DOCSLIB.ORG

Mozart & Salieri/ Zanetto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mozart & Salieri/ Zanetto Mozart & Salieri/ Zanetto: Pisa, 29th February 2012 06/03/12 10.13 Search HOME AUDIO & VISUAL NEWS POETRY INTERVIEWS OPERA RECITAL CD DVD CANCELLATIONS CALENDAR Recent Reviews Antony Lias Mozart & Salieri/ Zanetto: Pisa, OperaBritannia Offenbach: The Tales of 29th February 2012 OperaBritannia Here's the Hoffmann Sunday, 04 March 2012 22:47 administrator Opera Britannia review of Britten's A Midsummer The Teatro Verdi of Pisa has concluded its A nightmarish world of Night's Dream from 2011/2012 season with a rare and @guildhallschool hallucinations for an author intriguing diptych, Mozart and Salieri by @BarbicanCentre: who created dark, twisted Nikolaj Rimsky-Korsakov and Zanetto by tinyurl.com/OBMndGSMD yesterday · reply · retweet · favorite works himself (The Pietro Mascagni. These two works do not Nutcracker is far from a have much in common, other than being OperaBritannia And here's a link to the reposted review festive confection in its coeval, the Italian opera having had its of Aida from the RAH: original tale) was highly premiere in 1896 and the Russian one two tinyurl.com/OBAidaMP appropriate in English years later (though it had already been yesterday · reply · retweet · favorite National Opera’s first new written in 1897). They both feature two OperaBritannia Apologies production of the year,The characters: two male voices for the for the delay, but Opera Tales of Hoffmann. In a Russian opera (Mozart, a tenor) and Salieri Britannia is back, with a double bill from Pisa of (indicated as a baritone in the score, but trademark Richard Jones Zanetto + Mozart & Salieri: creation, first seen at the normally sung by basses or bass- tinyurl.com/OBZanetto Bavarian State Opera, baritones) and two female voices in the yesterday · reply · retweet · favorite Mascagni work: Silvia (soprano) and Munich last autumn, OperaBritannia Zanetto, a mezzo-soprano en travestì. Hoffmann seeks solace in @OperaCreep @RuthElleson Thus, Marcello Lippi, former baritone and There is some fantastic alcohol... now general manager of the Teatro Verdi singing on offer. The ladies are pretty extraordinary. Read more>> (as well as writer of the Italian rhythmic yesterday · reply · retweet · favorite version of the Russian libretto), and stage director Gianluca Floris have identified an oneiric and proto-psychological dimension as fil Bellini: Norma rouge of the two librettos, both based on all-consuming obsession. Another element in Join the conversation common is their virtual disappearance from the standard repertoire. Opera North, 28th January Mozart and Salieri did have its moment in the sun - not surprisingly, in Russia. In 1898 the 2012 great Russian bass Chaliapin, famous for his crazed portrayal of Boris Godunov, sang the role News updates of Salieri in Moscow and scored a great success. ''From this time,'' writes Rimsky-Korsakov in Bellini’s masterpiece Norma, his autobiography, ''dates Chaliapin's fame and the growth of his popularity.'' Not so for the Subscribe to Opera Britannia to arguably the zenith of bel opera, which even in Russia has been rarely performed since. receive all the latest news and canto opera, is not performed latest reviews It is a realistic psychological tragedy of small, but intense proportions, a work of verbal and anywhere near as often as it emotional detail, very different from the lavishly scenic and extravagantly orchestrated fairy- Signup >> ought to be, primarily tale operas – Sadko, The Golden Cockerel- for which Rimsky-Korsakov is better known. The because we lack singers of atmosphere is heavy and brooding – even Dostoevskian. sufficient calibre to take on its Around the Houses fearsome title role, one In Rimsky-Korsakov's setting Salieri actually does murder Mozart by pouring poison in his associated with the monstres glass. One of the opera's most striking moments has