Study Guide for Don Giovanni.Pub
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Front Matter
Cambridge University Press 978-0-521-89708-2 - Italian Opera in the Age of the American Revolution Pierpaolo Polzonetti Frontmatter More information ITALIAN OPERA IN THE AGE OF THE AMERICAN REVOLUTION How did revolutionary America appear to European audiences through their opera glasses? The operas studied in this volume are populated by gun-toting and slave-holding Quakers, handsome Native Americans, female middle-class political leaders, rebellious British soldiers, and generous businessmen. Most of them display an unprecedented configuration of social and gender roles, which led leading composers of the time, including Mozart, Haydn, Anfossi, Piccinni, and Paisiello, to introduce far-reaching innovations in the musical and dramatic fabric of Italian opera. Polzonetti presents a fresh perspective on the European cultural reception of American social and political identity. Through detailed but accessible analysis of music examples, including previously unpublished musical sources, the book documents and explains important transformations of opera at the time of Mozart’s masterpieces, and their long-term consequences. Shedding new light on both familiar and less-familiar operatic works, from Piccinni to Puccini, the study represents groundbreaking research in music, cultural, and political history. Pierpaolo Polzonetti is Assistant Professor at the University of Notre Dame. His first book, on Giuseppe Tartini, was awarded the International Prize for Musical Studies by the Petrassi Institute of Latina. His article on Mozart’s Così fan tutte received the Einstein Award conferred by the American Musicological Society. Several of his scholarly articles on opera have appeared in Opera Quarterly, Eighteenth-Century Music, Studi Verdiani, and Cambridge Opera Journal.Heisthe co-editor, with Anthony R. -
Musical Landmarks in New York
MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere. -
Don Juan : Ladykiller of Seville
Two Christmas Play Officium Stellae & The Second Shepherds' Play Don Juan : Ladykiller of November 25th - December Seville 5th, 2004 A New Translation by Michael Kidd THU-FRI-SAT. Nov. 25-27 at 7:30 p.m. SAT-SUN. Nov. 27-28 at 2 p.m. Directed by Julie Florio THU-FRI-SAT. Dec. 2-4 at 7:30 p.m. SAT-SUN. Dec 4-5 at 2 p.m. GALA PERFORMANCE: Friday November 26th Emmanuel Chapel, Room 319 & Emmanuel Hall, Room 119, Emmanuel College, 75 Queen's Park East Friar Bacon and Friar Bungay March 11th - March 27th, 2005 FRI-SAT. Mar. 11-12 at 8 p.m SAT-SUN. Mar. 12-13 at 2 p.m. THU-FRI-SAT. Mar. 17-19 at 8 p.m SAT-SUN. Mar. 19-20 at 2 p.m. THU-FRI-SAT. Mar. 24-26 at 8 p.m SAT-SUN. Mar. 26-27 at 2 p.m GALA PERFORMANCE: Friday March 11 Emmanuel Hall, Room 119, Emmanuel College, 75 Queen's Park East, mention that his sense of entitlement is unequal to none. It would mean I'd have to mentally go someplace I didn't want to... We forget. We forget than there are Don Juans everywhere. We forget how exactly we can be swayed into things we Don Juan Jordan Stewart haven't necessarily thought clearly about. Don Juan's goal is sexual dominance, Isabella Claire Rice but it could just as easily be money, kingdoms, cars or votes. The impulses and King of Naples / Don Gonzalo de Erik Buchanan (appearing by fears within this play are stored within us all. -
Un Aspecto De La Técnica Dramática De Calderón: La Geografía Y Toponimia En El Tuzaní De Las Alpujarras
