Daniel Barenboim Orchestra E Coro Del Teatro Alla Scala
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Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
Uw Music
~~~ ~1~SC. ::z qq SCHOOL OF MUSIC UNIVERSITY of WASHINGTON JOl7 \-1'1 Opera Workshop: Mozart Scenes Instructors: Cyndia Sieden, Stephen Stubbs Stage direction ......................................... Cyndia Sieden, Unda Kitchen, Deanne Meek Assistant Stage director ........................................................................ Gemma Balinbin Musical direction .................................................................................... Stephen Stubbs Musical coaching ............................................................... Rhonda Kline, Cyndia Sieden Piano Accompaniment ........................................................................Andrew Romanick 7:30 PM January 14, 2017 Meany Studio Theater UW MUSIC 2016-17 SEASON b vl;;> 1F /1-/931 PROGRAM I f2~CYlf.U5" <;fVhi>s/51(2cLu" ~k LE NOllE DI FIGARO: 1786 The Marriage of Figaro takes place in the palace ofthe Count and Countess Almaviva. Figaro is the Valet to the Count and Susanna the maid and confidante of the Countess. The Count is a philanderer and has his eyes on Susanna. Prior to the opera he abolished the law of 'droit de seigneur', the right of the lord of the manorto take the virginity of a bride before the wedding, but with Susanna, about to get married, he plans to re-establish this law. This provides the emotional foundation for all the characters in the opera, leaving Figaro angry, Susanna confused and the Countess bereft, relying on her page, Cherubino to cheer her up. They are reduced to hatching a plot to obstruct the Count's plans and to humiliate him. Z 1. Act II Sc. 1: Duets (Figaro and Susanna) Susanna: Gemma Balinbin / J; 2-:;- Figaro: Jacob Caspe Figaro and Susanna are preparing their bedroom as their wedding is taking place later that day. Figaro takes measurements to see ifthe bed will fit, while Susanna is concerned by the position of the room, placed between those of the Countess and the Count convenient in Figaro's eyes but dangerous in Susanna/so She knows the Count has designs on her, and warns Figaro of this. -
Ernest Guiraud: a Biography and Catalogue of Works
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Ernest Guiraud: A Biography and Catalogue of Works. Daniel O. Weilbaecher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Weilbaecher, Daniel O., "Ernest Guiraud: A Biography and Catalogue of Works." (1990). LSU Historical Dissertations and Theses. 4959. https://digitalcommons.lsu.edu/gradschool_disstheses/4959 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Il Caso Gualino a Cura Di Francesca Ponzetti
Il caso Gualino A cura di Francesca Ponzetti INDICE DEI MATERIALI: Cronologia degli anni torinesi: p. 2 1923 – Teatro Odeon – Programma: p. 8 1925-1929 – Teatrino privato – Programma: p. 9 1925-1930 – Teatro di Torino – Programma: p.10 Recensioni agli spettacoli: p.25 I Diari di Cesarina Gualino: p. 72 1 Riccardo Gualino negli anni torinesi - Cronologia Riccardo Gualino (Biella 1879- Firenze 1964) Cesarina Gurgo Salice (Casale Monferrato 1890-Roma 1992) 1879 Riccardo Gualino nasce a Biella (nel quartiere popolare Riva), decimo di 12 figli. 1896 Si trasferisce a Sestri Ponente. A soli 17 anni si avvia alla vita degli affari alle dipendenze del cognato Attilio Bagnara (marito della sorella Maria Gualino) proprietario di un‟industria all‟avanguardia, nel commercio genovese, per l‟importazione di legname dalla Florida. Riccardo fu assunto in qualità di impiegato addetto alla segheria di Sestri e agli sbarchi e spedizioni da Genova. 1897 Parte per il servizio militare. 1899 Torna a Sestri Ponente dove lavora ancora per il cognato in qualità di “viaggiatore” (retribuito a percentuale) con il compito di curare il collocamento della mercanzia presso i compratori (zona Italia settentrionale). 1901 Lavora presso un‟importante azienda di Milano importatrice di legname d‟abete dalla Carinzia e dal Tirolo come addetto al “controllo della qualità”. 1903 Si trasferisce a Casale Monferrato dove lavora per il cugino Tancredi Gurgo Salice (padre di Cesarina), produttore di cemento, in qualità di “rappresentante autonomo”. 1905 Crea la sua prima impresa, la “Riccardo Gualino & C.”, avente per scopo l‟industria e il commercio dei legnami e dei cementi; l‟impresa nasce dalla collaborazione con i cugini Gurgo Salice (in particolare Tancredi). -