Salieri, seconds after slipping the poison News of new productions sacrés of the past, such as into Mozart's wine, sob unrestrainedly as he listens to Mozart play his just-composed Requiem, heading to Covent Garden via Ponselle, Callas, Sutherland whose opening is quoted in full in the orchestral accompaniment. La Scala, plus news of and Caballé. Michael Fabbiano... Read More>> . Read More>> "Around the Houses" concentrates on providing the latest news on future plans for opera companies Handel: Giulio Cesare around the globe, artists schedules, cancellations and interesting Opera North, 14th January snippets of information. We will try 2012 and avoid unsubstantiated gossip wherever possible, but all of our It’s been more than ten years sources will remain completely since Opera North last confidential. If you would like to staged a Handel opera, so advise us about potential news for this section, then please feel free to http://www.opera-britannia.com/index.php?option=com_content&view…zanetto-pisa-29th-february-2012&catid=8:opera-reviews&Itemid=16 Pagina 1 di 3 Mozart & Salieri/ Zanetto: Pisa, 29th February 2012 06/03/12 10.13 this intelligent and attractive email us at info@opera- new production of Giulio britannia.com. Cesare directed by Tim Albery was long overdue but ultimately proved worth the Coming Soon! wait. Coming soon, links to new reviews Read More>> Coming Soon Verdi: La traviata Reviews to be published shortly Royal Opera, 2nd January 2012 Only the second day of the New Year and we were back for the third cast of the Royal Opera’s umpteenth revival of Richard Eyre’s La Traviata. If ever a production earned its money back then it The opera ends with Salieri's desperate questioning, directed more to himself than to the is this reliable showcase. audience: ''So villainy and genius are two things that never go together? That's not true; Think but of Buonarroti ...Or was that a tale of the dull, stupid crowd -and he who built the Vatican Read More>> was not a murderer?'' Here Salieri compares himself to Michelangelo who, it is rumoured, murdered the man who served as the model for Christ in the crucifixion painting above the altar in the Sistine Chapel. Interestingly, a relationship not unlike that between Salieri and Mozart existed between Rimsky-Korsakov and his contemporary Modest Mussorgsky. Both belonged to the group of Russian 19th-century composers known as 'The Five'; they worked together closely and at one News time even shared an apartment. Mussorgsky never had formal musical training, while Rimsky- Korsakov forced himself to master the fundamentals in his late 20's. Like the Salieri in Pushkin's drama, Rimsky-Korsakov ''dissected music like a corpse, checked harmony by algebraic rules.'' Rimsky-Korsakov admitted that he both ''loved and hated'' the strange Lehman pulls out of harmonies of Mussorgsky’s Boris Godunov; he always viewed Mussorgsky as an enormously Met 'Siegfried' gifted but irresponsible and undisciplined composer. One could even see Rimsky-Korsakov's controversial re-orchestration of Boris Godunov after Mussorgsky’s death as a kind of envious Gary Lehman, who was due musical poisoning of his less fortunate colleague. to sing the title role of Ultimately, Mozart and Salieri is, like Pushkin's poem-drama that inspired it, an experiment. Siegfried in Robert Lepage's Pushkin originally called Mozart and Salieri a ''dramatic investigation.'' It was not written to be new production at the staged. It was written more for Pushkin than for his readers, and is not intended to provide an Metropolitan Opera, has answer to the thorny issue - the incompatibility of genius and villainy - that it raises. pulled out because of illness, the Met have announced. Rimsky-Korsakov's opera is composed in a similar spirit. Already the popular and established composer of six operas - including Sadko, May Night and The Snow Maiden - and much Read more>> instrumental music, Rimsky-Korsakov, no longer so anxious