Un aspecto de la técnica dramática de Calderón: la geografía y toponimia en El Tuzaní de las Alpujarras Por Brent W. De Vos Existen varios estudios sobre cómo Calderón de la Barca adaptaba libremente los hechos históricos —según figuraban en las crónicas de su época— para que cumplieran con sus propios fines dramáticos y poéticos (véase Blue; Fox; Parker; Ruano de la Haza “Introducción”; Wilson e Yndurain). Pero apenas se ha explorado la cuestión de si Calderón hacía lo mismo con la geografía y la toponimia. Que yo sepa el único crítico moderno que ha tratado el tema en la Comedia es José Ruano de la Haza, quien comenta el efecto dramático de la ubicación de Jerusalem en la costa mediterránea en El mayor monstruo del mundo de Calderón (231 nota 14). En el presente estudio investigaremos el uso de la geografía a El Tuzaní de las Alpujarras; comedia de base histórica sobre la última rebelión morisca en la región de Granada entre 1567 y 1571. Aunque la rebelión histórica se extendió por gran parte de la provincia de Granada, en El Tuzaní de las Alpujarras Calderón restringe la acción principal de la rebelión a la sierra de las Alpujarras. En la comedia se describe la región de las Alpujarras como fragosa y difícil de transitar a causa de sus muchos riscos y peñones (El Tuzaní vv. 940-8); como un laberinto rocoso “donde el sol / aun se pierde por momentos / con andarlos cada día” (vv. 1735-7). Se señala que, a pesar de su aspereza, había en las valles de la sierra muchas villas y aldeas moriscas. -
Italian-American Theatre
Saggi Italian-American Theatre Emelise Aleandri Artistic Director of «Frizzi & Lazzi», New York An Italian-American actor hesitates before the entrance to a shop in Little Italy at the turn of the century. It is a day in the life of a skilful, practiced ticket-vendor of the Italian-American theatre. To disguise the distress he feels at performing the onerous task that awaits him inside the shop, he assumes the mask of confidence, tinged slightly with arrogance. Summoning up a glib tongue, the actor enters the shop and before the shopkeeper knows what has happened, the actor fires away at him this familiar reprise: «Buongiorno. Come sta? La famiglia sta bene? Lei è un mecenate, lei è un benefattore del- la colonia. Io non so cosa faccia il governo italiano, dorme? Ma quando lo faremo cavaliere? Vuole un biglietto per una recita che si darà il mese en- trante: “La cieca di Sorrento?” Spettacoloso drama [sic]»1. With an unsuspecting shop owner, this spiel would almost always be suc- cessful in selling a ticket, but this one has been through this game before and when he learns that the performance is scheduled for a Thursday evening, he is quick to respond: «Oh! Guarda un po’, proprio giovedì che aspetto visite. Vi pare, con tutto il cuore!»2. But the actor is even quicker and has purpose- fully misinformed the storekeeper: «Mi sono sbagliato, è di venerdì»3. The shopkeeper, stunned, mumbles: «Oh! Venerdì... vedrò»4. Tricked, and now the reluctant buyer of a ticket, the shop owner spits back «Come siete seccanti voi altri teatristi!»5. -
Brochure De La Saison 2021-2022
Les Talens Lyriques Les Talens Lyriques ont 30 ans ! ui, nous célébrerons cet anniversaire coûte que coûte. O Quelle longévité ! Je ne l’aurais moi-même jamais espé- rée. Comment m’imaginer diriger tant d’opéras, italiens et français, comment imaginer Les Talens à l’opéra de Sydney, de Versailles ou de Drottningholm, comment aurais-je pu me voir diriger du Berlioz, du Verdi, du Gounod ? Ma grande satisfaction est d’avoir tenu ma ligne entre la France et l’Italie, d’avoir pu éviter l’effet pour l’effet, d’avoir pris des risques avec les trompettistes mais aussi les cornistes et autres aventuriers du baroque pour retrouver les techniques et les sonorités « justes ». Je ne rougis d’aucune eau dans le vin que je respecte trop pour l’édulcorer. Cette saison marquera aussi nos 15 