“Gaetano Fraschini” Pavia, March 26Th-27Th-28Th-29Th, 2020

Total Page:16

File Type:pdf, Size:1020Kb

“Gaetano Fraschini” Pavia, March 26Th-27Th-28Th-29Th, 2020 23rd International Singing Competition New Voices for Opera “Gaetano Fraschini” Pavia, March 26th-27th-28th-29th, 2020 REGULATIONS The Circolo Pavia Lirica (Pavia Opera Club) proclaims the 23nd International Singing Competition New Voices for Opera “Gaetano Fraschini”. Article 1 The competition is open to opera singers of any nationality. They are admitted to the Contest those who, on march 26thth, 2020, have reached the age of 18 and not over 34 (women) and 39 (men) years old. Article 2 In order to be admitted to the Competition, the online application form must be filled in, or downloaded from the website www.pavialirica.it (section Concorsi-Iscrizioni) and sent, by post, fax or mail ([email protected] oppure [email protected]), to the Circolo Pavia Lirica - Viale Lungoticino Sforza 40 - 27100 Pavia (Italy). The form must arrive within March 25th, 2020. The application fee is 80 (eighty) Euros, which has to be sent, by bank draft (IBAN: IT35I0832411300000000165497, BIC: ICRAITRR900) or postal money order, to Circolo Pavia Lirica - Viale Lungoticino Sforza 40 - 27100 Pavia (Italy). The amount is not refundable if the singer renounces to participate. Article 3 The Competition will be carried out in three steps: 1. on March 26th and 27h, 2020 at 11.00 am: Preliminaries at the Circolo Pavia Lirica on private audition; 2. on March 28th, 2020 at 12.00 am: Semi-final at the “G. Fraschini” Theatre on private audition; 3. on March 29th, 2020 at 4.00 pm: Final, in front of an audience, at the “G. Fraschini” Theatre in Pavia. The participants can chose the day for preliminary auditions (March 26th or 27th), to be indicated in the form. All the participants are required to be at the Circolo Pavia Lirica on the chosen day within 10.00 am. They must bring an identification document in original and the application fee payment receipt. The order of participants' audition will be established by the Organizing Committee, in agreement with the Jury. Pianists will be available from the organization, if the candidates wish to be accompained by a pianist at their own expenses, they will be allowed for the preliminaries only. Article 4 The applicants have to present four passages from Italian or foreign operas, in the period from 1750 to 1950. Candidates will have to chose the passages from the list enclosed below: presentation of different passages that have not been selected in the mentioned list will bring to exclusion of the canidate. Passages have to be in original language and tonality. Passages with recitativo and cabaletta have to be complete. Preliminaries: the candidates choose and sing one passage from the four presented. The Jury can ask to sing another passage among the four presented. Semi-final: the candidate sings one passage from the four presented, chosen by the Jury. The Jury can ask to sing another passage among the four presented. Final: the candidate sings two passage from the four presented, chosen by the Jury. A pianist will be at the applicants’ disposal free of charge. The participants have to provide the scores for the selected passages, one copy for the pianist and one copy for the commission. The Jury reserves the right to interrupt the performances at any time. Singers who have won other international opera competitions will be admitted directly to the semi- finals upon presentation of the relevant documents. Article 5 The Jury consists of famous opera singers, music critics and experts appointed by the Organization body and coordinated by a President of the panel. Article 6 Prizes: 1st classified: prize of 2.000,00 Euros 2nd classified: prize of 1.250,00 Euros 3rd classified: prize of 750,00 Euros All finalists will receive a personal certificate of