Agenda 21 Dicembre Ok:Agenda 19 Ottobre 2012
il settimanale dei brindisini Anno XXII • N. 44 • 21 dicembre 2012 • www.agendabrindisi.it AGENDA AUGURA A TUTTI BUONE FESTE E DA' APPUNTAMENTO AL 2013 Buon Natale e Buon Anno L’albero di Natale tra il Teatro Verdi e Palazzo Granafei-Nervegna (Foto Maurizio De Virgiliis) Verdi di Natale tra il Teatro L’albero SPORT: CALCIO IN RIPRESA, BASKET «CHANCE» DI COPPA www.bagnatoluigi.it - [email protected] ATTUALITA’ 3 Nomine - Nel numero pre- tro la propria maggioranza? cedente avevo «coinvolto» (a Se si volesse fare del sarca- sua insaputa e suo malgrado ZONA FRANCA smo si potrebbe dire che si ha ... e me ne scuso) un uomo OPINIONI IN LIBERTÀ DI GIORGIO SCIARRA un occhio di riguardo per gli che stimo - per serietà, com- animali ma non altrettanto per petenza e passione - indican- gli esseri umani, ma questo e- dolo come figura adatta ad oc- pisodio offende la sensibilità cupare la poltrona di presiden- di tante persone e non è pro- te del porticciolo turistico Ma- prio il caso delle facili ironie. rina di Brindisi. Non avevo IMU - «Il Governo sta por- fatto i conti, da sprovveduto, tando a termine un vero e pro- con l’intramontabile «manua- prio attentato ai danni dei Co- le Cencelli» che tiene sempre muni italiani che ospitano in considerazione l’apparte- grandi insediamenti industria- nenza a qualcosa o qualcuno, li. Come dire, insomma, che i raramente la competenza. In- nostri cittadini devono subire fatti, mentre Agenda era in il danno oltre la beffa». Parole stampa ho letto dell’avvenuta (le successive nomine). voto favorevole di tre consi- sante, pronunciate dal sindaco nomina di Dario Montanaro, Unioni di fatto - Il Consi- glieri dell’opposizione ma sul fatto che lo Stato dovrebbe che sicuramente svolge con e- glio comunale o, meglio, la non di Noi Centro e UDC. -
10-06-2018 Aida Mat.Indd
Synopsis Act I Egypt, during the reign of the pharaohs. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command the Egyptian army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter, and he believes that victory in the war would enable him to free and marry her. But Amneris also loves Radamès and is jealous of Aida, whom she suspects of being her rival for Radamès’s affection. A messenger brings news that the Ethiopians are advancing. The king names Radamès to lead the army, and all prepare for war. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king. In the temple of Vulcan, the priests consecrate Radamès to the service of the god Ptah. Ramfis orders Radamès to protect the homeland. Act II Ethiopia has been defeated, and in her chambers, Amneris waits for the triumphant return of Radamès. Alone with Aida, she pretends that Radamès has fallen in battle, then says that he is still alive. Aida’s reactions leave no doubt that she loves Radamès. Amneris is certain that she will defeat her rival. At the city gates, the king and Amneris observe the victory celebrations and praise Radamès’s triumph. Soldiers lead in the captured Ethiopians, among them Amonasro, who signals his daughter not to reveal his identity as king. Amonasro’s eloquent plea for mercy impresses Radamès, and the warrior asks that the order for the prisoners to be executed be overruled and that they be freed instead. -
Organizzazione E Produzione Di Uno Spettacolo Teatrale. Il Don Carlo
Corso di Laurea magistrale in Economia e Gestione delle Arti e delle Attività culturali Tesi di Laurea Organizzazione e produzione di uno spettacolo teatrale. Il Don Carlo Relatore Ch. Prof. Federico Pupo Correlatore Ch. Prof. David Douglas Bryant Laureando Ilaria Di Sebastiano Matricola 874180 Anno Accademico 2019/2020 2 Un ringraziamento particolare al mio relatore, Federico Pupo, per avermi seguita e consigliata durante tutto il percorso e al Teatro La Fenice nel suo team professionale per avermi accolta e aver reso possibile la stesura di questo elaborato. 3 4 SOMMARIO INTRODUZIONE .................................................................................................................... 