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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. -
La Création Du Festival D'aix En Provence
] <[email protected]> ] <[email protected]> ALLE W [Frédéric Van de de Van [Frédéric Gabriel TAMISIER Dussurget La création 1948 Graphisme : Atelier Jean-Luc Jean-Luc : Atelier Graphisme Portrait de Gabriel DUSSURGET, du festival d’Aix par le peintre et décorateur CASSANDRE (A. M. Mouron, dit) Huile sur toile, 62 x 52 cm © Coll. Kathleen Fonmarty-Dussurget en Provence exposition du 18 juin au 4 septembre Musée du palais de l’Archevêché Association Gabriel Dussurget [musée des tapisseries] 2016 320 ter, chemin de la Gravesonne Place des Martyrs de la Résistance En partenariat Campagne Bellevue, avec 13100 Aix-en-Provence AIX-EN-PROVENCE Édito du Maire On a peine aujourd’hui à se représenter ce que la création d’un festival d’opéra dans une ville provinciale surnommée « la belle endormie », et au sortir d’une guerre qui laissait un pays exangue, avait de novateur. 1953 : Gabriel DUSSURGET, entouré de quelques artistes dans les rues d’Aix : Marcello CORTIS, Teresa STICH-RANDALL, Graziella SCIUTTI & Renato CAPECCHI © Photographie Henry Ely-Aix Gabriel Dussurget a su fédérer les énergies autour d’un projet qui paraissait fou à ses contemporains. L’exposition du Musée du Palais de l’Archevêché, qui a vu naître cette institution, montre qu’il a insufflé à Aix, comme à l’Opéra de Paris, une modernité et des Au même titre que Jean Vilar pour Avignon, Gabriel Dussurget de Fauré, à l’auditorium Campra, lors de la remise des Prix principes toujours d’actualité, entouré d’une équipe dont l’enthousiasme et le talent ont très fait partie de ces mythes fondateurs qui ont ancré une culture Gabriel Dussurget 2016. -
The Rise and Fall of the Cellist-Composer of the Nineteenth Century
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Rise and Fall of the Cellist- Composer of the Nineteenth Century: A Comprehensive Study of the Life and Works of Georg Goltermann Including A Complete Catalog of His Cello Compositions Katherine Ann Geeseman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE RISE AND FALL OF THE CELLIST-COMPOSER OF THE NINETEENTH CENTURY: A COMPREHENSIVE STUDY OF THE LIFE AND WORKS OF GEORG GOLTERMANN INCLUDING A COMPLETE CATALOG OF HIS CELLO COMPOSITIONS By KATHERINE ANN GEESEMAN A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Degree Awarded: Fall Semester, 2011 Katherine Geeeseman defended this treatise on October 20th, 2011. The members of the supervisory committee were: Gregory Sauer Professor Directing Treatise Evan Jones University Representative Alexander Jiménez Committee Member Corinne Stillwell Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my dad iii ACKNOWLEDGEMENTS This treatise would not have been possible without the gracious support of my family, colleagues and professors. I would like to thank Gregory Sauer for his support as a teacher and mentor over our many years working together. I would also like to thank Dr. Alexander Jiménez for his faith, encouragement and guidance. Without the support of these professors and others such as Dr. -
L'opéra Comique
Forumopera.com le magazine de l’opéra et du monde lyrique un dossier dirigé par Bruno Peeters L’Opéra Comique défense et illustration 1 Forumopera.com le magazine de l’opéra et du monde lyrique Sommaire Opéra Comique, défense et illustration Par Bruno Peeters Page 3 Naissance d’un Genre Par Catherine Scholler Page 5 L’Opéra Comique à l’Hôtel de Bourgogne Par Catherine Scholler Page 8 Adolphe Adam Par Geoffroy Bertrand Page 18 Où l’on parle de la Dame Blanche Par Catherine Scholler Page 27 Daniel François Esprit Auber Par Bruno Peeters Page 31 2 Forumopera.com le magazine de l’opéra et du monde lyrique Opéra Comique, défense et illustration Par Bruno Peeters C'est à dessein que je reprends ce titre, qui