La Bohème Y R Ugg E Ro Leoncava Llo
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Composers Mascagni and Leoncavallo Biography
Cavalleria Rusticana Composer Biography: Pietro Mascagni Mascagni was an Italian composer born in Livorno on December 7, 1863. His father was a baker and dreamed of a career as a lawyer for his son, but following the good reception obtained by Mascagni’s first compositions was persuaded to allow him to study music at the Milan Conservatoire, where his teachers included Amilcare Ponchielli and Michele Saladino, and where he shared a furnished room with his fellow-student Giacomo Puccini. His first compositions won him financial support to study at the Milan Conservatory. He was of a rebellious nature and intolerant of discipline, and in 1885 he left the Conservatoire to join a modest operetta company as conductor. He became part of the Compagnia Maresca and, together with his future wife, Lina Carbognani, settled in Cerignola (Apulia) in 1886, where he formed a symphony orchestra. Here Mascagni composed at a single stroke, in only two months, the one-act opera Cavalleria rusticana, based on the short story by Verga, which was to win him the first prize in the Second Sonzogno Competition for new operas. The innovative strength of the opera and the resounding worldwide success which followed its first performance (1890, Teatro Costanzi, Rome) marked the beginning of an artistic life rich in achievements and satisfactions, both as composer and as conductor. He became increasingly prominent as a conductor and in 1892 conducted his opera I Rantzau around Europe. Further successes included Amica (1905) and Isabeau (1911), alongside such failures as Le maschere (1901). In 1915 he experimented with writing for cinema in Rapsodia satanicawith Nino Oxilia. -
Vesti La Giubba from Pagliacci
Vesti la Giubba from Pagliacci Ruggero Leoncavallo 1857-1919 Arranged by William V. Johnson INSTRUMENTATION Solo Tenor Trumpet 1 Solo Trombone (Optional) Trumpet 2 Piccolo Trumpet 3 Flute 1 Horn 1 Flute 2 Horn 2 Oboe 1 Horn 3 Oboe 2 Horn 4 English Horn Trombone 1 Bassoon 1 Trombone 2 Bassoon 2 Bass Trombone Contra Bassoon Euphonium Clarinet in Eb Tuba Clarinet 1 Double Bass Clarinet 2 Piano Clarinet 3 Timpani Alto Clarinet Cymbals Bass Clarinet Contra Bass Clarinet Soprano Saxophone Alto Saxophone I Alto Saxophone II Tenor Saxophone Baritone Saxophone Duration: About 3 minutes PROGRAM NOTES The Opera Around 1890, when Pietro Mascagni’s Cavalleria rusticana premiered, Ruggero Leoncavallo was a little-known composer. After seeing Mascagni’s success, he decided to write an opera in response: one act composed in the verismo style. Leoncavallo claimed that he based the story of Pagliacci on an incident from his childhood, a murder in 1865, the victim of which was a Leoncavallo family servant, Gaetano Scavello. The murderer was Gaetano D’Alessandro, with his brother Luigi an accomplice to the crime. The incident resulted from a series of perceived romantic entanglements involving Scavello, Luigi D’Alessandro, and a village girl with whom both men were infatuated. Leoncavallo’s father, a judge, was the presiding magistrate over the criminal investigation. Pagliacci was performed in Milan in 1892 with immediate success; today it is the only work by Leoncavallo in the standard operatic repertory. Its most famous aria “Vesti la giubba” (“Put on the costume” or, in the better-known older translation, “On with the motley”) was recorded by Enrico Caruso and laid claim to being the world’s frst record to sell a million copies, although this is probably a total of Caruso’s various versions of it made in 1902, 1904 and 1907. -
Cavalleria Rusticana I Pagliacci Usporedno Sa Sve Brojnijim Izvedbama Prvi Su Put Zajedno Izvedeni 22
