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L'opera Italiana Nei Territori Boemi Durante Il
L’OPERA ITALIANA NEI TERRITORI BOEMI DURANTE IL SETTECENTO V. 1-18_Vstupy.indd 2 25.8.20 12:46 Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento a cura di Milada Jonášová e Tomislav Volek ACADEMIA Praga 2020 1-18_Vstupy.indd 3 25.8.20 12:46 Il libro è stato sostenuto con un finanziamento dell’Accademia delle Scienze della Repubblica Ceca. Il convegno «Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento» è stato sostenuto dall’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca con un finanziamento nell’ambito del programma «Collaborazione tra le Regioni e gli Istituti dell’Accademia delle Scienze della Repubblica Ceca » per l’anno 2019. Altra importante donazione ha ricevuto l’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca da Johann Adolf Hasse-Gesellschaft a Bergedorf e.V. Prossimo volume della collana: L’opera italiana – tra l’originale e il pasticcio In copertina: Pietro Metastasio, Il Demofoonte, atto II, scena 9 „Vieni, mia vita, vieni, sei salva“, Herissant, vol. 1, Paris 1780. In antiporta: Il Demofoonte, atto II, scena 5 „Il ferro, il fuoco“, in: Opere di Pietro Metastasio, Pietro Antonio Novelli (disegnatore), Pellegrino De Col (incisore), vol. 4, Venezia: Antonio Zatta, 1781. Recensori: Prof. Dr. Lorenzo Bianconi Prof. Dr. Jürgen Maehder Traduzione della prefazione: Kamila Hálová Traduzione dei saggi di Tomislav Volek e di Milada Jonášová: Ivan Dramlitsch -
Le Cinesi. Revised Libretto by PIETRO METASTASIO, First Set by Nicola Conforto (1751 Aranjuez)
Le cinesi. Revised libretto by PIETRO METASTASIO, first set by Nicola Conforto (1751 Aranjuez). The scene represents a room in the house of Lisinga, decorated in the Chinese manner, with a table and four chairs. Lisinga, Sivene, and Tangia sit together drinking tea in an attitude of total preoccupation. Silango, listens unseen from the partly open door. Lisinga, after observing each of her companions for some time, finally breaks the silence. Bored, three young Chinese women ponder how they might amuse themselves in a manner that would be enjoyable, innocent, and different. Tangia has fleeting thoughts on the matter but they come to nothing. Much to their chagrin, Silango enters to offer his opinion, but since this is a room strictly off-limits to men, reputations are at stake and he must leave – but best to delay until darkness offers its cover. Meanwhile, in spite of his recent travels in Europe, he must realize that he is no longer in France or Italy and must readjust to the customs of his native China. Lisinga suggests that as a group, they perform a dramatic piece. All three agree, but in turning to such a European pastime, each one favours a different genre. Lisinga opts for an heroic drama, while Sivene would have a pastoral and Tangia a comedy. Thus Silango proposes that each one perform a scene in her preferred style and they will adopt the one they consider to be the best. Since her companions hesitate, Lisinga takes the lead and as Andromache, widow of Hector, plays out a scene in which the life of their child, Astyanax, is threatened by Pyrrhus, unless she agree to marry him. -
Iphigénie En Tauride
Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. -
Howard Mayer Brown Microfilm Collection Guide
HOWARD MAYER BROWN MICROFILM COLLECTION GUIDE Page individual reels from general collections using the call number: Howard Mayer Brown microfilm # ___ Scope and Content Howard Mayer Brown (1930 1993), leading medieval and renaissance musicologist, most recently ofthe University ofChicago, directed considerable resources to the microfilming ofearly music sources. This collection ofmanuscripts and printed works in 1700 microfilms covers the thirteenth through nineteenth centuries, with the bulk treating the Medieval, Renaissance, and early Baroque period (before 1700). It includes medieval chants, renaissance lute tablature, Venetian madrigals, medieval French chansons, French Renaissance songs, sixteenth to seventeenth century Italian madrigals, eighteenth century opera libretti, copies ofopera manuscripts, fifteenth century missals, books ofhours, graduals, and selected theatrical works. I Organization The collection is organized according to the microfilm listing Brown compiled, and is not formally cataloged. Entries vary in detail; some include RISM numbers which can be used to find a complete description ofthe work, other works are