to please, decided to write one for himself in Mozart and Salieri. The opera's originality seem to support the controversial thesis Royal Opera: Cast that it is precisely when they forget their audience that artists produce their most interesting change work. Zanetto, premiered in 1896 at the Liceo “Rossini” of Pesaro, was one of Mascagni’s Due to ill health, German many attempts at replicating the popular bass-baritone Falk success of Cavalleria rusticana without Struckmann has withdrawn producing another full-blown verismo work from singing the title role in as he had done the previous year with the the Royal Opera’s production mediocre Silvano. In his anxiety to renew of Der fliegender Holländer. himself, Mascagni turned to a position that could be called “Parnassian”, an adjective normally used to indicate the late Read More>> nineteenth century French movement known for its anti-Romantic tendencies. The parsimony, if not downright the absence, of a narrative course or plot absorbs every tension, relying instead on a series of delicate psychological shadings. Critics welcomed it with enthusiasm. “I believe that Mascagni with these delightful scenes has created his most organic, original and continuous opera. Removing or modifying one single note would damage the jewel,”, wrote Ugo Ojetti, one of the leading music critics of the time. Poetry Corner Audiences also took a liking to Zanetto, which was one of Mascagni’s most performed operas http://www.opera-britannia.com/index.php?option=com_content&view…zanetto-pisa-29th-february-2012&catid=8:opera-reviews&Itemid=16 Pagina 2 di 3 Mozart & Salieri/ Zanetto: Pisa, 29th February 2012 06/03/12 10.13 during his lifetime. The composer, trying to break the rustproof combination of Cavalleria rusticana/ Pagliacci, often replaced the Biography: Mary Robertson is an Leoncavallo evergreen with his own Emeritus Professor in Zanetto, which was sung by some of the Neuropsychiatry at University most of legendary prima donnas of the first College London and visiting Professor at St George’s Hospital half of twentieth century, including Madame Medical School, London.
Load more

Recommended publications
  • COCKEREL Education Guide DRAFT
    VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19
    [Show full text]
  • Cavalleria Rusticana
    OPERA 2001 CAVALLERIA RUSTICANA PER Pietro Mascagni Ópera en un acto libretto per Giovanni Targioni-Tozzetti e Guido Menasci CASA MUSICALE SONZOGNO DI PIERO OSTALI Editores y Propietarios Dirección musical : Martin Mázik Orquesta Sinfónica de Pleven Dirección de escena : Pier Francesco Maestrini Escenografía : Alfredo Troisi - La Bottega Fantastica (Italia) Vestuario : Sartoria Teatrale Arrigo (Milano) Calzado : Calzature Epoca (Milano) Peluquería : Mario Audello (Torino) TURIDDU un joven soldado JOSE LUIS DUVAL TENOR MICHAL LEHOTSKY ALFIO un carretero barítono IGOR GAVRILOV / ARTURO PASTOR LOLA su mujer ELENA MARINOVA mezzosoprano SANTUZZA novia de Turiddu GERGANA RUSEKOVA / LIANNA HARAOUTOUNIAN Soprano MAMMA LUCÍA madre de Turiddu ROBERTA MATTELLI Contralto Esta relación pudiera sufrir cambios el dia de la representación, no previstos en el momento de imprimir esta información. Opera 2001 - Cavalleria Rusticana 1 OPERA 2001 CAVALLERIA RUSTICANA de Pietro Mascagni en un pueblo de Sicilia durante el día de Pascua, a finales del siglo XIX. Argumento En la primeras horas de la Entra Al!o, el carretero, con Cuando todos los demás han mañana del día de Pascua, las sus caballos, cantando entrado en la iglesia, Lucia campanas repican llamando a alegremente, y la plaza se llena pregunta a Santuzza por qué la los ! eles, que acuden a la de gente, que corea su canción hizo callar. Santuzza le dice: iglesia. Se escuchan sus antes de entrar en el templo. "Voi lo sapete" ("Usted lo cánticos saludando a la Al!o pide vino a Lucia, a lo sabe"): Turiddu tuvo que ella responde que no tiene relaciones con Lola antes de y que Turiddu ha ido a traer.
