Rosalba CARRIERA
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Les Nuits D'été & La Mort De Cléopâtre
HECTOR BERLIOZ Les nuits d'été & La mort de Cléopâtre SCOTTISH CHAMBER ORCHESTRA ROBIN TICCIATI CONDUCTOR KAREN CARGILL MEZZO-SOPRANO HECTOR BERLIOZ Les nuits d’été & La mort de Cléopâtre Scottish Chamber Orchestra Robin Ticciati conductor Karen Cargill mezzo-soprano Recorded at Cover image The Usher Hall, Dragonfly Dance III by Roz Bell Edinburgh, UK 1-4 April 2012 Session photos by John McBride Photography Produced and recorded by Philip Hobbs All scores published by Bärenreiter-Verlag, Kassel Assistant engineer Robert Cammidge Design by gmtoucari.com Post-production by Julia Thomas 2 Les nuits d’été 1. Villanelle ......................................................................................2:18 2. Le spectre de la rose .................................................................6:12 3. Sur les lagunes ............................................................................5:50 4. Absence ......................................................................................4:45 5. Au cimetière ...............................................................................5:32 6. L’île inconnue .............................................................................3:56 Roméo & Juliette 7. Scène d’amour ........................................................................16:48 La mort de Cléopâtre 8. Scène lyrique ..............................................................................9:57 9. Méditation.................................................................................10:08 Total Time: ......................................................................................65:48 -
Shakespeare Y Roméo Et Julieite De Charles Gounod
SHAKESPEARE Y ROMÉO ET JULIEITE DE CHARLES GOUNOD Por RAMÓN MARÍA SERRERA "Shakespeare aplastó con su genio, con su dinámica propia, a casi todos los compositores que trataron de transformar sus dramas en óperas" (Alejo Carpentier) No podía ser de otra forma. Cuando baja el telón al final de la representación, los dos amantes yacen muertos sobre el es cenario. Él, tras ingerir el veneno, después de creer que su amada Julieta ha bebido una pócima mortal. Ella, autoinrnolándose por amor cuando descubre que Romeo ha puesto fin a su vida. Una vez más, corno en toda auténtica ópera romántica, un destino ab surdo, pero inexorable, impide a los protagonistas hallar la felici dad, la paz o la consumación de su amor en este mundo. Porque el amor romántico es -no lo olvidemos- un amor siempre imposi ble, un amor que se vive desde el sufrimiento y que se enfrenta a barreras y convenciones sociales, étnicas, políticas o familiares siempre infranqueables. En el Romanticismo la felicidad está cla ramente desacreditada. Deben sufrir hasta el límite, hasta poner fin a sus vidas, estos jóvenes amantes protagonistas de una histo ria de amor irrealizable a causa de rivalidades familiares o de clanes: capuletos y montescos, güelfos y gibelinos, zegríes y aben cerrajes ... Lo mismo da. De lo contrario, no serían los personajes principales de una historia de amor romántica. Y Shakespeare fue un gran dramaturgo romántico ... 136 RAMÓN MARÍA SERRERA - SHAKESPEARE Y EL MELODRAMA ROMÁNTICO En su autobiografía Gounod dejó escrito que "para un com positor, no hay sino un camino a seguir para hacerse de un nombre, y éste es el teatro, la ópera. -
Charles Gounod
