Anna Tonna, Mezzo Soprano
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Il Favore Degli Dei (1690): Meta-Opera and Metamorphoses at the Farnese Court
chapter 4 Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court Wendy Heller In 1690, Giovanni Maria Crescimbeni (1663–1728) and Gian Vincenzo Gravina (1664–1718), along with several of their literary colleagues, established the Arcadian Academy in Rome. Railing against the excesses of the day, their aim was to restore good taste and classical restraint to poetry, art, and opera. That same year, a mere 460 kilometres away, the Farnese court in Parma offered an entertainment that seemed designed to flout the precepts of these well- intentioned reformers.1 For the marriage of his son Prince Odoardo Farnese (1666–1693) to Dorothea Sofia of Neuberg (1670–1748), Duke Ranuccio II Farnese (1639–1694) spared no expense, capping off the elaborate festivities with what might well be one of the longest operas ever performed: Il favore degli dei, a ‘drama fantastico musicale’ with music by Bernardo Sabadini (d. 1718) and poetry by the prolific Venetian librettist Aurelio Aureli (d. 1718).2 Although Sabadini’s music does not survive, we are left with a host of para- textual materials to tempt the historical imagination. Aureli’s printed libretto, which includes thirteen engravings, provides a vivid sense of a production 1 The object of Crescimbeni’s most virulent condemnation was Giacinto Andrea Cicognini’s Giasone (1649), set by Francesco Cavalli, which Crescimbeni both praised as a most per- fect drama and condemned for bringing about the downfall of the genre. Mario Giovanni Crescimbeni, La bellezza della volgar poesia spiegata in otto dialoghi (Rome: Buagni, 1700), Dialogo iv, pp. -
Apocalypticism in Wagner's Ring by Woodrow Steinken BA, New York
Title Page Everything That Is, Ends: Apocalypticism in Wagner’s Ring by Woodrow Steinken BA, New York University, 2015 MA, University of Pittsburgh, 2018 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2021 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Woodrow Steinken It was defended on March 23, 2021 and approved by James Cassaro, Professor, Music Adriana Helbig, Associate Professor, Music David Levin, Professor, Germanic Studies Dan Wang, Assistant Professor, Music Dissertation Director: Olivia Bloechl Professor, Music ii Copyright © by Woodrow Steinken 2021 iii Abstract Everything That Is, Ends: Apocalypticism in Wagner’s Ring Woodrow Steinken, PhD University of Pittsburgh, 2021 This dissertation traces the history of apocalypticism, broadly conceived, and its realization on the operatic stage by Richard Wagner and those who have adapted his works since the late nineteenth century. I argue that Wagner’s cycle of four operas, Der Ring des Nibelungen (1876), presents colloquial conceptions of time, space, and nature via supernatural, divine characters who often frame the world in terms of non-rational metaphysics. Primary among these minor roles is Erda, the personification of the primordial earth. Erda’s character prophesies the end of the world in Das Rheingold, a prophecy undone later in Siegfried by Erda’s primary interlocutor and chief of the gods, Wotan. I argue that Erda’s role changes in various stage productions of the Ring, and these changes bespeak a shifting attachment between humanity, the earth, and its imagined apocalyptic demise. -
122 a Century of Grand Opera in Philadelphia. Music Is As Old As The
122 A Century of Grand Opera in Philadelphia. A CENTURY OF GRAND OPERA IN PHILADELPHIA. A Historical Summary read before the Historical Society of Pennsylvania, Monday Evening, January 12, 1920. BY JOHN CURTIS. Music is as old as the world itself; the Drama dates from before the Christian era. Combined in the form of Grand Opera as we know it today they delighted the Florentines in the sixteenth century, when Peri gave "Dafne" to the world, although the ancient Greeks listened to great choruses as incidents of their comedies and tragedies. Started by Peri, opera gradually found its way to France, Germany, and through Europe. It was the last form