participation. Special prize "Gaetano Fraschini" € 500,00 made available by Lions Cilavegna Sant'Anna to be awarded to the best Italian finalist. Winners will be awarded with a one day Masterclass with a famous opera singer as well as with the participation to a concert to be organized in 2020 at Circolo Pavia Lirica at the presence of medias and agents. The Jury reserves the right to withhold the first prize in case of unsufficient performances: ex-aequo prizes can be assigned. All stated values in this rule as prize or reimbursement are gross values and subjected to by-law tax reduction. Article 7 The Organizer reserves the right to select, among the finalists of the Competition, performers for works and concerts to be performed in the next opera season in the theaters of the Province of Pavia. The winners will be highlighted in the communication to press and other organizers. Article 8 Travel and lodging expenses will be at the applicants’ charge. The Organizers will not cover the mentioned expenses in any case. Article 9 The judgement and the decisions of the Jury are irrevocable. Article 10 The request to participate to the Competition confirms that the applicant accepts all the rules of the herewith regulations. Article 11 Applicants accept the use of their image (photos, audio-video recording) renouncing to any form of payment. Article 12 The applicant declares to have fully read and understood the regulations and to accept it integrally. ------------------------------------- For any information: Circolo Pavia Lirica - Viale Lungo Ticino Sforza 40, 27100 Pavia (Italy) [email protected] - [email protected] - www.pavialirica.it Alberto Campari +39 339 4526565 - whatsapp e wechat +39 327 6858593 PASSAGES FOR THE 23RD INTERNATIONAL COMPETITION New Voices for Opera “Gaetano Fraschini” Alfano: Risurrezione Bellini: Beatrice di Tenda, I Capuleti e i Montecchi, I puritani, Il pirata, La sonnambula, Norma Bizet: Carmen, Les pêcheurs de perles Boito: Mefistofele Catalani: La Wally, Loreley Charpentier: Louise Cherubini: Medea Cilea: Adriana Lecouvreur, L'arlesiana Delibes: Lakmé Donizetti: Anna Bolena, Don Pasquale, La favorita, La figlia del reggimento, Linda di Chamounix, Lucia di Lammermoor, Lucrezia Borgia, L'elisir d'amore, Maria di Rohan, Maria Stuarda, Poliuto, Roberto Devereux Dvořák: Rusalka Flotow: Martha Giordano: Andrea Chénier, Fedora Gluck: Alceste Gomes: Il Guarany Gounod: Faust, Roméo et Juliette, Sapho Haendel: Serse Halévy: La juive Leoncavallo: I pagliacci, La bohème, Zazà Mascagni: Cavalleria rusticana, L'amico Fritz, Manon, Thaïs, Werther Mercadante: Il giuramento Meyerbeer: Dinorah, L'africana Mozart: Così fan tutte, Die entführung aus dem serail, Die Zauberflöte, Don Giovanni, Idomeneo, Le nozze di Figaro, Offenbach: Les contes d'Hoffmann Puccini: Gianni Schicchi, Il tabarro, La bohème, La fanciulla del West, La rondine, Madama Butterfly, Manon Lescaut, Suor Angelica, Tosca, Turandot Purcell: Dido and Aeneas Rossini: Guglielmo Tell, Il barbiere di Siviglia, Il signor Bruschino, La cenerentola, La pietra del paragone, L'assedio di Corinto, L'italiana in Algeri, Semiramide, Tancredi Saint-Saëns: Samson et Dalilah Spontini: La vestale Thomas: Mignon Verdi: Aida, Attila, Don Carlo, Ernani, Falstaff, Giovanna d'Arco, I due foscari, I lombardi alla prima crociata, I masnadieri, I vespri siciliani, Il trovatore, La battaglia di Legnano, La forza del destino, La traviata, Luisa Miller, Macbeth, Nabucco, Oberto, Conte di San Bonifacio, Otello, Rigoletto, Simon Boccanegra, Un ballo in maschera Wagner: Lohengrin, Tannhäuser, Tristan und Isolde All passages have to be sung in the original language, it will be accepted the translation in italian as per tradition (Ex. Martha: M'apparì tutto amor, L'africana: O paradiso...), it will be accepted as well the translation in foreign language (Es. La fille du régiment: Il faut partir)..