1864 VERSION CHARLES GOUNOD FAUST Aljaž Farasin • Carlo Colombara • Marjukka Tepponen Lucio Gallo • Diana Haller • Ivana Srbljan • Waltteri Torikka Croatian National Theatre in Rijeka Opera Orchestra and Choir Ville Matvejeff Act I 24:56 $ Scene 6: Récitatif: Je voudrais bien 1:32 1 Introduction 6:39 (Marguerite) 2 Scene 1: Rien!… En vain j’interroge – % Scene 6: Chanson du Roi de Thulé: Chorus: Ah! Paresseuse fille 8:27 Ile était un roi de Thulé 6:16 (Faust, Maidens, Labourers) (Marguerite) 3 Récitatif: Mais ce Dieu 1:09 ^ Air des bijoux: Charles (Faust) Ah! Je ris de me voir 3:57 4 Scene 2: Duo: Me voici! 8:41 (Marguerite) GOUNOD (Méphistophélès, Faust) & Scene 7: Scène: Seigneur Dieu... – (1818–1893) Scene 8: Dame Marthe Schwerlein 2:57 Act II 27:15 (Marthe, Marguerite, Méphistophélès, Faust) 5 Scene 1: Chœur: Vin ou bière 4:45 * Scene 8: Quatuor: (Students, Wagner, Soldiers, Citizens, Prenez mon bras un moment! 7:22 Faust Maidens, Matrons) (Faust, Marguerite, Méphistophélès, Marthe) 6 Scene 2: Scène: O sainte médaille – ( Scene 10: Scène: Il était temps! 1:47 Opera in five acts (1858) (London version, 1864) Récitatif: Ah! Voici Valentin – (Méphistophélès) Libretto by Jules Barbier (1825–1901) and Michel Carré (1822–1872) Invocation: Avant de quitter ces lieux – ) Scene 11: Duo: Il se fait tard – Scene 3: Pardon! 6:47 Scene 12: Scene: Tête folle! – Additional text by Onésime Pradère (1825–1891) (Valentin, Wagner, Siébel, Students, Méphistophélès) Scene 13: Il m’aime 13:53 Sung in French 7 Ronde du Veau d’or: (Marguerite, Faust, Méphistophélès) Le veau d’or est toujours debout! 1:56 (Méphistophélès, Siébel, Wagner, Chorus) Act IV 46:13 Faust .............................................................................................. -
Rosalba Carriera Provenant De La Galerie Des Repr
Neil Jeffares, Dictionary of pastellists before 1800 Online edition CARRIERA, Rosalba pp. 98ff, 107; Lüttichau 1985, p. 1873, fig. 12; Venice 1673–1757 Brunner & al. 1988, p. 73; Sani 1988, no. 213, NB: This is the Named sitters part of article. To return fig. 186 n.r.; Sani 2007, no. 234 repr. ϕ to the Essay follow this hyperlink. Pastels – Named Sitters A–K J.21.0189 Christian Ludwig AGRICOLA (1667– 1719), peintre, paysagiste, pstl, 43.2x31.1 (A.; Frankfurt, Johann Andreas Benjamin Nothnagel, Maler, 2.VIII.1784, Lot 38, Kr30; Friedrich Samuel Freiherr von Schmidt) J.21.019 =?AGRICOLA, m/u ~grav. Bernard Vogel. Lit.: Carriera 2007b, p. 59 repr. J.21.0192 [Charlotte-Élisabeth Aïcha, dite] Mlle AÏSSÉ [(c.1695–1733)], pstl, 57x45 (Alexandre J.21.0199 ~cop. XIXe, pstl, ov. (Boris Wilnitsky Dumas fils; Paris, Drouot, Léon Tual, 2013, as by Hoin) Chevallier, 12–13.V.1892, Lot 187 n.r.). J.21.02 Anna AMALIA Giuseppa di Modena d’Este, =?Exh.: Paris 1885a, no. 1 n.r. [?attr.; cf. pstl/ppr, 52x40 (Uffizi, inv. 1890, no. 2585. Coypel; Vialy] Violanta von Bayern, Villa Lappeggi 1733– J.21.0207 ~cop. XIXe, pstl, ov. (Boris Wilnitsky Albergatti, v. Bentivoglio 1762; Palazzo Crocetta a.1861; acqu. 1861). 2013, as by Hoin) J.21.0193 La marquise d’ALINCOURT, née Marie- Exh.: Paris 1919b, no. 27 n.r.; Turin 1951, p. J.21.0208 Kaiserin AMALIE Wilhelmine, née von Joséphine de Boufflers (1704–1738), pstl, 74; Carriera 2007b, no. 9 repr. Lit.: Malamani Braunschweig-Lüneburg (1673–1742), Carriera, Diari, comm. -
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ACCOUNT OF THE INSTITUTION 4ND PROGRESS O F T H E SOCIETY OF THE ANTIQJJARIES OF SCOTLAND. PART SECOND. EDINBURGH: SOLD AT THE MUSEUM OF THE SOCIETY, AND BY WILLIAM CREECH ; -AND A. DONALDSON, LONDON; BOOKSELLERS TO THE SOCIETY. M,DCC,LXXXIV. ACCOUNT OF THE A N T I CLU A R I A N SOCIETY. PART SECOND. N compliance with an order of the Society of the Antiquaries of I Scotland, this Second Part of a Chronological Account of their progrefs, and principal tranfadlions, is communicated to the public. On the 2ift day of May 1782, the following petition was figned, and afterwards prefented to his Majefty, praying for a royal charter of incorporation. It was returned by the Society's agent, with a reference to the Lord Advocate of Scotland, by Lord Sidney, then one of the Secretaries of State. To the King's mofl Excellent Majefty ^ the humble Petition of ike Sc- ciety of the Antiquaries of Scotland^. " Sbrwcth, " That, in the year 1780, your petitionerSj confifting oF a num- ber of the Noblemen and Gentlemen of this part of your sYhiefty's I j J * nutted kingdom,, formed theraielves into a Society for inveflig.