7 PRIMO CAPITOLO: Il progetto ........................................................................................... 9 1.1 Il grand-opéra ................................................................................................................. 9 1.2 Il drammaturgo: Friedrich Schiller............................................................................ 11 1.3 Il compositore: Giuseppe Verdi .................................................................................. 15 1.4 I librettisti: Joseph Méry e Camille Du Locle............................................................ 18 1.4.1 Don Carlo: storia e trama ......................................................................................... 19 SECONDO CAPITOLO: il progetto ................................................................................... -
LOC 2019-20 Issue 9 Queen of Spades-020420-NO ADS.Indd
LYRIC OPERA OF CHICAGO THETHE QUEEN THREE OF QUEENS SPADES 2019|20 SEASON In this issue Michael Cooper / Canadian Opera Company The Queen of Spades | pp. 16-32 6 WELCOME TO YOUR LYRIC 42 Program staff 8 From the Chairman and the 43 Ryan Opera Center contributors General Director 10 Board of Directors 44 THANK YOU FOR 12 Celebration: the 2020|21 YOUR SUPPORT Lyric season 46 Production sponsors 47 Aria Society 16 PERFORMANCES 59 Supporting our future — 18 Title page and cast endowments at Lyric 19 Introduction 60 Faces of Lyric 20 Artist profiles 63 Gift planning Opera Omaha/Proving Up 2018 24 Orchestra & Chorus 66 Corporate partners Here’s to Lyric’s 2020|21 season! | pp. 12-15 28 Opera notes 68 Annual individual 32 After the curtain falls and foundation support 74 Commemorative gifts 34 BEYOND THE STAGE 36 Lyric Unlimited – 76 THE COMPANY learning & creative engagement 76 Artistic roster 78 Lyric staff 40 RYAN OPERA CENTER 80 Backstage life 42 Ryan Opera Center alumni around the world Lyric Opera of Chicago | 2 Paid ad Lyric Opera of Chicago | 3 Since 1991 Gail McGrath Tahira Merchant You can view this program Publisher & President Graphic Designer on your mobile device at Sheldon Levin lyricopera.org/programs Publisher & Director Joy Morawez of Finance Accounting For advertising information LISA MIDDLETON A. J. Levin Willie Smith call 847-770-4620. To see Executive Editor Director of Operations Supervisor Operations our Terms and Conditions Earl Love relating to advertising ROGER PINES Rand Brichta Operations orders, visit our website at Editor Arnie Hoffman Wilfredo Silva performancemedia.us. -
Theater in Bayern Im Spieljahr 2017/18
Statistische Berichte Theater in Bayern im Spieljahr 2017/18 B V 1 j 2017 Hrsg. im Dezember 2019 Bestellnr. B5100C 201700 www.statistik.bayern.de Zeichenerklärung Auf- und Abrunden 0 mehr als nichts, aber weniger als die Hälfte der kleins- Im Allgemeinen ist ohne Rücksicht auf die Endsummen ten in der Tabelle nachgewiesenen Einheit auf- bzw. abgerundet worden. Deshalb können sich bei der Sum mierung von Einzelangaben geringfügige Ab- – nichts vorhanden oder keine Veränderung weichun gen zu den ausgewiesenen Endsummen ergeben. / keine Angaben, da Zahlen nicht sicher genug Bei der Aufglie derung der Gesamtheit in Prozent kann die Summe der Einzel werte wegen Rundens vom Wert 100 % · Zahlenwert unbekannt, geheimzuhalten oder nicht abweichen. Eine Abstimmung auf 100 % erfolgt im Allge- rechenbar meinen nicht. ... Angabe fällt später an X Tabellenfach gesperrt, da Aussage nicht sinnvoll ( ) Nachweis unter dem Vorbehalt, dass der Zahlenwert erhebliche Fehler aufweisen kann p vorläufiges Ergebnis r berichtigtes Ergebnis s geschätztes Ergebnis D Durchschnitt ‡ entspricht Publikationsservice Das Bayerische Landesamt für Statistik veröffentlicht jährlich über 400 Publikationen. Das aktuelle Veröffentlichungsverzeich- nis ist im Internet als Datei verfügbar, kann aber auch als Druckversion kostenlos zugesandt werden. Kostenlos Publikationsservice ist der Download der meisten Veröffentlichungen, z.B. von Alle Veröffentlichungen sind im Internet Statistischen Berichten (PDF- oder Excel-Format). verfügbar unter Kostenpflichtig www.statistik.bayern.de/produkte sind alle Printversionen (auch von Statis ti schen Berich ten), Datenträger und ausgewählte Dateien (z.B. von Ver zeich- nissen, von Beiträgen, vom Jahrbuch). Impressum Statistische Berichte Vertrieb bieten in tabellarischer Form neuestes Zahlen material E-Mail [email protected] der jeweiligen Erhebung. -
