DOCSLIB.ORG

Entirely New and Different from the Ordinary Style of Italy’S Theatres” P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Entirely New and Different from the Ordinary Style of Italy’S Theatres” P Alessandro / Ensemble Mare Nostrum Stradella Andrea De Carlo Il Trespolo tutore TRACKLIST P. 4 A COMEDY THAT IS “ENTIRELY NEW AND DIFFERENT FROM THE ORDINARY STYLE OF ITALY’S THEATRES” P. 9 UNE COMÉDIE « TOUTE NOUVELLE ET DIFFÉRENTE DU STYLE HABITUEL DES THÉÂTRES ITALIENS » P. 15 UNA COMMEDIA «TUTTA NUOVA E DIVERSA DALL’ORDINARIO STILE DE’ TEATRI DELL’ITALIA» P. 20 TESTO / TEXT / TEXTE P. 25 Duesseldorf#02.jpg 2 Andrea De Carlo 3 Alessandro Stradella (1643-1682) A 475 Il Trespolo tutore A comic opera in three acts Libretto by Giovanni Cosimo Villifranchi Ensemble Mare Nostrum Andrea De Carlo conductor Trespolo Riccardo Novaro baritone Artemisia Roberta Mameli soprano Nino Rafał Tomkiewicz countertenor Ciro Silvia Frigato soprano Simona Luca Cervoni tenor Despina Paola Valentina Molinari soprano 4 Menu Volume 1 ⁄ Atto Primo 1. Sinfonia avanti l’Opera 02:53 2. Scena 1 Recitativo [Simona, Despina]: Ti torno a dir Despina 01:49 3. Scena 2 Recitativo [Nino, Simona, Despina]: Balia, balia, che c’è? 01:55 4. Aria con ritornello [Nino]: Cruda sorte, iniquo amore 01:11 5. Recitativo [Nino, Despina]: Balia, non pensat’altro: andat’ in casa 00:20 6. Scena 3 Recitativo [Nino, Despina]: E ben, Despina, dimmi 01:17 7. Aria con ritornello [Nino]: Che t’ho fatto empio amor 01:03 8. Recitativo [Despina, Nino]: Ma, padrone, oramai 01:09 9. Aria [Despina]: Il finger d’amare 00:30 10. Aria [Despina]: Fino a finger lo farò 00:42 Recitativo [Nino, Despina]: Per togliermi di guai 11. Scena 4 Aria con ritornello [Artemisia]: Quando mai fra tanti e tanti 01:52 12. Aria con strumenti [Artemisia]: Cieli dunque, che farò? 01:58 13. Scena 5 Aria con ritornello [Ciro]: Ah, che spropositi si fa! 01:20 14. Recitativo [Ciro]: Chi è quest’addormentato? 00:57 15. Aria con ritornello [Ciro]: Ma che fo? 00:39 16. Scena 6 Recitativo [Trespolo, Ciro, Artemisia]: Oh garbato, oh garbato 03:48 17. Scena 7 Recitativo [Trespolo, Artemisia]: Tant’è gli è cane e pazzo 00:53 18. Aria con ritornello [Artemisia]: Un marito non gradito 00:42 19. Recitativo [Trespolo, Artemisia]: Questo qui gli è ben giusto 02:31 20. Scena 8 Recitativo [Trespolo, Ciro]: Quel ch’amo è qui presente 03:00 21. Aria con ritornello [Trespolo]: Un ch’è pazzo, un ch’è ridicolo 00:55 22. Aria con ritornello [Trespolo]: O Despina tanto bella 01:06 23. Scena 9 Recitativo [Artemisia, Trespolo, Ciro]: Chi batte, eh là? 03:05 24. Aria con ritornello [Artemisia]: Dunque un pazzo scimunito 00:59 25. Scena 10 Recitativo [Ciro]: Oh, questo matrimonio si può dir consumato 00:24 26. Aria con ritornello [Ciro]: Ognun bada a dirmi ohibò 00:53 27. Scena 11 Recitativo [Trespolo, Artemisia]: Ma chi v’intenderebbe? 00:21 28. Aria con ritornello [Artemisia]: Non è Ciro 00:53 29. Recitativo [Trespolo, Artemisia]: E chi diavolo sarà? 05:15 30. Scena 12 Recitativo [Nino, Trespolo, Artemisia]: Ecco qui quella fiamma 00:22 31. Scena 13 Recitativo [Trespolo, Nino]: A Nino? Oh, questo sì 01:47 Total time 46’40 5 Volume 2 ⁄ Atto Secondo 1. Sinfonia avanti il Secondo Atto 01:58 2. Scena 1 Recitativo [Simona, Ciro]: E benché voi ne fate 01:35 3. Aria con ritornello [Ciro]: Come posso trattenermene 01:10 4. Aria con strumenti [Ciro]: Purché sia tutta mia 00:47 5. Scena 2 Aria [Trespolo, Despina]: Ah, Despina, che per te 00:39 6. Recitativo [Despina, Trespolo]: Amor così ancor con me 04:36 7. Aria con ritornello [Trespolo, Despina]: Ah, Despina, assassina! 