DOCSLIB.ORG

Suor Angelica & Gianni Schicchi Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Suor Angelica & Gianni Schicchi Program University of Southern Maine USM Digital Commons Programs 2008-2009 Season Theatre Programs 2000-2010 3-2009 Two Puccini Operas: Suor Angelica & Gianni Schicchi Program University of Southern Maine Department of Theatre Follow this and additional works at: https://digitalcommons.usm.maine.edu/theatre-programs-2008-2009 Part of the Theatre History Commons Recommended Citation University of Southern Maine Department of Theatre, "Two Puccini Operas: Suor Angelica & Gianni Schicchi Program" (2009). Programs 2008-2009 Season. 3. https://digitalcommons.usm.maine.edu/theatre-programs-2008-2009/3 This Book is brought to you for free and open access by the Theatre Programs 2000-2010 at USM Digital Commons. It has been accepted for inclusion in Programs 2008-2009 Season by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. UNIVERSITY OF [i]m SOUTHERN MAINE The School of Music and the Department of Theatre in collaboration present Suor Angelica and Gianni Schicchi by Giacomo Puccini Stage Director, Assunta Kent Music Director, Ellen Chickering Conductor, Robert Lehmann Sponsored by Drs. Elizabeth and John Serrage March 13-21, 2009 Main Stage, Russell Hall Gorham Campus Produced by special arrangement with Ricardi. lfL·--- - -- - - . Director's Note Suor Angelica and Gianni Schicchi by Giacomo Puccini (1858-1924) Once every four years Music and Theatre collaborate on a fully staged opera production- and this time, we offer you the rare Stage Director, Assunta Kent opportunity to sample grand opera in one evening, with Puccini' Conductor, Robert Lehmann Suor Angelica, an exqui ite tear-jerker, and Gianni Schicchi, a laugh­ Musical Director, Ellen Chickering out-loud comedy. 01·iginally part of the tryptych (IL Trittico) in pired by Dante's Alessandra Turati Divine Comedy, Suor Angelica and Gianni Schicchi share several Scenic Design: themes and character types underscored by our double-casting. For Costume Design: Kris Hall (Angelica), example, the role of the villainous Princess who comes to wrench away Devon Ash (Schicchi) Angelica' last hopes i shared by the mezzo oprano who al o sing Hair and Makeup Design: Kimberly Stone (on alternating night ) the comic "bad-guy' role of Zita, the aunt Lighting Design: JP Gagnon who controls the fortune and marital future of the young lover in Schicchi. In terms of theme, the operas ru·e a perfectly matched pair. In Cast the tragedy, powerful repressive forces (the Princess aided by the Abbess) have changed the will and force our heroine to relinquish her Suor Angelica: rights. In the comedy, a rogue (rehabilitated from hell!) tricks the (Performing on March 13, 15, 20) greedy forces and redistribute the legacy to give everyone their due, plu a welcome comeuppance for the greediest. And, of cour e, young love prevails! Suor Angelica SarahMawn To look more deeply Puccini presents an ironic commentary The Principessa Jazmin DeRice on the nature of heaven and hell. Angelica is driven to suicide to The Abbess Mary Bastoni escape her heJlish confinement in the peaceful convent finding The Monitor Rachael Braunstein redemption only through death and hope for the afterlife. But Gianni The Mistress of the Novices Christenia Alden-Kinne wins our indulgence for his legal deception becau e of it po itive Sister Genevieve Katherine Hall outcomes: the heavenly bliss of the young lovers and the demonic Sister Dolcina Alauna Butler frenzies of the scheming relatives in their little self-made hell. Sister Osmina, Portress Kristen Stearns But why in the world move Gianni Schicchi from medieval Sister Lucilla Greer Vashon Florence to Portland's West End circa 1927? Puccini drew his title Shannon Connell character from a shyster condemned to Dante's Inferno and thus The Tourieres placed the opera in Dante's world. But Gianni' new job is to Kelsey Ray 'adjust' an old man's will posthumously for hi greedy heir:s who are The Novices Kaitlin McGinley each ilhtminated by the property they desire. A desire for house in Molly Massa Quintole and land in Empoli provide little character in ·ight for Maine The Lay Sisters Alicia Culleton audiences, o I have remapped the opera over the Po11land area. We Erica Wasil all have a en e of the rich older lady who must have the cottage on Blessed Virgin Mary Kelsey Ray Peaks Island and the We t End fashionista who must have the Angelic Child Sebastian Shames townhouse in Boston. And we easily recognize the pompo ity and delusions of grandeur of the fonner mayor of Scarborough! Suor Angelica: (Performing on March 14, 17, 19, 21) Assunta Kent Suor Angelica Stephanie Gilbert The Principessa Alexandra Dietrich (same as above for the other roles) Gianni Schicchi: Artistic Staff (Performing on March 13, 15, 20) Assistant Director Brian Essman Assistant Lighting Design Sebastian Ascanio Gianni Schicchi Daniel Cyr Movement Coach Julie Goell Lauretta Jesslyn Thomas Drarnaturg Calien Lewis Corpse of Buoso Donati Brandon Johnson Rehearsal Accompanists Kathleen Scott (Suor Angelica) Relatives of Buoso Donati: Claudia Tornsa ( Gianni Schicchi) Zita Alexandra Dietrich Rinuccio John Coons Production Staff Gherardo Brian Tingdahl Stage Manager Florence Cooley Nella Michelle Rawding Assistant Stage Managers Jacqueline Cascella, Sarah Dube Gherardino Sebastian Shames Technical Director Perry Fertig Betto David Delano Carpenters Stage Craft Practicum, Julian Bones, Simone Joseph Murphy Florence Cooley, Brietta Hopkins, DJ Hutchins, Marco Daniel Pendergast Jeffrey Toombs, Emily Waller La Ciesca Mary Bastoni Scenic Painter Annie Boissevain Master Spinelloccio Richard Sherman Costume Director Kris Hall Arnantio di Nicolao, the Notary Roger Marcotte Stitchers Costume Practicum, Hannah Brown, Pinellino Dominic Rozzi Joelle Clingerman, Connie Hall, Alexis Handy, Guccio Justin Roux Brandon Johnson, Kevin Lynch, Michael Lynch, Desiray Roy Gianni Schicchi: Master Electrician Jeffrey Toombs (Performing on March 14, 17, 19, 21) Electricians Lighting Practicum, Neal Morton, Danny Gay Sound Engineer Colin Whitely Gianni Schicchi Joshua Miller Properties Supervisor Krista Lucht Lauretta Mary Clark Properties Construction Jacob Cote, Calien Lewis Relatives of Buoso Donati: Zita Jazmin DeRice Production Crew Rinuccio George Eisenhauer Light Board Operator Darren Brown (same as above for the other roles) Deck Crew Head Torn Wyatt Deck Crew Clarissa Bergeron-Lawrence, Brian Essman, Jonathan Longo Hair and Makeup Katherine Smith, Jessica Staggs Each production will run an hour. Wardrobe Kaitlin Bonanno, Laura Collard, Jennifer Rothbart There will be a twenty minute intermission. Administrative Staff Please, no photos are allowed during the performance. Theatre Promotions Director/Photography Troy Bennett Also please turn off beepers and phones as a courtesy to the Music Promotions Director Mary Snell actors and other audience members. Arts Events Director Ernrnanuelle Chaulet Administrative Assistant Lil Campbell Box Office Managers Krista Lucht Molly Handville-Derrig Graphic Design Leigh Raposo Program Franklin Kendrick .. Suor Angelica heaven, Sister Angelica concocts and drinks poison. She is then struck by the An Italian convent, late 1600s. Early Evening. fear that she has committed a mortal sin that will prevent her from seeing her son in the afterlife and she pleads with the Virgin for salvation. A celestial choir Sister Angelica and two lay sisters are late for chapel. The Monitor is heard and Angelica sees a vision of the Blessed Virgin with her child. , chides them for not doing penance as Sister Angelica has done. After dispensing penance for other infractions against the religious community's rule, the Gianni Schicchi Monitor announces that it is a festival and the sisters may "play a while." Florence. Originally set in the time of Dante (ca.1299), written in 19l8. Our production is set in Portland's West End, The nuns rejoice as Sister Genevieve points out the beautiful golden circa 1927. Morning, residence of Buoso Donati. sunlight that "will set our font aglowing, a miracle sent from Our Lady." The golden fountain signifies, as the Mistress of the Novices explains, "a special act The greedy relatives of the wealthy Buoso Donati gather at his deathbed of clemency that will bless the sisters," but it also marks a year's passing, to mourn his passing and, more importantly, to investigate the details of his during which Sister Bianca has died. Sister Genevieve suggests that they pour will. Each relative is hoping for a particular bit of property-- rich older Auntie some of the golden water onto her tomb, while Sister Angelica fashions a Zita wants the cottage on Peaks Island, Cousin Simone, the former mayor of memorial wreath. Scarborough feels entitled to any property there, the couple with a child want the camp on Sebago, the pretentious couple with no kids wants the townhouses in During their free time, some of the sisters confess they still long for Boston, and the drunken brother-in-law wants income-producing farmland near "innocent" pleasures-Sister Genevieve for the lambs she used to tend and Sister his favorite roadhouse in Topsham. But there are rumors that the old man has Dolcina for sweet things to eat. Sister Angelica denies she has any-such desires, left.nearly everything to a monastery (in Kennebunk). If, however, the will has but the others know she desperately longs for some word from her family. For not been filed with a notary, there is still hope for the relatives, who begin a seven years she has heard nothing from them, and the other nuns speculate that frantic search for the document. she was a princess, banished to the convent for reasons they have been unable to discover. Young Rinuccio finds the will and makes Zita promise to let him marry his beloved Lauretta, if everyone gets "plenty of money." With high Soon alms-collecting nuns (the tourieres) arrive, distributing the food expectations, they read the will, which proves the rumors were true; the relatives they have gathered. One of them mentions that a magnificent coach bearing a rant against the Friars and finally shed genuine tears.