introduisait le numéro spécial consacré à l'Opéra-Comique par la célèbre Revue Musicale de... novembre 1933. Henry Prunières, directeur de la revue et signataire de cette introduction, y stigmatisait le mépris qu'engendrait la notion d'opéra-comique parmi un public wagnérien, debussyste ou stravinskien. Où en sommes-nous, 70 ans plus tard ? Comme ce numéro vénérable, le dossier que vous allez lire se propose de faire le tour du genre, de son éclosion au XVIIIe siècle à son déclin fin du siècle suivant, et en tournant les projecteurs sur les acteurs principaux : Grétry, Boieldieu, Hérold, Adam et Auber. Qu'est-ce que l'opéra-comique ? Né des vaudevilles donnés sur les tréteaux des foires parisiennes, il devint "comédie mêlée d'ariettes", définissant ainsi immédiatement sa singularité formelle, à savoir l'alternance du parlé et du chanté. -
![The Trains Which Left) C (Lyric by Vangelis Goufas [Vah-GAY-Liss GOO-Fahss] Set to Music by Stavros Xarhakos [STAHV-Russ Ksar-HAH-Kuss]](https://docslib.b-cdn.net/cover/3015/the-trains-which-left-c-lyric-by-vangelis-goufas-vah-gay-liss-goo-fahss-set-to-music-by-stavros-xarhakos-stahv-russ-ksar-hah-kuss-3163015.webp)
The Trains Which Left) C (Lyric by Vangelis Goufas [Vah-GAY-Liss GOO-Fahss] Set to Music by Stavros Xarhakos [STAHV-Russ Ksar-HAH-Kuss]
Ta trena pou figan C Ta tréna pou figan C tah TRAY-nah poo FEE-gahn C (The Trains Which Left) C (lyric by Vangelis Goufas [vah-GAY-liss GOO-fahss] set to music by Stavros Xarhakos [STAHV-russ ksar-HAH-kuss]) Tabachnik C Michel Tabachnik C mih-HELL tah-BAHCH-nyick Tabakov C Mikhail Tabakov C mee-kahEEL tah-bah-KAWF Tabard inn C At the Tabard Inn C (At the) TA-burd (Inn) C (overture by George Dyson [JAW-urj D¦-sunn]) Tabarro C Il tabarro C eel tah-BAR-ro C (The Cloak) C (an opera, with music by Giacomo Puccini [JAH-ko-mo poo-CHEE-nee]; libretto by Giuseppe Adami [joo-ZAYP-pay ah-DAH- mee] after Didier Gold [dee-deeay gawld]) Taberna C In taberna C inn tuh-BAYR-nuh C (In the tavern) C (a group of poems from the 13th-century manuscript Carmina Burana [kar-MEE-nah boo-RAH-nah] set to music by Carl Orff [KARL AWRF]) Tabernera del puerto C La tabernera del puerto C lah tah-vehr-NAY-rah dell pooEHR-toh C (an opera, with music by Pablo Sorozábal [PAH-vlo so-ro-THAH-vahl]; libretto by Romero [ro- MAY-ro] and Fernández Shaw [fehr-NAHN-dehth SHAW]) Tableaux de statistiques C tah-blo duh stah-teess-teek C (Statistical tables) C (an excerpt from the suite Souvenirs de l’exposition [sôô-v’neer duh luckss-paw-zee-seeaw6] — Remembrances of the Exposition — by Federico Mompou [feh-theh-REE-ko mawm-POOO]) Tabor C TAY-bur Tabourin C tah-bôô-reh6 C (small drum) Tabourot C Jehan Tabourot C zhehah6 tah-bôô-ro Tabuteau C Marcel Tabuteau C mar-sell tah-bü-toh Tacchinardi C Nicola Tacchinardi C nee-KO-lah tahk-kee-NAR-dee C (the first name is also spelled Niccolò -
Guide-To-String Trios
GUIDE TO THE STRING TRIO LITERATURE Guide to the Strin g Trio Li teratu Ray re by mon d Si lvert rust BY RAYMOND SILVERTRUST EDITOR OF THE CHAMBER MUSIC JOURNAL -1- Table of Contents Introduction and Preface ··································································································· 3 Trios for Violin, Viola and Violoncello ············································································ 6 Trios for 2 Violins and Cello or 2 Violins and Viola ······················································· 24 Index······························································································································· 29 -2- A Guide to the String Trio Literature By Raymond Silvertrust Introduction and Preface professional ensemble. Along the way, I developed a love of the broader chamber music literature to which I was first exposed First, I would like to apologize to my readers. I have hastily through the medium of phonograph records. To