DOCSLIB.ORG

110273-74 Bk Boito EC 02/06/2003 09:04 Page 12

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
110273-74 Bk Boito EC 02/06/2003 09:04 Page 12 110273-74 bk Boito EC 02/06/2003 09:04 Page 12 Great Opera Recordings ADD 8.110273-74 Also available: 2 CDs BOITO Mefistofele Nazzareno de Angelis Mafalda Favero Antonio Melandri Giannina Arangi-Lombardi Chorus and Orchestra of La Scala, Milan 8.110117-18 Lorenzo Molajoli Recorded in 1931 8.110273-74 12 110273-74 bk Boito EC 02/06/2003 09:04 Page 2 Ward Marston Great Opera Recordings In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Arrigo ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also BOITO served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov (1842-1918) recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Mefistofele In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he Opera in 4 Acts and a Prologue is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm recordings. His aim is to promote the importance of preserving old recordings and make available the works of great Margherita . Mafalda Favero musicians who need to be heard. Elena . Giannina Arangi-Lombardi Faust . Antonio Melandri Mefistofele . Nazzareno de Angelis Pantalis . Rita Monticone Wagner . Giuseppe Nessi Nereo . Emilio Venturini Marta . Ida Mannarini Chorus and Orchestra of La Scala, Milan Orchestra conducted by Lorenzo Molajoli Chorus conducted by Vittore Veneziani Recorded in Milan by Italian Columbia on 34 sides 19th November - 27th December 1931 Matrices: WBX 1130/1163 Catalogue: GQX 10619/10635 The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. 8.110273-74 2 11 8.110273-74 110273-74 bk Boito EC 02/06/2003 09:04 Page 10 Producer’s Note CD 1 78:53 Scene 2: The Pact This recording of Boito’s Mefistofele, the only one to appear during the 78rpm era, was originally released by Prologue in Heaven 23:27 ! Dai campi, dai prati 4:31 Italian Columbia in 1932 and three years later by Columbia’s American counterpart. I began to work on this project Faust, Mefistofele using three sets of Italian pressings and four sets pressed in America which I carefully compared. I soon found that 1 Prelude 4:53 although the American discs played with less surface noise than those pressed in Italy, the sound was so distorted Orchestra @ Son lo Spirito che nega sempre tutto 3:29 as to render them totally useless. Apparently, the American sets were all pressed from defective metal stampers. Mefistofele This defect also mars the American Columbia pressings of Il trovatore and Andrea Chenier. This transfer had to 2 Ave, Signor degli angeli 3:23 be made, therefore, exclusively from the somewhat noisier Italian Columbia pressings. The original recording was Falangi celesti # Strano figlio del Caos 0:57 made in a studio with no acoustic ambiance. Therefore, I have taken the liberty of adding a slight amount of Faust, Mefistofele artificial digital reverberation in order to give the voices a sense of space and to soften the effects of the often too 3 Ave, Signor 3:57 close microphone placement. I have, likewise, added reverberation to the group of De Angelis solo recordings at Mefistofele $ Se tu mi doni un’ora di riposo 1:03 the end of CD two. Faust, Mefistofele 4 T’è noto Faust? 3:19 Ward Marston Chorus mysticus, Mefistofele, Falangi celesti % Fin da stanotte 2:32 Faust, Mefistofele 5 Siam nimbi volanti dai limbi 2:05 Cherubini, Mefistofele Act 2 29:24 6 Salve, Regina! 5:51 Scene 1: The Garden Le Penitenti, Cherubini, Falangi celesti ^ Cavaliero illustre e saggio 4:43 Act 1 26:02 Margherita, Faust, Mefistofele, Marta Scene 1: Sunday & Dimmi se credi, Enrico, nella religione? 4:16 Margherita, Faust 7 Perché di là? 3:46 Chorus * Dio clemente, nuova, ignara son del mondo 1:40 Margherita, Faust, Marta, Mefistofele 8 Al soave raggiar 1:52 Faust, Wagner Scene 2: Walpurgis Night 9 Juhé! Juhé! Juheisa! Juhé! 2:41 ( Su, cammina, cammina, cammina 2:49 Chorus Mefistofele, Chorus 0 Sediam sovra quel sasso 5:11 ) Folleto!...Folletto! 