-uirig; ACCOUNT OF THE A N T I QJJ ARIA N S O C I E T Y. 5 antiquities, as well as natural and civil. hiftory in general, with a view to the improvement of the minds of mankind, and to promote name, to have a perpetual endurance and fucceflion, and to a tafte for natural and uiefu! knowledge ; and the fuccefs of their be able and capable to fue, plead, defend, and anfwer, and endeavours has already far fucceeded beyond their moft fanguine to be fued, impleaded, defended, and anfvvered, in all or expectations. -
Oxford DNB Linking to External Resources May 2016
Oxford DNB linking to external resources May 2016 The May 2016 update of the Oxford DNB adds links from Dictionary articles to online biographical resources provided by the following institutions: 1. English Heritage Blue Plaques 2. Poetry Archive, archive recordings of poets reading aloud their work 3. BBC archive film footage 4. BBC archive radio recordings 5. British Library, ‘Discovering Literature’ 6. Westminster Abbey, poets’ corner 7. Westminster Abbey, other burials and monuments 8. Queen Victoria’s Journals 1. Blue Plaques, English Heritage—links from 850 ODNB biographies, including: Harold Abrahams John Betjeman Thomas Arne Nye Bevan Matthew Arnold William Blake Herbert Asquith Enid Blyton Nancy Astor Elizabeth Bowen Clement Attlee Winifred Holtby Robert Paden-Powell Vera Brittain Walter Bagehot Benjamin Britten John Logie Baird Ford Madox Ford Stanley Baldwin Lancelot Brown Thomas Barnardo Isambard Kingdom Brunel Henrietta Barnett Fanny Burney Elizabeth Barrett Browning Giovanni Canal James Barrie Cato Street Conspirators Joseph Bazalgette Edith Cavell Aubrey Beardsley Ernst Chain Harry Beck Neville Chamberlain Hilaire Belloc Raymond Chandler Hector Berlioz Tobias Smollett Annie Besant Agatha Christie 1 Winston Churchill Arthur Conan Doyle William Wilberforce John Constable Wells Coates Learie Constantine Wilkie Collins Noel Coward Ivy Compton-Burnett Thomas Daniel Charles Darwin Mohammed Jinnah Francisco de Miranda Amy Johnson Thomas de Quincey Celia Johnson Daniel Defoe Samuel Johnson Frederic Delius James Joyce Charles Dickens -
List of Fellows of the Royal Society 1660 – 2007
Library and Information Services List of Fellows of the Royal Society 1660 – 2007 A - J Library and Information Services List of Fellows of the Royal Society 1660 - 2007 A complete listing of all Fellows and Foreign Members since the foundation of the Society A - J July 2007 List of Fellows of the Royal Society 1660 - 2007 The list contains the name, dates of birth and death (where known), membership type and date of election for all Fellows of the Royal Society since 1660, including the most recently elected Fellows (details correct at July 2007) and provides a quick reference to around 8,000 Fellows. It is produced from the Sackler Archive Resource, a biographical database of Fellows of the Royal Society since its foundation in 1660. Generously funded by Dr Raymond R Sackler, Hon KBE, and Mrs Beverly Sackler, the Resource offers access to information on all Fellows of the Royal Society since the seventeenth century, from key characters in the evolution of science to fascinating lesser- known figures. In addition to the information presented in this list, records include details of a Fellow’s education, career, participation in the Royal Society and membership of other societies. Citations and proposers have been transcribed from election certificates and added to the online archive catalogue and digital images of the certificates have been attached to the catalogue records. This list is also available in electronic form via the Library pages of the Royal Society web site: www.royalsoc.ac.uk/library Contributions of biographical details on any Fellow would be most welcome. -
