Incoronazione Di Poppea *
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The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet -
Seriale, Immersivo, Industriale. Il Barocco E L'invenzione Del
Mediascapes journal 7/2016 Seriale, immersivo, industriale. Il barocco e l’invenzione del melodramma* Donatella Capaldi** Sapienza Università di Roma Giovanni Ragone*** Sapienza Università di Roma Archetypes of modernity are to be recognized in serial media developed during the first half of XVII century, when a proto-metropolitan social universe was evolving. According to a mediological standpoint, the case study of baroque opera allows to identify the basic characters of consumer genres, and to define connections among serialization, immersivity, virtualization, polisensoriality, hypertextuality, ibridation, chain and work organization, with a special focus on mass audience and on creative reuse of collective imaginary and metaphors. Baroque opera, created for public theatre with admission ticket, was the second pole of an entertainment integrated system consisting of the romance, with its “horizontal” and hypertextual attitude, and of the melodrama, with its immediate and fusional setup: i.e. romance and opera like the ancestors of radio-television fiction and cinema. The birth and rise of the medium “opera” needs to be historicized in the frame of a complex environment study: Venice, as the Italian capital of a cultural proto-industry; the Incogniti Academy as the most important European publishing and entertainment laboratory; and finally, the situation of freedom from censorship, which permitted to libertine network, with its special European relations, to produce new experimental genres often being heterodox on ethical and religious grounds. Keywords: Series. Immersivity. Baroque. Opera. Cultural Industry Primo scenario: il barocco seriale e immersivo La mediamorfosi procede per ibridazioni, conflitti, egemonie e instabili equilibri tra ambienti di vita, soggettività, tecnologie, mitologie, e potere. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
*141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital). -
The Possibility of Opera
7 The Possibility of Opera In the performances of the Prologue of Orfeo, as staged by Luca Ronconi (see chapter 3), and of Combattimento, as staged by Pierre Audi (chapter 6), a char- acter at first represents the narrator — La Musica in the former case, Testo in the latter one. Both characters assert their presences through musical, verbal, and scenic effects. At a later phase — respectively, in the third and seventh strophes of their settings — La Musica and Testo also emerge as focalizing agents, their func- tion as narrators gradually receding into the background in order to “give life” to focalized characters — respectively, Orpheus and Tancredi/Clorinda. Clorinda becomes so autonomous a character as to herself become a focalizer at the end. Under this perspective, both performances can be said to stage the birth of musi- cal theater, and in the second case, we might add, out of the spirit of the madrigal. The madrigal is traditionally dominated by the narrator’s voice, diffused into the polyphonic concentus. But in the hands of Monteverdi, particularly in his Books V to VIII, the madrigal becomes the privileged site for the performance of a plurality of points of view. Characters come to life intermittently even despite their absence from the verbal text as such, thanks, for example, to the focalizing role played by instruments in concertato madrigals. Still, the narrator remains the ever-present voice (in narrative terms) that is audible and visible mostly in the continuo line, but also intermittently in individual voices (in physical terms) such as the bass — this was a traditional conduit of the “speaker” since Arcadelt. -
Handel Arias
ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry. -
Theodora - It Would Be Useful for Your Students to Know Something of This Before the Workshop