Recommended publications
  • La Dernière Reine De Gaetano Donizetti Caterina Cornaro
    La dernière Reine de Gaetano Donizetti Caterina Cornaro « Une fois que j’aurai vu Caterina Cornaro sur scène, alors je puis mourir. », déclarait un Suisse passionné de Donizetti au point d’acheter un appartement à Bergame !... C'est dire combien pouvait intriguer un opéra tellement beau, mais peu repris depuis sa redécouverte en 1972. Dernier ouvrage créé du vivant de Donizetti, mais composé curieusement en chassé-croisé avec Don Pasquale et Maria di Rohan, Caterina Cornaro offre néanmoins une remarquable unité de couleur, étonnante de poésie donizettienne au plus haut degré de son inspiration. L'occasion de son entrée au Royal Concertgebouw d'Amsterdam est également celle de confirmer une certitude : il s'agit bien de l'un des derniers chefs-d'oeuvre du Maestro Bergamasco. Un dossier de Yonel Buldrini Avril 2010 « Quand le sujet plaît, le coeur parle, la tête vole, la main écrit.... » Gaetano Donizetti, à l’époque où il composait simultanément Don Pasquale et Caterina Cornaro La Regina di Cipro entre Don Pasquale et Maria di Rohan Dans notre précédente étude, consacrée à Dom Sébastien, dernier opéra de Gaetano Donizetti, nous dessinions l’étonnante situation du compositeur en ces années 1842-44, fébrilement engagé entre Vienne, en tant que Compositeur de la Cour impériale et directeur des saisons musicales, et Paris, où il réussissait, au gran dam de Berlioz, à donner simultanément quatre opéras dans quatre théâtres différents ! Pour connaître la naissance de l’opéra qui nous occupe pour l’heure, la belle Caterina Cornaro, il nous faut le rattraper à l’un de ses retours à Paris, durant le mois de septembre 1842.
    [Show full text]
  • Teatrali Spettacoli, Milan, Venice, Rome 1764-1823
    Volume III Spring 1985 NINETEENTH-CENTURY ITALIAN JOURNALS The Indice de; teatrali spettacoli, Milan, Venice, Roberto Verti Rome 1764-1823: Preliminary Research on a Source (Bologna) for the History of Italian Opera Theatre et musique dans la Gazetta di Genova Armando Fabio Ivaldi de 1800 à 1814 (Genova) Notizie musicali sui periodici politico-letterari Maria Giovanna Brindisino 19 salenti (Puglia) dalla seconda metà del sec. XIX (Lecce) sino al 1911 Varia Marcello ConatVs Interviste e incontri con Verdi Richard Kitson 26 (1980) and the Nineteenth-Century Press (Vancouver) RIPM: An Overview. A Paper presented at the H. Robert Cohen 31 Conference of the Music Library Association, (Vancouver) 6 March 1985 A Note from the Editors 33 PERIODICA MUSICA- EDITORS H. Robert Cohen Peter Loeffier Zoltan Roman Published jointly by: EDITORIAL BOARD Centre for Studies in Nineteenth- H. Robert Cohen Century Music / Centre international Marcello Conati de recherche sur la presse musicale, Sylvia L'Ecuyer and the Department of Music of the Peter Loeffler University of British Columbia, Zoltan Roman Vancouver. Canada; Elvidio Surian Centre international de recherche sur la presse musicale, Conservatorio di musica "Arrigo Boito", Parma, Italy. PRODUCTION ASSISTANTS RIPM operates under the Donald Gïslason auspices of the Internationa) Jean-Michel Boulay Musicological Society and the International Association of BUSINESS MANAGER Music Libraries, Archives and Documentation Centres. Diana Snigurowicz The three principal articles in this special issue devoted to nineteenth-century Italian journals were presented as papers at a RIPM session of the Conference of the International Association of Music Libraries, Archives and Documentation Centres, held in Como, Italy in September 1984.