00:40 8. Recitativo [Despina, Trespolo]: Che cosa c’è? Che cosa? 01:51 9. Scena 3 Aria con ritornello [Trespolo]: Ora è tempo, Trespolo, in tuono! 01:12 10. Scena 4 Recitativo [Nino, Trespolo]: Pur vi trovo, in buon ora 01:47 11. Aria con ritornello [Trespolo]: Tutta notte mi trattengo 00:27 12. Recitativo [Trespolo, Nino]: Basta! Il fatto si è 00:48 13. Scena 5 Aria con ritornello [Trespolo]: È Despina quella cagna 01:12 Recitativo [Trespolo, Artemisia, Nino]: Che sento, ahimé 14. Recitativo [Nino; Trespolo; Artemisia]: Vi compatisco: è bella 01:47 15. Scena 6 Recitativo [Nino, Trespolo]: Il mio bel sol dagli occhi miei sparì 01:04 16. Scena 7 Recitativo [Trespolo, Artemisia]: Artemisia? 00:43 17. Aria con strumenti [Nino]: Carte amate 01:34 Recitativo [Trespolo, Artemisia]: Voi la stracciate! 18. Aria con ritornello [Nino]: E perché questo a me 01:06 19. Aria con ritornello [Nino]: Luci bellissime 01:23 Recitativo [Trespolo]: Se l’ho dir come gli’è 20. Aria con ritornello [Artemisia]: Disperate pur pietà 01:34 21. Scena 8 Aria con ritornello [Nino, Trespolo]: Che muovo? Che penso? 02:21 22. Scena 9 Aria con ritornello [Nino]: Che pensi mio bene? 01:07 23. Scena 10 Aria con ritornello [Nino]: L’amare è destino, non è volontà 01:07 24. Scena 11 Aria con ritornello [Nino]: Dunque i fati 01:09 25. Scena 12 Aria con ritornello – Recitativo [Ciro, Nino]: Quanto, oh, quanto egli è impossibile 02:24 26. Aria a due [Ciro, Nino]: Mostro terribile 01:22 27. Scena 13 Recitativo [Trespolo, Artemisia]: Al tutore? 02:59 28. Scena 14 Recitativo [Trespolo]: Bene, alla fé, che si dicesse in villa 00:24 29. Scena 15 Aria con ritornello [Artemisia]: Oh cristallo limpidissimo 00:46 30. Recitativo [Artemisia, Trespolo]: Eccovi qui il ritratto 00:24 31. Scena 16 Recitativo [Trespolo]: Ma che ritratto è questo? 00:24 32. Scena 17 Recitativo [Trespolo, Simona]: Oh, questa sì, ch’ella non è minchiona 02:36 Total time 45:10 6 Volume 3 ⁄ Atto Terzo 1. Sinfonia avanti il Terzo Atto 01:48 2. Scena 1 Recitativo [Trespolo, Simona]: Fermatevi una volta: perché non la volete? 02:36 3. Aria con ritornello [Simona]: Andate pur là 01:14 4. Scena 2 Recitativo [Simona, Artemisia]: Tic, toc, toc 01:48 5. Aria con ritornello [Simona]: Fare, fare, e lasciar dire 00:33 6. Recitativo [Artemisia, Simona]: Credete voi che Trespolo 01:40 7. Scena 3 Recitativo [Simona]: Dice da vero, e non mi dà la baia 00:13 8. Aria con ritornello [Simona]: Ora sì, ho pietà 00:58 9. Scena 4 Aria con ritornello [Ciro]: Quant’è falso che faccia l’amore 01:20 10. Aria [Ciro]: Oh, quante grazie 01:10 11. Scena 5 Recitativo [Nino]: Oh, quanti soli 00:34 12. Aria con ritornello [Nino]: Così sta, così sta 00:52 13. Aria con ritornello [Nino]: Oblio, che lento e tacito 01:53 14. Aria con ritornello [Nino]: Ah, ah, gli è meglio ridere 01:53 15. Aria [Nino]: Su, dunque, fuggite 00:58 16. Recitativo [Despina]: Dicendo con mia madre 00:32 17. Aria con ritornello [Despina]: Se tuo fato invariabile 01:02 18. Scena 6 Recitativo [Trespolo, Despina]: Ad un’ora ceniamo 01:43 19. Scena 7 Recitativo [Trespolo, Simona]: Finalmente! Chi vuol una persona 01:34 20. Scena 8 Recitativo [Simona]: Insomma io vuò chiarirmi 00:15 21. Aria con ritornello [Simona]: Parrà stravaganza 00:48 22. Scena 9 Recitativo [Trespolo, Simona, Ciro]: Eccovi il testamento 05:40 23. Scena 