4:48 Faust, Wagner, Chorus Faust, Mefistofele, Streghe, Stregoni ¡ Popoli! E scettro e clamide 2:23 Mefistofele, Streghe, Stregoni 8.110273-74 10 3 8.110273-74 110273-74 bk Boito EC 02/06/2003 09:04 Page 4 ™ Ecco il mondo, vuoto e tondo 3:14 0 Forma ideal purissima della bellezza eterna 7:35 5 She prepares to meet her death, praying to Heaven Epilogue Mefistofele, Streghe, Stregoni Faust, Elena, Mefistofele, Pantalis, Nereo, Coretidi and the angels, and rejecting Faust, who leaves with Mephistopheles, while the executioner approaches. The Death of Faust £ Stupor! Stupor! 5:29 Epilogue: The Death of Faust 12:10 Faust, Mefistofele, Streghe, Stregoni Act IV ! The scene is again Faust’s study, now marked by ! Cammina, cammina…superbo pensier 4:11 the passing of time. There are voices in the air, as Faust CD 2 75:04 Mefistofele, Faust The Night of the Classical Sabbath meditates, sitting in his chair. Behind him stands Mephistopheles. It is night and the book stands, as Act 3: The Death of Margherita 18:15 @ Giunto sul passo estremo 3:33 6 The scene is set in the vale of Tempe. There are before, on the lectern. Mephistopheles urges Faust on Mefistofele, Faust limpid streams and thickets of laurel and oleander, lit by his journey, as death draws near. Faust has experienced 1 L’altra notte in fondo al mare 7:20 the light of the moon. Helen and Pantalis call on the real and ideal love, but the real was sorrow and the ideal Margherita, Faust, Mefistofele # All’erta! All’erta! 4:26 sirens and nymphs to sing to them. Faust calls out to a mere dream. Mefistofele, Faust, Falangi celesti, Cherubini Helen. 2 Dio di pietà! Son essi…eccoli…aita! 3:47 @ He wishes only for the good of humanity, the Margherita, Faust Appendix: 7 Mephistopheles declares this the night of the happiness of mankind, and Heaven, as he journeys Selected Arias Sung by Nazzareno De Angelis classical Sabbath. Faust, entranced, goes out, while towards life’s end. 3 Lontano, lontano, lontano 2:16 Mephistopheles too seems under the spell of the place, Margherita, Faust $ ROSSINI: Barbiere di Siviglia: La calunnia 3:53 so unlike his familiar Harz mountains, with their # Mephistopheles seeks to exert his power, but Faust Rec. 5th November 1927 witches. seems to hear the celestial choir. The tempter does his 4 Sorge il dì! 1:48 mat.wbx 190; cat. English Columbia D 18042 utmost, but Faust falls, leaning on the sacred volume Mefistofele, Margherita, Faust 8 He leaves, as dancers enter, praising Helen. before him, as the heavenly vision appears to him. % ROSSINI: Mosè: Invocazione 4:29 Mephistopheles finally sinks down, under the flowers 5 Spunta…l’aurora pallida… 3:05 Rec. 4th October 1929 9 Helen, however, recalls the horrors of the fall of scattered by the celestial beings, as Heaven finally Margherita, Faust, Mefistofele, Falangi celesti mat. wbx 662; cat. English Columbia GQX 10207 Troy. Faust enters, dressed as a knight of the fifteenth prevails. century. He kneels to Helen, protesting his love, Act 4: The Night of the Classical Sabbath 20:52 ^ VERDI: Nabucco: Sperate o figli 3:48 observed by fauns and sirens, and by Mephistopheles, Rec. 1st October 1928 in some wonder at the sight. Keith Anderson 6 La luna immobile innonda 3:27 mat. wbx 334; cat. English Columbia D 18059 Elena, Pantalis, Faust & VERDI: Nabucco: Tu sul labbro dei veggenti 4:20 7 Ecco la notte del classico Sabba 2:29 Rec. 2nd October 1928 Mefistofele, Faust mat. wbx 341; cat. English Columbia D 18059 8 Ah! Trionfi ad Elena 2:50 * VERDI: Don Carlo: Ella giammai m’amò 7:16 Coretidi Rec. 7th and 8th November 1927 mats. wbx 193-194; cat. English Columbia L2071 9 Notte cupa, truce, senza fine, funebre! 4:31 Elena, Coretidi Thanks to: Michael Gray, Lawrence Holdridge, R. Peter Munves, Norbeck, Peters & Ford 8.110273-74 4 9 8.110273-74 110273-74 bk Boito EC 02/06/2003 09:04 Page 8 Act II world, in all its wickedness, laughing at the human Arrigo BOITO (1842-1918) predicament. He dashes the glass orb to the ground, and Meifstofele Scene 1: The Garden the witches celebrate the shattering of the world. When the introduction of electrical recording in Europe other Italian opera houses, so the work was in no way ^ Faust, now under the name of Enrico, Margherita, £ Faust seems to see a girl, pale and in chains, his began in the latter half of 1925 the Columbia unfamiliar.