my chagrin, typed this entirely myself. And as I have no editor and because I years of concert-going made clear that I was unlikely to ever hear am not a good proof reader, you will find many mistakes, largely such music performed live, either because the professionals did because I have felt, now in my seventh decade, that I am racing not know of the music or because the music was unavailable. against the clock so to speak. I have wanted to make sure that I When I realized this state of affairs, I undertook to obtain some would be able to complete this guide. When it is done, and if I of the music I had heard on disk so that at least I could play it. To have time, I will improve it, add to it and, of course, try to this end, I began to search music stores, antiquarian dealers and eliminate all of the errors I have left behind. -
Yüksek Lisans Tezi (2.199Mb)
T.C. NECMETTİN ERBAKAN ÜNİVERSİTESİ EĞİTİM BİLİMLERİ ENSTİTÜSÜ Güzel Sanatlar Eğitimi Anabilim Dalı Müzik Eğitimi Bilim Dalı Yüksek Lisans Tezi F. DOTZAUER I, II, III KİTABININ KAZANDIRDIĞI HEDEF VE HEDEF DAVRANIŞLARIN İNCELENMESİ Nezahat Buket KÜÇÜKKAYA Danışman Doç. Dr. Ezgi BABACAN Konya 2020 TEŞEKKÜR Araştırmanın başından sonuna kadar yardım ve desteğini esirgemeyen danışmanım sayın Doç. Dr. Ezgi BABACAN’a, kıymetli hocam Doç. Dr. Yuri SEMENOV’a, fikir ve önerileriyle araştırmamda destek sağlayan Doç. Dr. Yüksel PİRGON, Dr. Öğr. Üyesi Gözde YÜKSEL ve Prof. Eldar İSKENDEROV’a sonsuz teşekkürlerimi sunarım. Nezahat Buket KÜÇÜKKAYA KONYA- 2020 ii İÇİNDEKİLER TEŞEKKÜR ..................................................................................................................... İİ İÇİNDEKİLER ............................................................................................................... İİİ TEZ KABUL ................................................................................................................... V TEZ ÇALIŞMASI ORİJİNALLİK RAPORU ................................................................ Vİ TABLOLAR LİSTESİ ................................................................................................... Vİİ ÖZET .............................................................................................................................. İX ABSTRACT ..................................................................................................................... X 1.1 Problem Durumu ................................................................................................ -
JULES MASSENET – His Life and Works by Nick Fuller I
JULES MASSENET – His Life and Works By Nick Fuller I. Introduction Jules Massenet’s operas made him one of the most popular composers of the late nineteenth century, his works performed throughout Europe, the Americas and North Africa. After World War I, he was seen as old- fashioned, and nearly all of his operas, apart from Werther and Manon , vanished from the mainstream repertoire. The opera-going public still know Massenet best for Manon , Werther , and the Méditation from Thaïs , but to believe, as The Grove Dictionary of Opera wrote in 1954, that ‘to have heard Manon is to have heard all of him’ is to do the composer a gross disservice. Massenet wrote twenty-seven operas, many of which are at least as good as Manon and Werther . Nearly all are theatrically effective, boast beautiful music and display insightful characterisation and an instinct for dramatic and psychological truth. In recent decades, Massenet’s work has regained popularity. Although he Figure 1 Jules Massenet, drawing by Ernesto Fontana (Source: is not the household name he once http://artlyriquefr.fr/personnages/Massenet%20Jules.html) was, and many of his operas remain little known, he has been winning new audiences. Conductors like Richard Bonynge, Julius Rudel and Patrick Fournillier have championed Massenet, while since 1990 a biennial Massenet festival has been held in his birthplace, Saint-Étienne, in the Auvergne-Rhône-Alpes, its mission to rediscover Massenet’s operas. His work has been performed in the world’s major opera houses under the baton of conductors Thomas Beecham, Colin Davis, Charles Mackerras, Michel Plasson, Riccardo Chailly and Antonio Pappano, and sung by Joan Sutherland, José van Dam, Frederica von Stade, Nicolai Gedda, Roberto Alagna, Renée Fleming, Thomas Hampson and Plácido Domingo. -