    [Show full text]
  • Composers Mascagni and Leoncavallo Biography
    Cavalleria Rusticana Composer Biography: Pietro Mascagni Mascagni was an Italian composer born in Livorno on December 7, 1863. His father was a baker and dreamed of a career as a lawyer for his son, but following the good reception obtained by Mascagni’s first compositions was persuaded to allow him to study music at the Milan Conservatoire, where his teachers included Amilcare Ponchielli and Michele Saladino, and where he shared a furnished room with his fellow-student Giacomo Puccini. His first compositions won him financial support to study at the Milan Conservatory. He was of a rebellious nature and intolerant of discipline, and in 1885 he left the Conservatoire to join a modest operetta company as conductor. He became part of the Compagnia Maresca and, together with his future wife, Lina Carbognani, settled in Cerignola (Apulia) in 1886, where he formed a symphony orchestra. Here Mascagni composed at a single stroke, in only two months, the one-act opera Cavalleria rusticana, based on the short story by Verga, which was to win him the first prize in the Second Sonzogno Competition for new operas. The innovative strength of the opera and the resounding worldwide success which followed its first performance (1890, Teatro Costanzi, Rome) marked the beginning of an artistic life rich in achievements and satisfactions, both as composer and as conductor. He became increasingly prominent as a conductor and in 1892 conducted his opera I Rantzau around Europe. Further successes included Amica (1905) and Isabeau (1911), alongside such failures as Le maschere (1901). In 1915 he experimented with writing for cinema in Rapsodia satanicawith Nino Oxilia.
    [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]
  • Bowen Abstract
    The Rise and Fall of the Bass Clarinet in A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. It was used up to 1990 in about sixty works by over twenty composers, including the Ring cycle, five Mahler symphonies and Rosenkavalier. But it last appeared in Messiaen’s Turangalîla-Symphonie (1948, revised 1990), and the instrument is generally regarded as obsolete.1 Several publications discuss the bass clarinet, notably Rice (2009). However, only Leeson2 and Joppig3 seriously discuss the ‘A’ instrument. Leeson suggests possibilities for its popularity: compatibility with the tonality of the soprano clarinets, the extra semitone at the bottom of the range and the sonority of the instrument. For its disappearance he posits the extension of range of the B¨ bass, and the convenience of having only one instrument. He suggests that its history is more likely to be found in the German than in the French bass clarinet tradition. Joppig examines one aspect of this tradition: Mahler’s use of the clarinet family. The first successful4 bass clarinet was the bassoon form, invented by Grenser in 1793 and made in quantity for almost a century. These instruments descended to at least C and had sufficient range for all parts for the bass clarinet in A.5 They were made in B¨ and C, but no examples in A are known so far. Their main use was in wind bands to provide a more powerful bass than the bassoon.6 For orchestral music, they were perceived to be only partially successful as bass for the clarinet family because of their different principle of construction.7 The modern form was invented by Desfontenelles in 1807 and improved by Buffet (1833) and Adolphe Sax (1838).
    [Show full text]
  • Otello Program
    GIUSEPPE VERDI otello conductor Opera in four acts Gustavo Dudamel Libretto by Arrigo Boito, based on production Bartlett Sher the play by William Shakespeare set designer Thursday, January 10, 2019 Es Devlin 7:30–10:30 PM costume designer Catherine Zuber Last time this season lighting designer Donald Holder projection designer Luke Halls The production of Otello was made possible by revival stage director Gina Lapinski a generous gift from Jacqueline Desmarais, in memory of Paul G. Desmarais Sr. The revival of this production is made possible by a gift from Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 345th Metropolitan Opera performance of GIUSEPPE VERDI’S otello conductor Gustavo Dudamel in order of vocal appearance montano a her ald Jeff Mattsey Kidon Choi** cassio lodovico Alexey Dolgov James Morris iago Željko Lučić roderigo Chad Shelton otello Stuart Skelton desdemona Sonya Yoncheva This performance is being broadcast live on Metropolitan emilia Opera Radio on Jennifer Johnson Cano* SiriusXM channel 75 and streamed at metopera.org. Thursday, January 10, 2019, 7:30–10:30PM KEN HOWARD / MET OPERA Stuart Skelton in Chorus Master Donald Palumbo the title role and Fight Director B. H. Barry Sonya Yoncheva Musical Preparation Dennis Giauque, Howard Watkins*, as Desdemona in Verdi’s Otello J. David Jackson, and Carol Isaac Assistant Stage Directors Shawna Lucey and Paula Williams Stage Band Conductor Gregory Buchalter Prompter Carol Isaac Italian Coach Hemdi Kfir Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Assistant Scenic Designer, Properties Scott Laule Assistant Costume Designers Ryan Park and Wilberth Gonzalez Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department; Angels the Costumiers, London; Das Gewand GmbH, Düsseldorf; and Seams Unlimited, Racine, Wisconsin Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses strobe effects.
