Cambridge University Press 978-1-107-01429-9 - Performing Operas for Mozart: Impresarios, Singers and Troupes Ian Woodfield Index More Information

Total Page:16

File Type:pdf, Size:1020Kb

Cambridge University Press 978-1-107-01429-9 - Performing Operas for Mozart: Impresarios, Singers and Troupes Ian Woodfield Index More Information Cambridge University Press 978-1-107-01429-9 - Performing Operas for Mozart: Impresarios, Singers and Troupes Ian Woodfield Index More information Index Adamberger, Valentin, 53, 144 in La locanda, 223 Agosti in La maga Circe, 226 Das Herbstabendtheuer, 193 in Il matrimonio segreto, 225 Allegranti, Maddalena, 17, 18, 44, 53, 136, 182 in La molinara, 227 Allegretti, Luigia, 49, 57, 58, 222 in Pirro, 167, 225 Altieri, Maria, 58, 59, 60, 63 in Il re Teodoro, 223 Amendola, Giuseppe in Il trionfo d’amore, 227 La schiava fedele, 37 in Zenobia di Palmira, 167, 223 Amicis, Anna de, 144 Baglioni, Clementina, 56 André, Johann Anton, 152 Baglioni, Constanza, 56 Andreozzi, Gaetano Baglioni, Francesco, 56 Virginia, 171 Baglioni, Johanna, 56 Anfossi, Pasquale, 67, 70 Baglioni, Rosa, 18, 56, 57, 59, 60, 62, 63, 75, 77, Antigono, 68 80, 105, 222 Il curioso indiscreto, 37 Baglioni, Vincentia, 56 Le gelosie fortunate, 83 Barberina, N., 59, 60, 62, 80, 105 Il geloso in cimento, 193 Bartha, Dénes, 83 Isabella e Rodrigo, 37, 40, 47, 52, 73, 221 baryton, 150 La maga Circe, 83, 226 basset horn, 150, 173, 174, 203 Il matrimonio per inganno, 47, 53, 220 Bassi, Luigi, 44, 48, 49, 53, 57, 59, 61, 62, 80, I viaggiatori felici, 14, 38, 40 105, 106, 113, 114, 116, 165, 166, 168, Zenobia di Palmira, 52, 167, 168, 180, 223 172, 177, 180, 187, 218 Angiolini, Carlo, 18, 48, 67, 221 in Axur, 226 Antonini, Anna, 172, 173 in Circe ed Ulisse, 221 Arnold, Friedrich Ernst, 16, 22 in Una cosa rara, 223 Arrighetti, Teresa, 165, 168 in Così fan tutte, 175, 226 Artaria & Co, 157 in Don Giovanni, 74, 99, 100, 106, 107, 108, Astarita, Gennaro 109, 116, 123, 166, 226 Circe ed Ulisse, 47, 91, 221 in Gli equivoci, 223 in Il flauto magico, 198, 200, 224 Bach, Carl Philipp Emanuel, 210 in Fra i due litiganti, 222 Bach, Johann Christian, 70 in Isabella e Rodrigo, 221 Armida abbandonata, 67, 68 in La locanda, 223 Bach, Johann Sebastian, 155, 157, 210 in La maga Circe, 226 Baglioni, Antonio, 51, 75, 77, 80, 112, 114, 165, in Il matrimonio segreto, 225 168, 169, 171, 172, 177, 180, 187, 218 in Nannerina e Pandolfino, 225 in Axur, 226 in Le nozze di Figaro, 60, 61, 62, 224 in La clemenza di Tito, 171 in La principessa di Amalfi, 224 in Una cosa rara, 223 in Il re Teodoro, 223 in Così fan tutte, 175, 226 in La scuola de’ gelosi, 221 in La dama soldato, 222 in Il serraglio di Osmano, 222 in Don Giovanni, 100, 108, 109, 116, 222 in Lo spirito di contraddizione, 221 in Gli equivoci, 223 in Il trionfo d’amore, 227 in Il flauto magico, 198, 224 Bauer, Johann Caspar Lorenz, 124 267 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01429-9 - Performing Operas for Mozart: Impresarios, Singers and Troupes Ian Woodfield Index More information 268 Index Bauman, Thomas, 48 Bondini, Teresa (Teresina), 99, 100, 102, 103, Bavaria 112, 114 War of Succession, 9, 10 Borghi, Giovanni Battista, 67 Beaumarchais, Pierre-Augustin Caron de Bossler, Heinrich Philipp, 131, 145 Le mariage de