The History of Tchaikovsky's Variations on a Rococo Theme and The
THE HISTORY OF TCHAIKOVSKY’S VARIATIONS ON A ROCOCO THEME AND THE COLLABORATION WITH FITZENHAGEN Table of Contents • Introduction • Revisiting the Variations’ history: • a chronology of the editorial and critical correspondence • The Variations in the context of their title and style • Conclusion • APPENDIX I • APPENDIX II • Endnotes Sergei Istomin Sergei Istomin is in demand as soloist and chamber musician, with an extensive recording career. His repertoire includes baroque, classical, romantic and contemporary music on both period and modern instruments. Istomin currently teaches viola da gamba and violoncello at the Ghent Conservatory (KASK) in Belgium. by Sergei Istomin Music & Practice, Volume 4 Scientific Introduction Pyotr Ilyich Tchaikovsky’s Variations on a Rococo theme, op. 33, were dedicated to the cellist Karl Friedrich Wilhelm Fitzenhagen, who premiered this masterpiece in Moscow in 1877.[1]Fitzenhagen’s role in the compositional process has frequently been discussed by musicologists and performance practice specialists. In this article, we aim to re-assess Fitzenhagen’s involvement with the Variations with regard to ‘Texttreue’ – in other words, the performer’s fidelity to the text of a work – and re-evaluate Fitzenhagen’s own arrangement of the Variations with regard to the most recent musicological publications.[2] In the field of today’s performance practice, our task is to shine a much-needed light on Fitzenhagen’s contribution to the Variations’ editorial and publishing processes. In the first part of this article, the chronological history of the editorial and critical correspondence in the history of the Variations will be treated in detail. The two distinct versions of the Variations, which co-exist already in the original manuscripts, are of central significance to the subject matter. -
Spielpraxis Der Saiteninstrumente in Der Romantik Bericht Des Symposiums in Bern, 18.–19
Spielpraxis der Saiteninstrumente in der Romantik Bericht des Symposiums in Bern, 18.–19. November 2006 Herausgegeben von Claudio Bacciagaluppi, Roman Brotbeck und Anselm Gerhard Edition Argus Diese PDF-Version ist seitenidentisch mit dem gedruckten Buch, das 2011 in der Edition Argus erschienen ist. Für die PDF-Version gelten dieselben Urheber- und Nutzungsrechte wie für das gedruckte Buch. Dies gilt insbesondere für Abbildungen und Notenbeispiele. Das heißt: Sie dürfen aus der PDF-Version zitieren, wenn Sie die im wissenschaftlichen Bereich üblichen Urheberangaben machen. Für die Nutzung von Abbildungen und Notenbeispielen müssen Sie gegebenenfalls die Erlaubnis der Rechteinhaber einholen. Musikforschung der Hochschule der Künste Bern Herausgegeben von Roman Brotbeck Band 3 Spielpraxis der Saiteninstrumente in der Romantik Bericht des Symposiums in Bern, 18.