of entertainment to cross the At- lantic to the new world, and while some works of the great old-time composers were heard in New York, Charleston and New Orleans in the eighteenth century, Philadelphia did not experience the pleasure until 1818 was drawing to a close, and so this city rounded out its first century of Grand Opera a little more than a year ago. But it was a century full of interest and incident. In those hundred years Philadelphia heard 276 different Grand Operas. Thirty of these were first heard in America on a Philadelphia stage, and fourteen had their first presentation on any stage in this city. There were times when half a dozen travelling companies bid for our patronage each season; now we have one. One year Mr. Hinrichs gave us seven solid months of opera, with seven performances weekly; now we are permitted to attend sixteen performances a year, unless some wandering organization cares to take a chance with us. -
Inventing Opera As “High Culture”
For many people opera represents (whether this is understood posi- tively or negatively) the very embodiment of “high culture.”Yet lately there have been signs that its status is changing, as opera becomes more and more a feature of everyday cultural life.1 What I want to explore in this chapter is whether these changes have now made it possible to describe opera as popular culture. Inventing Opera as “High Culture” In order to fully understand what has been happening to opera in recent years, I think it is first necessary to examine something of the history of opera. Traditionally, opera is said to have been invented in the late sixteenth century by a group of Florentine intellectuals known as the Camerata.2 However, according to musicologist Susan McClary, Despite the humanistic red herrings proffered by Peri, Caccini [members of the Camerata], and others to the effect that they were reviving Greek performance practices, these gentlemen knew very well that they were basing their new reciting style on the improvisatory practices of con- temporary popular music. Thus the eagerness with which the humanist myth was constructed and elaborated sought both to conceal the vulgar origins of its techniques and to flatter the erudition of its cultivated patrons. (McClary, 1985: 154–5) Although there may be some dispute over the intellectual origins of opera, there is general agreement about its commercial beginnings. “Expecting Rain”: Opera as Popular Culture? 33 Significantly, the opera house was the “first musical institution to open its doors to the general public” (Zelochow, 1993: 261). The first opera house opened in Venice in 1637: it presented “commercial opera run for profit . -
Educator's Guide
PRESENTS OPERA 101 EDUCATOR’S GUIDE WELCOME HELLO! Thank you for inviting The Atlanta Opera to perform In using this guide, we hope you will feel free to for your students! A core mission of The Atlanta adapt pages or activities to best meet the needs of Opera is to provide opportunities for students of all your students. A simple activity may be a perfect ages – we believe opera is for everyone and we are launching pad for a higher-level lesson, and a committed to ensuring that the art form is available to complex lesson may contain key points onto which the widest possible cross-section of our community. younger students can latch. Please make this guide Each year, our education programs serve more than your own! 25,000 students in Metro-Atlanta and throughout the state of Georgia. Our programs seek to inspire Thank you again for allowing us to share this creativity, stimulate critical conversations, promote experience with you. We value your feedback and an enduring appreciation of the arts, and create will take it into account in planning future education audiences for the future. programs. We look forward to hearing from you, your students, administration, and/or parents following This educator guide has been developed to help the performance. you familiarize students with the art form of opera (vocabulary, history, etc.). The guide approaches these Sincerely, subjects via a wide range of disciplines, including The Atlanta Opera English Language Arts, Science, Music, Theater and Education Department Social Studies. Our goal is to provide you with an 1575 Northside Drive, Suite 350, Atlanta, GA 30318 innovative, multidisciplinary approach to teaching 404-881-8801 required skills and curriculum, including connections to [email protected] the Georgia Standards of Excellence. -