P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. Foto: Metropolitan opera P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Pietro Mascagni CAVALLERIA RUSTICANA Opera u jednom činu Libreto: Giovanni Targioni-Tozzetti i Guido Menasci prema istoimenoj noveli Giovannija Verge NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Costanzi, Rim, 17. svibnja 1890. Prva hrvatska izvedba: Druga operna stagiona, Zagreb, 29. svibnja 1893. Prva izvedba ansambla Metropolitana 4. prosinca 1891. u Chicagu Premijera ove izvedbe u Metropolitanu: 14. travnja 2015. ZBOR I ORKESTAR METROPOLITANA SANTUZZA Eva-Maria Westbroek ZBORovođa Donald Palumbo TURIDDU Marcelo Álvarez DIRIGENT Fabio Luisi ALFIO George Gagnidze REDATELJ David McVicar LUCIA Jane Bunnell SCENOGRAF Rae Smith LOLA Ginger Costa-Jackson Tekst: talijanski Stanka poslije Cavallerije rusticane. Titlovi: engleski Svršetak oko 22 sata. Ruggero Leoncavallo I PAGLIACCI Foto:Metropolitan opera Opera u dva čina s prologom Libreto: skladatelj NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Dal Verme, Milano, 21. kolovoza 1892. Prva hrvatska izvedba: Treća operna stagiona, Zagreb, 22. travnja 1894. Prva izvedba u Metropolitanu: 11. prosinca 1893. Premijera ove izvedbe u Metropolitanu: 25. travnja 2015. KOSTIMOGRAF Moritz Junge CANIO/PAGLIACCIO Marcelo Álvarez OBLIKOVATELJICA RASVJETE Paule Constable NEDDA/COLOMBINA Patricia Racette KOREOGRAF Andrew George TONIO/TADDEO George Gagnidze KONZULTANT ZA VODVILJ Emil Wolk BEPPE/ARLECCHINO Andrew Stenson SILVIO Lucas Meachem Tekst: talijanski Titlovi: engleski CAVALLERIA RUSTICANA Radnja se događa na Uskrs u sicilijanskom selu. -
Repertoire Performed Or Recorded Sorted by Composer Birth Year
Robbie Padilla: Repertoire Performed or Recorded Sorted by composer birth year. This list is current as of February 27, 2021. Orlando Gibbons (1583-1625) b. 1580s Voice The Silver Swan (1612) Henry Purcell (1659-1695) b. 1650s Alto Saxophone Two Boureés (trans. Sigurd Rascher) Georg Philipp Telemann (1681-1767) b. 1680s Bassoon Sonata in E-flat Major, TWV 41:EsA1 (1728, ed. Közreadja) Bassoon/Trombone Sonata in F Minor, TWV 41:f1 (1728, ed. Robert Veyron-Lacroix) Johann Sebastian Bach (1685-1750) Solo Prelude and Fugue in C Major, BWV 846 (1722) Prelude and Fugue in C# Major, BWV 848 (1722) Prelude and Fugue in C# Minor, BWV 849 (1722) Prelude and Fugue in D Major, BWV 850 (1722) Prelude and Fugue in E Major, BWV 854 (1722) Prelude and Fugue in F Minor, BWV 881 (1742) Viola Sonata in B Minor, BWV 1014 (1723, ed. Eric Gustafson) George Frideric Handel (1685-1759) Voice Sì, tra i ceppi from Berenice, HWV 38 (1737) Flute Sonata in E Minor, Op. 1, No. 1b, HWV 359b (1724) Benedetto Marcello (1686-1739) Oboe Concerto in D Minor, S D935 (1715, ed. Richard Lauschmann) (I. Allegro…) Euphonium/Tuba Sonata No. 2 in E Minor, Op. 1, No. 2 (1732, arr. Michael D. Blostein) Padilla Repertoire List, page 1 Johann Ernst Galliard (1687-1747) Trombone Sonata No. 1 (1733, ed. Keith Brown) Tuba Galliard Suite (arr. Michael J. Coldren) Franz Joseph Haydn (1732-1809) b. 1730s Solo Sonata in C Major, Hob.XVI:50 (1795) Jean-Paul-Égide Martini (1741-1816) b. 1740s Voice Plaisir d’amour (1784) Wolfgang Amadeus Mozart (1756-1791) b. -
Cavalleria Rusticana Pagliacci
Pietro Mascagni - Ruggero Leoncavallo Cavalleria rusticana PIETRO MASCAGNI Òpera en un acte Llibret de Giovanni Targioni -Tozzetti i Guido Menasci Pagliacci RUGGERO LEONCAVALLO Òpera en dos actes Llibret i música de Ruggero Leoncavallo 5 - 22 de desembre Temporada 2019-2020 Temporada 1 Patronat de la Fundació del Gran Teatre del Liceu Comissió Executiva de la Fundació del Gran Teatre del Liceu President d’honor President Joaquim Torra Pla Salvador Alemany Mas President del patronat Vocals representants de la Generalitat de Catalunya Salvador Alemany Mas Mariàngela Vilallonga