ans d’actions pédagogiques dans les écoles et les collèges. Aujourd’hui, les partenariats se transforment et se multiplient, de nou- veaux projets se développent dans ce souci de transmis- sion qui m’est si cher. Bien sûr, tous ces accomplissements ne seraient pos- sibles sans l’aide de nos partenaires qui nous soutiennent fidèlement depuis de nombreuses années. Sans eux, Les Talens Lyriques n’auraient pu mener à bien tous ces beaux projets. Qu’ils en soient ici très chaleureusement remerciés. Et merci à vous cher public pour votre présence pas- sionnée à nos côtés depuis toutes ces années. Vous me manquez, et j’ai hâte de vous retrouver ! Et maintenant : que la fête commence ! Cette saison justement rassemble ce qui est le cœur de notre vocation : 3 beaucoup d’opéras, surtout méconnus ; de la musique de chambre (car le claveciniste que je suis tient à rester aussi chambriste) ; des récitals de jeunes chanteurs (car découvrir de nouveaux talents est aussi notre marque de fabrique) ; et des incursions dans le romantisme. -
The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel Wallich
C O N N E C T I N G P E O P L E , P L A C E S , A N D I D E A S : S T O R Y B Y S T O R Y J ULY 2 0 1 3 ABOUT WRR CONTRIBUTORS MISSION SPONSORSHIP MEDIA KIT CONTACT DONATE Search Join our mailing list and receive Email Print More WRR Monthly. Wild River Consulting ESSAY-The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel & Wallich : Publishing Click below to make a tax- deductible contribution. Religious Identity in the Age of Enlightenment where Your literary b y J u d i t h M . T a y l o r , J u l e s J a n i c k success is our bottom line. PEOPLE "By the time the Interv iews wise woman has found a bridge, Columns the crazy woman has crossed the Blogs water." PLACES Princeton The United States The World Open Borders Lorenzo Da Ponte Nathaniel Wallich ANATOLIAN IDEAS DAYS & NIGHTS Being Jewish in a Christian world has always been fraught with difficulties. The oppression of the published by Art, Photography and Wild River Books Architecture Jews in Europe for most of the last two millennia was sanctioned by law and without redress. Valued less than cattle, herded into small enclosed districts, restricted from owning land or entering any Health, Culture and Food profession, and subject to random violence and expulsion at any time, the majority of Jews lived a History , Religion and Reserve Your harsh life.1 The Nazis used this ancient technique of de-humanization and humiliation before they hit Philosophy Wild River Ad on the idea of expunging the Jews altogether. -
The Hell Scene and Theatricality in Man and Superman
233 The Amphitheatre and Ann’s Theatre: The Hell Scene and Theatricality in Man and Superman Yumiko Isobe Synopsis: Although George Bernard Shaw’s Man and Superman (1903) is one of his most important dramatic works, it has seldom been staged. This is because, in terms of content and direction, there are technical issues that make it difficult to stage. In particular, Act Three features a dream in Hell, where four dead characters hold a lengthy philosophical symposium, has been considered independent of the main plot of John Tanner and Ann Whitefield. Tanner’s dream emphatically asserts its theatricality by the scenery, the amphitheatre in the Spanish desert where Tanner dozes off. The scene’s geography, which has not received adequate attention, indicates the significance of the dream as a theatre for the protagonist’s destiny with Ann. At the same time, it suggests that the whole plot stands out as a play by Ann, to which Tanner is a “subject.” The comedy thus succeeds in expressing the playwright’s philosophy of the Superman through the