identified only by the library and shelf mark, and still others will require going to the microfilm reel for proper identification. There are a few microfilm reel numbers which are not included in this listing. Brown's microfilm collection guide can be divided roughly into the following categories CONTENT MICROFILM # GUIDE Works by RISM number Reels 1- 281 pp. 1 - 38 Copies ofmanuscripts arranged Reels 282-455 pp. 39 - 49 alphabetically by institution I Copies of manuscript collections and Reels 456 - 1103 pp. 49 - 84 . miscellaneous compositions I Operas alphabetical by composer Reels 11 03 - 1126 pp. 85 - 154 I IAnonymous Operas i Reels 1126a - 1126b pp.155-158 I I ILibretti by institution Reels 1127 - 1259 pp. -
The Howard Mayer Brown Libretto Collection
• The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali -
Opening Nights at the Opera 1641–1744
Cambridge University Press 0521851459 - The Transvestite Achilles: Gender and Genre in Statius’ Achilleid P. J. Heslin Excerpt More information 1 Opening N ights at the Opera 1641–1744 Eccoti ò Lettore in questi giorni di Carnevale un’Achille in maschera. Preface to L’Achille in Sciro, Ferrara 1663* ver the course of the late seventeenth and early eighteenth cen- turies, the story of Achilles in Scyros was represented many times on operatic stages across Europe. Given the nature of the young genre, it O 1 is not hard to see why this motif was popular. To illustrate the principle, con- trast the Elizabethan theater, where the custom of boy actors playing the parts of women lent a certain piquancy to plots in which a female character dressed as a man: thus a boy played a woman playing a man. In Baroque opera, the sit- uation was reversed. The primary roles were almost invariably scored for high voices, which could only be sung by a woman or a man whose secondary sexual 2 characteristics had not developed. In most cases the choice between a female singer and a castrato seems to have been determined by the local availability of 3 singers rather than the pursuit of naturalism. It was not impossible to see the * “In these days of Carnival, here is Achilles wearing a mask for you, dear reader.” On this text, see below (p 11). 1 Thus Rosselli (1992: 58). 2 This was accomplished by cutting the spermatic cords or by orchidectomy before puberty: see Jenkins (1998) on the procedure and physiology, and on the social context, see Rosselli (1988)or more succinctly Rosselli (1992: 32–55). -
Gluck: 300 Anos Do Reformador
Gluck: 300 anos do reformador Em post recente, abordamos a primeira grande reforma da história da ópera, representada essencialmente por Pietro Metastasio (1698-1782). Dessa vez, aproveitando a comemoração dos 300 anos do compositor alemãoChristoph Willibald [Ritter von] Gluck (1714-1787), completados neste mês, comentaremos a segunda reforma na ópera, por ele conduzida. Maria Antonieta abriu as portas para a carreira de Gluck na França. Situando o mestre no tempo, Gluck fez parte de uma leva de artistas alemães “exportados” para Paris em meados do século XVIII, como Friedrich Melchior, o famoso Barão Grimm (1723-1807), e dominou a cena parisiense de 1774 a 1779, graças à proteção de uma ex-aluna, que se tornaria rainha da França: Maria Antonia Josepha Johanna von Habsburg-Lothringen, mais conhecida como Maria Antonieta (1755-1793). Escreveu mais de 100 óperas, das quais apenas cerca de 40 são conhecidas. Sammartini, professor de Gluck que influenciou muitos compositores do Classicismo. A formação musical de Gluck foi concluída em Milão com o mestreGiovanni Battista Sammartini (1700-1775) e lá mesmo na Itália teve suas primeiras óperas representadas até 1745, como Artaserse (1741), sobre libretos de Metastasio, que ainda reinava absoluto na época. Passou anos viajando e apresentando seus trabalhos em Paris e Londres – onde o grande Georg Friedrich Händel (1685-1759) o recebe, mas afirma (com sua famosa “delicadeza”) que seu cozinheiro sabe contraponto melhor que ele – e ainda: Leipzig, Dresden, Viena, Copenhague e Praga – nesta última estreou sua bela ópera Ezio, também com libreto de Metastasio, da qual temos um vídeo abaixo com uma ária magnífica – deleite para os oboístas. -
An Essay in Carnal Musicology
