Coloratura Arias for Soprano - Complete Package Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Coloratura Arias for Soprano - Complete Package Pdf FREE COLORATURA ARIAS FOR SOPRANO - COMPLETE PACKAGE PDF Robert L Larsen | 426 pages | 03 Jun 2013 | Hal Leonard Corporation | 9781480328495 | English | Milwaukee, United States Coloratura Arias for Soprano : R. Larsen : All categories. My account. Sign In. Adding product Sheet Music. Easy Piano. Piano Duet. Christmas Piano. Exam Material. Trinity College London. London College of Music. A-Z by Composer. A-Z by Artist. A-Z by Publisher. A-Z by Instrument. A-Z by Series. Guitar Tab. Bass Guitar. Rockschool Ukulele. LCM Acoustic Guitar. Guitar Strings. Dunlop Accessories. Ernie Ball. Choir Voicings. Double Choir. Choir Publishers. Hal Leonard. Shawnee Press. Walton Music. Oxford University Press. Edition Peters. Choir Themes. A Cappella. Mac Huff. Roger Emerson. Mark Brymer. Ed Lojeski. Kirby Shaw. Philip Lawson. Audrey Snyder. Deke Sharon. Alan Coloratura Arias for Soprano - Complete Package. Contemporary Composers. Eric Whitacre. Ola Gjeilo. Bob Chilcott. Cecilia McDowall. John Tavener. Judith Weir. Owain Park. Paul Mealor. Nico Muhly. Sacred Composers. John Rutter. Benjamin Britten. Samuel Barber. Philip Stopford. Patrick Hawes. Alan Bullard. Dan Forrest. More Sacred Composers. Johann Sebastian Bach. Ludwig van Beethoven. Wolfgang Amadeus Mozart. George Frideric Handel. Francis Poulenc. Giuseppe Verdi. Vocal Sheet Music. Solo Voice. High Voice: Soprano, Tenor. Coloratura Arias for Soprano - Complete Package Voice: Baritone, Mezzo-Soprano. Low Voice: Alto, Bass. Vocal Exam Material. Trinity College London: Singing Syllabus. Rockschool Vocals. Musical Theatre. LCM Musical Theatre. Trinity Vocal Exam Material. Theatrical Rights Worldwide. Aria Collections. Opera Vocal Scores. Critical Editions. Classical Collections. Baritone Voice. Bass Voice. Strings Sheet Music. Double Bass. Woodwind Sheet Music. Brass Sheet Music. French Horn. Percussion Sheet Music. Tuned Percussion. Brass Band. Jazz Band. Strings Tuition. Woodwind Tuition. Brass Tuition. Percussion Tuition. Drum Kit. Coloratura Arias For Soprano - Complete Package: Soprano | Please Note: Prices are provided as a general guide, latest prices are available from the suppliers site. All links open in a new window. If you are unable to find what you seek here, try the list of Sheet Music Suppliers. Soprano Page 1 Page 2 Page 3. Articles Index. Gig Guide. Site Map. Vocal Health. Vocal Software. Voice Training. Contact Us. Join Us On : Facebook. Music Minus One's best-selling vocal album ever is now beautifully remastered in digital stereo! Wustman, your world-famous accompanist, makes it a comfortable workout for the vocal chords! Includes a beautiful, newly engraved vocal score. We've chosen the most often-sung of these songs for this new collection, and have recorded top- notch accompaniments for each of Coloratura Arias for Soprano - Complete Package songs. Pianist for the recordings is Gary Arvin, a specialist in song literature on the faculty of Indiana University. The audio is accessed online for download or streaming. Includes translations and IPA pronunciation guides. This collection Coloratura Arias for Soprano - Complete Package sure to be used by singers at all levels, from High school contest soloists, to collegiate singers and professionals. Bonoldi: Exercises In Vocalization Soprano An impressive tutor aiding the singer to develop a dexterous technique with accurate intonation over the course of scales and embellishments, through a course of progressive exercises and studies. The piece includes full Organ accompaniment. This is from the Classical and Romantic eras. With vocal melody, lyrics, piano accompaniment, index of first lines and introductory text. A second volume of German Lieder for high voice from Schubert, these are beautiful and necessary components to every serious singer's training. Includes a high-quality printed vocal score and a compact disc with stereo accompaniments to each piece. Accompaniment: John Wustman, piano. Published by Music Minus One. For High Voice with Piano accompaniment. This fantastic collection of soprano masterpieces includes the magnificent 'Bell Song' from Delibes' 'Lakme' as well as the utterly charming 'Doll Song' from 'The Tales of Hoffman,' and three