Load more

Recommended publications
  • Goethe, the Japanese National Identity Through Cultural Exchange, 1889 to 1989
    Jahrbuch für Internationale Germanistik pen Jahrgang LI – Heft 1 | Peter Lang, Bern | S. 57–100 Goethe, the Japanese National Identity through Cultural Exchange, 1889 to 1989 By Stefan Keppler-Tasaki and Seiko Tasaki, Tokyo Dedicated to A . Charles Muller on the occasion of his retirement from the University of Tokyo This is a study of the alleged “singular reception career”1 that Goethe experi- enced in Japan from 1889 to 1989, i. e., from the first translation of theMi gnon song to the last issues of the Neo Faust manga series . In its path, we will high- light six areas of discourse which concern the most prominent historical figures resp. figurations involved here: (1) the distinct academic schools of thought aligned with the topic “Goethe in Japan” since Kimura Kinji 木村謹治, (2) the tentative Japanification of Goethe by Thomas Mann and Gottfried Benn, (3) the recognition of the (un-)German classical writer in the circle of the Japanese national author Mori Ōgai 森鴎外, as well as Goethe’s rich resonances in (4) Japanese suicide ideals since the early days of Wertherism (Ueruteru-zumu ウェル テルヅム), (5) the Zen Buddhist theories of Nishida Kitarō 西田幾多郎 and D . T . Suzuki 鈴木大拙, and lastly (6) works of popular culture by Kurosawa Akira 黒澤明 and Tezuka Osamu 手塚治虫 . Critical appraisal of these source materials supports the thesis that the polite violence and interesting deceits of the discursive history of “Goethe, the Japanese” can mostly be traced back, other than to a form of speech in German-Japanese cultural diplomacy, to internal questions of Japanese national identity .
    [Show full text]
  • Chicago Symphony Orchestra
    Pittsburgh Symphony Orchestra 2015-2016 Mellon Grand Classics Season April 1, 2 and 3, 2016 MANFRED MARIA HONECK, CONDUCTOR EMANUEL AX, PIANO / , BOY SOLOIST / , SOPRANO / , BASS THE ALL UNIVERSITY CHOIR CHRISTINE HESTWOOD AND ROBERT PAGE, DIRECTORS / CHILDREN’S CHORUS / , DIRECTOR JOHANNES BRAHMS Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso Mr. Ax Intermission CARL ORFF “Fortuna imperatrix mundi” from Carmina Burana for Chorus and Orchestra LEONARD BERNSTEIN Chichester Psalms for Chorus, Boy Soloist and Orchestra I. Psalm 108, vs. 2 (Maestoso ma energico) — Psalm 100 (Allegro molto) II. Psalm 23 (Andante con moto, ma tranquillo) — Psalm 2, vs. 1-4 (Allegro feroce) — Meno come prima III. Prelude (Sostenuto molto) — Psalm 131 (Peacefully flowing) — Psalm 133, vs. 1 (Lento possibile) boy soloist GIUSEPPE VERDI Overture to La forza del destino GIUSEPPE VERDI “Te Deum” (No. 4) from Quattro Pezzi Sacri April 1-3, 2016, page 2 for Chorus and Orchestra soprano soloist ARRIGO BOITO Prologue to Mefistofele for Bass Solo, Chorus, Children’s Chorus and Orchestra bass soloist April 1-3, 2016, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA JOHANNES BRAHMS Born 7 May 1833 in Hamburg, Germany; died 3 April 1897 in Vienna, Austria Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 (1878, 1881) PREMIERE OF WORK: Budapest, 9 November 1881; Redoutensaal; Orchestra of the National Theater; Alexander Erkel, conductor; Johannes Brahms, soloist PSO PREMIERE: 15 January 1909; Carnegie Music Hall; Emil Paur, conductor and soloist APPROXIMATE DURATION: 50 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, four horns, two trumpets, timpani and strings In April 1878, Brahms journeyed to Goethe’s “land where the lemon trees bloom” with two friends, the Viennese surgeon Theodor Billroth and the composer Carl Goldmark.