Boccherini’s Body Boccherini’s Body An Essay in Carnal Musicology Elisabeth Le Guin UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2006 by Elisabeth Le Guin Library of Congress Cataloging-in-Publication Data Le Guin, Elisabeth, 1957– Boccherini’s body : an essay in carnal musicology / Elisabeth Le Guin. p. cm. Includes bibliographical references and index. isbn 0-520-24017-0 (cloth : alk. paper) 1. Boccherini, Luigi, 1743–1805—Criticism and interpretation. 2. Music—Interpretation (Phrasing, dynamics, etc.) I. Title. ml410.b66l4 2006 780'.92—dc22 2005023224 Manufactured in the United States of America 13 12 11 10 09 08 07 06 10987654321 This book is printed on Natures Book, which contains 50% post-consumer waste and meets the minimum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper).8 But what do my cold and exaggerated expressions mean, my lines without character and without life, these lines that I have just traced, one on top of the other? Nothing, nothing at all; one must see the thing. Mais que signifient mes expressions exagérées et froides, mes lignes sans caractères et sans vie, ces lignes que je viens de tracer les unes au-dessus des autres? Rien, mais rien du tout; il faut voir la chose. -
MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A. -
METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M. -
The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’S Institution
V. Kotnik: The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’s Institution Vlado Kotnik Faculty of Humanities, Department of Media Studies University of Primorska The Idea of Prima Donna: KOPER, Slovenia E-mail: vlado.kotnik@guest. the History of a Very arnes.si Special Opera’s Institution UDC: 782 Received: March 8, 2016 Primljeno: 8. ožujka 2016. Accepted: October 10, 2016 Prihvaćeno: 10. listopada 2016. Abstract – Résumé This article examines the historical constitution and construction of prima donna, probably the most intrinsic Introduction institution of opera expand- ing from the end of the sixteenth century until today. Opera is a very complex system of different From the 16th to the 21st kinds of craft and artistry. However, throughout its century the opera’s prima donna has experienced entire history one craft in particular dominated the numerous cultural transfor- field, the craft of singers. Even now, at the beginning mations and commodifica- of the twenty-first century, singing seems to be the tions. Her idea was determined by paradigms lifeblood of opera while other elements, such as the and concepts of absence orchestra, acting, staging, setting, décor, costumes, and replaceability in the sixteenth and seventeenth etc., seem to be important but supplementary. The centuries, of human nature singing operatic voice, with all its idiosyncrasies, and body, sexuality and gender, character and charm, magnetic power, temper, theatricality, costume in the eighteenth seductiveness, drama, technique, virtuosity, century, of aura and fetish in pedantry, extravagance, mysteriousness, and artist- the nineteenth century, and of identity in the twentieth ry, drew and continues to draw people to the opera and twenty-first centuries. -
FRANCESCO CAVALLI L'ipermestra
FRANCESCO CAVALLI L’Ipermestra La Sfera Armoniosa Mike Fentross conductor Live recording 1 FRANCESCO CAVALLI L’Ipermestra La Sfera Armoniosa Mike Fentross conductor Ipermestra - Elena Monti soprano Linceo - Emanuela Galli mezzo soprano Elisa - Gaëlle Le Roi soprano Berenice - Marcel Beekman tenor Danao - Sergio Foresti bass Arbante - Mark Tucker tenor CD 1 FRANCESCO CAVALLI (1602-1676) L’Ipermestra (1654-1658) Atto Primo [1] Sinfonia from opera “Doriclea” 1645 by Franceso Cavalli 1:23 [2] Scena 1 Linceo, Ipermestra - Cortile regio 8:13 Elena Monti [3] Scena 2 Arbante 1:11 [4] Scena 3 Arbante, Elisa 3:58 [5] Scena 4 Elisa 1:17 [6] Scena 5 Elisa, Berenice 2:53 [7] Scena 6 Berenice 0:31 Gaëlle Le Roi [8] Scena 7 Danao, Ipermestra 8:24 [9] Scena 8 Ipermestra 5:18 [10] Scena 9 Linceo 2:58 [11] Scena 11 Linceo, Ipermestra 9:39 [12] Scena 12 Ipermestra 3:24 [13] Scena 13 Ipermestra, Berenice 0:52 [14] Scena 14 Ipermestra, Danao, Berenice sotto una portiera 7:15 [15] Scena 15 Berenice 3:54 total time 61:18 Emanuela Galli 4 Elena Monti 5 CD 2 CD 3 Atto Secondo Atto Terzo [1] Scena 1 Ipermestra, Elisa - Prigione 9:12 [1] Scena 1 instrumental 1:40 [2] Scena 2 Ipermestra, Berenice 4:30 [2] Scena 2 Ipermestra, Campagna della Torre 0:18 [3] Scena 3 Ipermestra 1:29 [3] Scena 3 Ipermestra 1:09 [4] Scena 4 Ipermestra, Arbante ch’osserva 4:53 [4] Scena 4 Ipermestra, Elisa 4:11 [5] Scena 5 Arbante, Elisa 1:23 [5] Scena 5 Arbante 3:12 [6] Scena 6 Arbante, Elisa, Danao 1:50 [6] Scena 7 Linceo 3:40 [7] Scena 7 Danao, Arbante 2:31 [7] Scena 8 Linceo, Elisa,