The+Baroque+In+Jiri+Kylian+(Katja+Vaghi)
DOCTORAL THESIS The Baroque in Jií Kylián Vaghi, Katja Award date: 2016 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 The Baroque in Jiří Kylián Intertextual and Intermedial References in Kylián’s Works by KATJA VAGHI, lic phil A thesis submitted in partial fulfillment of the requirements for the degree of PhD Department of Dance University of Roehampton 2015 Table of Contents Acknowledgements .................................................................................................... 4 Abstract .......................................................................................................................... 5 Introduction .................................................................................................................. 7 0.1. Jiří Kylián -
Verdi Handbuch
Verdi Handbuch VERDI HANDBUCH 2., überarbeitete und erweiterte Auflage Herausgegeben von Anselm Gerhard und Uwe Schweikert Metzler Bärenreiter Bibliografische Information der deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://dnb.d-nb.de> abrufbar. ISBN 978-3-476-02377-3 (Metzler) ISBN 978-3-476-05186-8 (eBook) DOI 10.1007/978-3-476-05186-8 Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. © 2013 Springer-Verlag GmbH Deutschland Ursprünglich erschienen bei J.B. Metzler’sche Verlagsbuchhandlung und Carl Ernst Poeschel Verlag GmbH in Stuttgart 2013 www.metzlerverlag.de [email protected] Inhalt Vorbemerkung . XI Zum Gebrauch dieses Buches . XIII Abgekürzt zitierte Ausgaben von Briefen von und an Verdi . XIV Zeittafel (Vincenzina C. Ottomano und Anselm Gerhard) . XV EINLEITUNG Verdi-Bilder (Anselm Gerhard) . 2 Verdis Selbststilisierung 2 ›Self-made-man‹ 6 »Un orso« – ein Bär 8 »Un compositore rozzo« – ein roher Komponist 9 Der »Leierkasten«-Musiker 11 Der Antipode Wagners 14 »Der Komponist der italienischen Revolution« 16 Der Nationalkomponist 19 Der »Bauer« von Sant’Agata 20 Der me- lancholische Witwer 21 Autonomie 24 VERDIS WIRKEN IM ITALIENISCHEN 19. JAHRHUNDERT Italien zwischen Restauration, Risorgimento und nationaler Einheit (Martina Grempler) . 30 Zwischen Revolution und Restauration 31 Mailand als neues Zentrum 33 Risorgimento 34 Von der Idee zur Realität: Die italienischen Einigungskriege 35 Der Nationalstaat 38 Nachwirkungen des Risorgimento 40 Eine nationale Sprache für Verdis Opern (Vittorio Coletti) . -
The Metropolitan Opera Presents Aida in HD
Visions and Voices and the USC Libraries have collaborated to create a series of resource guides that allow you to build on your experiences at many Visions and Voices events. Explore the resources listed below and continue your journey of inquiry and discovery! USC LIBRARIES RESOURCE GUIDE VISIONS AND VOICES and the USC SCHOOL OF CINEMATIC ARTS, in conjunction with the METROPOLITAN OPERA in New York, present the HD telecast of Giuseppe Verdi’s Aida. To help you learn more about Verdi’s masterpiece, ROSS SCIMECA of the USC LIBRARIES has selected the following resources. Introduction Giuseppe Verdi composed 28 operas during his lifetime. Aida is the 26th, followed by his late masterpieces, Otello and Falstaff. What is unique about Aida is that it is a grand opera, meaning it features extended choruses, ballets and marches composed in a theatrically spectacular style. Like Don Carlos, which preceded Aida by five years and premiered at the Paris Opera, Verdi brilliantly integrated these spectacular elements with the vocal elements of traditional opera. Camille du Locle took the plot for his French-language libretto for Aida from the work of Egyptologist Mariette Bey. The libretto was later translated into Italian verse by Antonio Ghislanzoni. Commissioned by the Khedive of Egypt, Aida premiered at the Italian Theatre in Cairo on December 24, 1871. It was a sensational success, as it was two months later at Milan’s La Scala. The opera reached New York’s Academy of Music on November 26, 1873. You can find the Italian-language libretto of Aida and an English translation in the Opera Classics Library by clicking on the Databases tab at: www.usc.edu/libraries/eresources.