Text Setting in Verdi's JéRusalem and Don Carlos

Total Page:16

File Type:pdf, Size:1020Kb

Text Setting in Verdi's JéRusalem and Don Carlos Verdi Forum Number 12 Article 4 1-1-1984 Text Setting in Verdi's Jérusalem and Don Carlos Jeffrey Langford Manhattan School of Music Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons Recommended Citation Langford, Jeffrey (1984) "Text Setting in Verdi's Jérusalem and Don Carlos," Verdi Forum: No. 12, Article 4. Available at: http://scholarship.richmond.edu/vf/vol1/iss12/4 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]. Text Setting in Verdi's Jérusalem and Don Carlos Keywords Giuseppe Verdi, Jérusalem, Don Carlos This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss12/4 Text Setting in Verdi's Jerusalem and Don Carlos Jeffrey Langford, Manhattan School of Music In the summer of 1847 Verdi went to Lon­ poor French was dealt with by the fact that don to supervise the premiere of I Masna­ while writing the opera he would be living dieri at Her Majesty's Theatre. This was in Paris where he could easily get help his first premiere outside of Italy, and his from friends like Strepponi or from his li­ second international trip of any kind . On brettists. 3 Another impediment, his busy returning home from London, Verdi schedule, was removed through an agree­ stopped in Paris to visit his French pub­ ment with the Opera allowing the com­ lisher, Leon Escudier, and Giuseppina poser to reset an earlier Italian opera to a Strepponi, who had been teaching voice new French libretto. I Lombardi was se­ there since the fall of 1846. During this lected for this transformation, and the job visit Verdi was approached by the Paris Op­ of adapting the drama and drafting the new era and asked to write a new work on a libretto was entrusted to Gustav Vaez and French text. Althouyh such requests had Alphonse Royer.4 Their work resulted in come to him before, he had always been much more than a simple translation of the forced to refuse them, for a variety of rea­ Italian libretto into French. While carefully sons. For one, he was busy fulfilling Ital­ designed to allow Verdi to reuse most of his ian commissions and had no time for for­ earlier music, the new libretto, entitled Je­ eign theaters. In addition, he was not fluent rusalem, actually involved major changes in French and undoubtedly had reserva­ in I Lombardi. s tions about composing a major work for Verdi's work on Jerusalem represented a Europe's leading opera house in a language venture into compositionally uncharted with which he was not completely secure. 2 waters. In Italy his exposure to French op­ In these circumstances, one wonders era could only have been minimal. The why, in the summer of 1847, he suddenly chronicles of such opera houses as La agreed to accept the Opera commission. Scala, La Fenice, and the Regio in Parma He was, after all, still busy with other Ital­ show that most French operas never ian commissions, and his French was no reached the theaters of major Italian cities; more fluent than before. The answer may and those few works that did (most notably involve a combination of factors . Verdi's Meyerbeer's Robert le Diable and Auber's 'See his letter of August 1846 to Vincenzio documentary evidence in the form of letters to Flauto in which he says, " If none other, the indicate that he ever actually approached them Grand Opera of Paris would not disdain to open for help. The presence of Strepponi in Paris al its doors to me , as I can show you with a letter that time may well have been the decisive factor from Pillet. " Gaetano Cesari and Alessandro in his decision to write Jerusalem (eds.). Luzio, eds., I copialettere di Giuseppe Verdi 'Three of Verdi 's most successful early operas (Milan, 1913) 24 . (those predating 1846) had already been staged 2As of 1847 Verdi spoke French well enough to in Paris: Nabucco, 16 Oct. 1845; Emani, 6 Jan. get by in Paris, but not until the 1860s did he 1846; I due Foscari, 17 Dec. 1846. Only I Lom­ feel comfortable enough to write an occasional bardi had not yet been mounted there. A photo­ letter to Escudier or Du Locle in French. Even copy of Verdi 's contract for Jerusalem with the then most of his letters to French-speaking Opera may be found in the archive of the Ameri­ friends were still written in Italian. This practice can Institute for Verdi Studies at New York Uni­ contrasts markedly with that of Giuseppina versity . Strepponi, who, after she began living with sA lengthy discussion of the transformation of Verdi , always wrote to the composer's French I Lombardi into Jerusalem may be found in colleagues in their own language. David Kimbell, "Verdi's First Rifacimento: 'I 3Unfortunately, the fact that Verdi worked di­ Lombardi' and 'Jerusalem,' " Music & Letters, rectly with his librettists means that there is no VQI. 60, no . 