    [Show full text]
  • Samuel Ramey
    welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m.
    [Show full text]
  • Early Faust Literature and Skepticism in the Reformation
    Dustin Lovett 20 Polemical Magic: Early Faust Literature and Skepticism in the Reformation Dustin Lovett (University of California, Santa Barbara) Richard Popkin’s epochal work on the history of skepticism in the Early Modern period1 identifies the seminal gesture of the Reformation, Luther’s rejection of the Catholic church’s entire framework of authority at the Diet of Worms, as the opening of a “Pandora’s Box” that sparked a skeptical crisis, or “crise pyrrhonienne,” which soon engulfed the Western world (5). Popkin’s narrow understanding of the term skepticism and his emphasis on the role of the printed Latin translations of Sextus Empiricus’s work in the 1560s in the birth of modern science have become controversial, but whether one adopts Popkin’s view of an acute crisis in the sixteenth and seventeenth centuries or takes a longer and broader view of skepticism,2 the Reformation marks a moment of profound transformation in the history of European thought. As Stuart Clark notes, the temptation “to think of the [Early Modern] period as one of radical epistemological instability” does not exist without reason (1997, 257). In rejecting the authority of the pope and church councils, which had previously arbitrated the nature of truth, in favor of “what conscience is compelled to believe on reading Scripture” (Popkin 3) Luther was redefining the criteria for religious orthodoxy. For centuries, the Catholic church alone had defined the nature of and means of achieving theological principles such as grace or repentance. The spiritual confusion that resulted from Luther’s repudiation of numerous Catholic doctrines finds its reflection in many literary works of the time but perhaps nowhere more potently than in the legend of Faust, which emerged and developed in the early Reformation era into a vehicle for Luther’s radical skepticism toward Catholic doctrines ranging from intercession and repentance to the saints’ cults and miracles.
    [Show full text]
  • Doktor Faust Doctor Faust Page 1 of 2 Opera Assn
    San Francisco War Memorial 2003-2004 Doktor Faust Doctor Faust Page 1 of 2 Opera Assn. Opera House Doktor Faust (in German) Opera in two acts by Ferruccio Busoni Libretto by Ferruccio Busoni Conductor CAST Donald Runnicles Faust Rodney Gilfry Stage Direction and dramaturgy Wagner Friedemann Röhlig Jossi Wieler A Student from Krakow Dennis Petersen Sergio Morabito Joshua Bloom Production designer Ricardo Herrera Anna Viebrock Gravis/Jurist Gregory Stapp Lighting Designer Levis/Theologian William Pickersgill David Finn Asmodus/Natural Philosopher Jere Torkelsen Sound Designer Belzebuth/A Student Daniel Harper Roger Gans Magäros/A Platonist Richard Walker Chorus Director Mephistopheles/Night Watchman Chris Merritt Ian Robertson A Voice Dvora Djoraev Musical Preparation Virginia Pluth Paul Harris Sally Mouzon William Hobbs John Parr Gretchen's Brother (A Soldier) Johannes Martin Kränzle Sara Jobin Lieutenant Todd Geer Ernest Fredric Knell Master of Ceremonies Oren Gradus Organ Duke of Parma Jay Hunter Morris James Welch Duchess of Parma Hope Briggs Supertitles The Shy One Michael Rogers Philip Kuttner A Student from Wittenberg Todd Geer Assistant Stage Director John Ames Roy Rallo Thomas Glenn Costume supervisor Lucas Meachem Keena Golden Chris Dickerson Stage Manager Brett Finley *Role debut †U.S. opera debut PLACE AND TIME: The room where Faust works, lives and dies; a place of memory, daydreaming and obsession. Tuesday, June 15 2004, at 7:30 PM Sunday, June 20 2004, at 2:00 PM Tuesday, June 22 2004, at 7:30 PM Friday, June 25 2004, at 8:00 PM Wednesday, June 30 2004, at 7:30 PM Saturday, July 3 2004, at 8:00 PM San Francisco War Memorial 2003-2004 Doktor Faust Doctor Faust Page 2 of 2 Opera Assn.
