ~he title ~The Psychiatry ofOpera' you from Italy and had come to Vienna in 1782 with a tnlght feel IS shghtly mIsleading when you look at the letter of recommendation to Salieri! Mozart was a content of the articles. Yet I only intend it to be Germancomposer anxious to write Italian opera in a a broad blanket description for what I hope will city already dominated by Paisiello, Salieri and be thought-provoking pieces encompassing both the Cimarosa. These composers had far more success in 'hard' and 'soft' aspects ofpsychiatry. It is after all a their day and on 'home ground' than Mozart. complex discipline which must now take account of Certainly he was viewed with suspicion and seen as sociological and philosophical thought. -
La Cultura Italiana
LA CULTURA ITALIANA BALDASSARE GALUPPI (1706–1785) Thousands of English-speaking students are only familiar with this composer through a poem by Robert Browning entitled “A Toccata of Galuppi’s.” Few of these students had an inkling of who he was or had ever heard a note of his music. This is in keeping with the poem in which the toccata stands as a symbol of a vanished world. Although he was famous throughout his life and died a very rich man, soon after his death he was almost entirely forgotten until Browning resurrected his name (and memory) in his 1855 poem. He belonged to a generation of composers that included Christoph Willibald Gluck, Domenico Scarlatti, and CPE Bach, whose works were emblematic of the prevailing galant style that developed in Europe throughout the 18th century. In his early career he made a modest success in opera seria (serious opera), but from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his opera buffa (comic opera) in the new dramma giocoso (playful drama) style. To the suc- ceeding generation of composers he became known as “the father of comic opera,” although some of his mature opera seria were also widely popular. BALDASSARE GALUPPI was born on the island of Burano in the Venetian Lagoon on October 18, 1706, and from as early as age 22 was known as “Il Buranello,” a nickname which even appears in the signature on his music manuscripts, “Baldassare Galuppi, detto ‘Buranello’ (Baldassare Galuppi, called ‘Buranello’).” His father was a bar- ber, who also played the violin in theater orchestras, and is believed to have been his son’s first music teacher. -
Italian-American Theatre
Saggi Italian-American Theatre Emelise Aleandri Artistic Director of «Frizzi & Lazzi», New York An Italian-American actor hesitates before the entrance to a shop in Little Italy at the turn of the century. It is a day in the life of a skilful, practiced ticket-vendor of the Italian-American theatre. To disguise the distress he feels at performing the onerous task that awaits him inside the shop, he assumes the mask of confidence, tinged slightly with arrogance. Summoning up a glib tongue, the actor enters the shop and before the shopkeeper knows what has happened, the actor fires away at him this familiar reprise: «Buongiorno. Come sta? La famiglia sta bene? Lei è un mecenate, lei è un benefattore del- la colonia. Io non so cosa faccia il governo italiano, dorme? Ma quando lo faremo cavaliere? Vuole un biglietto per una recita che si darà il mese en- trante: “La cieca di Sorrento?” Spettacoloso drama [sic]»1. With an unsuspecting shop owner, this spiel would almost always be suc- cessful in selling a ticket, but this one has been through this game before and when he learns that the performance is scheduled for a Thursday evening, he is quick to respond: «Oh! Guarda un po’, proprio giovedì che aspetto visite. Vi pare, con tutto il cuore!»2. But the actor is even quicker and has purpose- fully misinformed the storekeeper: «Mi sono sbagliato, è di venerdì»3. The shopkeeper, stunned, mumbles: «Oh! Venerdì... vedrò»4. Tricked, and now the reluctant buyer of a ticket, the shop owner spits back «Come siete seccanti voi altri teatristi!»5. -
The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel Wallich
C O N N E C T I N G P E O P L E , P L A C E S , A N D I D E A S : S T O R Y B Y S T O R Y J ULY 2 0 1 3 ABOUT WRR CONTRIBUTORS MISSION SPONSORSHIP MEDIA KIT CONTACT DONATE Search Join our mailing list and receive Email Print More WRR Monthly. Wild River Consulting ESSAY-The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel & Wallich : Publishing Click below to make a tax- deductible contribution. Religious Identity in the Age of Enlightenment where Your literary b y J u d i t h M . T a y l o r , J u l e s J a n i c k success is our bottom line. PEOPLE "By the time the Interv iews wise woman has found a bridge, Columns the crazy woman has crossed the Blogs water." PLACES Princeton The United States The World Open Borders Lorenzo Da Ponte Nathaniel Wallich ANATOLIAN IDEAS DAYS & NIGHTS Being Jewish in a Christian world has always been fraught with difficulties. The oppression of the published by Art, Photography and Wild River Books Architecture Jews in Europe for most of the last two millennia was sanctioned by law and without redress. Valued less than cattle, herded into small enclosed districts, restricted from owning land or entering any Health, Culture and Food profession, and subject to random violence and expulsion at any time, the majority of Jews lived a History , Religion and Reserve Your harsh life.1 The Nazis used this ancient technique of de-humanization and humiliation before they hit Philosophy Wild River Ad on the idea of expunging the Jews altogether. -