1 (January 1979) pp. 1-36. 19 la Muette de Portie!) were always given in line of verse. 8 Italian words show consider­ Italian translation. 6 So while Verdi may able variety in the location of their natural have known some of the music of major stresses. The usual rule is that multi­ French composers, he probably remained syllable words receive a stress on the pen­ unfamiliar with the exact correlation of that ultimate syllable, as in the word amore. music with its original French texts. The This is called the normal or piano ending. composition of Jerusalem raises the inter­ In many other words, however, the stress esting question of how Verdi dealt with the falls on the antipenultimate syllable, as in actual mechanics of French text setting the word virgine. This type of word is said early in his career, and gives us the oppor­ to have a sdrucciolo ending. Lastly, many tunity to discover what he thought about words in the Italian language have a stress the effect of language on musical style. Ul­ that falls on the last syllable, as in the word timately an investigation of the subject may belta or in words with a single syllable. lead to a better understanding of the exact These words have a tronco ending. relationship between Verdi and the French In all Italian poetry the final stress of a grand opera tradition. line (the penultimate syllable in a normal, piano ending) is called the primary accent, the heaviest stress, of that line. Other stresses are referred to as secondary accents. The difference between these two The primary concern of any composer levels of accent is shown in scansion as fol­ attempting to set a versified text to music lows: = marks the primary accent, - lies in the establishment of a system for the marks a secondary accent ( ~ marks an correlation of the stresses of poetic prosody elision). with the natural accents of musical meters. Stress within complete lines of Italian In order to understand how a composer like poetry is governed primarily by poetic me­ Verdi approaches this problem we must ters (pre-existing patterns of stressed and know something about the basic principles unstressed syllables) which, in turn, are of Italian and French versification. 7 determined by the number of syllables in a In Italian poetry, individual words have line. In opera librettos some of the most stressed and unstressed syllables which, common line lengths are quatemario (4 when taken in conjunction with the rules syllables), quinario (5), senario (6), set­ governing poetic meters, help to determine tenario (7), ottonario (8), decasillabo (IO), the placement of stress within a complete and endecasillabo ( 11) . Lines with an even 6See Pompeo Cambiasi, ed., Rappresentazioni 1973); Leon E. Kastner, A History of French date nei reali teatri di Milano, 1778-1872 (Mi­ Versification (Oxford, 1903); and Jean Suber­ lan, 1872); Paolo-Emilio Ferrari, ed., Spettacoli ville, Histoire et theorie de la versification fra­ dramatico-musicali e coreografici in Parma nfaise (Paris, n.d.). I would also like to thank dal/ 'anno 1628 al/ 'anno 1883 (Parma, 1884); professor Nicholas Granito of the Manhattan and Luigi Lianovosani (pseud. for Giovanni Sal­ School of Music for his generous advice on mat­ violi) ed., La Fenice: gran teatro di Venezia; ters concerning Italian and French prosody. serie degli spettacoli dalla primavera I '792 a 'The subject of stress in language is itself a very tutto ii camovale 1876 (Milan, 1878). complex one. Generally, stress results from the 7The following summary of the rules of Italian coordinated effect of three factors: the lengthen­ versification is digested from Luciana Castel­ ing of a vowel (agogic accent) , an increase in naovo, La metrica italiana (Milan: Vita e pen­ dynamic level (dynamic accent), and a rise of siero, 1979); Pier Enea Guarnerio, Manuale di pitch in the voice (pitch accent). The relative im­ versificazione italiana (Milan, 1913); and Rob­ portance of these elements in determining stress ert Moreen, "Integration of Text Forms and varies considerably from language to language. Musical Forms in Verdi's Early Operas," In classical Italian, stress is primarily the result (Ph.D. diss., Princeton University, 1975). The of durational accent, while in French it is pitch rules of French versification are taken from accent that contributes most to the perception of Pierre Guiraud, La Versification , 2nd ed. (Paris, stress. 20 number of syllables tend to have more reg­ I~ cietCi,_ed ~rg~rn~i ular metric patterns than those with an un­ seceuu even syllable count.