    [Show full text]
  • 'Let US Go Back to the Golden Age of Italian Opera'
    Click here for Full Issue of EIR Volume 15, Number 17, April 22, 1988 Renata Tebaldi 'Let US go back to the golden age of Italian opera' The foLLowing excerpts have been translatedfrom the Italian of the instruments came out better. So things went on, but transcript of Miss Tebaldi's speech to the Milan Schiller their ears adapted to the change of tuning, and hence also in Institute conference on April 9. Renata Tebaldi, a "spinto" performing operas they kept the brilliant sound which they soprano, particularly celebrated for her Verdi roles such as liked so much; without thinking about the problems which Desdemona, Aida, and Violetta, performed regularly at La both instrumentalists and singers would have. I remember Scala of Milan, and the Metropolitan Opera of New York. that in Naples, during rehearsals of the Gioconda, as I was talking to an oboist who had won the San Carlo competition, I am happy to be invited to speak on this subject because I we realized that the pitch had risen. think it is very important. The constant increase in the tuning Now La Gioconda is a hard opera, and a voice with body pitch brings on enormous difficulties for singers. Both in the has trouble adapting to a rise in pitch. I was supposed to sing conservatory and afterward, during the entire arc of one's four acts, one tougher than the other; not only that: At the operatic career, we study constantly to keep the "passage" of end, in the fourth act, there are ornamented passages which the voice in order, because this is what allows us to sing high have some problems.
    [Show full text]
  • Eroe Byroniano E Confronto Tra Manfred E Faust
    EROE BYRONIANO E CONFRONTO TRA MANFRED E FAUST Introduzione all’autore: George Gordon Byron è considerato da molti critici il poeta indiscusso della corrente romantica. Il suo spirito libero e ribelle, che condivide con il suo amico Shelley, la sua passione per l’occulto, che lo rendono un possibile esponente della scuola satanica dei poeti, il suo evidente approccio con la corrente gotica e con tutto ciò che si può definire sublime, lo rendono sicuramente l’esempio vivente della definizione “bello e dannato”. La sua deformità fisica e il suo amore impossibile per la moglie di suo cugino fanno di lui un uomo dalla complessa e misteriosa personalità. E’ infatti risaputo che la sua vita fu piena di scandali, a causa della sua natura passionale e cinica. Il suo stile è chiaro ed egli è molto attento alle forme, tuttavia dalle sue opere ne esce anche una vena satirica, il cui scopo è rendere pubblico il suo disprezzo per le regole della società, che rendono la sua scrittura un’apoteosi di sfaccettature per niente scontate che rispecchiano il suo carattere. Eroe Byroniano: Tutti i protagonisti delle opere di Byron vengono definiti “eroi byroniani” per la loro evidente somiglianza con l’autore; in alcuni casi non sarebbe sbagliato parlare anche di autobiografia. L’elemento che accomuna tutti i protagonisti è il tema della ribellione: gli eroi del racconto scappano da un passato oscuro, pieno di costrizioni e disagi di diversi tipi, che li portano inevitabilmente sulla via della perdizione. Il loro fascino attira le persone che li circondano, ma il disprezzo che provano per il mondo supera ogni tentativo di creare un legame con gli altri personaggi.