Load more

Recommended publications
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Sailing on Seas of Uncertainties: Late Style and Puccini's Struggle for Self
    International Journal of Ageing and Later Life, 2008 3(1): 77Á95. # The Authors Sailing on seas of uncertainties: late style and Puccini’s struggle for self-renewal By AMIR COHEN-SHALEV Abstract The popularity of Puccini’s melodramatic operas, often derided by ‘‘serious’’ musicologists, has hindered a more rounded evaluation of his attempt at stylistic change. This paper offers a novel perspective of life- span creativedevelopment in order to move the discussion of Puccini beyond the dichotomy of popular versus high-brow culture. Tracing the aspects of gradual stylistic change that began in The Girl from the Golden West (1910) through the three operas of Il Trittico: Il Tabarro, Suor Angelica, and Gianni Schicchi (1918Á1919), the paper then focuses on Puccini’s last opera, Turandot (1926), as exemplifying a potential turn to a reflexive, philosophical style which is very different from the melodramatic, sentimentalist style generally associated with his work. In order to discuss this change as embodying a turn to late style, the paper identifies major stylistic shifts as well as underlying themes in the work of Puccini. The paper concludes by discussing the case of Puccini as a novel contribution to the discussion of lateness in art, until now reserved to a selected few ‘‘old Masters.’’ Keywords: Puccini, late style, life-span development, creativity. Amir Cohen-Shalev, Department of Gerontology, University of Haifa, Israel. 77 International Journal of Ageing and Later Life Beloved and popular, the operas of Giacomo Puccini have at the same time been derided by more ‘‘serious’’ musicologists as the product of a decadent, bourgeois society (Greenwald 1993).
    [Show full text]
  • Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
    DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
    [Show full text]
  • BIO-Sulimsky AUG20.Pdf
    Vladislav Sulimsky Baritone Belarussian Verdi baritone Vladislav Sulimsky has rapidly become one of the leading singers of the world. In the summer of 2018, he made his debut at the Salzburg Festival as Tomsky (Queen of the Spades) under the baton of Mariss Jansons, followed by Count Luna (Il trovatore) at the Berlin State Opera, Jago (Otello) at the Vienna State Opera, and his role debut as Scarpia (Tosca) at the Malmö opera. He also made his house debut at the Munich State Opera with Count Luna and will appear for the first time at the Frankfurt Opera in the role of Siriex (Fedore) in January 2021, as well as with the Berlin Philharmonic and Kyrill Petrenko as Lanceotto Malatesta in Rachmaninov’s Francesca da Rimini. His house debut at the Paris Opera was cancelled due to the Covid-19 pandemic. Since 2004, baritone Vladislav Sulimsky has been a member of the Mariinsky Theatre in St. Petersburg, where he has sung countless parts including the title roles in Eugen Onegin and Gianni Schicchi, Ibn-Hakia (Iolanta), Kovalev (The Nose), Rodrigo (Don Carlo), Silvio (Pagliacci), Andrei Bolkonsky (War and Peace), Enrico (Lucia di Lammermoor), Giorgio Germont (La Traviata), Renato (Un ballo in maschera) and Ford (Falstaff). In 2010 Sulimsky sang Enrico Ashton (Lucia di Lammermoor) at the Mariinsky alongside Nathalie Dessay and Belcore in L’elisir d´amore with Anna Netrebko as Adina, followed by Giorgio Germont (La Traviata) and Robert in Iolanta. A frequent guest at the Bolshoi Theatre in Moscow, he has performed Prince Kurlyatev in Enchantress by Tchaikovsky and his parade title role Eugen Onegin.