OPERA GLOSSARY – the CULTURE CONCEPT CIRCLE Aficionado - a Devoted Fan Or Enthusiast
OPERA GLOSSARY – THE CULTURE CONCEPT CIRCLE aficionado - A devoted fan or enthusiast. apron - The front part of the stage between the curtain and the orchestra pit. aria - Italian word for "air." a song for solo voice with instrumental accompaniment. baritone - The medium male voice. lies between the low bass voice and the higher tenor voice. baroque - The period of music from the early to mid 1600's to the mid 1700's. Baroque operas are characterized by emotional, highly stylized and flowery presentations. bass - The lowest of the male voices. bass-baritone - A male voice which combines the quality of the baritone with the depth of the bass, avoiding the extremes of either range. basso profundo - The most serious bass voice. bel canto - Italian for "beautiful singing." In a bel canto style opera, the beauty of singing is more important than the plot or the words. bravo! - Bravo is the Italian word for expressing appreciation to a male performer. brava! - Bravo is the Italian word for expressing appreciation to a female performer bravi! - Bravo is the Italian word for expressing appreciation to two or more performers. cadenza - Near the end of an aria, a series of difficult, fast high notes that allow the singer to demonstrate vocal ability. classical - The period in music from roughly the mid 1700's to the early 1800's. coloratura soprano - A very high pitched soprano. also the description of singing which pertains to great feats of agility - fast singing, high singing, trills, and embellishments. commedia dell'arte - A style of dramatic presentation popular in Italy from the 16th century on; the commedia characters were highly stylized and the plots frequently revolved around disguises, mistaken identities and misunderstandings. -
Overture to Don Giovanni, K. 527—Wolfgang Amadeus Mozart
Overture to Don Giovanni, K. 527—Wolfgang Amadeus Mozart Mozart’s incomparable musical gifts enabled him to compose at the highest level of artistic brilliance in almost every musical genre. We are privileged to experience his legacy in symphonies, chamber music, wind serenades, choral music, keyboard music—the list goes on and on. But, unquestionably, his greatest contributions to musical art are his operas. No one— not even Wagner, Verdi, Puccini, or Richard Strauss exceeded the perfection of Mozart’s mature operas. The reason, of course, is clear: his unparalleled musical gift is served and informed by a nuanced insight into human psychology that is simply stunning. His characters represented real men and women on the stage, who moved dramatically, and who had distinctive personalities. Of no opera is this truer than his foray into serious opera in the Italian style, Don Giovanni. Mozart’s The Marriage of Figaro, at its première in Vienna in 1786, was a decided success, but nothing like the acclaim that it garnered later, in December of that same year, in Prague. The city literally went wild for it, bringing the composer to the Bohemian capital to conduct performances in January of 1787. A commission for another hit ensued, and Mozart once again collaborated with librettist, Lorenzo Da Ponte—this time basing the opera on the legendary seducer, Don Juan. Italian opera buffa is comic opera, and Mozart was a master of it, but the new opera—given the theme—is a serious one, with hilarious, comic interludes. Shakespeare often made adroit use of the dramatic contrast in that ploy, and so does Mozart, with equal success. -
Antonio Salieri's Revenge
Antonio Salieri’s Revenge newyorker.com/magazine/2019/06/03/antonio-salieris-revenge By Alex Ross 1/13 Many composers are megalomaniacs or misanthropes. Salieri was neither. Illustration by Agostino Iacurci On a chilly, wet day in late November, I visited the Central Cemetery, in Vienna, where 2/13 several of the most familiar figures in musical history lie buried. In a musicians’ grove at the heart of the complex, Beethoven, Schubert, and Brahms rest in close proximity, with a monument to Mozart standing nearby. According to statistics compiled by the Web site Bachtrack, works by those four gentlemen appear in roughly a third of concerts presented around the world in a typical year. Beethoven, whose two-hundred-and-fiftieth birthday arrives next year, will supply a fifth of Carnegie Hall’s 2019-20 season. When I entered the cemetery, I turned left, disregarding Beethoven and company. Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place. Salieri is one of history’s all-time losers—a bystander run over by a Mack truck of malicious gossip. -
WEBER PIANOS. Perßolesi-S Season
