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IL CROCIATO in EGITTO Heroic Melodrama in Two Acts Libretto by Gaetano Rossi
MEYERBEER Il CrociaOtoRC 10in Egitto in association with Box cover and CD inlays Set design by Alessandro Sanquirico for 1826 production at La Scala, Milan . Arrival of the crusader into the Port of Damiette (akg-images/Pietro Baguzzi) Booklet cover Velluti as Armando, London 1825, watercolour by Chalon (Opera Rara archive) Opposite Giacomo Meyerbeer (Opera Rara archive) –1– GIACOMO MEYERBEER IL CROCIATO IN EGITTO Heroic melodrama in two acts Libretto by Gaetano Rossi Aladino, Sultan of Damietta ................................................................Ian Platt Adriano di Montfort, Grand Master of the Knights of Rhodes .............Bruce Ford Armando D’Orville, a Knight of Rhodes ..................................Diana Montague Palmide, daughter of the Sultan ...................................................Yvonne Kenny Felicia, in the attire of a Knight ........................................................Della Jones Alma, confidante of Palmide ........................................................Linda Kitchen Osmino, the Grand Vizier ..............................................................Ugo Benelli Geoffrey Mitchell Choir Chorus master: Geoffrey Mitchell Royal Philharmonic Orchestra Conductor: David Parry –2– Managing Director: Stephen Revell Producer: Patric Schmid Performing edition for this recording prepared by Robert Roberts Assistant conductors: Paul McGrath, Peter Lipari Répétiteur and recitatives: Rosemary Barnes Italian coach: Gabriella Bullock English libretto: Gwyn Morris Article: Don White Recording -
La Favorite Opéra De Gaetano Donizetti
La Favorite opéra de Gaetano Donizetti NOUVELLE PRODUCTION 7, 9, 12, 14, 19 février 2013 19h30 17 février 2013 17h Paolo Arrivabeni direction Valérie Nègre mise en scène Andrea Blum scénographie Guillaume Poix dramaturgie Aurore Popineau costumes Alejandro Leroux lumières Sophie Tellier choréraphie Théâtre des Champs-Elysées Alice Coote, Celso Albelo, Ludovic Tézier, Service de presse Carlo Colombara, Loïc Félix, Judith Gauthier tél. 01 49 52 50 70 [email protected] Orchestre National de France Chœur de Radio France theatrechampselysees.fr Chœur du Théâtre des Champs-Elysées Coproduction Théâtre des Champs-Elysées / Radio France La Caisse des Dépôts soutient l’ensemble de la Réservations programmation du Théâtre des Champs-Elysées T. 01 49 52 50 50 theatrechampselysees.fr 5 Depuis quelques saisons, le bel canto La Favorite et tout particulièrement Donizetti ont naturellement trouvé leur place au Gaetano Donizetti Théâtre puisque pas moins de quatre des opéras du compositeur originaire Opéra en quatre actes (1840, version française) de Bergame ont été récemment Livret d’Alphonse Royer et Gustave Vaëz, d’après Les Amours malheureuses présentés : la trilogie qu’il a consacré ou Le Comte de Comminges de François-Thomas-Marie de Baculard d’Arnaud aux Reines de la cour Tudor (Maria Stuarda, Roberto Devereux et Anna Bolena) donnée en version de direction musicale Paolo Arrivabeni concert et, la saison dernière, Don Valérie Nègre mise en scène Pasquale dans une mise en scène de Andrea Blum scénographie Denis Podalydès. Guillaume Poix dramaturgie Aurore Popineau costumes Compositeur prolifique, héritier de Rossini et précurseur de Verdi, Alejandro Le Roux lumières Donizetti appartient à cette lignée de chorégraphie Sophie Tellier musiciens italiens qui triomphèrent dans leur pays avant de conquérir Paris. -