Vives, Francesc Vilaró Casalinas Vicepresidenta primera Vocals representants del Ministerio de Cultura y Deporte Mariàngela Vilallonga Vives Amaya de Miguel Toral, Antonio Garde Herce Vicepresident segon Vocals representants de l'Ajuntament de Barcelona Javier García Fernández Joan Subirats Humet, Marta Clarí Padrós Vicepresident tercer Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta quarta Vocals representants de la Societat del Gran Teatre del Liceu Núria Marín Martínez Javier Coll Olalla, Manuel Busquet Arrufat Vocals representants de la Generalitat de Catalunya Vocals representants del Consell de Mecenatge Francesc Vilaró Casalinas, Àngels Barbarà Fondevila, Àngels Jaume Giró Ribas, Luis Herrero Borque Ponsa Roca, Pilar Fernández Bozal Secretari Vocals representants del Ministerio de Cultura y Deporte Joaquim Badia Armengol Santiago Fisas Ayxelà, Amaya de Miguel Toral, Santiago de Director general -
Ceriani Rowan University Email: [email protected]
Nineteenth-Century Music Review, 14 (2017), pp 211–242. © Cambridge University Press, 2016 doi:10.1017/S1479409816000082 First published online 8 September 2016 Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti* Davide Ceriani Rowan University Email: [email protected] The world premiere of Pietro Mascagni’s Cavalleria rusticana on 17 May 1890 immediately became a central event in Italy’s recent operatic history. As contemporary music critic and composer, Francesco D’Arcais, wrote: Maybe for the first time, at least in quite a while, learned people, the audience and the press shared the same opinion on an opera. [Composers] called upon to choose the works to be staged, among those presented for the Sonzogno [opera] competition, immediately picked Mascagni’s Cavalleria rusticana as one of the best; the audience awarded this composer triumphal honours, and the press 1 unanimously praised it to the heavens. D’Arcais acknowledged Mascagni’smeritsbut,inthesamearticle,alsourgedcaution in too enthusiastically festooning the work with critical laurels: the dangers of excessive adulation had already become alarmingly apparent in numerous ill-starred precedents. In the two decades prior to its premiere, several other Italian composers similarly attained outstanding critical and popular success with a single work, but were later unable to emulate their earlier achievements. Among these composers were Filippo Marchetti (Ruy Blas, 1869), Stefano Gobatti (IGoti, 1873), Arrigo Boito (with the revised version of Mefistofele, 1875), Amilcare Ponchielli (La Gioconda, 1876) and Giovanni Bottesini (Ero e Leandro, 1879). Once again, and more than a decade after Bottesini’s one-hit wonder, D’Arcais found himself wondering whether in Mascagni ‘We [Italians] have finally [found] … the legitimate successor to [our] great composers, the person 2 who will perpetuate our musical glory?’ This hoary nationalist interrogative returned in 1890 like an old-fashioned curse. -
Album Booklet
Fauré, Chausson & Satie Piano Trios Ernest Chausson (1855–1899) Piano Trio in G minor, Op. 3 1. Pas trop lent [10:03] 2. Vite [4:00] Fidelio Trio 3. Assez lent [7:15] 4. Animé [8:42] Darragh Morgan violin Adi Tal cello Gabriel Fauré (1845–1924) Mary Dullea piano Piano Trio in D minor, Op. 120 5. Allegro, ma non troppo [6:08] 6. Andanno [8:45] 7. Allegro vivo [4:46] Erik Sae (1866–1925) arr. John White 8. Prière pour le salut de mon âme from Messe des Pauvres [3:29] Le Piège de Méduse 9. Quadrille [0:44] 10. Valse [0:46] 11. Pas vite [0:38] About the Fidelio Trio: 12. Mazurka [0:26] 13. Un peu vif [0:16] ‘[...] their interpretative touch is secure, their rapport instinctive. Together 14. Polka [0:27] with their eloquence and passion, this all adds up to something special’ 15. Quadrille [0:25] Gramophone ‘[...] the Fidelio Trio plays it with such delicacy of touch and suavity of tone Total playing me [57:01] that its Frenchness and its closeness to the Ravel coupling are never in doubt’ The Strad Fauré, Chausson & Sae: Piano Trios Chausson’s file that ‘aer failing to gain admission to the Prix de Rome compeon, Ernest Chausson (1855–1899) came from he wanted to have nothing more to do with an affluent family and following the wishes the Conservatoire. Very intelligent and of his parents, he inially studied law and independent.’ Disappointed by the result qualified as a barrister in 1877. But this was but even more resolved to create his first not the career he wanted: Chausson’s major work, Chausson le Paris to spend inclinaons were arsc rather than legal the summer in Switzerland. -
Historical Verism in Ruggero Leoncavallo's I Medici
Kwartalnik Młodych Muzykologów UJ no. 47 (4/2020), 139–155 DOI 10.4467/23537094KMMUJ.20.045.13918 www.ejournals.eu/kmmuj https://orcid.org/0000-0003-0122-1609 Agata Czemerys THE CHOPIN UNIVERSITY OF MUSIC THE UNIVERSITY OF WARSAW History Enchanted in Music – Historical Verism in Ruggero Leoncavallo’s I Medici Abstract My study of the historical opera I Medici focuses on an analysis of the work’s dramaturgy. In my opinion, the libretto is the key to understand- ing operatic dramas; it constitutes their primary foundation, on which the subsequent semantic layers of this naturally syncretic musical genre are constructed. In my paper I have therefore analysed the individual components of the libretto, with special emphasis on the persons of the drama, their personality traits, as well as their musical representations in Leoncavallo’s work. Analysis of the dramaturgical aspects of the opera is an essential first step to a consideration of the musical layer, which lies at the heart of my research. In my paper, I have followed the path mapped out by musicologist Luca Zoppelli; however, his work is only the starting point for a more detailed study of the opera’s expressive qualities and the procedures applied for the musical representation of veristic ideas. Verity – not only in the historical sense – becomes a leading category which unifies 139 Kwartalnik Młodych Muzykologów UJ, No. 47 (4/2020) the opera at every level, from its original source recorded in the chronicles to the composer’s presentation of the story. Keywords Ruggero Leoncavallo, -
Baroque 1590-1750 Classical 1750-1820
Period Year Opera Composer Notes A pastoral drama featuring a Dafne new style of sung dialogue, 1597 Jacopo Peri more expressive than speech but less melodious than song The first opera to survive 1600 Euridice Jacopo Peri in tact The earliest opera still 1607 Orfeo Claudio Monteverdi performed today Il ritorno d’Ulisse in patria Claudio Monteverdi 1639 (The Return of Ulysses) L’incoronazione di Poppea 1643 (The Coronation of Poppea) Claudio Monteverdi 1647 Ofeo Luigi Rossi 1649 Giasone Francesco Cavalli 1651 La Calisto Francesco Cavalli 1674 Alceste Jean-Baptiste Lully 1676 Atys Jean-Baptiste Lully Venus and Adonis John Blow Considered the first English 1683 opera 1686 Armide Jean-Baptiste Lully 1689 Dido and Aeneas Henry Purcell Baroque 1590-1750 1700 L’Eraclea Alessandro Scarlatti 1710 Agrippina George Frederick Handel 1711 Rinaldo George Frederick Handel 1721 Griselda Alesandro Scarlatti 1724 Giulio Cesere George Frederick Handel 1728 The Beggar’s Opera John Gay 1731 Acis and Galatea George Frederick Handel La serva padrona 1733 (The Servant Turned Giovanni Battista Pergolesi Mistress) 1737 Castor and Pollux Jean-Philippe Rameau 1744 Semele George Frederick Handel 1745 Platee Jean-Philippe Rameau La buona figliuola 1760 (The Good-natured Girl) Niccolò Piccinni 1762 Orfeo ed Euridice Christoph Willibald Gluck 1768 Bastien und Bastienne Wolfgang Amadeus Mozart Mozart’s first opera Il mondo della luna 1777 (The World on the Moon) Joseph Haydn 1779 Iphigénie en Tauride Christoph Willibald Gluck 1781 Idomeneo Wolfgang Amadeus Mozart Mozart’s -