10 Recitativo [Ciro]: Che cosa mai costoro posson aver tra loro? 00:10 24. Aria con ritornello [Ciro]: Dunque, Ciro 01:03 25. Aria con strumenti [Ciro]: Martiri non più! 01:20 26. Scena 11 Recitativo [Despina, Ciro]: Oh signor Ciro, appunto io vi cercavo 01:06 27. Aria con ritornello [Ciro]: La speranza d’un dolce contento 01:50 28. Scena 12 Recitativo [Trespolo]: Voglio entrarmene in casa 00:22 29. Aria con ritornello [Trespolo]: Che musica bella 00:42 30. Scena 13 Recitativo [Artemisia, Trespolo]: Molto tardi tornate, ma la balia dov’è? 02:42 31. Aria con ritornello [Trespolo]: Due ore venite 32. Scena 14 Aria a 2 con ritornello [Nino, Ciro]: Chi non sa che cosa sia 01:21 33. Scena 15 Aria con strumenti [Nino]: Tarapatà, Tarapatà, Tarapatà! 02:44 34. Aria con strumenti [Nino]: Fa’ la nanna, Nino mio 02:39 35. Aria con ritornello [Nino]: Ma dove, dove andate? 02:42 36. Aria con strumenti [Nino]: Venghino in questo circolo 00:58 7 Menu 37. Scena 16 Aria [Artemisia]: Quest’affronto? Questo a me? 01:40 Aria [Trespolo]: Oh, veh, che pazzo! 00:32 38. Recitativo [Ciro, Artemisia, Trespolo]: Ma lasciatemi dire 01:46 39. Scena 17 Recitativo [Artemisia]: Voi sentite quel che fate? 00:20 40. Aria con ritornello [Artemisia]: Ah, se visibile 00:40 41. Recitativo [Trespolo, Artemisia]: Ma… 01:41 42. Scena 18 Recitativo e ariosi [Ciro, Artemisia]: Con chi parla Artemisia a questo oscuro? 03:06 43. Scena 19 Recitativo [Simona]: Ogni cosa è imbrogliata 00:27 44. Aria con ritornello [Simona]: Non occorre pensar più! 00:59 45. Scena 20 Recitativo [Trespolo, Simona, Artemisia, Ciro]: Tira via, tira via 02:28 46. Aria con strumenti [Ciro]: Dunque amore 01:02 Total time 65:44 8 Ensemble Mare Nostrum Gabriele Pro violin Marco Minnozzi, Ravenna 2018 (after Giuseppe Guarnieri del Gesù, Cremona 1730) Domenico Scicchitano violin André Mehler, Leipzig 2012 (after Santo Serafin, Venice 1737) André Lislevand viola da gamba basso Sergio Marcello Gregorat, Sacrofano (Rome) 2003 (after Pellegrino Micheli [di Zanetto], Brescia late 17th century) Giulia Gillio Gianetta cello Sandro Soldi, Milan 2014 Anna Bator violone Anonymous, 17th century Daniel Zapico theorbo Jaume Bosser, Barcellona 2013 (after Matteo Sellas, Venice c.1640) Simone Vallerotonda archlute Andreas Von Holst, Munich 2013 (after Matteo Sellas, Venice 1638) Jadran Peter Duncumb archlute Brendan Hirst, London, 1989 Flora Papadopoulos Italian triple harp Dario Pontiggia, Milan 2010 (after the Barberini Harp, National Museum of Musical Instruments, Rome) Lucia Adelaide Di Nicola harpsichord Ugo Casiglia, Palermo 2019 (after Giovan Battista Giusti, Lucca 1693) Salvatore Carchiolo organ Pier Paolo Pallotti, Porto San Giorgio (Fermo) 2016 Recorded 23-29 August 2019 at the Scuderie Farnese, Caprarola (Viterbo) Producer & recording engineer: Fabio Framba – Digital editing: Andrea De Carlo Co-produced by In Ædita and Festival Barocco Alessandro Stradella di Viterbo e Nepi ℗ 2020 Ensemble Mare Nostrum, under exclusive licence to Outhere Music France / ©2020 Outhere Music France 9 English Menu A comedy that is “entirely new and different from the ordinary style of Italy’s theatres” According to the official history of Italian opera, comic opera was born in the early eighteenth century as a result of theatrical reforms that had banished from the stage the comic scenes and characters typical of sixteenth century opera that were deemed excessive and outlandish, especially from a literary point of view.