Anecdotal Insights: Changing Perceptions of Italian Women Artists in Eighteenth-Century Life Stories Julia K
University of Minnesota Morris Digital Well University of Minnesota Morris Digital Well Art History Publications Faculty and Staff choS larship 2008 Anecdotal Insights: Changing Perceptions of Italian Women Artists in Eighteenth-Century Life Stories Julia K. Dabbs University of Minnesota, Morris, [email protected] Follow this and additional works at: https://digitalcommons.morris.umn.edu/arthistory Part of the Other History of Art, Architecture, and Archaeology Commons, and the Women's History Commons Recommended Citation Dabbs, “Anecdotal Insights: Changing Perceptions of Italian Women Artists in 18th-century Life Stories.” Eighteenth-Century Women 5 (2008): 29-51. This Article is brought to you for free and open access by the Faculty and Staff choS larship at University of Minnesota Morris Digital Well. It has been accepted for inclusion in Art History Publications by an authorized administrator of University of Minnesota Morris Digital Well. For more information, please contact [email protected]. Anecdotal Insights: Changing Perceptions of Italian Women Artists in Eighteenth-Century Life Stories Julia K. Dabbs “Why can’t a woman be more like a man?” Professor Henry Higgins’s androcentric lament from the musical My Fair Lady would have resounded with male biographers of the eighteenth century who wrote about the perplexing phenomenon of the woman artist. Since the Renaissance, writers of artistic biographical compendia had char- acterized the few female artists included in their volumes in distinctly different ways from their -
Inventory Acc.12686 Papers of the Family of Cathcart of Cathcart Lords
Acc.12686 November 2006 Inventory Acc.12686 Papers of the family of Cathcart of Cathcart Lords, Viscounts and Earls Cathcart c.1380 – c.1910 Including the papers of General the Hon. Sir George Cathcart (1794-1854) National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland These papers were deposited by the seventh Earl Cathcart in 2006. Extent: 22 metres Historical Note: These papers of the Cathcart family of Cathcart, Lords, Viscounts and Earls Cathcart and Lords Greenock, cover from the late 14th century to the first decade of the twentieth century. The main figures represented are: • Charles Cathcart, 8th Baron (succeeded 1732, d.1740). Appointed Commander-in- Chief of all British forces in America in 1740, but died on the voyage out. Married Marion Schaw/Shaw, only child of Sir John Schaw and Lady Shaw (nee Margaret Dalrymple) of Greenock. • Charles Schaw Cathcart, 9th Baron (b.1721, succeeded his father 1740, d.1776). Wounded at Fontenoy, and thereafter nicknamed “Patch”. Ambassador to Russia, 1768-1772. Married Jane Hamilton, daughter of Lord and Lady Archibald Hamilton, and sister of Sir William Hamilton. • William Schaw Cathcart, 10th Baron, first Viscount, first Earl Cathcart, first Baron Greenock (b.1755, succeeded his father 1776, d.1843). Commander-in-Chief in Ireland, 1803-1805, Commander-in-Chief in Scotland, 1806-12, Commander-in-Chief of the Expedition to Copenhagen, 1807, Ambassador to Russia, 1812-1820. Married Elizabeth Elliot, cousin to the first Earl of Minto, lady-in-waiting to Queen Charlotte. -