Figaro, 87 Brada, Signor, 223 Bedini, Domenico, 171, 172 Brandes, Charlotte (Minna), 10 Beethoven, Ludwig van, 203 Brandes, Johann Christian, 8, 9, 10, 11, 12 ‘Ah! Perfido!’, 205 Braun, Herr, 141 Bellomo, Therese, 15, 26 Breitkopf & Härtel, 41, 131, 163 Benda, Georg Brettell, John., 198 Der Barbier von Sevilla, 87 Bretzner, Christoph Friedrich, 29, 184, 185, Romeo und Julie, 13 186, 187, 193 Benedetti, Signor, 198, 224, 225, 226 Brötler, Carl Friedrich Samuel, 124 Benevoli, Orazio, 211 Brown, Bruce Alan, 148 Benucci, Francesco, 53, 106 Bruni, Domenico, 167, 168, 169 Berger, Carl Gottlieb, 35, 124, 159 Buccarelli, Francesca, 44, 67 Berka, Herr, 29 Buchental, Carl Gottlob, 124 Bernardini, Marcello Bulla, Herr, 16 Il conte di bell’umore, 38, 47, 221 Bussani, Dorotea, 63, 104 Bertati, Giovanni, 79, 199 Bussani, Francesco, 63, 73 Berti, Antonio Bustelli, Giuseppe, 7, 8, 13, 24 Il dissoluto, 98 Bertini, Signor, 223, 224, 225, 226, 227 Calcagni, Signor, 67, 221 Bertoldi, Signor, 9, 14 Campi, Antonia, 44, 180, 200 Beulwitz, Caroline von, 155 in Axur, 226 Bianchi, Francesco in Una cosa rara, 223 La villanella rapita, 57 in Così fan tutte, 226 Blümner, Heinrich, 58, 112, 113, 125 in La dama soldato, 222 Bohemia, 13, 51, 137, 170 in Don Giovanni, 226 Mozart reception in, 78, 97 in Gli equivoci, 223 musical taste in, 24, 32, 189, 214 in Il flauto magico, 224 operatic links with Saxony, 7, 22, 51, 217 in Il matrimonio segreto, 225 Bonaverio, Paolo, 18 in La molinara, 227 Bondini, Caterina Saporiti, 8, 43, 44, 49, 53, 56, in Le nozze di Figaro, 224 57, 59, 61, 73, 80, 105, 112, 166 in Pirro, 225 in Don Giovanni, 77, 87, 94, 99, 100, 101, in La principessa di Amalfi, 224 102, 103, 104, 108 in Il trionfo d’amore, 227 in Fra i due litiganti, 70, 77, 222 Campi, Gaetano, 44, 114, 165, 168, 169, 171, in Le nozze di Figaro, 59, 60, 62, 64, 77, 78 172, 173, 177, 180, 214 in Il serraglio di Osmano, 222 in Axur, 226 in Lo spirito di contraddizione, 221 in Una cosa rara, 223 Bondini, Pasquale, 8, 18 in Così fan tutte, 184, 198, 227 death, 20 in La dama soldato, 222 Don Giovanni, commission of, 78 in Don Giovanni, 166, 226 family, 8, 42, 102 in Gli equivoci, 223 home, 33 in Il flauto magico, 200, 224 illness, 162 in L’incanto superato, 225 lease of theatres, 33, 78 in Il matrimonio segreto, 225 as manager, 7–24, 25–31, 32–54, 56 in La molinara, 227 other interests, 22, 39 in Il musulmano in Napoli, 225 as singer, 7, 14, 33, 73 in Le nozze di Figaro, 224 titles, 33, 34 in La principessa di Amalfi, 224 in Il re Teodoro, 223 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01429-9 - Performing Operas for Mozart: Impresarios, Singers and Troupes Ian Woodfield Index More information Index 269 Canobio, Lorenzo, 57, 59, 60, 61, 221, 222 Dresden Canobio, Vincenzo, 49 German theatre company, 7–24, 25–31, 48, Caravoglia, Francesco, 42, 67 87, 89, 104, 162, 164, 176, 192 Caravoglia, Maria, 42, 44, 67, 70, 221 Hotel de Pologne, 137, 149 Casanova, Jacques de Seingalt, 109, 110 Italian opera company, 7, 42, 43, 53, 54, 56, Catherine the Great, 168 70, 113, 181 Ceccarelli, Francesco, 142, 143, 144, 146 Mozart’s visit to, 156 Celestini, Caterina, 112, 114 Dülon, Friedrich Ludwig, 206 Cimarosa, Domenico, 31, 173 Durante, Sergio, 130, 173, 174 La ballerina amante, 49, 57 Duschek, Josepha, 