Recommended publications
  • Zealot, Patriot, Spy? : Verdi's Marquis De Posa by Thomas Hampson
    Zealot, Patriot, Spy? : Verdi’s Marquis de Posa by Thomas Hampson “There is nothing historical in this drama, so why not?” With these words rang a defense – at the same time a posture – Verdi adopted for the creation of Don Carlos. While the quote, written to his publisher G. Ricordi, pertains to the specific scene of the apparition of Charlemagne at the end of Act V, it is, nevertheless, hugely relevant when entertaining any reflections on Verdi’s Don Carlos. Already historically compromised by the great German poet-dramatist Friedrich Schiller, who, in fact, relied heavily on the occasionally embellished-interpreted history of Vischard de Saint Real, the story of Don Carlos presents a complex backdrop of political-religious (i.e. public) conflict by which the very personal dilemmas of love, jealousy, family, and faith are brought into sharp relief. Verdi’s genius in the articulation of the more-often-than-not catastrophic result of a personal passion pitted against various social, religious, or political contexts is well manifest in such works as Luisa Miller, I due Foscari, La Forza del Destino, Rigoletto, and, of course, La Traviata. However, with Don Carlos, the essentially metaphoric use of historical context as exposé of these conflicts accomplishes something remarkable in the theatre, and that is the recreation of the ambiguity of successive moments found in reality. There is no scene in the opera that ends in the same political or even personal context in which its starts. There is no formula for the tying together of scenes or even of acts – i.e.
    [Show full text]
  • Verdi Falstaff
    Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably.
    [Show full text]
  • CHAN 3036 BOOK COVER.Qxd 22/8/07 2:50 Pm Page 1
    CHAN 3036 BOOK COVER.qxd 22/8/07 2:50 pm Page 1 CHAN 3036(2) CHANDOS O PERA I N ENGLISH Il Trovatore David Parry PETE MOOES FOUNDATION CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 2 Giuseppe Verdi (1813–1901) Il trovatore (The Troubadour) Opera in four parts AKG Text by Salvatore Cammarano, from the drama El trovador by Antonio Garcia Gutiérrez English translation by Tom Hammond Count di Luna, a young nobleman of Aragon ....................................................................Alan Opie baritone Ferrando, captain of the Count’s guard ..................................................................................Clive Bayley bass Doña Leonora, lady-in-waiting to the Princess of Aragon ..............................................Sharon Sweet soprano Inez, confidante of Leonora ........................................................................................Helen Williams soprano Azucena, a gipsy woman from Biscay ....................................................................Anne Mason mezzo-soprano Manrico (The Troubadour), supposed son of Azucena, a rebel under Prince Urgel ........Dennis O’Neill tenor Ruiz, a soldier in Manrico’s service ..................................................................................Marc Le Brocq tenor A Gipsy, a Messenger, Servants and Retainers of the Count, Followers of Manrico, Soldiers, Gipsies, Nuns, Guards Geoffrey Mitchell Choir London Philharmonic Orchestra Nicholas Kok and Gareth Hancock assistant conductors David Parry Further appearances in Opera in English Dennis O’Neill:
    [Show full text]
  • MICHAEL FINNISSY at 70 the PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’S College, London
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2016). Michael Finnissy at 70: The piano music (9). This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17520/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] MICHAEL FINNISSY AT 70 THE PIANO MUSIC (9) IAN PACE – Piano Recital at Deptford Town Hall, Goldsmith’s College, London Thursday December 1st, 2016, 6:00 pm The event will begin with a discussion between Michael Finnissy and Ian Pace on the Verdi Transcriptions. MICHAEL FINNISSY Verdi Transcriptions Books 1-4 (1972-2005) 6:15 pm Books 1 and 2: Book 1 I. Aria: ‘Sciagurata! a questo lido ricercai l’amante infido!’, Oberto (Act 2) II. Trio: ‘Bella speranza in vero’, Un giorno di regno (Act 1) III. Chorus: ‘Il maledetto non ha fratelli’, Nabucco (Part 2) IV.