–19. November 2006 Herausgegeben von Claudio Bacciagaluppi, Roman Brotbeck und Anselm Gerhard Publiziert mit Unterstützung des Schweizerischen Nationalfonds zur Förderung der wissenschaftlichen Forschung Inhalt Vorwort 7 Daniel Leech-Wilkinson Early recorded violin playing: evidence for what? 9 Marianne Rônez Pierre Baillot, ein Geiger an der Schwelle zum 19. Jahrhundert. Ein Vergleich seiner Violinschulen von 1803 und 1835 23 Rudolf Hopfner Nicolaus von Sawicki – Paganinis Geigenbauer in Wien 58 Robin Stowell Henryk Wieniawski: »the true successor« of Nicolò Paganini? A comparative assessment of the two virtuosos with particular reference to their caprices 70 Heinz Rellstab und Anselm Gerhard »Möglichst zugleicherklingend« – »trotz unsäglicher Mühe«. Kontroversen um das Akkordspiel auf der Geige im langen 19. Jahrhundert 91 Beatrix Borchard Programmgestaltung und Imagebildung als Teil der Aufführungspraxis: Joseph Joachim 106 Renato Meucci Changes in the role of the leader in 19th-century Italian orchestras 122 Claudio Bacciagaluppi Die »Pflicht« des Cellisten und der Generalbaß in der Romantik 138 Lucio A. -
La Fille Du Régiment Donizetti
LA FILLE DU RÉGIMENT DONIZETTI La fille du régiment s’esntrenà a l’Opéra Comique de París l’11 de febrer de 1840 Fitxa Consideracions 11 47 sobre el Do de pit Dr. Pedro Clarós Repartiment 12 Entrevista 55 a Javier Camarena Amb el teló abaixat 14 La fille du régiment al 63 Gran Teatre del Liceu 19 Argument Jaume Tribó Cronologia 29 English Synopsis 70 Jordi Fernández M. Sobre La fille Selecció d’enregistraments 37 du régiment 77 Javier Pérez Senz Laurent Pelly Biografies 1840: Monsieur Donizetti 80 39 “conquereix” París Josep Sobirà Temporada 2016/17 LA FILLE DU RÉGIMENT Opéra-comique en dos actes. Llibret de Jules-Henri Vernoy de Saint-Georges i Jean-François-Alfred Bayard. Música de Gaetano Donizetti Estrenes 11 de febrer de 1840: estrena absoluta a l´Opéra-Comique de París. 30 d´agost de 1844: estrena a Barcelona, Teatre Nou. 6 de novembre de 1850: estrena al Gran Teatre del Liceu 25 de març de 2010: Última representació al Liceu Total de representacions al Liceu: 35. Maig 2017 Torn Tarifa 16 20.00 h A 2 19 20.00 h E 3 21 17.00 h T 3 24 20.00 h D 3 27 20.00 h C 3 29* 20.00 h H 4 Durada total aproximada: 2h 40m (*): Amb audiodescripció Uneix-te a la conversa # L a F i l l e L i c e u liceubarcelona.cat facebook.com/liceu @liceu_cat @liceu_opera_barcelona 12 pàg. Marie, jove òrfena adoptada pel 21è regiment de l’exèrcit francès Sabina Puértolas Marquesa de Berkenfield, mare de Marie Ewa Podleś Duquessa de Crakentorp Bibiana Fernández Tonio, un jove camperol Javier Camarena Sulpice, capità del regiment Simone Alberghini Hortensius, majordom -
Decca Discography
DECCA DISCOGRAPHY >>4 GREAT BRITAIN: digital, 1979-2008 In the early 1970s the advent of Anthony Rooley, the Consort of Musicke, Emma Kirkby, Christopher Hogwood and the Academy of Ancient Music brought a fresh look at repertoire from Dowland to Purcell, Handel, Mozart and eventually Beethoven. Solti recorded with the LPO from 1972 and the National Philharmonic was booked regularly from 1974-84. Also during the 1970s the London Sinfonietta’s surveys of Schönberg and Janá ček were recorded. Ashkenazy’s second career as a conductor centred initially on London, with the Philharmonia from 1977 and the RPO from 1987. Philip Pickett’s New London Consort joined the Florilegium roster in 1985 and Argo’s new look brought in a variety of ensembles in the 1990s. But after an LPO Vaughan Williams cycle was aborted in 1997, Decca’s own UK recordings comprised little more than piano music and recital discs. Outside London, Argo recorded regularly in Cambridge and Oxford. Decca engaged the Welsh National Opera from 1980-96 and the Bournemouth Symphony from 1990-96, but otherwise made little use of regional British orchestras. By the time they raised their performing standards to an acceptable level, Chandos, Hyperion and Naxos had largely replaced the old majors in the market for orchestral sessions. >RV0 VENUES One hundred and seventy different venues were used, eighty-eight in the London area and eighty-two elsewhere in Britain, but only one in ten (those in bold ) hosted thirty or more entries, whilst seventy were only visited once. LONDON AREA ABBEY ROAD STUDIOS , St.John’s Wood, London NW8 (1931), initially restricted to EMI labels, were opened to all from 1968.