Load more

Recommended publications
  • 825646166411.Pdf
    FRANCESCO CAVALLI L’AMORE INNAMORATO Nuria Rial soprano Hana Blažíková soprano L’ARPEGGIATA Christina Pluhar theorbo, baroque harp Doron David Sherwin cornetto Veronika Skuplik baroque violin Judith Steenbrink baroque violin Eero Palviainen archlute, baroque guitar Marcello Vitale baroque guitar Sarah Ridy baroque harp Margit Übellacker psaltery Elisabeth Seitz psaltery Lixsania Fernandes viola da gamba Rodney Prada viola da gamba Paulina van Laarhoven lirone Josetxu Obregon baroque cello Rüdiger Kurz violone Boris Schmidt double bass Haru Kitamika harpsichord, organ Francesco Turrisi harpsichord, organ David Mayoral percussion Christina Pluhar direction 1 L’Armonia (Prologo) 7:47 11 Affliggetemi, guai dolenti 2:23 L’Ormindo L’Artemisia 3 2 Sinfonia 2:31 12 Che città 3:34 Il Giasone L’Ormindo 3 Piante ombrose 3:07 Giovanni Girolamo Kapsperger La Calisto 13 Toccata prima 5:30 4 Restino imbalsamate 4:20 14 Alle ruine del mio regno 7:07 La Calisto La Didone 5 Vieni, vieni in questo seno 3:39 15 L’alma fiacca svanì 4:23 La Rosinda La Didone 6 Verginella io morir vo’ 3:54 Andrea Falconieri La Calisto 16 La suave melodia 3:30 7 Ninfa bella 3:37 66:52 La Calisto 8 Non è maggior piacere 4:38 La Calisto 9 Dammi morte 4:33 L’Artemisia 10 Sinfonia 2:18 Nuria Rial 3, 4, 6, 8, 12, 14, 15 L’Eliogabalo Hana Blažíková 1, 5, 7, 9, 11 4 Christina Pluhar L’Armonia (Prologo) Restino imbalsamate from L’Ormindo, 1644 from La Calisto, 1651 Libretto by Giovanni Faustini Libretto by Giovanni Faustini 5 Arr. Christina Pluhar Arr.
    [Show full text]
  • Winged Feet and Mute Eloquence: Dance In
    Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice.