other familiar pieces. Set against the backdrop of a full Orchestra, it will thrill you and put you center stage as you learn and perform these summits of the repertoire. Read more at SheetMusicPlus G. Schirmer Americana Aria Anthology Soprano This landmark Coloratura Arias for Soprano - Complete Package, the first multi-volume aria anthology devoted entirely to the topic, collects compelling, useful, singer-friendly excerpts from the best of a distinctly American musical tradition. Plot notes and basic information about each opera are included. The operas of Gian Carlo Menotti are particularly present, with 26 arias from nine operas in the series. A majority of the music in the four volumes has never before been available outside the vocal scores; a significant number of the arias were especially adapted for this edition. Some arias in the series have never been in print at all before now. Many arias are appropriate for college student singers. Diction Coach includes recorded diction lessons, IPA, and word for word translations. In addition to piano accompaniments playable on both your CD player and computer, the enhanced accompaniment CDs also include tempo adjustment software for CD-ROM computer use. Featuring the version accompanied by chamber orchestra and organ, the choir and Scott are joined for Faure's best-known work by the excellent New York- based Orchestra of St. Also featured on this recording are a selection of shorter works including the celebrated Cantique de Jean Racine and the striking Messe Basse for upper voices. This dancelike setting of Psalm 92 for soprano, alto, tenor and bass voices, piano, and french horn, is light and airy, with soaring melody lines and accompaniment. Great masters of lieder from Beethoven to Richard Strauss are represented among 48 songs that have been chosen for their appeal to young singers. Musical excerpts studied in Gateway to German Diction appear as complete scores. The comb binding creates a lay-flat book that is perfect for study and performance. For soprano voice and piano. With vocal melody, lyrics, piano accompaniment and text translations. Romantic period. Published by Hal Leonard Corporation. This series presents songs and arias from their timeless operettas, collected by voice type. Coloratura Arias for Soprano - Complete Package are songs per volume, with the most famous excerpts peppered by beautiful, less known choices. The edition includes notes about the plot context of each selection. This book beings with the early Italian classics and moves through the songs of Handel and Haydn, and on into what has been called the Golden Age of Song and Singing - the songs of Beethoven, Schumann, Brahms, Schubert, Grieg and so on. French songs from the Golden Age are also included, as are a few songs in Spanish and Russian. This collection is also available for Low Voice. Read more at SheetMusicPlus Great Soprano Arias Book 1 This compilation features 26 classic arias from 16 of Verdi's greatest operas, Coloratura Arias for Soprano - Complete Package the composer's transcriptions for voice and piano. A wonderful selection of arias for Sopranos, complete with contextual information on each aria. Each piece is complemented with practical piano accompaniment, as arranged by Simon Lesley. These arias are ideal for concert and recital performances. Read more at SheetMusicPlus Great Soprano Arias Book 2 This compilation features 26 classic arias from 16 of Verdi's greatest operas, in the composer's transcriptions for voice and piano. Reproduced from Coloratura Arias for Soprano - Complete Package early editions, the arias include Oh patria mia and Ritorna vincitor! CD only. Size 4. Published by Hal Leonard. Create your own family or community production of Handel's holiday classic. Each voicing has its own audio in either CD or cassette. Backing tracks are digitally recorded and follow the G. Schirmer edition of the Messiah. Sold separately and in specially priced groups of four one of each voicing. Superb music and a rewarding set of songs for any vocalist. Includes a high-quality printed vocal score and a compact disc with stereo accompaniments to each piece minus you, the soloist. Includes a high-quality printed vocal score annotated with performance suggestions, and a compact disc with complete versions with soloist followed by stereo accompaniments to each