    [Show full text]
  • Adolphe Nourrit, Gilbert-Louis Duprez, and Transformations of Tenor Technique in the Early Nineteenth Century: Historical and Physiological Considerations
    University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2009 ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS Jason Christopher Vest University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Vest, Jason Christopher, "ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS" (2009). University of Kentucky Doctoral Dissertations. 705. https://uknowledge.uky.edu/gradschool_diss/705 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DMA PROJECT Jason Christopher Vest The Graduate School University of Kentucky 2009 ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS ABSTRACT OF DMA PROJECT A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Jason Christopher Vest Lexington, Kentucky Director, Dr. Everett McCorvey, Professor of Voice Lexington, Kentucky 2009 Copyright © Jason Christopher Vest 2009 ABSTRACT OF DMA PROJECT ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS The April 1837 debut of tenor Gilbert-Louis Duprez at the Paris Opéra sparked uproarious applause and inspired a new group of tenors with a different vocal technique from tenors of the previous generation.
    [Show full text]
  • Downloadable PDF
    To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/437 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Verdi in Victorian London Massimo Zicari https://www.openbookpublishers.com © 2016 Massimo Zicari This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Massimo Zicari, Verdi in Victorian London. Cambridge, UK: Open Book Publishers, 2016. http://dx.doi.org/10.11647/OBP.0090 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/isbn/9781783742134#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active on 28/6/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/isbn/9781783742134#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • Naples and the Emergence of the Tenor As Hero in Italian Serious Opera
    NAPLES AND THE EMERGENCE OF THE TENOR AS HERO IN ITALIAN SERIOUS OPERA Dave William Ekstrum, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 201 8 APPROVED: Jeffrey Snider, Major Professor Peter Mondelli, Committee Member Stephen Morscheck, Committee Member Molly Fillmore, Interim Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies of the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Ekstrum, Dave William. Naples and the Emergence of the Tenor as Hero in Italian Serious Opera. Doctor of Musical Arts (Performance), May 2018, 72 pp., 1 table, bibliography, 159 titles. The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples.
    [Show full text]
  • CHAN 3083 BOOK.Qxd 21/5/07 5:52 Pm Page 2
    CHAN 3083 Book Cover.qxd 21/5/07 5:49 pm Page 1 CHAN 3083(2) CHANDOS O PERA IN ENGLISH CHAN 3083 BOOK.qxd 21/5/07 5:52 pm Page 2 Gaetano Donizetti (1797–1848) Lucia of Lammermoor Tragic drama in three acts Lebrecht Collection Lebrecht Libretto by Salvatore Cammarano after Walter Scott’s novel The Bride of Lammermoor English translation by David Parry Lucia ........................................................................................................ Elizabeth Futral soprano Enrico Ashton, Laird of Lammermoor, Lucia’s brother.....................................Alan Opie baritone Lord Arturo Bucklaw, Lucia’s bridegroom...........................................................Peter Wedd tenor Edgardo, Lord of Ravenswood................................................................Paul Charles Clarke tenor Raimondo Bidebent, a Calvinist chaplain...............................................................Peter Rose bass Alisa, Lucia’s companion ...................................................................Christine Rice mezzo-soprano Normanno, huntsman, a retainer of Enrico...............................................Stephen Chaundy tenor Geoffrey Mitchell Choir Philharmonia Orchestra Simon Over assistant conductor Gaetano Donizetti David Parry 3 CHAN 3083 BOOK.qxd 21/5/07 5:52 pm Page 4 COMPACT DISC ONE Time Page Time Page Part One: The Parting No. 4: Scena and Duet 11 ‘Here is Edgardo…’ 2:52 [p. 102] Scene 1 A garden at Ravenswood Castle Alisa, Edgardo, Lucia No. 1: Prelude and Introductory Chorus 12 ‘Pray remember that my father’ 3:18 [p. 103] 1 Prelude 2:47 [p. 98] 13 ‘Let us swear to love for ever’ 2:23 [p. 104] 2 ‘Through the park and the woods that surround it’ 2:03 [p. 98] Edgardo, Lucia Normanno, Chorus 14 ‘Imagine when the breezes sigh’ 4:51 [p. 104] Lucia, Edgardo Scene 2 No. 2: Scena and Cavatina 3 ‘You seem unhappy’ 2:55 [p.