    [Show full text]
  • Il Trittico 301
    Recondite Harmony: Il Trittico 301 Recondite Harmony: the Operas of Puccini Chapter 12: Il Trittico: amore, dolore—e buonumore “Love and suffering were born with the world.” [L’amore e il dolore sono nati col mondo] Giacomo Puccini, letter to Luigi Illica, 8 Oct 19121 Puccini’s operatic triptych, Il Trittico, is comprised of the three one-act operas: Il tabarro, a story of illicit love; Suor Angelica, a tale of a nun’s suffering at the loss of her illegitimate child; and Gianni Schicchi, a dark comedy in which both love and loss are given a morbidly humorous twist. The Trittico2 was always intended by the composer to be performed in a single evening, and it will be treated as a tripartite entity in this chapter. The first two editions, from 1918 and 1919, group all three works together, which was at Puccini’s insistence. In an unpublished letter to Carlo Clausetti, dated 3 July 1918, the composer reveals how he clashed with publisher Tito Ricordi over this issue: There remained the question of the editions—that is, [Tito Ricordi] spoke of them immediately and pacified me by saying that they will publish the works together and separately. But I think that he was not truthful because the separated ones will never see the light of day. And what will happen with the enumeration? There will certainly not be two types of clichets [printing plates], one with numbers progressing through the three operas, and the other with numbers for each score, starting from number one. So, he deceived me.3 1 Eugenio Gara.
    [Show full text]
  • Il Trittico Pucciniano
    GIACOMO PUCCINI IL TRITTICO PUCCINIANO Il trittico viene rappresentato per la prima volta al Teatro Metropolitan di New York il 14 dicembre 1918. Il tabarro - Luigi Montesanto (Michele); Giulio Crimi (Luigi), Claudia Muzio (Giorgetta); Suor Angelica - Geraldine Farrar (Suor Angelica), Flora Perini (Zia Principessa); Gianni Schicchi - Giuseppe de Luca (Gianni Schicchi), Florence Easton (Lauretta), Giulio Crimi (Rinuccio); direttore d'orchestra Roberto Moranzoni. La prima italiana ha luogo, meno d'un mese dopo, al Teatro Costanzi (odierno Teatro dell'opera di Roma) l'undici gennaio 1919, sotto la prestigiosa direzione di Gino Marinuzzi, fra gli interpreti principali: Gilda dalla Rizza, Carlo Galeffi, Edoardo de Giovanni, Maria Labia, Matilde Bianca Sadun. L'idea d'un "Trittico" - inizialmente Puccini aveva pensato a tre soggetti tratti dalla Commedia dantesca, poi a tre racconti di autori diversi - si fa strada nella mente del Maestro almeno un decennio prima, già a partire dal 1905, subito a ridosso di Madama Butterfly. Tuttavia, sia questo progetto sia quello d'una "fantomatica" Maria Antonietta (che, come si sa, non fu mai realizzata) vengono per il momento accantonati in favore della Fanciulla del West (1910). La fantasia pucciniana è rivisitata dall'immagine d'un possibile "trittico" nel 1913, proprio mentre proseguono - gli incontri con Gabriele D'Annunzio per una possibile Crociata dei fanciulli...... Infatti, proprio nel febbraio di quello stesso anno Puccini è ripreso dall'urgenza del "trittico": immediatamente avvia il lavoro sul primo dei libretti che viene tratto da La Houppelande, un atto unico, piuttosto grandguignolesco, di Didier Gold, cui il compositore aveva assistito, pochi mesi prima, in un teatro parigino: sarà Il tabarro, abilmente ridotto a libretto da Giuseppe Adami.