T h eo d o ra Oratorio in three parts Libretto by Thomas Morell Premiere: Royal Opera House, Covent Garden, 16th March 1750 and generously funded by the Esmée Fairbairn Foundation 1 T h eo d o ra Preparing for a workshop This pack contains information about the basic storyline and characters of Theodora - it would be useful for your students to know something of this before the workshop. The entire pack will not take long to read. 2 T h eo d o ra 3 T h eo d o ra President of Antioch (Roman) Determined to destroy anyone who will not worship the Roman gods. Bass Didymus Young Roman soldier Secretly a Christian, but afraid to admit this even to his closest friend. Counter-tenor Septimius Roman Officer, friend and former comrade-in-arms of Didymus Hates the oppression of the Christians, but is afraid to speak out or act against it. A good, spiritual man, he still worships the Roman gods. Tenor Theodora Young noblewoman of Antioch, (Christian) Has a devout faith in God and is unafraid of death. She prizes her untainted reputation as a virgin. Soprano Irene Leader of the Christians, friend and confidante of Theodora Helps the Christians find the strength to carry on in a time of great danger and persecution. Mezzo-soprano Chorus of Romans Chorus of Christians 4 T h eo d o ra Overview Handel’s oratorio Theodora is an exploration of the universal themes of love, devotion and sacrifice and asks the question “How far would you be willing to go for what you believe?” The brave and unyielding young noblewoman Theodora is arrested by the Roman guard in a violent crack down on Christianity. -
Handel's Messiah Freiburg Baroque Orchestra
Handel’s Messiah Freiburg Baroque Orchestra Wednesday 11 December 2019 7pm, Hall Handel Messiah Freiburg Baroque Orchestra Zürcher Sing-Akademie Trevor Pinnock director Katherine Watson soprano Claudia Huckle contralto James Way tenor Ashley Riches bass-baritone Matthias von der Tann Matthias von There will be one interval of 20 minutes between Part 1 and Part 2 Part of Barbican Presents 2019–20 Please do ... Turn off watch alarms and phones during the performance. Please don’t ... Take photos or make recordings during the performance. Use a hearing aid? Please use our induction loop – just switch your hearing aid to T setting on entering the hall. The City of London Corporation Programme produced by Harriet Smith; is the founder and advertising by Cabbell (tel 020 3603 7930) principal funder of the Barbican Centre Welcome This evening we’re delighted to welcome It was a revolutionary work in several the Freiburg Baroque Orchestra and respects: drawing exclusively on passages Zürcher Sing-Akademie together with four from the Bible, Handel made the most of outstanding vocal soloists under the his experience as an opera composer in direction of Trevor Pinnock. The concert creating a compelling drama, with the features a single masterpiece: Handel’s chorus taking an unusually central role. To Messiah. the mix, this most cosmopolitan of figures added the full gamut of national styles, It’s a work so central to the repertoire that from the French-style overture via the it’s easy to forget that it was written at a chorale tradition of his native Germany to time when Handel’s stock was not exactly the Italianate ‘Pastoral Symphony’. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera Permalink https://escholarship.org/uc/item/9mj7d63c Author Richter, Terri Lynn Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation. -
Selected Bibliography
Jointly Authored by Beth and Jonathan Glixon (Beth L. Glixon, Jonathan Glixon, Nicola Badolato, and Michael Burden) Critical edition of Francesco Cavalli, Erismena, in The Operas of Francesco Cavalli, Ellen Rosand and Lorenzo Bianconi, general editors (Baerenreiter; 2018) “The Triumph of Inconstancy: The Vicissitudes of a Seventeenth- Century Libretto,” in Rebecca Cypess, Beth L. Glixon, and Nathan Link, eds., Word, Image, and Song (Rochester: University of Rochester Press, 2013), vol. 1, pp. 52-73. “Opera” in Oxford Bibliographies in Renaissance and Reformation, Margaret King, ed. (New York: Oxford University Press, 2012): www.Oxfordbibliographies.com “An Honest and Virtuous Recreation: Two Theatrical Academies in Seventeenth-Century Venice,” in Kristine K. Forney and Jeremy L. Smith, eds., Sleuthing the Muse: Essays in Honor of William F. Prizer (Hillsdale, NY: Pendragon Press, 2012), pp. 163-180. Inventing the Business of Opera: the Impresario and his World in Seventeenth-Century