173, 206, 207, 209 Il convito, 37, 67 Leipzig academy (1788), 136–47 I due supposti conti, 83 Leipzig academy (1789), 159, 161, 162 Il falegname, 37 Leipzig academy (1796), 205 Giannina e Bernardone, 83 Prague academy (1791), 173, 174 L’italiana in Londra, 14 promoter of Idomeneo, 205, 206, 207 Il matrimonio segreto, 180, 188, 224 promoter of La clemenza di Tito, 201, 202 Il pittore parigino, 37, 47, 83, 220 Dutilleux, Pierre Lo sposo senza moglie, 80 Nannerina e Pandolfino (Gli sposi in La vergine del sole, 167, 168 cimento), 188, 225 cor anglais, 203 Corneilson, Paul, 142, 207 Eck, Johann Friedrich, 206, 207, 208 Costa, Gaetano, 110 Edge, Dexter, 146 Costa, Gioachino, 48, 49, 56, 57, 59, 80, 106, Eibl, Joseph Heinz, 199 111, 112, 114, 116 Engel, Carl Immanuel, 125, 132, 163, 210 in Don Giovanni, 106, 107, 109, 123, 222 Esterházy in Fra i due litiganti, 222 Prince Nikolaus, 83, 84 in Le nozze di Figaro, 60 Eszterháza, 82, 83, 122, 150, 166, 167 in Il serraglio di Osmano, 222 in Lo spirito di contraddizione, 221 Falchini, Madame, 8 Crespi, Luigia Prosperi, 112, 114, 116, 119, Fantozzi, Maria Marchetti, 172, 174 120, 165, 166, 168 Ferrarese del Bene, Adriana, 104 in Don Giovanni, 222 Fidanza, Maria, 33, 65, 66, 220 Crespi, Signor, 112, 114 Fleischhauer, Johann Friedrich, 124 Flothius, Marius, 151, 174 Da Ponte, Lorenzo, 30, 78, 79, 96, 97, 104, 111 Forkel, Johann Nicolaus, 30, 44, 56 L’arbore di Diana, 81 Franz, Carl, 150 La capricciosa corretta, 82 Freeman, Daniel, 143 Così fan tutte, 181 Don Giovanni, 74, 77, 108, 121 Gamerra, Giovanni de, 144, 198, 199 An Extract from the Life, 79, 96 Garmanini, Tomaso, 165 meeting with Casanova, 110 Gazzaniga, Giuseppe, 77 Memorie, 96 Don Giovanni o sia Il convitato di pietra, 75 Le nozze di Figaro, 36 La moglie capricciosa, 83 Danzi, Franz, 179, 180, 215 Perseo ed Andromeda, 14, 37, 38, 45, 47, Danzi, Margarethe, 179, 180 70, 220 in Una cosa rara, 223 Il serraglio di Osmano, 46, 47, 75, 77, 222 in Zenobia di Palmira, 223 Geiling, Herr, 193 David, Anton, 150, 153 Geissler, Johann Gottlieb, 124 De Antoni, Signor, 49 Gemmingen, Otto Baron von, 31 Deutsch, Otto Erich, 199 Gerber, Ernst Ludwig, 70, 125, 212, 218 Dittersdorf, Carl Ditters von, 35, 48, 192 Gestewitz, Friedrich Christoph, 17, 49, 58, 59, Dlabacz, Gottfried Johann, 86, 153, 173, 206 104, 112, 114 Doles, Friedrich, 158, 210, 211 Ghinassi, Stefano, 168 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01429-9 - Performing Operas for Mozart: Impresarios, Singers and Troupes Ian Woodfield Index More information 270 Index Giordani, Giuseppe concert performances of arias in Leipzig, Alciade e Telesia, 120 235 Gluck, Christoph Willibald The Creation, 214 Alceste, 54 Deutschlands Klage, 150 Iphigénie, 54 double bass concerto, 238 Die Pilgrimme von Mecca (La Rencontre La fedeltà premiata, 122 imprévue), 29 oboe concerto, 243 Goehring, Edmund, 184 Orlando Paladino, 122 Goldmeier, Herr, 205 La vera costanza, 122 Gollmick, Herr, 205 Heartz, Daniel, 74 Grenser, Carl August, 17, 81, 89, 123, 125, 162 Heimbacher, Herr, 89 Grétry, André-Ernst-Modeste Heinse, Friedrich, 97 Zemire und Azor, 193 Hellmuth, Josepha, 13, 136 Grossmann, Gustav
Recommended publications
  • Vicente Martín Y Soler 1754?-1806