    [Show full text]
  • Un Secolo Di Satira 1820/1920
    Un secolo di satira 1820 – 1920 Pubblicazione a cura di Francesca De Ruvo e Alessandramonica Mazzaro coordinamento scientifico Lucio d’Alessandro Piero Craveri Ortensio Zecchino Barbara Jatta Natascia Villani coordinamento organizzativo Michele Affinito Caricature Gabriele de Martino di Montegiordano della Fondazione Pagliara e progetto grafico dell’Istituto Suor Orsola Benincasa Sergio Prozzillo Flavia Soprani produzione Imago sas digitalizzazione Living lab Bacone – Scienza Nuova ringraziamenti Alessia Avallone Barbara Balbi Eugenio Capozzi Stefano De Luca Emma Giammattei Pierluigi Leone de Castris Roberto Montanari Pasquale Rossi Paola Villani Progetto Satira e Rappresentazione del potere Operazione finanziata dal Piano di Azione e Coesione III UNIVERSITÀ DEGLI STUDI DGRC n. 225 del 12.7.2013 – CUP B69D15004240008 SUOR ORSOLA BENINCASA Istituto Suor Orsola Benincasa 2016 © Tutti i diritti riservati isbn 978-88-96055-76-2 Lucio d’Alessandro Relazioni virtuose La cittadella di Suor Orsola Benincasa rappresenta una realtà decisamente peculiare nel vasto panorama delle Istituzioni formative del nostro Paese anche per quel connubio di organismi che la caratterizza, alimentandone la vitalità culturale secondo una prerogativa che appartie- ne alla migliore tradizione delle più prestigiose accademie d’Europa. Espressione esemplare di questa speciale officina di scienza condivisa è il fruttuoso legame tra l’Università, comunità attiva di for- mazione e di ricerca, l’Ente Morale, diretto dal professor Piero Craveri, dal quale dipende l’intero patrimonio architettonico e culturale in cui si sviluppa la vita universitaria, e la Fondazione Pagliara, presieduta dall’o- norevole Ortensio Zecchino, nata nel 1947 dalla scelta di Maria Antonietta e Adelaide Pagliara di mettere l’ingente patrimonio artistico ereditato dal fratello Rocco a disposizione di docenti e discenti.
    [Show full text]
  • The First Three Years of 'Trovatore'
    Verdi Forum Number 15 Article 3 1-1-1987 The irsF t Three Years of 'Trovatore' Martin Chusid New York University Thomas G. Kaufman Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons Recommended Citation Chusid, Martin and Kaufman, Thomas G. (1987) "The irF st Three Years of 'Trovatore'," Verdi Forum: No. 15, Article 3. Available at: http://scholarship.richmond.edu/vf/vol1/iss15/3 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. The irsF t Three Years of 'Trovatore' Keywords Giuseppe Verdi, Il trovatore This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss15/3 The First Three Years of TROVATORE: A List of Staalngs from 19 January 1853 to 18 January 1856 Martin Chusid and Thomas Kaufman As Pierluigi Petrobelli suggests in the 19 January 1853 to 18 January 1856. first essay of this issue, studies in the A remarkable feature of many of the reception and diffusion of Verdi's operas are earliest stagings of Trovatore is the large relatively few and far between. Several number of individual performances in a have been undertaken by Marcello Conati: single season. At the Teatro Carlo Felice in 19th century stagings of Stiffelio (Quaderno Genoa, for example, during the Carnival­ 3 of the Istituto di Studi Verdiani, Parma, Lent Season beginning 26 December 1853, 1968); stagings of Aida from 1871-1881 there were fully 38 performances directed (Quaderno 4, 1971); "A chronology of the from the chair of the principal violinist, first performances of Rigoletto" (Bollettino 9 Angelo Mariani, then still playing the violin of the same Institute, 1982); and "Prime while leading the orchestra.