Rezension Für: Deutsches Symphonie-Orchester Berlin
Rezension für: Deutsches Symphonie-Orchester Berlin Edition Friedrich Gulda – The early RIAS recordings Ludwig van Beethoven | Claude Debussy | Maurice Ravel | Frédéric Chopin | Sergei Prokofiev | Wolfgang Amadeus Mozart 4CD aud 21.404 Radio Stephansdom CD des Tages, 04.09.2009 ( - 2009.09.04) Aufnahmen, die zwischen 1950 und 1959 entstanden. Glasklar, "gespitzter Ton" und... Full review text restrained for copyright reasons. Neue Musikzeitung 9/2009 (Andreas Kolb - 2009.09.01) Konzertprogramm im Wandel Konzertprogramm im Wandel Full review text restrained for copyright reasons. Piano News September/Oktober 2009, 5/2009 (Carsten Dürer - 2009.09.01) Friedrich Guldas frühe RIAS-Aufnahmen Friedrich Guldas frühe RIAS-Aufnahmen Full review text restrained for copyright reasons. page 1 / 388 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de DeutschlandRadio Kultur - Radiofeuilleton CD der Woche, 14.09.2009 (Wilfried Bestehorn, Oliver Schwesig - 2009.09.14) In einem Gemeinschaftsprojekt zwischen dem Label "audite" und Deutschlandradio Kultur werden seit Jahren einmalige Aufnahmen aus den RIAS-Archiven auf CD herausgebracht. Inzwischen sind bereits 40 CD's erschienen mit Aufnahmen von Furtwängler und Fricsay, von Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau u. v. a. Die jüngste Produktion dieser Reihe "The Early RIAS-Recordings" enthält bisher unveröffentlichte Aufnahmen von Friedrich Gulda, die zwischen 1950 und 1959 entstanden. Die Einspielungen von Beethoven, Debussy, Ravel und Chopin zeigen den jungen Pianisten an der Schwelle zu internationalem Ruhm. Die Meinung unserer Musikkritiker: Eine repräsentative Auswahl bisher unveröffentlichter Aufnahmen, die aber bereits alle Namen enthält, die für Guldas späteres Repertoire bedeutend werden sollten: Mozart, Beethoven, Debussy, Ravel, Chopin. -
Various Klassiske Perler Volum 1 Mp3, Flac, Wma
Various Klassiske Perler Volum 1 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Klassiske Perler Volum 1 Country: Norway Released: 1993 MP3 version RAR size: 1605 mb FLAC version RAR size: 1182 mb WMA version RAR size: 1942 mb Rating: 4.2 Votes: 268 Other Formats: AC3 AIFF AHX MP1 MOD AAC AC3 Tracklist Hide Credits 1 –Edvard Grieg Morgenstemning Fra Peer Gynt 4:18 2 –Wolfgang Amadeus Mozart Andantino Fra Konsert For Fløyte Og Harpe. K 299 9:31 3 –Stanley Myers Cavatina 4:15 4 –Antonio Vivaldi Largo Fra Piccolafløytekonsert C-Dur, P 79 3:01 5 –Wolfgang Amadeus Mozart Andante Fra Klaverkonsert Nr 21 C-Dur "Elvira Madigan" 7:47 6 –Christoph Willibald Gluck Dans På De Saligste Enger Fra Orfeus Og Eurydike 7:50 7 –Ciagomo Puccini* Koret Fra Madame Butterfly 3:09 8 –Johann Sebastian Bach Air Fra Orkestersuite Nr 3 D-Dur 5:33 9 –Camille Saint-Saéns* Svanen Fra Dyrenes Karneval 3:03 10 –Sergej Rachmaninow* Vokalis 6:07 11 –Erik Satie Gymnopédie III 2:54 Adagio 12 –Tomaso Albinoni 8:23 Arranged By – R. Giazotto* 13 –Giacomo Puccini O Mio Babbino Caro Fra Gianni Schicchi 2:24 14 –Frédéric Chopin Nocturne Ess-Dur, Op 9 Nr 2 4:08 Companies, etc. Copyright (c) – Sony Music Entertainment Norway AS Credits Liner Notes – Jon Skarstein, Odd Lingjærde Mastered By – DADC Austria Notes This CD was sent out to various Norwegian health care professionals by pharmaceutical company Novo Nordisk Pharma AS to promote the (at the time) brand new antidepressant drug Seroxat. The inlay includes informational articles on depression. -