play-within-a- play and metatheatre. Introduction Hell in the third act of Man and Superman: A Comedy and a Philosophy (1903) by George Bernard Shaw turns into a philosophical symposium, as the subtitle of the play suggests, and this intermediate part is responsible for the difficulties associated with the staging of the play. The scene, called “the Hell scene” or “Don Juan in Hell,” has been cut out of performances of the whole play, and even performed separately; however, the interlude by itself has attracted considerable attention, not only from stage managers and actors, but also from critics, provoking a range of multi-layered examinations. -
~'7/P64~J Adviser Department of S Vie Languages and Literatures @ Copyright By
FREEDOM AND THE DON JUAN TRADITION IN SELECTED NARRATIVE POETIC WORKS AND THE STONE GUEST OF ALEXANDER PUSHKIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By James Goodman Connell, Jr., B.S., M.A., M.A. The Ohio State University 1973 Approved by ,r-~ ~'7/P64~j Adviser Department of S vie Languages and Literatures @ Copyright by James Goodman Connell, Jr. 1973 To my wife~ Julia Twomey Connell, in loving appreciation ii VITA September 21, 1939 Born - Adel, Georgia 1961 .•..••. B.S., United States Naval Academy, Annapolis, Maryland 1961-1965 Commissioned service, U.S. Navy 1965-1967 NDEA Title IV Fellow in Comparative Literature, The University of Georgia, Athens, Georgia 1967 ••••.•. M.A. (Comparative Literature), The University of Georgia, Athens, Georgia 1967-1970 NDFL Title VI Fellow in Russian, The Ohio State University, Columbus, Ohio 1969 •.•••.• M.A. (Slavic Languages and Literatures), The Ohio State University, Columbus, Ohio 1970 .•...•. Assistant Tour Leader, The Ohio State University Russian Language Study Tour to the Soviet Union 1970-1971 Teaching Associate, The Ohio State University, Columbus, Ohio 1971-1973 Assistant Professor of Modern Foreign Languages, Valdosta State College, Valdosta, Georgia FIELDS OF STUDY Major field: Russian Literature Studies in Old Russian Literature. Professor Mateja Matejic Studies in Eighteenth Century Russian Literature. Professor Frank R. Silbajoris Studies in Nineteenth Century Russian Literature. Professors Frank R. Silbajoris and Jerzy R. Krzyzanowski Studies in Twentieth Century Russian Literature and Soviet Literature. Professor Hongor Oulanoff Minor field: Polish Literature Studies in Polish Language and Literature. -
A Midsummer Night's Dream
FONDAZIONE TEATRO LA FENICE DI VENEZIA A Midsummer Night’s Dream (Sogno di una notte di mezza estate) opera in tre atti libretto di Benjamin Britten e Peter Pears musica di Benjamin Britten Teatro Malibran venerdì 20 febbraio 2004 ore 19.00 turno A domenica 22 febbraio 2004 ore 15.30 turno B martedì 24 febbraio 2004 ore 19.00 turno D giovedì 26 febbraio 2004 ore 19.00 turni E-I sabato 28 febbraio 2004 ore 15.30 turni C-H La Fenice prima dell’Opera 2004 2 Kenneth Green (n. 1916), Benjamin Britten e Peters Pears, 1943. Londra, National Portrait Gallery. La Fenice prima dell’opera 2004 2 Sommario 5 La locandina 7È sogno? o realtà … di Michele Girardi 9 A Midsummer Night’s Dream, libretto e guida all’opera a cura di Riccardo Pecci 91 A Midsummer Night’s Dream in breve a cura di Gianni Ruffin 93 Argomento – Argument – Synopsis – Handlung 101 Julian Budden Britten e Shakespeare 109 Davide Daolmi «Amanti, a letto! È ormai l’ora delle fate» 133 Benjamin Britten Il Sogno del compositore 139 David Pountney Appunti per un’interpretazione registica di A Midsummer Night’s Dream 141 Guido Paduano La realtà e i suoi contrari 169 Cecilia Palandri Bibliografia 181 Online: Great Britten a cura di Roberto Campanella 191 Benjamin Britten a cura di Mirko Schipilliti 198 Britten in Venice La pagina con l’elenco dei personaggi nell’esemplare del Dream (Penguin) posseduto da Britten, con le sue annotazioni. Aldeburgh, Britten-Pears Library. Da The Cambridge Companion to Benjamin Britten, Cambridge, Cambridge University Press, 1999. -