    2 SEMBLANZAS DE COMPOSITORES ESPAÑOLES 11 VICENTE MARTÍN Y SOLER 1754?-1806 Leonardo J. Waisman Investigador del Consejo Nacional de Investigaciones Científicas y Técnicas, Argentina n los años alrededor de 1790, el compositor más querido por el gran público euro- E peo era un español. Aunque Haydn, Mozart y Beethoven estaban vivos y en plena producción, el predilecto de la mayoría de los oyentes era el valenciano Vicente Martín y Soler. Esto se verificaba especialmente en la ciudad en que tanto Vicente como los tres grandes maestros del clasicismo residían: Viena, pero también era cierto en los grandes centros operísticos de Italia, Inglaterra, Alemania y Francia. En España misma, quizás el público en general no compartiera esa predilección, pero la familia real elegía reiterada- mente sus óperas para celebrar acontecimientos festivos. Aunque Martín y Soler cultivó muchos de los géneros vocales en boga durante la segun- da mitad del siglo XVIII (ópera seria, oratorio, opéra comique, opera komicheskaya rusa, cantata, serenata, canción) y cosechó muchos aplausos por sus numerosas composicio- nes para ballet, fue sin duda a través de la ópera bufa en italiano como conquistó el co- razón de los melómanos de todo el continente. En particular, tres de ellas tuvieron un éxi- to tal como para generar modas en el vestir y expresiones idiomáticas que entraron en el En «Semblanzas de compositores españoles» un especialista en musicología expone el perfil biográfico y artístico de un autor relevante en la historia de la música en España y analiza el contexto musical, social y cultural en el que desarrolló su obra.
    [Show full text]
  • PPO2 Schneider 2.Pages
    Performing Premodernity Online – Volume 2 (January 2015) On Acting in Late Eighteenth- Century Opera Buffa MAGNUS TESSING SCHNEIDER In 1856 the German poet and music critic Johann Peter Lyser wrote about the beginning of the supper scene in the second finale of Don Giovanni, written for the comedians Luigi Bassi and Felice Ponziani: "Unfortunately, it is not performed in Mozart's spirit nowadays, for the Don Giovannis and Leporellos of today are no Bassis and Lollis [recte: Ponzianis]. These played the scene differently in each performance, sustaining an uninterrupted crossfire of improvised jokes, droll ideas and lazzi, so that the audience was thrown into the same state of mirth in which it was Mozart's intention that master and servant should appear to be on the stage. These were the skills of the opera buffa singers of old; the modern Italian singers know as little how to do it as the Germans ever did."1 Though written more than 150 years ago, this longing for the musical and theatrical immediacy that reigned in the opera houses of the late eighteenth century may still resonate with adherents of the Historically Informed Performance (HIP) movement. At least since Georg Fuchs coined the motto "rethéâtraliser le théâtre" in 19092 the theatrical practices of the past has, indeed, been an important source of inspiration for theatrical reformers, and the commedia dell'arte, with its reliance on virtuoso improvisation rather than on written text, has appealed to many directors. Yet as the Lyser quotation suggests, the idealization of a lost tradition as the positive counter- image of the restrictions of the modern stage is not a new phenomenon.