Venice. American Musicological Society Studies in Music (New York: Oxford University Press, 2006) “Giovanni Faustini” and “Marco Faustini” in New Grove Dictionary of Music and Musicians, revised edition, 2001. “Oil and Opera Don’t Mix: The Biography of S. Aponal, a Seventeenth-Century Venetian Opera Theater,” in Music in the Theater, Church, and Villa: Essays in Honor of Robert Lamar Weaver and Norma Wright Weaver, edited by Susan Parisi with collaboration of Ernest Harriss II and Calvin M. Bower, 131-144. Michigan: Harmonie Park Press, 2000. “Marco Faustini and Venetian Opera Production in the 1650s.” Journal of Musicology 10 (1992), 48-73. Beth Glixon EDITED VOLUMES Studies in Seventeenth-Century Opera, ed Beth Glixon, in The Ashgate Library of Essays in Opera Studies, general editor Roberta Marvin. -
Opening Nights at the Opera 1641–1744
Cambridge University Press 0521851459 - The Transvestite Achilles: Gender and Genre in Statius’ Achilleid P. J. Heslin Excerpt More information 1 Opening N ights at the Opera 1641–1744 Eccoti ò Lettore in questi giorni di Carnevale un’Achille in maschera. Preface to L’Achille in Sciro, Ferrara 1663* ver the course of the late seventeenth and early eighteenth cen- turies, the story of Achilles in Scyros was represented many times on operatic stages across Europe. Given the nature of the young genre, it O 1 is not hard to see why this motif was popular. To illustrate the principle, con- trast the Elizabethan theater, where the custom of boy actors playing the parts of women lent a certain piquancy to plots in which a female character dressed as a man: thus a boy played a woman playing a man. In Baroque opera, the sit- uation was reversed. The primary roles were almost invariably scored for high voices, which could only be sung by a woman or a man whose secondary sexual 2 characteristics had not developed. In most cases the choice between a female singer and a castrato seems to have been determined by the local availability of 3 singers rather than the pursuit of naturalism. It was not impossible to see the * “In these days of Carnival, here is Achilles wearing a mask for you, dear reader.” On this text, see below (p 11). 1 Thus Rosselli (1992: 58). 2 This was accomplished by cutting the spermatic cords or by orchidectomy before puberty: see Jenkins (1998) on the procedure and physiology, and on the social context, see Rosselli (1988)or more succinctly Rosselli (1992: 32–55). -
L'amante Segreto Parole D'incerto Barbara Strozzi (1619-1677) Ed
Buyer: Ricardo Niño Rosales ([email protected]) Transaction ID: 6XY74315JM4571126 BARBARA STROZZI The Complete Works L’Amante Segreto Opus 2.16 Cantate, Ariette, e Duetti. for soprano and continuo Edited by Richard Kolb Cor Donato Editions Candace A Magner, general editor ST2.16d © 2014 ISMN - 979-0-3016-0019-1 Buyer: Ricardo Niño Rosales ([email protected]) Transaction ID: 6XY74315JM4571126 2.16. L’Amante Segreto The Secret Lover Voglio, voglio morire, I want to die, Piutosto ch’il mio mal venga à scoprire. rather than have my distress discovered. O disgrazia fatale, Oh, fatal misfortune, Quanto più miran gl’occhi il suo bel volto the more my eyes see her beautiful face, Più tien la bocca il mio desir sepolto; the more I must keep my desire hidden: Chi rimedio non hà taccia il suo male. one who has no remedy must remain silent about his distress. Non resti di mirar chi non ha sorte, One with no luck can only look, Nè può da sì bel ciel venir la morte. nor could death come from such a clear sky. La bella donna mia sovente miro, I look at my beautiful lady, Ed ella à mè volge pietoso il guardo, and she looks on me with compassion, Quasi che voglia dire: as if to say: Palesa il tuo martire, “Reveal your torment,” Che ben s’accorge che mi struggo e ardo. for she is well aware that I'm consumed and burn. Mà io voglio morire... But I want to die... L’erbetta, ch’al cader di fredda brina The grasses and herbs, that bow their Languida il capo inchina; languishing heads when comes the cold frost, All’apparir del sole, when the sun appears Lieta verdeggia più di quel che suole: joyfully become more verdant than ever: Tal io, s’alcun timor mi gela il core, thus I, when fear chills my heart, All’apparir di lei prendo vigore.