    [Show full text]
  • San Francisco Early Music Society
    San Francisco Early Music Society Breathtaking: A Cornetto and a Voice Entwined WHEN: VENUE: Sunday, May 6, 2018 BInG 4:00 PM COnCERT HaLL Program Artists Maurizio Cazzati (1616 –1678) Hana Blažíková, Regina coeli soprano Bruce dickey, Nicolò Corradini (?–1646) cornetto Spargite flores Tekla Cunningham, Biagio Marini (1594 –1663) Ingrid Matthews, Sonata seconda a doi violini violin Joanna Blendulf, Sigismondo D’India (c1582 –1629) viola da gamba Dilectus meus Langue al vostro languir Michael Sponseller, organ and harpsichord Giovanni Battista Fontana (1589–1630) Stephen Stubbs, Sonata 11 a 2 theorbo and baroque guitar Tarquinio Merula (c 1594–1665) Nigra sum Giacomo Carissimi (1605 –1674) Summi regis puerpera —Intermission— Calliope Tsoupaki (b. 1963) Mélena imí (Nigra sum) , 2015 Gio. Battista Bassani (c1650 –1716) Three arias from La Morte Delusa (Ferrara, 1680) “Sinfonia avanti l’Oratorio” “Speranza lusinghiera” “Error senza dolor” Sonata prima a 3, Op. 5 Alessandro Scarlatti (1660–1725 Three arias from Emireno (Naples, 1697) Rosinda: “non pianger solo dolce usignuolo” Rosinda: “Senti, senti ch’io moro” Emireno: “Labbra gradite” PROGRAM SUBJECT TO CHANGE . Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not permitted. Thank you. 2 Notes Breathtaking: violoncelli. He was able, however, to which included innovative composers A Voice And A Cornetto Entwined attract excellent singers as well as such as Giovanni de Macque. d’India string players to the basilica. His travelled extensively, holding positions In the 16th and 17th centuries, the Regina coeli , from a collection of in Turin, Modena and Rome. His cornetto was fabled for its remarkable Marian antiphons published in 1667, monodies, for which he is primarily ability to imitate the human voice.
    [Show full text]
  • The Power of Affections: Vocal Music from Seventeenth-Century Italy
    presents The Power of Affections: Vocal Music from Seventeenth-Century Italy Wednesday, November 12, 2014 7:30PM Class of 1978 Pavilion, Kislak Center Van Pelt Library, 6th floor Philadelphia, PA 2 PROGRAM Sinfonia from “Tempro la cetra” (Settimo libro di Claudio Monteverdi madrigali, 1619) “Musica dolce” (Gli Amori d’Apollo e di Dafne, 1640) Francesco Cavalli “Ardo, sospiro e piango” (Artemisia, 1657) “Piangete, sospirate” (La Calisto, 1651) Francesco Cavalli “Stral che vola” (Artemisia, 1657) Balletto IV e Corrente a tre (Opera VIII, 1629) Biagio Marini “Delizie d’Amore” (Elena, 1659) Francesco Cavalli “Luci belle” (Elena, 1659) Sonata sopra ‘La Monica’ (Opera VIII, 1629) Biagio Marini “Lucidissima face” (La Calisto, 1651) Francesco Cavalli “Dell’antro magico” (Giasone, 1649) “Addio Roma” (L’incoronazione di Poppea, 1643) Claudio Monteverdi “Lasciate averno, o pene, e me seguite” (Orfeo, 1647) Luigi Rossi Ciaccona (Canzoni overo sonate concertate per chiesa e Tarquinio Merula camera, 1637) “Accenti queruli” (Cantate a voce sola. Libro secondo, 1633) Giovanni Felice Sances Julianne Baird, soprano Rebecca Harris, violin Mandy Wolman, violin Rebecca Cypess, harpsichord and clavicytherium Christa Patton, harp Richard Stone, theorbo 3 PROGRAM NOTES by Carlo Lanfossi The seventeenth-century stage was quite a busy one. Gods, machinery, clunky sets, comici, animals, and dancers surrounded actor-singers. It is no surprise that in most of their early attempts at building a genre crafted on dramatic singing on stage, composers had to ensure singers
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera Permalink https://escholarship.org/uc/item/9mj7d63c Author Richter, Terri Lynn Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation.
    [Show full text]
  • Mcdonald, Bernard M. (2010) Cavalli's "Ormindo": Tonality and Sexuality in Seventeenth-Century Venice
    McDonald, Bernard M. (2010) Cavalli's "Ormindo": tonality and sexuality in seventeenth-century Venice. MMus(R) thesis. http://theses.gla.ac.uk/1958/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Cavalli’s Ormindo: Tonality and Sexuality in Seventeenth-Century Venice by Bernard Michael McDonald Submitted in fulfilment of the requirements of the degree of Master of Music to The Department of Music Faculty of Arts University of Glasgow April 2010 © Bernard McDonald 2010 ABSTRACT Ormindo, the third collaboration between the composer Francesco Cavalli and the librettist Giovanni Faustini, was created for the 1644 carnival opera season at Venice’s Teatro San Cassiano. This thesis, aimed at performers as well as scholars, begins with a brief consideration of the cultural context of early public opera in Venice and the emergence of the musical language of tonality. It goes on to examine how, in setting Faustini’s text, Cavalli represents desire and sexuality, constructs character, and creates a musical narrative. Cavalli’s implementation of the precepts of the seconda prattica is also considered in terms of textural and rhetorical devices.