    [Show full text]
  • The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel Wallich
    C O N N E C T I N G P E O P L E , P L A C E S , A N D I D E A S : S T O R Y B Y S T O R Y J ULY 2 0 1 3 ABOUT WRR CONTRIBUTORS MISSION SPONSORSHIP MEDIA KIT CONTACT DONATE Search Join our mailing list and receive Email Print More WRR Monthly. Wild River Consulting ESSAY-The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel & Wallich : Publishing Click below to make a tax- deductible contribution. Religious Identity in the Age of Enlightenment where Your literary b y J u d i t h M . T a y l o r , J u l e s J a n i c k success is our bottom line. PEOPLE "By the time the Interv iews wise woman has found a bridge, Columns the crazy woman has crossed the Blogs water." PLACES Princeton The United States The World Open Borders Lorenzo Da Ponte Nathaniel Wallich ANATOLIAN IDEAS DAYS & NIGHTS Being Jewish in a Christian world has always been fraught with difficulties. The oppression of the published by Art, Photography and Wild River Books Architecture Jews in Europe for most of the last two millennia was sanctioned by law and without redress. Valued less than cattle, herded into small enclosed districts, restricted from owning land or entering any Health, Culture and Food profession, and subject to random violence and expulsion at any time, the majority of Jews lived a History , Religion and Reserve Your harsh life.1 The Nazis used this ancient technique of de-humanization and humiliation before they hit Philosophy Wild River Ad on the idea of expunging the Jews altogether.
    [Show full text]
  • A Performance Edition of the Opera Kaspar Der Fagottist by Wenzel Müller
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 A performance edition of the opera Kaspar der Fagottist by Wenzel Müller (1767-1835), as arranged for Harmonie by Georg Druschetzky (1745-1819) Susan Nita Barber Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Barber, Susan Nita, "A performance edition of the opera Kaspar der Fagottist by Wenzel Müller (1767-1835), as arranged for Harmonie by Georg Druschetzky (1745-1819)" (2003). LSU Doctoral Dissertations. 2272. https://digitalcommons.lsu.edu/gradschool_dissertations/2272 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PERFORMANCE EDITION OF THE OPERA, KASPAR DER FAGOTTIST BY WENZEL MÜLLER (1767-1835), AS ARRANGED FOR HARMONIE BY GEORG DRUSCHETZKY (1745-1819) Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts By Susan Nita Barber B.M., State University of New York at Potsdam, 1988 M.M., The Juilliard School, 1990 May 2003 „ Copyright 2002 Susan N. Barber All rights reserved ii ACKNOWLEDGMENTS I would like to express my thanks to my husband, family, friends and colleagues for their support throughout the time that I have been engaged in my research and writing for this degree.
    [Show full text]
  • CHAN 3093 BOOK.Qxd 11/4/07 3:30 Pm Page 2
    CHAN 3093 Book Cover.qxd 11/4/07 3:23 pm Page 1 GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3093 CHANDOS O PERA IN DIANA MONTAGUE ENGLISH 2 PETER MOORES FOUNDATION CHAN 3093 BOOK.qxd 11/4/07 3:30 pm Page 2 Diana Montague at the recording sessions Cooper Bill Great Operatic Arias with Diana Montague 3 CHAN 3093 BOOK.qxd 11/4/07 3:30 pm Page 4 Time Page Time Page Wolfgang Amadeus Mozart (1756–1791) from Atalanta from The Marriage of Figaro Meleagro’s aria (Care selve) Cherubino’s Aria (Non so più) 6 ‘Noble forests, sombre and shady’ 2:05 [p. 46] Alastair Young harpsichord • Susanne Beer cello 1 ‘Is it pain, is it pleasure that fills me’ 3:07 [p. 44] from The Clemency of Titus Wolfgang Amadeus Mozart Sextus’s Aria (Parto, parto) from Così fan tutte 2 6:39 [p. 44] ‘Send me, but, my beloved’ Fiordiligi, Dorabella and Don Alfonso’s Trio (Soave sia il vento) Christoph Willibald von Gluck (1714–1787) 7 ‘Blow gently, you breezes’ 3:33 [p. 46] with Orla Boylan soprano • Alan Opie baritone from Iphigenia in Tauris Priestesses’ Chorus and Iphigenia’s Aria (O malheureuse Iphigénie!) Dorabella’s Recitative and Aria (Smanie implacabili) 3 ‘Farewell, beloved homeland’ – 8 ‘Ah! Leave me now’ – ‘No hope remains in my affliction’ 4:56 [p. 45] ‘Torture and agony’ 3:39 [p. 46] with Geoffrey Mitchell Choir Dorabella and Fiordiligi’s Duet (Prenderò quel brunettino) Iphigenia’s Aria (Je t’implore et je tremble) 9 ‘I will take the handsome, dark one’ 3:07 [p.