piece, minus the soloist. Brahms arranged 8 for solo Voice and Piano, here published together by Edition Peters. Both German and English sung text. With diction lessons recorded by Irene Spiegelman, German diction coach at the Metropolitan Opera, piano accompaniments recorded by Laura Ward, this collection of the most often taught Brahms songs is an excellent introduction to lieder. The diction for each song is recorded twice: first recited as an actor would speak it, showing flow of the language and mood, followed by a slow, deliberate lesson, allowing time for the student to repeat each line. She is also very sensitive to liaisons between word sounds in Coloratura Arias for Soprano - Complete Package musical settings. Includes historical notes and early history of each song as well as line by Coloratura Arias for Soprano - Complete Package translations on the first page of music. Not to be missed! Contains a beautiful, newly engraved, page printed music score printed
Recommended publications
  • Albert-Lortzing-Gesellschaft E. V. Februar 2009
    Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Albert-Lortzing-Gesellschaft e. V. gegründet 2001 Lortzings Wohnhaus, die Große Funkenburg, in Leipzig Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 2 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Liebe Mitglieder, endlich halten Sie wieder einen Rundbrief in den Händen. Ich freue mich, daß auch diesmal zwei Mitglieder unserer Gesellschaft Beiträge verfasst haben, die den wesentlichen Teil dieses Rundbriefes ausmachen. Darüber hinaus finden Sie erneut Original-Rezensionen einiger Aufführungen durch Mitglieder unserer Gesellschaft sowie weitere Informationen, die hoffentlich Ihr Interesse finden. Das wichtigste Ereignis 2009 ist sicherlich das Mitgliedertreffen in Leipzig und die aus diesem Anlass stattfindende Fachtagung der Musikwissenschaftlichen Abteilung der Hochschule für Musik Felix Mendelssohn Bartholdy. Wir danken Herrn Prof. Dr. Schipperges sehr herzlich für die inhaltliche Planung und Organisation dieser Tagung. Ich wünsche allen einen schönen Frühling und freue mich, Sie bei dem Treffen in Leip- zig persönlich begrüßen zu können. Mit herzlichen Grüßen im Namen des ganzen Vorstands Ihre Irmlind Capelle Detmold, Ende Februar 2009 Impressum: Herausgeber: Albert-Lortzing-Gesellschaft e. V. c/o Prof. Dr. Bodo Gotzkowsky, Leipziger Straße 96, D – 36037 Fulda, Tel. 0661 604104 e-Mail: [email protected] Redaktion: Dr. Irmlind Capelle (V.i.S.d.P.) (Namentlich gezeichnete Beiträge müssen nicht unbe- dingt der Meinung des Herausgebers entsprechen.) © Lortzing-Gesellschaft e. V., 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Rosina Regina Lortzing geb. Ahles Die Suche nach ihrem Grab Ein Bericht von Petra Golbs Regina Rosina (geb.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • 573824 Itunes Lortzing
    LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg.
    [Show full text]
  • The Art of Music :A Comprehensive Ilbrar
    1wmm H?mi BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT or Hetirg W, Sage 1891 A36:66^a, ' ?>/m7^7 9306 Cornell University Library ML 100.M39 V.9 The art of music :a comprehensive ilbrar 3 1924 022 385 342 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022385342 THE ART OF MUSIC The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians Editor-in-Chief DANIEL GREGORY MASON Columbia UniveTsity Associate Editors EDWARD B. HILL LELAND HALL Harvard University Past Professor, Univ. of Wisconsin Managing Editor CESAR SAERCHINGER Modem Music Society of New Yoric In Fourteen Volumes Profusely Illustrated NEW YORK THE NATIONAL SOCIETY OF MUSIC Lillian Nordica as Briinnhilde After a pholo from life THE ART OF MUSIC: VOLUME NINE The Opera Department Editor: CESAR SAERCHINGER Secretary Modern Music Society of New York Author, 'The Opera Since Wagner,' etc. Introduction by ALFRED HERTZ Conductor San Francisco Symphony Orchestra Formerly Conductor Metropolitan Opera House, New York NEW YORK THE NASTIONAL SOCIETY OF MUSIC i\.3(ft(fliji Copyright, 1918. by THE NATIONAL SOCIETY OF MUSIC, Inc. [All Bights Reserved] THE OPERA INTRODUCTION The opera is a problem—a problem to the composer • and to the audience. The composer's problem has been in the course of solution for over three centuries and the problem of the audience is fresh with every per- formance.