    [Show full text]
  • Francesco Cavalli
    V O L U M E I Arias, duets and ensembles from the operas of Francesco Cavalli Edited, and with translations by Oliver Doyle E D I T I O N M V S I C A A N T I C A 1 Edition Mvsica Antica, Rotherhithe, London. © 2021 by Musica Antica Rotherhithe. This book has been made freely available to facilitate the study and performance of Francesco Cavalli’s music. Parts are also available on request; please write to [email protected] for further information. The manuscript sources consulted in the production of this book can be viewed on internetculturale.it, made available in a digitised format by the Biblioteca Marciana, Venice. For more editions of rare music and their performance in London, please visit www.musicaantica.org.uk. 2 Contents (by opera) Editor’s note v La Didone (1641) Padre, ferma i passi (S) 10 L’alma fiacca svanì (S) 16 L’Ormindo (1644) Prologo (S) 1 Tu per me ben felice (A) 20 Volate fuggite – D’Amor non si quereli (S, S, A, T) 25 Giasone (1649) Delizie, e contenti (A) 40 La Rosinda (1651) Vieni, vieni in questo seno (S) 45 La Calisto (1651) Restino imbalsamate (S) 48 Il Ciro (1654) Mia vita, mio bene (S, S, A, T ) 55 L’Erismena (1655) Piante odorose (S) 60 La Statira (1655) Cresce il foco (S) 66 Menfi, mia patria a (S) a 72 Io vivo (S) 78 3 L’Artemisia (1657) Ardo, sospiro e piango (S) 80 Dammi morte (S) 92 L’Elena (1659) Ecco l’idolo mio (S, S) 97 Mia Speranza (S, S) 104 Ercole Amante (1662) Come si beff’ amore (B) 114 Figlio, figlio (S, T) 124 Pompeo Magno (1666) Coetaneo con gli’astri (T) 128 Sonno, placido nume (A) 132 L’Eliogabalo (1667) Misero così va (S) 137 Pur ti stringo (S, S, S, S) 146 Sources 150 4 unless found in the sources consulted.
    [Show full text]
  • Artemisia Gentileschi : the Heart of a Woman and the Soul of a Caesar
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 7-13-2010 Artemisia Gentileschi : The eH art of a Woman and the Soul of a Caesar Deborah Anderson Silvers University of South Florida Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Silvers, Deborah Anderson, "Artemisia Gentileschi : The eH art of a Woman and the Soul of a Caesar" (2010). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/3588 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Artemisia Gentileschi : The Heart of a Woman and the Soul of a Caesar by Deborah Anderson Silvers A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Naomi Yavneh, Ph.D. Annette Cozzi, Ph.D. Giovanna Benadusi, Ph.D. Date of Approval: July 13, 2010 Keywords: Baroque, Susanna and the Elders, self referential Copyright © 2010, Deborah Anderson Silvers DEDICATION I would like to dedicate this thesis to my husband, Fon Silvers. Nearly seven years ago, on my birthday, he told me to fulfill my long held dream of going back to school to complete a graduate degree. He promised to support me in every way that he possibly could, and to be my biggest cheerleader along the way.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6’ x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS Copyrighted materials in this document have not been filmed at the request of the author. They are available for consultation at the author’s university library.
    [Show full text]
  • Painting Lucretia
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2013 Painting Lucretia: Fear and Desire : A Feminist Discourse on Representations by Artemisia Gentileschi and Tintoretto Amy Lynne Endres University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the European History Commons, and the Theory and Criticism Commons Recommended Citation Endres, Amy Lynne, "Painting Lucretia: Fear and Desire : A Feminist Discourse on Representations by Artemisia Gentileschi and Tintoretto" (2013). Theses and Dissertations. 91. https://dc.uwm.edu/etd/91 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. PAINTING LUCRETIA: FEAR AND DESIRE A FEMINIST DISCOURSE ON REPRESENTATIONS BY ARTEMISIA GENTILESCHI AND TINTORETTO by Amy L. Endres A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History The University of Wisconsin-Milwaukee May 2013 ABSTRACT PAINTING LUCRETIA: FEAR AND DESIRE A FEMINIST DISCOURSE ON REPRESENTATIONS BY ARTEMISIA GENTILESCHI AND TINTORETTO by Amy L. Endres The University of Wisconsin-Milwaukee, 2013 Under the Supervision of Professor Tanya Tiffany The myth of the Roman heroine, Lucretia, celebrates feminine ideals of virtue and chastity and is considered pivotal to the establishment of the Roman Republic. Yet, her rape and suicide is also the fulcrum of uncomfortable tension about notions of female sexuality, morality, patriotism and heroism. My thesis is a comparative discussion of two intriguing and radically dissimilar paintings of Lucretia: Tarquin and Lucretia by Tintoretto and Lucretia by Artemisia Gentileschi.