APRIL 19, 1974 1 People Rate Newspaper Advertising More Helpful Than Other Media
__ .;.___ ,.., (.'j (/) < ..J < 0 .0 0 cc: 0- 0 (\J To Present Joseph W. Ress t- 0 ti) With Lehman Israel Award .... _. Joseph W. Ress, community :::ti) and civic leader, will be honored en • at the Herbert Lehman Israel Award Dinner which will be held El:- ""C:..J WW • on Sunday, May 5, at 6 p.m. at --, C .0 NL Y ENGLISH -JEW/SH WEEKLY IN R. I. AND SOUTHEAST MASS. z Temple Einanu-EI, it has been an • < • nounced by Stanley P. Blacher, o- t 'Ill, NUMBER 7 FRIDAY, APRIL 19, 197<1 16 PAGES 20¢ PER COPY chairman of the Rhode Island • C X Committee, State of Israel Bonds. a:: (\J a. He said that Mr. Ress will be the recipient of the national Herbert Lehman Israel Award "for his outstanding service to Israel and to the Jewish and general commu nity in the tradition of the late Senator Lehman." Mr. Ress has been involved in many humanitarian, religious. educational and civic activities for 45 years. He has played a lead ership role through Rhode Island for decades in generating support for a wide variety of endeavors for JOSEPH W. RESS the bellerment of his fellow man. An active participant in the Is member of the President's Council rael Bond program for many of Providence College and a life years, Mr. Ress is a former presi trustee of the Rhode Island School dent and a present member o'f the or Design. executive committee of the Jewish Mr. Ress, who practiced law Federation of Rhode Island. -
Lucia Di Lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012
O p e r a B o x Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .9 Reference/Tracking Guide . .10 Lesson Plans . .12 Synopsis and Musical Excerpts . .44 Flow Charts . .49 Gaetano Donizetti – a biography .............................56 Catalogue of Donizetti’s Operas . .58 Background Notes . .64 Salvadore Cammarano and the Romantic Libretto . .67 World Events in 1835 ....................................73 2011–2012 SEASON History of Opera ........................................76 History of Minnesota Opera, Repertoire . .87 così fan tutte WOLFGANG AMADEUS MOZART The Standard Repertory ...................................91 SEPTEMBER 25 –OCTOBER 2, 2011 Elements of Opera .......................................92 Glossary of Opera Terms ..................................96 silent night KEVIN PUTS Glossary of Musical Terms . .101 NOVEMBER 12 – 20, 2011 Bibliography, Discography, Videography . .105 werther Evaluation . .108 JULES MASSENET JANUARY 28 –FEBRUARY 5, 2012 Acknowledgements . .109 lucia di lammermoor GAETANO DONIZETTI MARCH 3 – 11, 2012 madame butterfly mnopera.org GIACOMO PUCCINI APRIL 14 – 22, 2012 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
Reflections in an Eastern Mirror, Or Performance of a French Vaudeville in Russia Mary S
Document generated on 09/23/2021 7:28 a.m. Canadian University Music Review Revue de musique des universités canadiennes Reflections in an Eastern Mirror, or Performance of a French Vaudeville in Russia Mary S. Woodside Volume 23, Number 1-2, 2003 Article abstract Exceedingly popular in their day, Russian vaudevilles and opera-vaudevilles of URI: https://id.erudit.org/iderudit/1014519ar the first third of the nineteenth century are not available in modern orchestral DOI: https://doi.org/10.7202/1014519ar scores. Although many of these musical comedies are known to be adapted from French works, for the most part the original French titles are unknown, See table of contents as are the differences in French and Russian treatments of musical numbers. Focussing primarily on Pisarev's Babushkiny popugai [Grandma's Parrots] (St. Petersburg, 1819), this article compares the original French vaudeville with its Publisher(s) Russian