    [Show full text]
  • Music I: the Characters
    Music I: The Characters Students Will • Read The Golden Cockerel synopsis • Read The Characters for character analysis • Listen to audio selections from The Golden Cockerel online. • Discuss and answer questions on the appropriate portion(s) of the Activity Worksheet. Before the Lesson • Print copies for each student of The Characters and the Activity Worksheet. • Decide which section(s) of the Activity Worksheet you wish your students to complete. • Prepare internet access to the online listening selections. • Gather pens, pencils and additional writing paper as needed for your group. Introduction Have your students read The Golden Cockerel synopsis. Give each student a copy of The Characters or display it on the screen. Read through the information, discussing each character and listening to the online selections as you go. Guided/Independent Practice Depending on your grade level, the ability of your students and time constraints, you may choose to have your class work as a whole, in small groups, with a partner or individually. Read the directions on the Activity Worksheet. Have students complete the portion(s) of the Activity Worksheet you have chosen with opportunities for questions. If students are working with a partner or in small groups, give them time to discuss their answers before writing them down. Have students share their answers individually or by groups and tell why they gave their answers. Evaluation Have students discuss and evaluate the answers of others. The teacher may want to guide the discussion with the sample answers provided. After individual or small group responses have been shared and/or turned in, the class can then formulate comprehensive answers with the teacher asking leading questions to guide the discussion.
    [Show full text]
  • Mascagni E Il Teatro Goldoni: Un Binomio Indissolubile
    Mascagni e il Teatro Goldoni: un binomio indissolubile di Alberto Paloscia, Direttore artistico stagione lirica Fondazione Teatro della Città di Livorno “Carlo Goldoni” INTERVENTI Un’altra immagine positore, dopo gli anni di oscura gavetta del giovane Pietro Mascagni prima come direttore di una compagnia girovaga di operette e successivamente come animatore della vita musicale della provincia pugliese nelle veste di fonda- tore e responsabile della Filarmonica di Cerignola, abbatteva le quinte e i fondali del melodramma un po’ imbalsamato del XIX secolo e fondava, con il crudo ed ele- mentare realismo mediterraneo ereditato da Verga, un nuovo stile operistico: quello del verismo e della “Giovine Scuola Italia- na” a cui si sarebbero affiliati, di lì a poco, i nuovi ‘campioni’ del teatro musicale italia- Mascagni e il Teatro Goldoni Teatro il e Mascagni no: Leoncavallo, Puccini, Giordano, Cilèa. Dal 1890 al 1984: quasi un secolo di spettacoli storici Pietro Mascagni e la sua musica possono nel nome di Mascagni essere considerati a buon diritto i più au- Il 14 agosto 1890, infiammato dalla calura tentici protagonisti della gloriosa storia della riviera labronica, Cavalleria approda operistica del Teatro Goldoni di Livorno. nel maggiore teatro della città di Livorno, Il primo importante capitolo è la première appena tre mesi dopo il trionfo arriso nel- per Livorno dell’opera ‘prima’ del giovane la prestigiosa sede del Teatro Costanzi di astro nascente livornese, destinata a dare Roma all’atto unico vincitore del Concor- una svolta decisiva
    [Show full text]
  • Cavalleria Rusticana I Pagliacci Usporedno Sa Sve Brojnijim Izvedbama Prvi Su Put Zajedno Izvedeni 22