Operas Performed in New York City in 2013 (Compiled by Mark Schubin)
Operas Performed in New York City in 2013 (compiled by Mark Schubin) What is not included in this list: There are three obvious categories: anything not performed in 2013, anything not within the confines of New York City, and anything not involving singing. Empire Opera was supposed to perform Montemezzi’s L'amore dei tre re in November; it was postponed to January, so it’s not on the list. Similarly, even though Bard, Caramoor, and Peak Performances provide bus service from midtown Manhattan to their operas, even though the New York City press treats the excellent but four-hours-away-by-car Glimmerglass Festival like a local company, and even though it’s faster to get from midtown Manhattan to some performances on Long Island or in New Jersey or Westchester than to, say, Queens College, those out-of-city productions are not included on the main list (just for reference, I put Bard, Caramoor, and Peak Performances in an appendix). And, although the Parterre Box New York Opera Calendar (which includes some non-opera events) listed A Rite, a music-theatrical dance piece performed at the BAM Opera House, I didn’t because no performer in it sang. I did not include anything that wasn’t a local in-person performance. The cinema transmissions from the Met, Covent Garden, La Scala, etc., are not included (nor is the movie Metallica: Through the Never, which Owen Gleiberman in Entertainment Weekly called a “grand 3-D opera”). I did not include anything that wasn’t open to the public, so the Met’s workshop of Scott Wheeler’s The Sorrows of Frederick is not on the list. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Museo Ruggero Leoncavallo – Palazzo Branca-Baccalà
Informazioni: Fondazione Ruggero Leoncavallo, c/o Municipio Orari d’apertura, aprile-ottobre Museo Ruggero Leoncavallo – CH-6614 Brissago — tel. +41(0)91 793 02 42 Mercoledì-sabato: 10:00-12:00 – 16:00-18:00 Palazzo Branca-Baccalà – Fax: +41 (0)91 786 81 61 — www.leoncavallo.ch Ingresso: CHF 5.– / 3.– /gratis ‹ 12 www.sbt.ti.ch/leoncavallo CH-6614 Brissago 170309mlc_i-1000: [email protected] uggero (Ruggiero) Leoncavallo è nato il 23 aprile 1857 La prima presenza di Leoncavallo in Ticino risale all’ini- Il Palazzo Branca-Baccalà a Chiaia (Napoli), quale discendente di una famiglia zio degli anni Novanta. A Vacallo trascorre con Puccini un In seguito a diverse demolizioni e l’ultimo restauro esterno Il monumento funerario di Leoncavallo Rnobile di campagna delle Puglie. Suo padre è giudice periodo breve ma fruttuoso e lavora a i Pagliacci. Nei primi fatto eseguire dall’architetto Livio Vacchini, si presenta alla L’estrema dimora di Ruggero Leoncavallo e di sua moglie e magistrato; il senso per l’arte lo eredita probabilmente dalla anni del XX secolo, in occasione di un soggiorno a Cannero Via Pioda come esempio bello e significativo di barocco Berthe si trova, dopo il loro tardo e avventuroso madre, nata D’Auria. I diversi trasferimenti della famiglia nella parte piemontese del Lago Maggiore, Leoncavallo, signorile nell’Alto Verbano e come testimonianza monu- ritorno da Firenze, nel portico del XVII secolo portano Ruggero nel 1865 a Montalto Uffugo, in Calabria, ormai famoso, scopre anche Brissago. In questo ridente mentale della costruzione di un tempo. Composto dalla accanto alla magnifica chiesa rinascimentale dove suo padre deve giudicare un caso d’omicidio (questo Borgo, nel 1903 fa costruire dall’architetto Ferdinando casa padronale, locali per il personale domestico, fabbricato Madonna del Ponte, affacciata sull’amato caso, più avanti, servirà come sfondo per l’opera i Pagliacci).