    [Show full text]
  • Artemisia II De Caria
    EL MUNDO CLÁSICO Y SU PROYECCIÓN EN LA CULTURA OCCIDENTAL CONVOCATORIA DE SEPTIEMBRE CURSO 2019/2020 Trabajo Final de Máster LA TRADICIÓN CLÁSICA EN LOS LIBRETOS DE ÓPERA Artemisia II de Caria AUTORA Clara Eugenia Larrañeta García TUTOR Dr. José María Lucas de Dios U N E D Facultad de Filología AGRADECIMIENTOS Con la realización del presente Trabajo Fin de Máster culmino otra etapa académica de mi vida de gran esfuerzo a la par que enriquecedora, que me ha abierto nuevos horizontes en el campo de la Filología y la Tradición Clásicas. Dicho esfuerzo ha tenido su máxima representación con este último trabajo, debido a la grave situación que estamos viviendo a nivel mundial y que ha provocado que al final haya debido concentrar todas mis fuerzas para poder culminarlo. Aún así, he disfrutado sumergiéndome en la investigación del personaje tratado y utilizando nuevos métodos de trabajo que no había aplicado hasta el momento. Por ello, quiero agradecer, en primer lugar, a mi tutor José María Lucas de Dios el ofrecimiento de este tema para finalizar el Máster, así como los primeros materiales y pautas que me proporcionó y que me sirvieron como guía en mis pasos iniciales. Por otro lado, no puedo dejar de darle gracias por la corrección y los ánimos en estas últimas semanas, a pesar de no contar con tiempo de sobra para ello. Por su parte, a nivel personal, debo nombrar a las personas que me han acompañado, no sólo durante el proceso de este trabajo, sino también en todos los momentos trascendentales de mi vida.
    [Show full text]
  • Musique De L'œil
    ARTAMAG' FOCUS MUSIQUE DE L’ŒIL 13 NOVEMBRE 2015 | JEAN-CHARLES HOFFELÉ La musique se voit dans la peinture vénitienne, mieux, elle se montre, de la trompette de la Gloire de Giuseppe Angeli au « concertino » qui accompagne les joueurs de cartes de Pietro Longhi nommant d’ailleurs son tableau. Instruments pour les scènes mythologiques ou les « moralités », fresques où se mirent la dramaturgie du théâtre d’opéra que Venise invente puis réinvente sans cesse, concerts de cordes et de bois qui rappellent la pratique instrumentale intimement liée aux Ospedali, c’est tout ce répertoire pictural qu’Olivier Lexa parcourt au long des deux cent pages du livre d’art qu’il consacre à ce sujet inusable : « La musique à Venise ». Période : de Monteverdi à Vivaldi ; sujet : toiles, fresques, apparat, pratique domestique, et évidemment opéra où entre décors, costumes, dramaturgie, l’auteur suit l’évolution du goût vénitien. En refermant cet ouvrage magnifique qui va chercher parfois dans les parts les moins courues du répertoire pictural de la Sérénissime, je me dis que le sujet n’avait pas été traité avec tant d’à propos et une si profonde sensibilité. C’est qu’Olivier Lexa « entend » cette peinture musicale dans les deux acceptations du terme. Il est l’auteur de la première biographie française de l’autre père de l’opéra vénitien avec Monteverdi, Francesco Cavalli – en fait pour moi, son véritable créateur – un ouvrage très documenté au style enlevé que l’on retrouve toujours aussi brillant et juste dans le nouveau venu, comme dans le prologue qui pare le magnifique livre-disque concocté par Mariana Florès et Leonardo García Alarcón, où se résume en ses pages les plus éloquentes ou les plus touchantes tout le théâtre lyrique de Cavalli.
    [Show full text]