Faust-Education-Pack.Pdf
Faust Music by Charles Gounod Libretto by Jules Barbier English Translation by Ruth Martin & Thomas Martin adapted by SCO Doctor Faust is alone. The promise of love and the return of his youth is enough to convince Faust to make a deal with the devil, Méphistophélès As Méphistophélès’ plan unravels, Faust is led down an increasingly darker path that will lead to love, death, greed and madness. Contents Introduction… 4 Faust by Gounod…5 - What is Opera?... 5 - Who was Gounod?... 6 - Who was Goethe?...6 - Who are SCO?... 7 The Story of Faust…8 - Plot summary…8 Key Characters of Faust…10 Creative view for Faust… 11 - Challenges of Touring …11 - Design of Faust…12 Cast of Faust Interviews… 13 Lesson Plans…14 - Music…14 - Drama…16 Tour Dates… 18 Introduction In September 1846 Verdi started work on a project to turn Johann Wolfgang von Goethe’s play Faust: Part 1 into an opera. The play tells the story of a doctor who is seduced by the devil with the promise of youth and love, and tracks his tragic fall into greed, lust and bloody violence. Gounod was seduced by the play’s dramatic plot, its elements of the supernatural, and the potential for creating a spectacular theatrical experience. Working with “… Musical ideas sprang to the poet Jules Barbier from a version of Goethe’s play by Michael Carré called ”Faust et Marguerite”, my mind like butterflies, and Gounod created a five act opera in French that was all I had to do was to stretch first performed in Paris in 1859. -
Journal of Proceedings
N.S. Vol. XXII. THE TRANSACTIONS AND Journal of Proceedings DUMFRIESSHIRE AND GALLOWAY Natural History and Antiquarian Society FOUNDED NOVEMBER. 1862. SESSION 1909-1910. PRINTED AT THE STANDARD OFFICE, DUMFRIES, and PUBLISHED BY THE SOCIETY. 1911. N.S. Vol. XXII. THE TRANSACTIONS Journal of Proceedings DUMFRIESSHIRE AND GALLOWAY Natural History and Antiquarian Society FOUNDED NOVEMBER, 1662 SESSION 1909-1910. PRINTED AT THE STANDARD OFFICE, DUMFRIES, and PUBLISHED BY THE SOCIETY. 1911. — — — Office=Bearers for 1909=1910. President H. S. Gladstone of Capenoch, Thornhill, Dumfriesshire, F.Z.S., M.B.O.U. Honorary Vice-Presidents. James Barbour, F.S.A.Scot., Dumfries. J. F. CoRMACK, Solicitor, Lockerbie. John M'Kie, R.N., Kirkcudbright. Dr Ja:\ies Maxwell Ross, Duntrune, Dumfries. Robert Service, M.B.O.U., Dumfries. Professor G. F. Scott-Elliot, M.A., B.Sc, F.R.G.S., F.L.S., Newton, Dumfries. Vice-Presidents. William Dickie, Merlewood, Dumfries. James Lennox, Provost of Dumfries, F.S.A.Scot., Edenbank, Dumfries. Dr J. W. Martin, Charterhall, Newbridge, Dumfries. Dr VV. Semple, M.A., B.Sc, Ph.D., Mileash, Dumfries. Honorary Secretary. Samuel Arnott, F.R.H.S., Sunnymead, Dumfries. Honorary Treasurer. M. H. M'Kerrow, Solicitor, 43 Buccleuch Street, Dumfries. Honorary Librarian and Curator of Museum. George W. Shirley, Ewart Public Librarj', Dumfries. Honorary Departmental Curators. Antiquities John M. Corrie. Coins and Tokens Rev. H. A. Whitelaw. Natural History—Dr J. W. Martin. (leology Robert Wallace. Herbarium —Miss Hannay and Professor Scott-Elliot. Honorary Secretary Pliotograpliic Committee. W. A. Mackinnel, The Shieling, Dumfries. Members of Council. The President ; Honorary Vice-Presidents ; Vice-Presidents ; Secretary ; Treasurer ; Librarian : and Curators ; and the following —Rev. -
Holover-Opera-Part-1.Pdf
J & J LUBRANO MUSIC ANTIQUARIANS Item 69 Catalogue 82 OPERA SCORES from the Collection of Jerome Holover (1943-2013) Part 1: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. v Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Fine Items & Collections Purchased v Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.