    P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. Foto: Metropolitan opera P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Pietro Mascagni CAVALLERIA RUSTICANA Opera u jednom činu Libreto: Giovanni Targioni-Tozzetti i Guido Menasci prema istoimenoj noveli Giovannija Verge NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Costanzi, Rim, 17. svibnja 1890. Prva hrvatska izvedba: Druga operna stagiona, Zagreb, 29. svibnja 1893. Prva izvedba ansambla Metropolitana 4. prosinca 1891. u Chicagu Premijera ove izvedbe u Metropolitanu: 14. travnja 2015. ZBOR I ORKESTAR METROPOLITANA SANTUZZA Eva-Maria Westbroek ZBORovođa Donald Palumbo TURIDDU Marcelo Álvarez DIRIGENT Fabio Luisi ALFIO George Gagnidze REDATELJ David McVicar LUCIA Jane Bunnell SCENOGRAF Rae Smith LOLA Ginger Costa-Jackson Tekst: talijanski Stanka poslije Cavallerije rusticane. Titlovi: engleski Svršetak oko 22 sata. Ruggero Leoncavallo I PAGLIACCI Foto:Metropolitan opera Opera u dva čina s prologom Libreto: skladatelj NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Dal Verme, Milano, 21. kolovoza 1892. Prva hrvatska izvedba: Treća operna stagiona, Zagreb, 22. travnja 1894. Prva izvedba u Metropolitanu: 11. prosinca 1893. Premijera ove izvedbe u Metropolitanu: 25. travnja 2015. KOSTIMOGRAF Moritz Junge CANIO/PAGLIACCIO Marcelo Álvarez OBLIKOVATELJICA RASVJETE Paule Constable NEDDA/COLOMBINA Patricia Racette KOREOGRAF Andrew George TONIO/TADDEO George Gagnidze KONZULTANT ZA VODVILJ Emil Wolk BEPPE/ARLECCHINO Andrew Stenson SILVIO Lucas Meachem Tekst: talijanski Titlovi: engleski CAVALLERIA RUSTICANA Radnja se događa na Uskrs u sicilijanskom selu.
    [Show full text]
  • Rimsky-Korsakov Overture and Suites from the Operas
    CHAN 10369(2) X RIMSKY-KORSAKOV OVERTURE AND SUITES FROM THE OPERAS Scottish National Orchestra Neeme Järvi 21 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 220-210-21 221/8/061/8/06 110:02:490:02:49 Nikolai Andreyevich Rimsky-Korsakov (1844–1908) COMPACT DISC ONE 1 Overture to ‘May Night’ 9:06 Suite from ‘The Snow Maiden’ 13:16 2 I Beautiful Spring 4:28 Drawing by Ilya Repin /AKG Images 3 II Dance of the Birds 3:18 4 III The Procession of Tsar Berendey 1:49 5 IV Dance of the Tumblers 3:40 Suite from ‘Mlada’ 19:18 6 I Introduction 3:19 7 II Redowa. A Bohemian Dance 3:55 8 III Lithuanian Dance 2:24 9 IV Indian Dance 4:21 10 V Procession of the Nobles 5:18 Suite from ‘Christmas Eve’ 29:18 11 Christmas Night – 6:15 12 Ballet of the Stars – 5:21 13 Witches’ sabbath and ride on the Devil’s back – 5:30 14 Polonaise – 5:47 15 Vakula and the slippers 6:23 TT 71:30 Nikolai Andreyevich Rimsky-Korsakov, 1888 3 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 22-3-3 221/8/061/8/06 110:02:420:02:42 COMPACT DISC TWO Rimsky-Korsakov: Overture and Suites from the Operas Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29 1 I Tsar’s departure and farewell 4:57 2 II Tsarina adrift at sea in a barrel 8:43 Among Russian composers of the same year he was posted to the clipper Almaz on 3 III The three wonders 7:48 generation as Tchaikovsky, who were which he sailed on foreign service for almost prominent in the latter part of the three years, putting in at Gravesend (with a 4 The Flight of the Bumble-bee 3:22 nineteenth century, Nikolai Andreyevich visit to London), cruising the Atlantic coasts Interlude, Act III, from The Tale of Tsar Saltan Rimsky-Korsakov is unrivalled in his of North and South America, the Cape Verde mastery of orchestral resource.