    [Show full text]
  • DOROTHEA LINK Professor of Musicology Distinguished
    DOROTHEA LINK Professor of Musicology Distinguished Research Professor Hugh Hodgson School of Music, 250 River Rd., University of Georgia, Athens, GA 30602 tel: 706 542 1034; fax: 706 542 2773; email: dlink AT uga.edu PUBLICATIONS Authored Books Arias for Stefano Mandini, Mozart’s first Count Almaviva. Recent Researches in the Music of the Classical Era 97. Middleton, WI: A-R Editions, 2015 (xlv, 127 pages). Reviews: Magnus Tessing Schneider in Notes: Quarterly Journal of the Music Library Association 73 (December 2016): 339-45. Arias for Vincenzo Calvesi, Mozart’s first Ferrando. Recent Researches in the Music of the Classical Era 84. Middleton, WI: A-R Editions, 2011 (xxxv, 118 pages). Reviews: Clifford Bartlett in Early Music Review 146 (February 2012): 6-7; Joshua Neumann in Notes: Quarterly Journal of the Music Library Association 70 (December 2013): 321-5. Arias for Francesco Benucci, Mozart's first Figaro and Guglielmo. Recent Researches in the Music of the Classical Era 72. Middleton, WI: A-R Editions, 2004 (xxvii, 120 pages). Reviews: Laurel E. Zeiss in Newsletter of the Society for Eighteenth-Century Music 7 (October 2005): 5-7; Julian Rushton in Early Music 36 (August 2008): 474-6; Saverio Lamacchia in Il saggiotore musicale 15, no. 2 (2008): 359-62. Arias for Nancy Storace, Mozart's first Susanna. Recent Researches in the Music of the Classical Era 66. Middleton, WI: A-R Editions, 2002 (xxv, 122 pages). Reviews: Emma Kirkby in Early Music (May 2003): 297-298; Constance Mayer in Notes: Quarterly Journal of the Music Library Association 60 (June 2004), 1032-1034; Julian Rushton in Music & Letters 85 (November 2004): 682-683; Laurel E.
    [Show full text]
  • Wolfgang Amadeus Mozart (Geb. Salzburg, 27. January 1756 - Gest
    Wolfgang Amadeus Mozart (geb. Salzburg, 27. January 1756 - gest. Vienna, 5 December 1791) Arien, Duette, Terzette und Quartette mit Begleitung des Orchesters Band 2 Als Wolfgang Amadeus Mozart im Jahre 1777 Mannheim besuchte, verliebte er sich in die Sopranistin Aloysia Weber. Welche Liebesaffäre auch immer sie gehabt haben mochten, sie brach entzwei, und der Komponist heiratete schliesslich deren Schwester Constanze. Trotz ihrer Differenzen schrieb Mozart einige Stücke für Aloysia. 1783 präsentierte er sie mit dem Rondo Ah non sai qual pena sia il doverti (K416), das gedacht war, in Pasquale Anfossis Oper Zemira verwendet zu werden. Als sie ein zweites Mal in einer Anfossi - Oper auftrat, nämlich Il curioso indiscreto, gab ihr Mozart wiederum zwei neue Stücke zu singen: Vorrei spiegarvi (K418), das grosse Tonsprünge von mehr als einer Oktave enthielt, und No, no, che non sei (K419), das der Musik für die Königin der Nacht in seiner Zauberflöte ähnelt. Schenkt man zeitgenössischen Berichten Glauben, so hielt Mozart Anfossis Oper für misslungen - ausser der Musik, die er selbst dazu beitrug. Einige Jahre später schrieb er eine weitere Arie für Aloysia, Ah sei in ciel benigne stelle (K538), zu einem Text aus Pietro Metastasios opera L'eroe Cinese. Nancy Storace war die englische Sopranistin italienischer Herkunft, die die Rolle der Susanna in Die Hochzeit des Figaro schuf. Höchstwahrscheinlich verfügte sie über einen enormen Tonumfang mit starken Tönen in der Höhe und Tiefe, denn genau das war es, was die Rolle erforderte. Nehme hier und da einige Schnitte vor, so ist sie so lang wie die von Wagners Isolde. So musste Storace auch über eine beachtliche Kondition verfügen.