Belisario Tragedia Lirica in Tre Parti Di Salvadore Cammarano Musica Di Gaetano Donizetti Nuova Edizione Riveduta Sull’Autografo Di Ottavio Sbragia
Edizione 2012 Belisario Tragedia lirica in tre parti di Salvadore Cammarano Musica di Gaetano Donizetti Nuova edizione riveduta sull’autografo di Ottavio Sbragia COMUNICATO Quarantadue anni separano l’ultima rappresentazione di Belisario, sulle tavole del palcoscenico del Teatro Donizetti nel 1970, in occasione del Festival autunnale dell’opera lirica “Teatro delle novità”, dall’attuale riproposizione nell’ambito della settima edizione del Bergamo Musica Festival Gaetano Donizetti, a cura della Fondazione Donizetti. Precedenti quello del 1970, soltanto due allestimenti dello stesso titolo, risalenti rispettivamente al 1837 e al 1844. La “prima” al Donizetti, allora Teatro Riccardi, di Belisario assume toni particolarmente significativi per la Città e per lo stesso compositore. Innanzitutto perché l’opera calca le scene del maggior Teatro cittadino nell’agosto del 1837, in occasione dell’annuale Stagione di Fiera, quindi la stagione successiva a quella della “primissima” dell’opera stessa, avvenuta al Teatro La Fenice di Venezia il 4 febbraio del 1836; secondariamente perché Belisario è la prima opera donizettiana ad essere rappresentata al Riccardi, mentre la musica del compositore è regolarmente presente nei cartelloni del Teatro Sociale di Città Alta fin dal 1830. Dopo un “anno di magra”, quel 1836 segnato in tutto il Nord Italia da una terribile epidemia di colera, nel 1837 la Stagione di Fiera del Riccardi, affidata alle cure dell’Impresa di Giovanni Battista Bonola, promette esiti d’alto livello. «Il languore della Fiera del passato anno, cagionato dall’inallora dominante morbo, e dalla conseguente chiusura del Teatro – relaziona il 2 aprile la Congregazione Municipale al Governo milanese – ha fatto sentire un maggior bisogno di dare un impulso al prosperamento di essa nell’anno corrente procurando un maggior concorso di Forastieri, allettandoli con uno spettacolo Teatrale di Opera e Ballo conveniente alla circostanza […]». -
Nini, Bloodshed, and La Marescialla D'ancre
28 Nini, bloodshed, and La marescialla d’Ancre Alexander Weatherson (This article originally appeared in Donizetti Society Newsletter 88 (February 2003)) An odd advocate of so much operatic blood and tears, the mild Alessandro Nini was born in the calm of Fano on 1 November 1805, an extraordinary centre section of his musical life was to be given to the stage, the rest of it to the church. It would not be too disrespectful to describe his life as a kind of sandwich - between two pastoral layers was a filling consisting of some of the most bloodthirsty operas ever conceived. Maybe the excesses of one encouraged the seclusion of the other? He began his strange career with diffidence - drawn to religion his first steps were tentative, devoted attendance on the local priest then, fascinated by religious music - study with a local maestro, then belated admission to the Liceo Musicale di Bologna (1827) while holding appointments as Maestro di Cappella at churches in Montenovo and Ancona; this stint capped,somewhat surprisingly - between 1830 and 1837 - by a spell in St. Petersburg teaching singing. Only on his return to Italy in his early thirties did he begin composing in earnest. Was it Russia that