adaptation on several points: libretto, performance venues, and musical treatment, the latter based in part on manuscript sources of Alexei N. Canadian University Music Society / Société de musique des universités Verstovsky's orchestral scores. canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Woodside, M. S. (2003). Reflections in an Eastern Mirror, or Performance of a French Vaudeville in Russia. Canadian University Music Review / Revue de musique des universités canadiennes, 23(1-2), 84–108. https://doi.org/10.7202/1014519ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2004 (including reproduction) is subject to its terms and conditions, which can be viewed online. -
La Bohème Cast 2020 Biography
La Bohème Cast 2020 Biography (Vallo della Lucania, Italy) Italian Soprano Maria Agresta began her vocal studies at the Salerno Conservatory as a mezzo-soprano, later switching to soprano and studying with Raina Kabaivanska. After winning several international competitions she made her professional operatic debut in 2007. Engagements include Mimì and Micaëla (Carmen) for the Metropolitan Opera, New York, Suor Angelica for Liceu, Barcelona, Marguerite (Faust) for Salzburg Festival, Leonora (Il trovatore), Liù (Turandot), Donna Elvira (Don Giovanni) and Leonora (Oberto) for La Scala, Milan, Norma for Théâtre des Champs- Élysées and in Madrid, Turin and Tel Aviv, Mimì for Arena di Verona, Paris Opéra, Bavarian State Opera, Teatro Regio, Teatro di San Carlo, Naples, and Torre del Lago Festival, Elvira (I puritani) for Paris Opéra, Violetta (La traviata) for Berlin State Opera and Bavarian State Opera, Elena (I vespri siciliani) in Turin, Leonora (Il trovatore) for Palau de les Arts Reina Sofía, Valencia, Amelia (Simon Boccanegra) for Rome Opera, La Fenice, Venice, Dresden Semperoper and Berlin State Opera with Daniel Barenboim, Amalia (I masnadieri) for La Fenice and Julia (La Vestale) for Dresden Semperoper. Agresta performs widely in concert with such conductors as Barenboim, Nicola Luisotti, Michele Mariotti, Zubin Mehta, Carlo Montanaro, Riccardo Muti, Noseda and Christian Thielemann. Source: Royal Opera House (Brașov, Romania) Aurelia Florian was born in Romania where she has completed her musical studies (singing and piano), she studied at the Music faculty of the university of Transylvania in Brasov and specialized herself in belcanto singing in master classes with the Romanian soprano Mariana Nicolesco. At the Romanian Atheneum Bucharest (with the George Enescu Philharmonic Orchestra) she was highly acclaimed for singing the soprano part in Mahler’s IV symphony (under M° David Gimenez Carreras), and in 2009 she had a big success with the contemporary opera “Celan” written and conducted by Peter Ruzicka. -
SAVAGE Gian Carlo Menotti Two Hundred Seventy-Fourth Program of the 2014-15 Season ______
THE LAST SAVAGE Gian Carlo Menotti Two Hundred Seventy-Fourth Program of the 2014-15 Season _______________________ Indiana University Opera Theater presents as its 439th production The Last Savage Music by Gian Carlo Menotti Libretto by Gian Carlo Menotti Constantine Kitsopoulos, Conductor Ned Canty, Stage Director Allen Moyer, Scenery and Costume Designer Lee Fiskness, Lighting Designer Walter Huff, Chorus Master Kyle Lang, Choreographer Original Lighting Design by Rick Fisher Original Choreography by Sean Curran Supertitles provided by The Santa Fe Opera Production originally designed for and created by The Santa Fe Opera _________________ Musical Arts Center Friday, November Fourteenth, Eight O’Clock Saturday, November Fifteenth, Eight O’Clock Thursday, November Twentieth, Seven O’Clock Friday, November Twenty-First, Eight O’Clock music.indiana.edu Cast of Characters Friday, November 14 Saturday November 15 Thursday, November 20 Friday, November 21 Kitty . Martha Eason Angela Yoon Abdul . Robert Gerold Eric Smedsrud Sardula . Summer Aebker Olivia Yokers Prince Kodanda . Edward Atkinson Will Perkins Mr . Scattergood . David Rugger Reuben Walker Maharaja . Jeremy Gussin Andrew Richardson Maharanee . Meghan Folkerts Olivia Thompson Catholic Priest . .Mitchell