    [Show full text]
  • NOZZE-DI-FIGARO-LE.Pdf
    4 La Fenice prima dell’Opera 2011 4 2011 Fondazione Stagione 2011 Teatro La Fenice di Venezia Lirica e Balletto Wolfgang Amadeus Mozart igaro F le nozze e nozze di e nozze di Di l Figaro ozart M madeus A olfgang olfgang W FONDAZIONE TEATRO LA FENICE DI VENEZIA foto © Michele Crosera Visite a Teatro Eventi Gestione Bookshop e merchandising Teatro La Fenice Gestione marchio Teatro La Fenice® Caffetteria Pubblicità Sponsorizzazioni Fund raising Per informazioni: Fest srl, Fenice Servizi Teatrali San Marco 4387, 30124 Venezia Tel: +39 041 786672 - Fax: +39 041 786677 [email protected] - www.festfenice.com FONDAZIONE AMICI DELLA FENICE STAGIONE 2011 Incontro con l’opera lunedì 24 gennaio 2011 ore 18.00 ANGELA IDA DE BENEDICTIS Intolleranza 1960 martedì 22 febbraio 2011 ore 18.00 LUCA MOSCA La bohème martedì 22 marzo 2011 ore 18.00 GIORGIO PESTELLI Rigoletto lunedì 16 maggio 2011 ore 18.00 LORENZO ARRUGA Lucia di Lammermoor venerdì 17 giugno 2011 ore 18.00 GIORGIO PESTELLI Das Rheingold martedì 5 luglio 2011 ore 18.00 GIANNI GARRERA Sogno di una notte di mezza estate mercoledì 31 agosto 2011 ore 18.00 PAOLO COSSATO Il barbiere di Siviglia martedì 13 settembre 2011 ore 18.00 GIOVANNI BIETTI Don Giovanni martedì 11 ottobre 2011 ore 18.00 GIORGIO PESTELLI Clavicembalo francese a due manuali copia dello strumento di Goermans-Taskin, costruito attorno Le nozze di Figaro alla metà del XVIII secolo (originale presso la Russell lunedì 24 ottobre 2011 ore 18.00 Collection di Edimburgo). MICHELE DALL’ONGARO Opera del M° cembalaro Luca Vismara di Seregno Acis and Galatea (MI); ultimato nel gennaio 1998.
    [Show full text]
  • 4532.Pdf (166.8Kb)
    PROGRAM PART ONE PART TWO Jonathan Pasternack, conductor Peter Erös, conductor Overture to LA FORZA DEL DESTINO ..... GIUSEPPE VERDI (1813-1901) from DIE WALKÜRE ..............................RICHARD WAGNER (1813-1883) Aria: “LEB’ WOHL” David Borning, baritone from LES CONTES D’HOFFMANN ... JACQUES OFFENBACH (1819-1880) Aria: “LES OISEAUX DANS LA CHARMILLE” Cecile Farmer, soprano from THE BARTERED BRIDE ............... BEDRICH SMETANA (1824-1884) Aria: “NOW, NOW MY DEAR” (VASHEK’S STUTTERING SONG) URELY YOU MUST BE THE BRIDEGROOM OF RU INA S ARIE from LA TRAVIATA ..................................................................... G. VERDI Duet: “S K ’ M ” Aria: “DE’ MIEI BOLLENTI SPIRITI” Nataly Wickham, soprano / Thomas Harper, tenor Duet: “UN DÌ FELICE” Aria: “AH FORS’ È LUI…SEMPRE LIBERA” from DIE ZAUBERFLÖTE ................................................. W. A. MOZART Tess Altiveros, soprano / David Margulis, tenor Aria: “EIN MÄDCHEN ODER WEIBCHEN” Duet: “PAPAGENA, PAPAGENO” from DIE ZAUBERFLÖTE ..................... WOLFGANG AMADEUS MOZART Faina Morozov, soprano / Drew Dresdner, baritone Aria: “ACH, ICH FÜHL’S” (1756-1791) Arian Ashworth, soprano from AÏDA .................................................................................. G. VERDI Duet: “CIEL! MIO PADRE” from CAVALLERIA RUSTICANA ........... PIETRO MASCAGNI (1863-1945) Rebecca Paul, soprano / David Borning, baritone Aria: “VOI LO SAPETE” Brittany Hines-Hill, soprano from DER ROSENKAVALIER ................ RICHARD STRAUSS (1864-1949) Trio: “MARIE THERES! HAB’
    [Show full text]
  • "Ei, Dem Alten Herrn Zoll' Ich Achtung Gern'"