Walpole Public Library DVD List A
Walpole Public Library DVD List [Items purchased to present*] Last updated: 01/12/2012 A A A place in the sun AAL Aaltra ABB V.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, vol.1 ABB V.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, vol.2 ABB V.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, vol.3 ABB V.4 The best of Bud Abbot and Lou Costello : the Franchise Collection, vol.4 ABE Aberdeen ABO About a boy ABO About Schmidt ABO Above the rim ACC Accepted ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam‟s Rib ADA Adaptation ADJ Adjustment Bureau, The ADV Adventure of Sherlock Holmes‟ smarter brother, The AEO Aeon Flux AFF Affair to remember, An AFR African Queen, The AFT After the sunset AFT After the wedding AGU Aguirre : the wrath of God AIR Air Force One AIR Air I breathe, The AIR Airplane! AIR Airport : Terminal Pack [Original, 1975, 1977 & 1979] ALA Alamar ALE Alexander‟s ragtime band ALI Ali ALI Alice Adams ALI Alice in Wonderland ALI Alien ALI Alien vs. Predator ALI Alien resurrection ALI3 Alien 3 ALI Alive ALL All about Eve ALL All about Steve ALL series 1 All creatures great and small : complete series 1 ALL series 2 All creatures great and small : complete series 2 ALL series 3 All creatures great and small : complete series 3 *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ALL series 4 All creatures great -
DON GIOVANNI -...:: Ensemble San Felice
Produzione Opera Network Ensemble San Felice DON GIOVANNI Mozart Gazzaniga Teatrodante Carlo Monni Campi Bisenzio Giovedì 6 febbraio 2020 ore 21 Teatro Poliziano Montepulciano Domenica 1 marzo 2020 ore 17 in collaborazione con Cantiere Internazionale d’Arte Montepulciano Teatrodante Carlo Monni Campi Bisenzio Don Giovanni Mozart - Gazzaniga prima rappresentazione a cura di Luigi Cherubini, Parigi 1791 adattamento drammaturgico Carla Zanin direzione artistica Paolo Bellocci direttore Federico Bardazzi regia Andrea Bruno Savelli scenografie virtuali Ines Cattabriga, Carla Zanin costumista Giulia Gianni luci a cura degli allievi del Corso sound & light ENSEMBLE SAN FELICE 3 Personaggi e interpreti Mozart Don Giovanni Marcello Lippi baritono Leporello Claudio Ottino baritono Donna Anna Susanna Rigacci soprano Donna Elvira Letizia Dei soprano Zerlina Choi Seoyeon mezzosoprano Don Ottavio Chen Dalai tenore Masetto Umut Gurbuz Seydialioglu baritono Il Commendatore Ivan Volkov basso Personaggi e interpreti Gazzaniga Don Giovanni Enkebatu tenore Pasquariello Sandro Degl’Innocenti baritono Donna Elvira Oksana Maltseva soprano Donna Anna Doriana Tavano soprano Maturina Miao Jiao (6/2), Mira Dozio (1/3) soprano Donna Ximena Floriano D’Auria mezzosoprano Duca Ottavio Yuan Jianguang tenore Lanterna Francesco Marchetti tenore Biagio Umut Gurbuz Seydialioglu baritono Il Commendatore Jing Shuheng basso 4 Orchestra oboi Marco Del Cittadino, Cesare Pierozzi corni Andrea Mugnaini, Gianni Calonaci violini I Petru Ladislau Horvath*, Kevin Mucaj violini II Maurizio Cadossi, Ana Aline Valentim viola Anna Noferini violoncello Stefano Aiolli contrabbasso Pablo Escobar mandolino Andrea Benucci assistente musicale e clavicembalo Dimitri Betti assistente alla regia e direttore di scena Angelica Rindi disegni per le videoscenografie Elena Geppi elaborazione immagini e videoproiezioni Federico Orsini tecnici luci Claudio Barone, Andrea Cardelli, Anna Galeno, Ettore Mariotti.