    [Show full text]
  • Nikolai Tcherepnin UNDER the CANOPY of MY LIFE Artistic, Creative, Musical Pedagogy, Public and Private
    Nikolai Tcherepnin UNDER THE CANOPY OF MY LIFE Artistic, creative, musical pedagogy, public and private Translated by John Ranck But1 you are getting old, pick Flowers, growing on the graves And with them renew your heart. Nekrasov2 And ethereally brightening-within-me Beloved shadows arose in the Argentine mist Balmont3 The Tcherepnins are from the vicinity of Izborsk, an ancient Russian town in the Pskov province. If I remember correctly, my aged aunts lived on an estate there which had been passed down to them by their fathers and grandfathers. Our lineage is not of the old aristocracy, and judging by excerpts from the book of Records of the Nobility of the Pskov province, the first mention of the family appears only in the early 19th century. I was born on May 3, 1873 in St. Petersburg. My father, a doctor, was lively and very gifted. His large practice drew from all social strata and included literary luminaries with whom he collaborated as medical consultant for the gazette, “The Voice” that was published by Kraevsky.4 Some of the leading writers and poets of the day were among its editors. It was my father’s sorrowful duty to serve as Dostoevsky’s doctor during the writer’s last illness. Social activities also played a large role in my father’s life. He was an active participant in various medical societies and frequently served as chairman. He also counted among his patients several leading musical and theatrical figures. My father was introduced to the “Mussorgsky cult” at the hospitable “Tuesdays” that were hosted by his colleague, Dr.
    [Show full text]
  • Ceriani Rowan University Email: [email protected]
    Nineteenth-Century Music Review, 14 (2017), pp 211–242. © Cambridge University Press, 2016 doi:10.1017/S1479409816000082 First published online 8 September 2016 Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti* Davide Ceriani Rowan University Email: [email protected] The world premiere of Pietro Mascagni’s Cavalleria rusticana on 17 May 1890 immediately became a central event in Italy’s recent operatic history. As contemporary music critic and composer, Francesco D’Arcais, wrote: Maybe for the first time, at least in quite a while, learned people, the audience and the press shared the same opinion on an opera. [Composers] called upon to choose the works to be staged, among those presented for the Sonzogno [opera] competition, immediately picked Mascagni’s Cavalleria rusticana as one of the best; the audience awarded this composer triumphal honours, and the press 1 unanimously praised it to the heavens. D’Arcais acknowledged Mascagni’smeritsbut,inthesamearticle,alsourgedcaution in too enthusiastically festooning the work with critical laurels: the dangers of excessive adulation had already become alarmingly apparent in numerous ill-starred precedents. In the two decades prior to its premiere, several other Italian composers similarly attained outstanding critical and popular success with a single work, but were later unable to emulate their earlier achievements. Among these composers were Filippo Marchetti (Ruy Blas, 1869), Stefano Gobatti (IGoti, 1873), Arrigo Boito (with the revised version of Mefistofele, 1875), Amilcare Ponchielli (La Gioconda, 1876) and Giovanni Bottesini (Ero e Leandro, 1879). Once again, and more than a decade after Bottesini’s one-hit wonder, D’Arcais found himself wondering whether in Mascagni ‘We [Italians] have finally [found] … the legitimate successor to [our] great composers, the person 2 who will perpetuate our musical glory?’ This hoary nationalist interrogative returned in 1890 like an old-fashioned curse.
    [Show full text]