' ity NEW-YORK DAILY TRIBUNR SUNDAY. MAT », llKll. MUSICAL NOTES. MME. SEMBRICH-THE BACH rEBTTVAIr- MEXDELSSOHN- and THE "ST. mat- Special S^le THEW PASSION*"— ORCHES- ., TltAB IN THE UNITED STATES- OF ANNOUNCEMENTS. Mmc fiemhrlch. completely restored to health. Is GRAND AND UPRIGHT <lnplne at th? Royal Opera In Berlin. The sea- eon, an Italian MM like that of last fall, began on M.'y 11 with "Don l'asquale," and is to last four weeks. The list of operas contains "Don Pas- fjunle." "II P.arbiere." "L'Ellsir d'Amore." "Tra- vfatn." "Rigoletto." "Faust." "I Pagllacci" and rergolesi 1* l.i Serva Padrona." The revival of masterpiece is an Interesting Incident WEBER PIANOS. Perßolesi-s season. Thl« little work It In Mm.-. ErmbricVs bouf- was that precipitated the famous "guerre dcs struggle be- fons" In Paris which preceded the It also ushered by of the tween the Oluckistr and Plcdnlsts. The instruments used the Artists Maurice in the operatic form called opera buffa, works of scene, during which class had. till it appeared on the been Grau Opera Company the past season (among used Pimply as intermezzi. "La Serva Pardrona" tells of th» schemes and devices of an arch little the finest samples of our product and in all rlmmbermald named Serpina to win the hand of her master. Pandolfo. The valet. Ecapin. helps the respects practically equal to new), will be sold minx In her plan by disguising himself as a cap- to tain and making: such violent love to her as this week and next at pique the old man's Jealousy and brim? him to the popping point. -
Mozart's Operas, Musical Plays & Dramatic Cantatas
Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct. -
Eröffnungsvortrag: Haydns Opern in Ihrer Zeit Und Heute
ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Wissenschaftliche Arbeiten aus dem Burgenland Jahr/Year: 1992 Band/Volume: 090 Autor(en)/Author(s): Feder Georg Artikel/Article: Haydns Opern in ihrer Zeit und heute. 9-20 Eröffnungsvortrag:© Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at Haydns Opern in ihrer Zeit und heute Georg FEDER, Köln “Joseph Haydn und die Oper seiner Zeit” so lautet das Thema unseres Symposions. Haydns Opern in ihrer Zeit und heute sind das Thema dieses ersten Vortrages. Mit ihm möchte ich versuchen, einen kurzen Überblick über Haydns Opernschaffen zu geben, einerseits in historischer Hinsicht, andererseits in Betrachtung der neueren Entwicklungen. Haydns Opernschaffen ist nach den Forschungen und Veröffentlichungen der letzten Jahrzehnte gut überschaubar; Umfang, Gliederung und zeitlicher Verlauf dieses Schaffens lassen sich mit klaren Linien skizzieren. (Vgl. die Tabelle.) Es erstreckte sich über einen Zeitraum von vier Jahrzehnten: von 1751/52 bis 1791. Schauplätze der Uraufführungen waren zuerst Wien, dann Eisenstadt und Esz terhäza. Die letzte Oper entstand in London. Den Werkgattungen nach gliedert sich Haydns Opernschaffen in die Gruppe der deutschen Singspiele, mit gespro chenen Dialogen, meist in der Sonderform der Marionettenoper, wobei unter lauter heiteren Singspielen ein ernstes vorkommt, und in die Gruppe der italie nischen Opern. Zu letzteren gehört zunächst die bei Haydn bald als Opera seria, bald als Dramma eroico oder Dramma per musica bezeichnete ernste Oper, die in kleinerer Form Festa teatrale oder Azione teatrale heißt. Daneben steht die heitere Oper, als Commedia, als Intermezzo, Opera buffa oder Burletta, einmal auch als Dramma giocoso per musica bezeichnet. -
Overture to the Marriage of Figaro
Integrated subject areas: Music English Language Arts Overture to The Marriage Social Emotional Learning of Figaro: Compare and Grade(s): 4-6 Lesson length: 40 minutes Contrast Instructional objectives: Students will: Learn about Mozart’s life DESCRIPTION Identify basic musical elements: tempo, dynamics, instrumentation and melody Compare and contrast two different musical styles using Students will listen to two pieces of music with similar melodies, but in the same basic melody completely different styles. One piece is the overture to The Marriage of Compose a review as a music Figaro, an opera in four acts written by Wolfgang Amadeus Mozart in 1786. critic The other is a modern interpretation of the same piece of music by the East Village Opera Company. Materials: Musical recordings of the Students will explore instrumentation, tempo, dynamics, and style used featured repertoire listed within these two pieces. above Sound system for musical Assessment Strategies excerpts of concert repertoire (e.g. laptop and speakers, In this lesson, students should be able to successfully do the following: iPhone® dock, Spotify®, etc) discuss basic musical elements such as tempo, dynamics, instrumentation Paper and writing utensil and melody; differentiate between two musical works with the same melody but very different styles, through class discussion and a writing Featured Repertoire*: assignment. Learn more about assessment strategies on page 5. Mozart – Overture to The Marriage of Figaro Learning Standards East Village Opera Company – Overture Redux (Le Nozze Di This lesson uses Common Core and National Core Arts Anchor Figaro) Standards. You can find more information about the standards featured in this lesson on page 4.