    Christine Siegert, Kristin Herold Die Gattung als vernetzte Struktur Überlegungen zur Oper um 1800 In der zweiten Hälfte des 18. Jahrhunderts bildete sich ein Repertoire vor allem ita- lienischer Opern heraus, die in ganz Europa gespielt wurden. Dabei wurden sie bekanntermaßen an die jeweiligen Aufführungsbedingungen angepasst. Dass die so zustande gekommenen Bearbeitungen als konstitutiv für die Gattung Oper gelten können und dass Opern in jener Zeit daher als Werke angesehen werden müssen, die sich aus der Gesamtheit ihrer Quellen konstituieren, wurde an anderer Stelle zu zeigen versucht. Ein wesentliches Moment bei der Anpassung waren die sogenannten Einlagearien, die zusätzlich oder als Ersatz für andere Arien in die Opern eingefügt wurden. Es konnte sich sowohl um eigens für den neuen Kontext komponierte Arien handeln als auch um Arien, die ursprünglich aus anderen Opern stammten. Diese Arien wanderten also von einem Bühnenwerk in ein anderes – sei es auf der Basis des Notentextes, der verbreitet wurde, sei es auf der Basis des Materials, indem eine Arie einer Opernpartitur entnommen und in eine andere wieder eingefügt wurde. Gerade der letztere Vorgang zeigt, dass die Arien im Resultat beiden Opern zugehörten, der Oper, aus der sie ursprünglich stammten, und der Oper, der sie später angehören. Die Arien schaffen also eine Verbindung zwischen verschiedenen Werken der Gattung. Die Erforschung solcher Verbindungen hat sich bislang auf den Einzelfall beschränkt, etwa indem Einlagearien einer Oper als aus einer anderen Oper stammend identifiziert wurden. Indes wurde unseres Wissens noch nicht versucht, das Phänomen umfassend zu untersuchen. So haben auch wir bei unseren Recherchen zunächst begonnen, solche Einzelbeobachtungen zu sammeln.
    [Show full text]
  • Une Histoire De La Réception De La Donna Del Lago Au Théâtre Royal Italien De 1824 À 1848
    6 « Fatale expérience » ou « fête pour le public des Italiens » ? Une histoire de la réception de La donna del lago au Théâtre royal Italien de 1824 à 1848 a donna del lago connaît cent treize représentations au Théâtre royal Italien entre 1824 et 1848. À cela s’ajoutent onze représentations séparées de l’acte II. C’est L donc bien, si l’on en croit les contemporains, « un opéra de répertoire »1. Cette expression ne désigne pas une réalité harmonieuse dont le secret tiendrait à la perfection de l’œuvre elle-même. Elle procède d’une construction dans le temps, au fil des attentes, des colères et des bonheurs du public vis-à-vis des artistes et de l’administration. C’est donc sous la plume même des contemporains que l’on peut faire émerger les grands enjeux d’une histoire de la réception de La donna del lago au Théâtre-Italien. Bien sûr, il serait difficile, impossible même, de retracer ici toute cette histoire. Notre premier choix consistera donc à nous interroger plus longuement sur la création, décisive pour saisir les éléments qui reviendront par la suite de façon récurrente. Notre second choix sera de privilégier, non pas la musique de l’opéra telle que la reçoivent les spectateurs parisiens, mais les questions de scénographie et d’interprétation. Les raisons justifiant cette approche constituent aussi les deux enjeux de notre propos. Le premier tient à la partition même de l’opéra, à son exigence première : la présence simultanée de trois premiers chanteurs, un soprano, un ténor, et un contralto.
    [Show full text]
  • [Untitled] Author(S): John Platoff Source: the Journal of Musicology, Vol. 12, No. 1 (Winter, 1994), Pp. 85-115 Published By: Un
    [untitled] Author(s): John Platoff Source: The Journal of Musicology, Vol. 12, No. 1 (Winter, 1994), pp. 85-115 Published by: University of California Press Stable URL: http://www.jstor.org/stable/763939 Accessed: 09/02/2009 21:13 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org Review-Essay A New History for Martin's Una cosa rara Vincente Martin y Soler, Una cosa rara, ossia Bellezza ed onesta: drammagiocoso.
    [Show full text]