    [Show full text]
  • Lafeniceinpiazza Don Carlo Di Giuseppe Verdi Inaugura Domenica
    ! COMUNICATO STAMPA Venezia, 23 ottobre 2019 LaFeniceinPiazza Don Carlo di Giuseppe Verdi inaugura domenica 24 novembre 2019 la Stagione Lirica e Balletto 2019-2020 del Teatro La Fenice. Lo spettacolo, con la regia di Robert Carsen e la direzione del Maestro Myung-Whun Chung, vede un cast prestigioso: Piero Pretti, Maria Agresta, Alex Esposito, Julian Kim, Veronica Simeoni. In attesa di questo evento la Fenice, in sinergia con l’Associazione Piazza San Marco e con i commercianti del Distretto del Commercio di Mestre, ha dato vita al progetto LaFeniceinPiazza trasportando l’opera di Verdi nelle vetrine del cuore di Venezia e di Mestre per condividere le emozioni e la bellezza dell’inaugurazione con un pubblico sempre più ampio e diversificato. Dal 24 ottobre al 24 novembre l’atmosfera della prima alla Fenice pervaderà Piazza San Marco e Piazza Ferretto, coinvolgendo molti esercizi commerciali che esporranno una vetrofania dedicata al Don Carlo, ideata da Massimo Checchetto, oltre ad oggetti di scena, foto e locandine provenienti dall’archivio storico del Teatro. Sono previsti quattro incontri culturali legati alle tematiche dell’opera verdiana. Il primo appuntamento avrà luogo mercoledì 30 ottobre alle ore 18.00 a Mestre, presso il Museo M9, dove lo scrittore Alberto Toso Fei racconterà la storia della Fenice attraverso curiosi aneddoti e di seguito il Sovrintendente Fortunato Ortombina illustrerà il Don Carlo. Il secondo incontro si terrà al The Gritti Palace, mercoledì 6 novembre alle ore 18.00, e vedrà protagonisti lo scrittore Giovanni Montanaro e l’attrice Ottavia Piccolo, che esploreranno il rapporto padre e figlio nella letteratura.
    [Show full text]
  • 1. Early Years: Maria Before La Callas 2. Metamorphosis
    ! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani.
    [Show full text]
  • Jessica Pratt - Soprano
    Jessica Pratt - Soprano Jessica Pratt est considérée comme l’une des meilleures interprètes de Bel cantos, même des plus difficiles du répertoire. Depuis ses débuts européens en 2007 dans Lucia di Lammermoor, la carrière de Jessica comprend des performances dans des théâtres et festivals comme le Metropolitan Opera New York, Teatro alla Scala of Milan, Gran Teatre Liceu of Barcelona, Zurich Opera, Deutsche Oper Berlin, le Vienna State Opera et le Royal Opera House Covent Garden. Elle a travaillé avec des chefs d’orchestre comme Daniel Oren, Nello Santi, Kent Nagano, Sir Colin Davis, Giacomo Sagripanti, Gianandrea Noseda, Carlo Rizzi, Roberto Abbado, Wayne Marshall et Christian Thielemann. Le répertoire de Jessica compte plus de 30 rôles différents, dont le plus célèbre est Lucia Ashton de Lucia di Lammermoor de Gaetano Donizetti dans plus de 27 productions, suivi de Amima de La Sonnambula de Vincenzo Bellini et Elvira de I Puritani du même compositeur. Elle est éGalement spécialiste du répertoire de Rossini : invitée fréquemment au Rossini Opera Festival à Pesaro, Jessica a tenu 12 rôles dans des opéras de ce compositeur, notamment les rôles principaux de Semiramide, Armida, Adelaide de BorGoGna, plus récemment Desdemona dans Otello au Gran Teatre de Liceu de Barcelone et Rosina dans Barbiere di Siviglia à l’Arena de Vérone. Un autre compositeur au centre du travail de Jessica est Gaetano Donizetti. Elle a fait ses débuts à La Scala de Milan avec La Prima Donna in Convenienze ed Inconvenienze Teatrali et plus tard, Lucia di Lammermoor. La saison dernière, elle a ajouté 4 nouvelles œuvres de Donizetti à son répertoire : La Fille du Regiment à l’Opera Las Palmas, Don Pasquale à l’ABAO de Bilbao, L'elisir d'amore au Gran Theatre Liceu de Barcelone et le rôle principal de Rosmonda d'Ingliterra en version de concert pour l’Opera di Firenze.