    [Show full text]
  • Puccini's Gianni Schicchi
    Puccini’s Gianni Schicchi - A survey by Ralph Moore Having already surveyed the first two operas in Puccini’s triptych Il trittico, I conclude with the last instalment, Gianni Schicchi. There are nearly fifty recordings if live recordings are counted but despite the claim on the Wikipedia that it “has been widely recorded”, it enjoys no more studio recordings than its two companion pieces. I survey below eleven, consisting of all nine studio accounts plus two mono radio broadcasts all in Italian; I am not considering any live recordings or those in German, as the average listener will want to hear the original text in good sound. The plot may be based on a cautionary tale from Dante’s Inferno about Schicchi’s damnation for testamentary falsification but its comic treatment by librettist Giovacchino Forzano, in the commedia dell'arte tradition, makes it a suitably cheery conclusion to a highly diverse operatic evening consisting of a sequence which begins with a gloomy, violent melodrama, moves on to a heart-rending tear-jerker and ends with this high farce. It is still genuinely funny and doubtless the advent of surtitles has enhanced its accessibility to non-Italian audiences, just as non-Italian speakers need a libretto to appreciate it fully when listening. This was Puccini’s only comic opera and satirises the timeless theme of the feigned grief and greed of potential heirs. The starring role is that of the resourceful arch-schemer and cunning impostor Gianni Schicchi but the contributions of both the soprano and tenor, although comparatively small, are important, as each has a famous, set piece aria, and for that reason neither part can be under-cast.
    [Show full text]
  • 12-15-2018 Trittico Eve.Indd
    GIACOMO PUCCINI il trittico conductor Il Tabarro Bertrand de Billy Opera in one act with a libretto by production Giuseppe Adami, based on the play Jack O’Brien La Houppelande by Didier Gold set designer Suor Angelica Douglas W. Schmidt Opera in one act with a libretto by costume designer Jess Goldstein Giovacchino Forzano lighting designers Gianni Schicchi Jules Fisher and Opera in one act with a libretto Peggy Eisenhauer by Giovacchino Forzano, based on revival stage directors a passage from the narrative poem Gregory Keller and J. Knighten Smit Divina Commedia by Dante Alighieri Saturday, December 15, 2018 8:30 PM–12:35 AM Last time this season The production of Il Trittico was made possible by a generous gift from Karen and Kevin Kennedy Additional funding for this production was received from the Gramma Fisher Foundation, general manager Peter Gelb Marshalltown, Iowa, The Annenberg Foundation, Hermione Foundation, Mr. and Mrs. William R. jeanette lerman-neubauer music director Miller, and M. Beverly and Robert G. Bartner Yannick Nézet-Séguin 2018–19 SEASON The 87th Metropolitan Opera performance of GIACOMO PUCCINI’S il tabarro conductor Bertrand de Billy in order of vocal appearance giorget ta Amber Wagner michele George Gagnidze luigi Marcelo Álvarez tinca Tony Stevenson* talpa Maurizio Muraro a song seller Brian Michael Moore** frugol a MaryAnn McCormick young lovers Ashley Emerson* Yi Li Saturday, December 15, 2018, 8:30PM–12:35AM 2018–19 SEASON The 81st Metropolitan Opera performance of GIACOMO PUCCINI’S suor angelica conductor
    [Show full text]
  • Dante's Inferno</H1>
    Dante's Inferno Dante's Inferno The Divine Comedy of Dante Alighieri Translated by Henry Wadsworth Longfellow Volume 1 This is all of Longfellow's Dante translation of Inferno minus the illustrations. It includes the arguments prefixed to the Cantos by the Rev. Henry Frances Carey, M,.A., in his well-known version, and also his chronological view of the age of Dante under the title of What was happening in the World while Dante Lived. If you find any correctable errors please notify me. My email addresses for now are [email protected] and [email protected]. David Reed Editorial Note page 1 / 554 A lady who knew Italy and the Italian people well, some thirty years ago, once remarked to the writer that Longfellow must have lived in every city in that county for almost all the educated Italians "talk as if they owned him." And they have certainly a right to a sense of possessing him, to be proud of him, and to be grateful to him, for the work which he did for the spread of the knowledge of Italian Literature in the article in the tenth volume on Dante as a Translator. * * * * * The three volumes of "The Divine Comedy" were printed for private purposes, as will be described later, in 1865-1866 and 1877, but they were not actually given to the public until the year last named. Naturally enough, ever since Longfellow's first visit to Europe (1826-1829), and no doubt from an eariler date still, he had been interested in Dante's great work, but though the period of the incubation of his translation was a long one, the actual time engaged in it, was as he himself informs us, exactly two years.