    [Show full text]
  • Michael Fabiano Verdi · Donizetti
    Michael Fabiano Verdi · Donizetti LONDON PHILHARMONIC ORCHESTRA · ENRIQUE MAZZOLA Giuseppe Verdi (1813-1901): Luisa Miller (1849) Giuseppe Verdi: Ernani (1844) 1 Oh! fede negar potessi … Quando le sere al placido 5. 25 8 Odi il voto … Sprezzo la vita * 6. 48 Giuseppe Verdi: Rigoletto (1851) Giuseppe Verdi: I Due Foscari (1844) 2 La donna è mobile 2. 01 9 Notte, perpetua notte … Non maledirmi 5. 21 Gaetano Donizetti (1797-1848): Poliuto (1838/1848) Giuseppe Verdi: Oberto (1839) 3 Veleno è l’aura ch’io respiro ... Fu macchiato l’onor mio … 5. 56 10 Ciel, che feci! ... Ciel pietoso 3. 30 Sfolgorò divino raggio Giuseppe Verdi: Il corsaro (1848) Giuseppe Verdi: Un ballo in maschera (1859) 11 Ah sì, ben dite … Tutto parea sorridere … 7. 21 4 Forse la soglia attinse … Ma se m’è forza perderti 6. 27 Pronti siate a seguitarmi * Gaetano Donizetti: Lucia di Lammermoor (1835) Total playing time: 57. 03 5 “Tomba degli avi miei … Fra poco a me ricovero“ 7. 04 * with London Voices (chorus master: Terry Edwards) Giuseppe Verdi: La Forza del Destino (1862) 6 Qual sangue sparsi … S’affronti la morte * 4. 21 Michael Fabiano, tenor Gaetano Donizetti: Maria di Rohan (1843) London Philharmonic Orchestra 7 Alma soave e cara 1. 49 Conducted by Enrique Mazzola From my first days of study in opera, I’ve always had a deep intrigue with the era of late bel canto leading into Verdi’s works. The late bel canto era of opera (1835 and beyond) is a reckoning in time of a paradigm shift in operatic composition.
    [Show full text]
  • Gaetano Fraschini Als Zamoro in Giuseppe Verdis Alzira Thomas Seedorf
    Die neue Stimme des fremden Helden: Gaetano Fraschini als Zamoro in Giuseppe Verdis Alzira Thomas Seedorf Obwohl es in der europäischen Musikgeschichte eine weit zurückreichende Tradi- tion des musikalischen Exotismus gab,1 haben italienische Opernkomponisten der ersten Hälfte des 19. Jahrhunderts weitgehend darauf verzichtet, Schauplätze und Völker außereuropäischer Weltgegenden mit Hilfe exotistischer Topoi wie dem Gebrauch außergewöhnlicher Instrumente, besonderer Skalen oder spezifischer Rhythmen in ihrer Fremdheit ästhetisch zu vermitteln. Ein Grund für diese Zurückhaltung mag von politischen Zwängen beherrschten Pragmatik des Opern- betriebs dieser Zeit sein. Es kam häufig vor, dass die Autoren einer Oper ihr Werk auf Anweisung der Zensur, die stets bemüht war, politisch brisante Themen auf der Bühne zu unterdrücken, komplett umarbeiten mussten, oder Stücke an unter- schiedlichen Orten in ganz unterschiedlichen Bearbeitungen aufgeführt wurden. Obwohl er bereits der berühmteste Komponist Italiens war, musste Giuseppe Verdi noch 1859 akzeptieren, dass die Handlung seiner Oper Un ballo in maschera vom Hof des schwedischen Königs Gustav III. nach Boston verlegt wurde – vergleich- bare Fälle finden sich in der Geschichte der italienischen Oper des 19. Jahrhun- derts zuhauf. Der Verzicht auf exotistische Darstellungsmittel erleichterte die Verle- gung von Schauplätzen und entsprach damit der allgemeinen Bühnenpraxis. Verdis Tragedia lirica Alzira spielt in Peru zur Zeit der Eroberung durch die Spanier. Der Komponist verzichtet zwar darauf,
    [Show full text]
  • The Cambridge Companion to Verdi Edited by Scott L
    Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Frontmatter More information The Cambridge Companion to Verdi This Companion provides an accessible biographical, theatrical, and social-cultural background for Verdi’s music, examines in detail important general aspects of its style and method of composition, and discusses stylistic themes in reviews of representative works. Aspects of Verdi’s milieu, style, creative process, and critical reception are explored in essays by highly reputed specialists. Individual chapters address themes in Verdi’s life, his role in transforming the theatre business, and his relationship to Italian Romanticism and the Risorgimento. Chapters on four operas representative of the different stages of Verdi’s career, Ernani, Rigoletto, Don Carlos, and Otello, synthesize analytical themes introduced in the more general chapters and illustrate the richness of Verdi’s creativity. The Companion also includes chapters on Verdi’s non-operatic songs and other music, his creative process, and writing about Verdi from the nineteenth century to the present day. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Frontmatter More information The Cambridge Companion to VERDI ............ edited by Scott L. Balthazar Professor of Music History, West Chester University of Pennsylvania © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L.
    [Show full text]
  • Download Booklet
    CHAN 3116 Book Cover.qxd 20/9/06 11:39 am Page 1 CHAN 3116(2) O PERA IN ENGLISH PETER MOORES FOUNDATION CHAN 3116 BOOK.qxd 20/9/06 11:45 am Page 2 Giuseppe Verdi (1813–1901) Lebrecht Collection Lebrecht A Masked Ball Melodramma in three acts Libretto by Antonio Somma, English translation by Amanda Holden Gustavus III, King of Sweden ......................................................................Dennis O’Neill tenor Count Anckarstroem, Gustavus’s friend...................................Anthony Michaels-Moore baritone Amelia, Anckarstroem’s wife .....................................................................Susan Patterson soprano Ulrike Arvidson, a fortune teller ..............................................................Jill Grove mezzo-soprano Oscar, the King’s page ...........................................................................Linda Richardson soprano Count Ribbing, conspirator against the King ...................................Christopher Purves baritone Count Horn, conspirator against the King .................................................Brindley Sherratt bass Cristian, a sailor in the King’s Navy............................................................Roland Wood baritone Amelia’s Servant/Lord Chief Justice..............................................................Ashley Catling tenor Geoffrey Mitchell Choir London Philharmonic Orchestra Stuart Stratford assistant conductor David Parry Giuseppe Verdi 3 CHAN 3116 BOOK.qxd 20/9/06 11:45 am Page 4 COMPACT DISC ONE Time Page Time Page 1 Prelude 4:04 [p. 96] 14 ‘You can rest assured’ 2:12 [p. 101] Ulrike, Cristian, Gustavus, Women, Servant Act I 15 ‘What brings you here to me?’ 1:26 [p. 102] Scene 1 16 ‘Step out towards the sunset’ 1:20 [p. 103] 2 ‘Rest Gustavus, may sweet dreams restore you’ 1:37 [p. 96] Ulrike, Amelia, Gustavus Officers, Gentlemen, Ribbing, Horn, Henchmen 17 ‘Oh, help me, God in heaven’ 2:05 [p. 103] 3 ‘The King approaches’ 1:41 [p. 96] Amelia, Ulrike, Gustavus, Voices Oscar, Gustavus 18 ‘Rise, great enchantress, speak to us all’ 0:44 [p.
    [Show full text]