    [Show full text]
  • I DUE FOSCARI - DON CARLOS (LIVE) - CARMEN LA BOHÈME (LIVE) - DIE ZAUBERFLÖTE Die Oper Kommt Ins Kino
    Die Oper kommt ins Kino. September - Dezember 2017 I DUE FOSCARI - DON CARLOS (LIVE) - CARMEN LA BOHÈME (LIVE) - DIE ZAUBERFLÖTE Die Oper kommt ins Kino. Arthouse Le Paris und Piccadilly, Zürich September - Dezember 2017 Direktübertragungen LIVE oder als Auf- Vorverkauf Mehr Informationen zum Programm unter zeichnungen von den besten Bühnen der An allen Arthouse-Kinokassen www.arthouse.ch/kinopera Welt: La Scala Milano, Opéra National und auf www.arthouse.ch de Paris, Salzburger Festspiele, Zürcher Opernhaus ... Einmal monatlich bieten wir Opernfans Preise Aufzeichnungen die Gelegenheit, hautnah dabei zu sein. CHF 25.- / 23.- (AHV, Legi) / 20.- (Kinokarte) Geniessen Sie neben Opern gelegentlich auch Ballette und Konzerte. Preise LIVE-Übertragungen Die Opern haben meist deutsche Untertitel CHF 42.- / 40.- (AHV, Legi) / 36.- (Kinokarte) (bei Ausnahmen englische UT). inkl. 1 Glas Prosecco Bild Front: Die Zauberflöte I DUE FOSCARI DON CARLOS CARMEN So 17.9.2017, 11 Uhr Do 19.10.2017, 17.45 Uhr So 19.11.2017, 11 Uhr im Arthouse Piccadilly im Arthouse Le Paris im Arthouse Piccadilly Aufzeichnung aus der Mailänder Scala LIVE aus der Opéra National de Paris Aufzeichnung aus dem Zürcher Opernhaus Oper in 3 Akten von Giuseppe Verdi Oper in 5 Akten von Giuseppe Verdi Oper in 4 Akten von Georges Bizet Dirigent: Michele Mariotti Dirigent: Philippe Jordan Dirigent: Franz Welser-Möst Regie: Alvis Hermanis Regie: Krzysztof Warlikowski Regie: Matthias Hartmann Mit: Plácido Domingo, Francesco Meli, Mit: Jonas Kaufmann, Ildar Abdrazakov, Mit: Vesselina Kasarova, Jonas Kaufmann, Anna Pirozzi Sonya Yoncheva, Elina Garanca, Ludovic Michele Pertusi, Isabel Rey Tézier Dauer: 2 h 45 Min Dauer: 2 h 01 Min Dauer: 4 h 50 Min (inkl.
    [Show full text]
  • Table of Contents More Information
    Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Table of Contents More information Contents List of figures and table [page vii] List of examples [viii] Notes oncontributors [x] Preface [xiii] Chronology [xvii] r Part I Personal, cultural, and political context 1Verdi’s life: a thematic biography Mary Jane Phillips-Matz [3] 2The Italian theatre of Verdi’s day Alessandro Roccatagliati [15] 3Verdi, Italian Romanticism, and the Risorgimento Mary Ann Smart [29] r Part II The style of Verdi’s operas and non-operatic works 4Theforms of set pieces Scott L. Balthazar [49] 5Newcurrents in the libretto Fabrizio Della Seta [69] 6Words and music Emanuele Senici [88] 7French influences Andreas Giger [111] 8Structuralcoherence Steven Huebner [139] 9Instrumental music in Verdi’s operas David Kimbell [154] 10 Verdi’s non-operatic works Roberta Montemorra Marvin [169] r Part III Representative operas 11 Ernani: the tenor in crisis Rosa Solinas [185] 12 “Ch’hai di nuovo, buffon?” or What’s new with Rigoletto Cormac Newark [197] 13 Verdi’s Don Carlos:anoverviewoftheoperas Harold Powers [209] 14 Desdemona’s alienation and Otello’s fall Scott L. Balthazar [237] r Part IV Creation and critical reception 15 An introduction to Verdi’s working methods Luke Jensen [257] 16 Verdi criticism Gregory W.Harwood [269] [v] © 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 Table of Contents More information vi Contents Notes [282] List of Verdi’s works [309] Select bibliography and works cited [312] Index [329] © 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]
  • Staged Treasures
    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
    [Show full text]