    [Show full text]
  • Toccata Classics TOCC0154-55 Notes
    Peggy Glanville-Hicks and Lawrence Durrell discuss Sappho, play through the inished piano score Greece, 1963 Comprehensive information on Sappho and foreign-language translations of this booklet can be found at www.sappho.com.au. 2 Cast Sappho Deborah Polaski, soprano Phaon Martin Homrich, tenor Pittakos Scott MacAllister, tenor Diomedes Roman Trekel, baritone Minos Wolfgang Koch, bass-baritone Kreon John Tomlinson, bass Chloe/Priestess Jacquelyn Wagner, soprano Joy Bettina Jensen, soprano Doris Maria Markina, mezzo soprano Alexandrian Laurence Meikle, baritone Orquestra Gulbenkian Coro Gulbenkian Jennifer Condon, conductor Musical Preparation Moshe Landsberg English-Language Coach Eilene Hannan Music Librarian Paul Castles Chorus-Master Jorge Matta 3 CD1 Act 1 1 Overture 3:43 Scene 1 2 ‘Hurry, Joy, hurry!’... ‘Is your lady up? Chloe, Joy, Doris, Diomedes, Minos 4:14 3 ‘Now, at last you are here’ Minos, Sappho 6:13 4 Aria – Sappho: ‘My sleep is fragile like an eggshell is’ Sappho, Minos 4:17 5 ‘Minos!’ Kreon, Minos, Sappho 5:14 6 ‘So, Phaon’s back’ Minos, Sappho, Phaon 3:19 7 Aria – Phaon: ‘It must have seemed like that to them’ Phaon, Minos, Sappho 4:33 8 ‘Phaon, how is it Kreon did not ask you to stay’ Sappho, Phaon, Minos 2:24 Scene 2 – ‘he Symposium’ 9 Introduction... ‘Phaon has become much thinner’... Song with Chorus: he Nymph in the Fountain Minos, Sappho, Chorus 6:22 10 ‘Boy! Bring us the laurel!’... ‘What are the fortunes of the world we live in?’ Diomedes, Sappho, Minos, Kreon, Phaon, Alexandrian, Chorus 4:59 11 ‘Wait, hear me irst!’... he Epigram Contest Minos, Diomedes, Sappho, Chorus 2:55 12 ‘Sappho! Sappho!’..
    [Show full text]
  • Casts Suor Angelica Gianni Schicchi
    Casts February 4, 2011 February 5, 2011 TO OUR PATRONS: Curtain time for IU Opera Theater is promptly at 8 p.m., by which time all opera goers should be in their seats. Latecomers will be seated Suor Angelica only on the third terrace or at the discretion of the management. Thank you for your cooperation. Suor Angelica ................. Shelley Ploss Lenora Green La zia principessa ............... Ashley Stone Laura Boone The operas will conclude at approximately 10:15 p.m. La badessa .................... Lydia Dahling Nicole Shorts La suora zelatrice ............... Sarah E. Martin Yana Weinstein No Cameras, Flash Equipment, or Audio Recorders La maestra delle novizie .......... Laura Denney Jennifer Jones Suor Genovieffa ................ Katelyn Lee Katherine Weber are allowed in the auditorium Suor Osmina .................. Jessica Lewis Yuriria Rodriguez of the Musical Arts Center. Suor Dolcina .................. Emily Blair Suna Avci La suora infermiera ............. Laura Waters Krista Laskowski La cercatrice (prima) ............ Soo Hyun Oh Arwen Myers La cercatrice (seconda) . Lisa Runion Mary Cloud La novizie (prima) .............. Amanda Kasem Ji-hyun Kim La novizie (seconda) ............ Rainelle Krause Loralee Culbert La conversa (prima) ............. Jenny Ji-Sun Kim Jennylynn Vidas La conversa (seconda) ........... Sarah Ballman Amber McKoy Gianni Schicchi Gianni Schicchi, age 50 .......... Scott Hogsed Marcelo Ferreira Lauretta, Gianni Schicchi’s daughter, age 21 ............ Shannon Love Caryn Kerstetter Zita, called La Vecchia, cousin of Buoso, age 60 ...... Rachel Wood Sarah Stone Rinuccio, nephew of Zita, age 24 .. Nicholas Fitzer Marco Stefani Gherardo, nephew of Buoso, age 40 . William Lim David Johnson Nella, Gherardo’s wife, age34 ..... Sarah Ann Radke Hannah Stephens All I needed was Gherardino, Gherardo’s son, age 7 .
    [Show full text]