    [Show full text]
  • RSTD OPERN Ma Rz April Ok 212X433
    RSTD OPERN_März April_ok_212x433 12.02.13 09:40 Seite 1 Opernprogramm März 2013 März Gaetano Donizetti Anna Bolena 20.00 - 22.55 Anna Bolena: Edita Gruberova, Giovanna Seymour: Delores Ziegler, Enrico VIII.: Stefano Palatchi, Lord Rochefort: Igor Morosow, 2 Lord Riccardo Percy: José Bros, Smeton: Helene Schneiderman, Sir Hervey: José Guadalupe Reyes. Samstag Chor und Orchester des Ungarischen Rundfunks und Fernsehens, Leitung: Elio Boncompagni, 1994. März Richard Wagner Das Liebesverbot 20.00 - 22.40 Friedrich: Hermann Prey, Luzio: Wolfgang Fassler, Claudio: Robert Schunk, Antonio: Friedrich Lenz, Angelo: Kieth Engen, 5 Isabella: Sabine Hass, Mariana: Pamela Coburn, Brighella: Alfred Kuhn. Dienstag Chor der Bayerischen Staatsoper, Bayerisches Staatsorchester, Leitung: Wolfgang Sawallisch, 1983. März Georg Friedrich Händel Alessandro 20.00 - 23.20 Alessandro Magno: Max Emanuel Cencic, Rossane: Julia Lezhneva, Lisaura: Karina Gauvin, Tassile: Xavier Sabata, 7 Leonato: Juan Sancho, Clito: In-Sung Sim, Cleone: Vasily Khoroshev. Donnerstag The City of Athens Choir, Armonia Atenea, Leitung: George Petrou, 2011. März Giuseppe Verdi Aroldo 20.00 - 22.15 Aroldo: Neil Shicoff, Mina: Carol Vaness, Egberto: Anthony Michaels-Moore, Briano: Roberto Scandiuzzi, 9 Godvino: Julian Gavin, Enrico: Sergio Spina, Elena: Marina Comparato. Samstag Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Leitung: Zubin Mehta, 2001. März Wolfgang Amadé Mozart La finta giardiniera 20.00 - 23.10 Sandrina: Sophie Karthäuser, Contino Belfiore: Jeremy Ovenden, Arminda: Alex Penda, 12 Cavaliere Ramiro: Marie-Claude Chappuis, Podestà: Nicolas Rivenq, Serpetta: Sunhae Im, Roberto: Michael Nagy. Dienstag Freiburger Barockorchester, Leitung: René Jacobs, 2011. Der neue Konzertzyklus im Mozarthaus Vienna: mozartakademie 2013 „Magic Moments – Magische Momente in den Werken großer Meister“ 20.03.
    [Show full text]
  • Dezember 2004 Albert-Lortzing-Gesellschaft E
    Rundbrief Nr. 2 Albert-Lortzing-Gesellschaft e. V. Dezember 2004 Albert-Lortzing-Gesellschaft e. V. gegründet 2001 Albert Lortzing Rolands Knappen oder Das ersehnte Glück (1849) Rundbrief Nr. 2 Albert-Lortzing-Gesellschaft e. V. Dezember 2004 Rundbrief Nr. 2 Albert-Lortzing-Gesellschaft e. V. Dezember 2004 — 2 Liebe Mitglieder! Leider ist jetzt doch fast ein Jahr vergangen, bis Sie einen zweiten Rund- brief in den Händen halten. Dabei waren die Reaktionen auf den ersten durchaus positiv und ermunternd. Doch hatte mich im Herbst die Redaktion der ersten Buch-Publikation (s. S. 15) so fest im Griff, daß ich beim besten Willen zu nichts anderem gekommen bin. Dem Wunsch, den Rundbrief zu einem Forum der Mitglieder zu machen, konn- ten wir bei Nr. 2 bereits etwas näher kommen. Wir bitten auch weiterhin alle Mitglieder, uns Berichte von Aufführungen etc. zu schicken. Vielleicht ist auch jemand interessiert, CD-Rezensionen zu schreiben? Wir wünschen allen Mitgliedern eine schöne Vorweihnachtszeit und alles Gute zum neuen Jahr, in dem wir uns hoffentlich zahlreich wiedersehen werden. Detmold, im Dezember 2004 Im Auftrag des Vorstands: Irmlind Capelle Impressum: Herausgeber: Albert-Lortzing-Gesellschaft e. V. c/o Prof. Dr. Bodo Gotzkowsky, Leipziger Straße 96, D – 36037 Fulda Tel. 0661 604104 e-Mail: [email protected] Redaktion: Dr. Irmlind Capelle (V.i.S.d.P.) (Namentlich gezeichnete Beiträge müssen nicht unbedingt der Meinung des Herausgebers entsprechen.) © Lortzing-Gesellschaft e. V., 2004 Rundbrief Nr. 2 Albert-Lortzing-Gesellschaft e. V. Dezember 2004 Rundbrief Nr. 2 Albert-Lortzing-Gesellschaft e. V. Dezember 2004 — 2 Rolands Knappen oder: Das ersehnte Glück Komisch-romantische Zauberoper in drei Akten, nach Musäus‘ gleichnami- gem Märchen frei bearbeitet von G.