  • Alvise Casellati Is Considered One of the Emerging Talents of the Latest Years in Addition to Being an Innovator and Manager. H
    Alvise Casellati is considered one of the emerging talents of the latest years in addition to being an innovator and manager. He is creator and Music Director of Opera Italiana is in the Air (www.operaitalianaisintheair.com – as of November 2016), European and International trademark since September 2019, an event with the aim of promoting knowledge and appreciation of Italian Opera through a free open air event that saw its debut in Central Park, New York in July 2017, attended by thousands of people, broadcast by TVs, local radios (NY1, NBC TV, WNYC radio) and RAI TV (Rainews, TG1 and TG2), advertised through an important media and social campaign (220 million impressions, broadcast/online 112 million, listings 107 million are the data of the 2019 New York campaign). The fundraising activity involves American and Italian partners: Intesa Sanpaolo bank, ENI, Brooks Brothers, San Benedetto Water, Foundation for Italian Art & Culture, ACP Group, Bracco, MSC, etc. Through a collaboration with the Sloan Kettering Memorial Cancer Hospital of New York, children and adults who are part of the Music Therapy program will participate with the aim of future involvement of unprivileged social categories. Through a collaboration with New York Philharmonic, Young Composers Program, the event opens with a short composition of a young composer (age 11/12). Due to Covid-19, the following 2020 performances have been postponed: April 3rd in Bayfront Park Miami, May 29th in Villa Borghese Park, Rome, June 15th in Millennium Park, Chicago, June 28th in Central Park, New York, July in Hyde Park, London. The most recent performances include the concert in Regatta Park, Miami, on April 13, 2019, in Central Park, New York, on July 1, 2019 and last October 4, 2019 in Galleria Umberto I in Naples, Italy, with Teatro di San Carlo, Accademia del Teatro alla Scala singers and Conservatory of Benevento.
    [Show full text]
  • 825646957965.Pdf
    Warners / Top Price / Standard booklet GIUSEPPE VERDI (1813 –1901) RARITIES (Tracks 1 –4 and 6 –8 revised by Pietro Spada) Luciano Pavarotti * Orchestra del Teatro alla Scala Claudio Abbado 1. Simon Boccanegra 5. I due Foscari Preludio 2’46’’ Dal più remoto esilio 5’07’’ Scena and Cavatina, Atto I (with Antonio Savastano tenor) 2. Ernani 6. I due Foscari Odi il voto 4’40’’ Sì lo sento, Iddio mi chiama 4’14’’ Recitativo and Aria, Atto II Cabaletta, Atto I (with Giuseppe Morresi baritone and Alfredo Giacomotti bass) 3. Attila 7. Les Vêpres siciliennes Oh dolore! 3’37’’ Ô toi que j’ai chérie 3’54’’ Atto III Nouvelle Romance pour M. Villaret, Acte IV 4. Attila 8. Aida Io la vidi 7’03’’ Sinfonia 11’02’’ Scena lirica for two tenors and orchestra (with Antonio Savastano tenor) * Luciano Pavarotti appears by kind permission of Decca Music Group Limited Recording location: CTC Studios, Milan, January 1978 and April 1980 2 3 Editor: Artist: Art Director: Title: Cat. No.: Revision: Label: Warners Date & typesetter: Warners / Top Price / Standard booklet GIUSEPPE VERDI (1813 –1901) RARITIES (Tracks 1 –4 and 6 –8 revised by Pietro Spada) Luciano Pavarotti * Orchestra del Teatro alla Scala Claudio Abbado 1. Simon Boccanegra 5. I due Foscari Preludio 2’46’’ Dal più remoto esilio 5’07’’ Scena and Cavatina, Atto I (with Antonio Savastano tenor) 2. Ernani 6. I due Foscari Odi il voto 4’40’’ Sì lo sento, Iddio mi chiama 4’14’’ Recitativo and Aria, Atto II Cabaletta, Atto I (with Giuseppe Morresi baritone and Alfredo Giacomotti bass) 3.
    [Show full text]