Jones Mitchell Jones Protestant Priest . .Alonza Lawrence Alonza Lawrence Rabbi . .Max Zander Max Zander Orthodox . .Bille Bruley Bille Bruley Composer . .Chris Seefeldt Chris Seefeldt Scientist . .Darian Clonts Darian Clonts Painter . .Benjamin Seiwert Benjamin Seiwert Poet . .John Sengelaub John Sengelaub Philosopher . .Johann Schram Reed Johann Schram Reed Una cantante . .Emily Dyer Emily Dyer Doctor . .Edward Graves Edward Graves Donna d’affari . .Madeline Stern Madeline Stern Una signora . .Meghan Wilhelm Meghan Wilhelm Scholars . .Benjamin Smith Benjamin Smith Lucas Wassmer Lucas Wassmer Tailors . .James C . -
Small-Scale Opera: History and Continuing Relevance in the 21St Century
SMALL-SCALE OPERA: HISTORY AND CONTINUING RELEVANCE IN THE 21ST CENTURY Joel B. Trisel A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2015 Committee: Katherine Meizel, Advisor Christopher Scholl Kevin Bylsma ii ABSTRACT Katherine Meizel, Advisor This paper explores the history and recent rise in popularity of small-scale opera. Small- scale opera, originally referred to as chamber opera, and recently referred to as “Micro-opera”, “NANOWorks”, et cetera, has gained popularity in the past forty years due to artistic and financial reasons. The genre reflects the need for companies to find financially viable ways to continue to produce and perform classical music in a poor economic climate. The short length and relatively simple plots of the works in this genre also reflect the shift in media consumption on a broad level in the United States. While the genre is growing in popularity today, it has ties to historical practices, including some of the first documented operas written in the Baroque period. This paper provides a historical account of iterations of small-scale opera and culminates in interviews with professionals working in the field today. Through my research, I conclude that the genre is likely to succeed in the 21st century. This is due to the financial viability small-scale opera affords to both those producing and attending these works. Small-scale opera provides composers with a flexible medium in which they can explore writing sung drama that is substantially more likely to be produced than full-length works. -
Inside the Guide the Guide
wttw11 wttw Prime wttw Create wttw World wttw PBS Kids wttw.com THE GUIDE 98.7wfmt wfmt.com The Member Magazine for WTTW and WFMT THE MINIATURIST A new adaptation of Jessie Burton’s gripping bestseller BEGINS SUNDAY, SEPT. 9 at 8:00 PM September 2018 ALSO INSIDE WFMT’s series Introductions, showcasing aspiring young classical musicians, marks its 10th anniversary this year. We’ll celebrate with a special live concert with the Chicago Youth Symphony Orchestras and Chicago Children’s Choir at Pritzker Pavilion in Millennium Park. From the President & CEO The Guide The Member Magazine Dear Member, for WTTW and WFMT Renée Crown Public Media Center This year, WFMT’s weekly series Introductions, showcasing aspiring young classical 5400 North Saint Louis Avenue Chicago, Illinois 60625 musicians, marks its 10th anniversary. Fittingly, WFMT will mark the occasion with a special live concert – Chicago’s first Youth Arts Showcase – as part of the citywide Year of Main Switchboard Creative Youth celebration. Join us on air and online on Saturday morning, September 22 (773) 583-5000 Member and Viewer Services as WFMT’s Michael San Gabino welcomes the Chicago Youth Symphony Orchestras and (773) 509-1111 x 6 Chicago Children’s Choir to Pritzker Pavilion in Millennium Park. Websites On WTTW, we observe Hispanic Heritage Month with a variety of relevant content, some wttw.com wfmt.com of it new and local (see page 7). Golden Age Amsterdam comes alive in a new miniseries adaptation of Jessie Burton’s bestselling novel The Miniaturist. Poldark, The Durrells in Publisher Corfu, and 800 Words are back with new seasons along with another Anne of Green Gables Anne Gleason Art Director special; Ken Burns focuses his lens on the Mayo Clinic, and Jamestown, which first premiered Tom Peth on wttw.com, comes to WTTW11 from the creators of Downton Abbey.