    [Show full text]
  • 07 – Spinning the Record
    VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo.
    [Show full text]
  • La Clemenza Di Tito
    La clemenza di Tito La clemenza di Tito (English: The Clemency of Titus), K. 621, is an opera seria in La clemenza di T ito two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Pietro Metastasio. It was started after the bulk of Die Zauberflöte Opera by W. A. Mozart (The Magic Flute), the last opera that Mozart worked on, was already written. The work premiered on 6 September 1791 at theEstates Theatre in Prague. Contents Background Performance history Roles Instrumentation Synopsis Act 1 The composer, drawing by Doris Act 2 Stock, 1789 Recordings Translation The Clemency of Titus See also References Librettist Caterino Mazzolà External links Language Italian Based on libretto by Pietro Metastasio Background Premiere 6 September 1791 In 1791, the last year of his life, Mozart was already well advanced in writing Die Estates Theatre, Zauberflöte by July when he was asked to compose an opera seria. The commission Prague came from the impresario Domenico Guardasoni, who lived in Prague and who had been charged by the Estates of Bohemia with providing a new work to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia. The coronation had been planned by the Estates in order to ratify a political agreement between Leopold and the nobility of Bohemia (it had rescinded efforts of Leopold's brother Joseph II to initiate a program to free the serfs of Bohemia and increase the tax burden of aristocratic landholders). Leopold desired to pacify the Bohemian nobility in order to forestall revolt and strengthen his empire in the face of political challenges engendered by the French Revolution.
    [Show full text]
  • Merola Opera Program 2017 Summer Festival Continues Its 60Th
    Contact: Ruben Pimentel Rachel Krasner Director of Marketing & Communications Marketing & Events Associate [email protected] [email protected] 415.936.2323 415.936.2320 Jean Shirk [email protected] 510.332.4195 FOR IMMEDIATE RELEASE / May 24, 2017 Merola Opera Program 2017 Summer Festival continues its 60th Anniversary Season with Schwabacher Summer Concerts July 6 at 7:30 pm at San Francisco Conservatory of Music and July 9 at 2:30 pm at Bing Concert Hall at Stanford University (l to r: Anne Manson, David Lefkowich) (San Francisco, CA – May 24, 2017) - The acclaimed Merola Opera Program, one of the most prestigious and selective opera training programs in the United States, celebrates its 60th Anniversary Season with the 2017 Summer Festival, presenting the popular Schwabacher Summer Concerts Thursday, July 6 at 7:30 pm at the San Francisco Conservatory of Music and Sunday, July 9 at 2:30 pm at the Bing Concert Hall at Stanford University. Conducted by Anne Manson and directed by David Lefkowich, the Schwabacher Summer Concert features this year’s Merola Opera artists performing extended scenes from operas including The Ballad of Baby Doe by Douglas Moore, Lucrezia Borgia by Gaetano Donizetti, Der Freischütz by Carl Maria von Weber, Thaïs by Jules Massenet, Cavalleria rusticana by Pietro Mascagni, and Street Scene by Kurt Weill. Tickets for the concert at the 1 San Francisco Conservatory of Music range from $25 to $45, with a limited number of $15 student tickets available. Tickets for the concert at Bing Concert Hall are $30 to $40. Conductor Anne Manson has served as Music Director of the Manitoba Chamber Orchestra since 2008 and recently renewed her contract through 2020.