introduced him to violence? His first operatic project - a student affair - had been innocuous enough, Clato, written at Bologna with an milk-and-water plot based on Ossian (some fragments remain), all the rest of his operas appeared between 1837 and 1847, with one exception. The list is as follows: Ida della Torre (poem by Beltrame) Venice 1837; La marescialla d’Ancre (Prati) Padua 1839; Christina di Svezia (Cammarano/Sacchero) Genova 1840; Margarita di Yorck [sic] (Sacchero) Venice 1841; Odalisa (Sacchero) Milano 1842; Virginia (Bancalari) Genova 1843, and Il corsaro (Sacchero) Torino 1847. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
I. ACADEMIC/PROFESSIONAL BACKGROUND A. Margaret Eleanor Menninger Associate Professor B. Education: Ph.D
I. ACADEMIC/PROFESSIONAL BACKGROUND A. Margaret Eleanor Menninger Associate Professor B. Education: Ph.D. 1998 Harvard University History Art and Civic Patronage in Leipzig, 1848-1914 A.M. 1991 Harvard University History A.B. 1986 Harvard University History and The Muse Oppressed, the Muse cum Literature Undressed: Views of Female laude Sexuality in German Cabaret, 1901-1903 C. University Experience: Associate Professor Texas State University 2006-present Assistant Professor Texas State University 2000-2006 Lecturer The Pennsylvania State University 1999-2000 Tutor Harvard University 1994-1998 D. Relevant Professional Experience: E. Executive Director, German The German Studies Association is the multi- and 2021- interdisciplinary association of scholars in German, Austrian, Studies Association and Swiss history, literature, culture studies, political science, 2026 F. (thegsa.org) and economics. GSA holds an annual conference and publishes a scholarly journal, the German Studies Review. Members are generally professors and advanced students at universities and colleges in North America, although there are several hundred members in Europe and Asia. Membership is open to anyone. Member of the American Council of Learned Societies (ACLS). Manuscript Editor and DÆDALUS, Journal of the American 1990- Subsidiary Rights Manager Academy of Arts and Sciences 1992 (Cambridge, MA Bertelsmann Foundation Intern Carl Hanser Verlag (Munich, FRG) 1990 Foreign Rights Specialist and Houghton Mifflin Company (Boston, MA) 1987- Permissions Editor 1990 II. -
L'œuvre À L'affiche
37 affiche xp 2/06/05 10:13 Page 120 L'œuvre à l'affiche Recherches: Elisabetta Soldini avec la contribution de César Arturo Dillon, Georges Farret Calendrier des premières représentations du Barbier de Séville d’après A. Loewenberg, Annals of Opera 1597-1940, Londres 1978 et Pipers Enzyklopädie des Musiktheaters, éd. C. Dahlhaus et S. Döhring, 1991 Le signe [▼] renvoie aux tableaux des pages suivantes. Sauf indication contraire signalée entre parenthèses, l’œuvre a été chantée en italien: [Ang] anglais, [All] allemand, [Bulg] bulgare, [Cro] croate, [Dan] danois, [Esp] espagnol, [Est] estonien, [Finn] finnois, [Flam] flamand, [Fr] français, [Héb] hébreu, [Hong] hongrois, [Lett] letton, [Lit] Lituanien, [Née] néerlandais, [Nor] norvégien, [Pol] polonais, [Rou] roumain, [Ru] russe, [Serb] serbe, [Slov] slovène, [Sué] suédois, [Tch] tchèque CRÉATION: 20 février 1816, Rome, Teatro Argentina. [▼] 1869: décembre, Le Caire. 1871: 3 novembre, Paris, Athénée. 1818: 10 mars, Londres, Her Majesty’s Theatre. - 16 juillet, Barcelone. - 1874: 29 septembre, Helsinki. [Finn] - 2 décembre, Zagreb. [Cro] 13 octobre, Londres, Covent Garden. [Ang] 1875: Le Cap. 1819: 1er janvier, Munich. - Carnaval, Lisbonne. - 3 mai, New York [Ang] - 1876: Tiflis. - Kiev. [Ru] 27 mai, Graz. [All] - 28 septembre, Vienne, Theater auf der Wieden. [All] - 1883: 23 novembre, New York, Metropolitan. 26 octobre, Paris, Théâtre-Italien. 1884: 8 novembre, Paris, Opéra-Comique. 1820: 6 septembre, Milan, Teatro alla Scala. - 29 septembre, Prague. [All] - 1905 : Ljubljana. [Slov] 3 octobre, Braunschweig. [All] - 16 décembre, Vienne, Kärntnertor- 1913 : 3 mai, Christiania (Oslo). [Norv] Theater. [All] - 18 décembre, Brünn. [All] 1918 : Shanghai. [Ru] 1821: 25 août, Madrid. - 31 août, Odessa. - 19 septembre, Lyon. -
Maria Di Rohan
GAETANO DONIZETTI MARIA DI ROHAN Melodramma tragico in tre atti Prima rappresentazione: Vienna, Teatro di Porta Carinzia, 5 VI 1843 Donizetti aveva già abbozzato l'opera (inizialmente intitolata Un duello sotto Richelieu) a grandi linee a Parigi, nel dicembre 1842, mentre portava a termine Don Pasquale; da una lettera del musicista si desume che la composizione fu ultimata il 13 febbraio dell'anno successivo. Donizetti attraversava un periodo di intensa attività compositiva, forse consapevole dell'inesorabile aggravarsi delle proprie condizioni di salute; la "prima" ebbe luogo sotto la sua direzione e registrò un convincente successo (furono apprezzate soprattutto l'ouverture ed il terzetto finale). L'opera convinse essenzialmente per le sue qualità drammatiche, eloquentemente rilevate dagli interpreti principali: Eugenia Tadolini (Maria), Carlo Guasco (Riccardo) e Giorgio Ronconi (Enrico); quest'ultimo venne apprezzato in modo particolare, soprattutto nel finale. Per il Theatre Italien Donizetti preparò una nuova versione, arricchita di due nuove arie, nella quale la parte di Armando fu portata dal registro di tenore a quello di contralto (il ruolo fu poi interpretato en travesti da Marietta Brambilla). Con la rappresentazione di Parma (primo maggio 1844) Maria di Rohan approdò in Italia dove, da allora, è stata oggetto soltanto di sporadica considerazione. Nel nostro secolo è stata riallestita a Bergamo nel 1957 ed alla Scala nel 1969, oltre all'estero (a Londra e a New York, dove è apparsa in forma di concerto). Maria di Rohan segna forse il punto più alto di maturazione nell'itinerario poetico di Donizetti; con quest'opera il musicista approfondì la propria visione drammatica, a scapito di quella puramente lirica e belcantistica, facendo delle arie di sortita un vero e proprio studio di carattere e privilegiando i duetti ed i pezzi d'assieme in luogo degli 276 episodi solistici (ricordiamo, tra i momenti di maggior rilievo, l'aria di Maria "Cupa, fatal mestizia" ed il duetto con Chevreuse "So per prova il tuo bel core"). -
The Inventory of the Phyllis Curtin Collection #1247
The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C. -
Boston Symphony Orchestra Concert Programs, Season 35,1915
PARSONS THEATRE HARTFORD Thirty-fifth Season. 1915-1916 Dr. KARL MUCK. Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, MARCH 27 AT 8.15 COPYRIGHT, 1916, BY C. A.-ELLIS PUBLISHED BY C. A. ELLIS, MANAGER €i Yes, It's a Steinway" ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to you, and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor PERSONNEL Violins. Witek, A. Roth, O. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet. H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A. Griinberg, M. Pinfield, C. Gerardi, A. Kurth, R.