    [Show full text]
  • Uniting Commedia Dell'arte Traditions with the Spieltenor Repertoire
    UNITING COMMEDIA DELL’ARTE TRADITIONS WITH THE SPIELTENOR REPERTOIRE Corey Trahan, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: Stephen Austin, Major Professor Paula Homer, Committee Member Lynn Eustis, Committee Member and Director of Graduate Studies in the College of Music James Scott, Dean of the School of Music James R. Meernik, Acting Dean of the Toulouse Graduate School Trahan, Corey, Uniting Commedia dell’Arte Traditions with the Spieltenor repertoire. Doctor of Musical Arts (Performance), May 2012, 85 pp., 6 tables, 35 illustrations, references, 84 titles. Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. The spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s spieltenor benefit from consulting the commedia dell’arte’s traditions? To answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. The spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. In addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five spieltenor roles.
    [Show full text]
  • The Physician As Opera Character
    The physician as opera character - a reflection of medical history and public perception Stefan N. Willich Institute for Social Medicine, Epidemiology and Health Economics Charité University Medical Center Humboldt University of Berlin, Germany Address for correspondence: Prof. Stefan N. Willich Institute for Social Medicine, Epidemiology and Health Economics Charité University Medical Center 10098 Berlin, Germany Tel: 030-450 529002, Fax: 030-450 529902 E-mail: [email protected] The Physician as Opera Character - A Reflection of Medical History and Public Perception Abstract/ Summary Physician characters appear in about 10% of the opera repertoire. The doctor’s importance, basis of knowledge, social status, and role in the opera change in the historic development of opera. Whereas in the 18th century the doctor does not have a healing function but plays a buffoon in a supportive role, in the 19th century he appears both as charlatan and already as a scientifically trained physician. In the 20th century, the doctor plays a major role in a socially superior position and, in addition to being a clinician, he is often depicted as a researcher. The dynamics of the physician’s role in opera history, on the one hand, reflects the development of medicine and, on the other hand, illustrates the development of the social position of doctors and the public attitude towards the medical profession over the last centuries. Key Words Physician, doctor, charlatan, opera, libretto, music 1 Introduction and methodological considerations Music is arguably the most abstract form of art. It was long considered one of the seven ‘artes liberales’ at European universities (along with grammar, dialectic, rhetoric, arithmetic, geometry and astronomy) that were a prerequisite for advanced graduate studies (1).
    [Show full text]
  • Elektra 2017
    B Y L ARRY R OTHE igmund Freud and Carl Gustav Jung approached the wronged must exact vengeance. Now, just as her mother human mind as a museum. They toured patients’ avenged the young Iphigenia, Elektra seeks revenge for her Sinner galleries, focusing on the permanent collec - father’s death. His killers must die. Sophocles captures all tions. What a show the princess Elektra would have offered, a this in a story of corrosive sorrow. Hofmannsthal chose not display so disturbing that it gave birth to a psychoanalytical the - to mention Iphigenia in his version of the legend, thus eras - ory. Jung coined the term “Electra complex” in 1913, ten years ing sympathy for Klytemnestra. His queen is no grieving after the Austrian poet Hugo von Hofmannsthal wrote his play mother. She is a self-centered adulteress who wants her hus - Elektra, based on Sophocles’ classic drama, and four years after band gone. His murder drives Elektra to the edge of insanity. Richard Strauss transformed Hofmannsthal’s play into his most When Strauss saw Hofmannsthal’s Elektra in 1905, he musically daring opera. For Hofmannsthal, the character of knew it could become an opera, yet he balked at the subject, Elektra (to use the German spelling) must have exercised a worried that it too closely resembled his last stage work, powerful appeal, for she embodied the fevers and perfumes of Salome . That story, drawn from the Bible and thus also set in fin-de-siècle art. As drawn to interiors as were Freud and Jung, antiquity, capitalized on flamboyance. The nymphet of the Hofmannsthal saw opportunity in Elektra—the opportunity to title teases her stepfather, King Herod, with a flood of adoles - depict a tortured mind, to open the doors to her inner museum.
    [Show full text]