    [Show full text]
  • 111082 Bk Callaseu 15/03/2005 11:26Am Page 5
    111082 bk CallasEU 15/03/2005 11:26am Page 5 BELLINI: Norma: DONIZETTI: Lucia di Lammermoor: VERDI: La traviata: WAGNER: Tristan und Isolde: ADD 1 Casta Diva (Act I) 7:27 [Mad Scene, Act III] ! Libiamo ne’ lieti calici (Act I) 3:16 & Liebestod (Sung in Italian) 7:44 GREAT SINGERS • CALLAS Orchestra of Teatro alla Scala, Milan 5 Il dolce suono 3:01 with Francesco Albanese, Tenor Turin Italian Radio Symphony Orchestra 8.111082 Tullio Serafin, Conductor and Chorus Arturo Basile, Conductor Recorded in the Cinema Metropol, Milan, 1954 6 Ohimè! Sorge il tremendo 3:20 Recorded by CETRA on 8th November 1949 (From Naxos 8.110325-27) @ E’ strano! E’ strano! (Act I) 1:27 Matrix 2-71294/5; Cat. No. CB 20841 7 Ardon gli incensi; splendon le sacre faci 5:26 (From Naxos 8.110302-04) with Gino Sarri, Tenor # Ah, fors’è lui (Act I) 3:01 Maria BELLINI: I Puritani: Raffaele Arié, Bass Turin Italian Radio Symphony Orchestra 2 O rendetemi la speme (Act II) 1:47 and Chorus Gabriele Santini, Conductor with Nicola Rossi-Lemeni, Bass 8 Spargi d’amaro pianto 3:46 Recorded at the Auditorium RAI, Turin, 1953 CALLAS and Rolando Panerai, Baritone with Raffaele Arié, Bass (From Naxos 8.110300-01) Tito Gobbi, Baritone 3 Qui la voce sua soave (Act II) 8:41 and Chorus with Nicola Rossi-Lemeni, Bass PUCCINI: Tosca: and Rolando Panerai, Baritone Chorus and Orchestra of the Maggio Musicale $ Mario! Mario! Mario!... Son qui! (Act I) 2:07 A Portrait Fiorentino with Giuseppe Di Stefano, Tenor 4 Son vergin vezzosa (Act I) 3:46 Andrea Morosini, Chorus Master with Aurora Cattelani,
    [Show full text]
  • Verdi Otello
    VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers;
    [Show full text]
  • 31- Selected Works of Louis Spohr, Volume 1: Faust (Edltion And
    -31- MUSIC REVIEW Selected Works of Louis Spohr, Volume 1: Faust (edltion and editorial matters by Jonathan Stracey; Introduction by Clive Brown). Garland Publishing, 136 Madison Avenue, New York, NY 10016, March 1990. Price $155 in preliminary announcement in 1986. We have not been inforned of the present price. The final volume to be published in Garlandis ten-voLume selection of Spohrrs works is the one scheduled as VoLume One. This new edition of _ Faust goes much further than other volumes in the series which lrere either facsimiles of the composerrs autographs, reproductions of - early printed editions or j-n a few cases facsj-miLes of nodern scores nade from early seEs of parts. Ilere we have a genuinel-y critical edition which presents both SpohrIs original texr of 1813 and his revlsed version wilh recitatives of 1852 in such a clear way that it would be possible to perform either version from this score. In fact, the phrase rttwo versionstt rather begs the question as, quite early on in Faustrs stage 1ife, aLterations were nade which it becane commonplace to use. For the Frankfurt performance of 1818 Spohr added the well-known aria "Liebe ist die zarte Blllthe" as r,re11 as 1if ti-ng the scena and aria "Ich bin alLeinrr f rorn his earl j-er opera, Der Zweikanpf mit der Geliebten. Spohr gave later authority to them by uti.lising then for his 1852 Grand Opera version. The volume also incLudes facsimiLes of the printed German Libretti of both the 18L3 and 1852 versions although the point is made that the spoken dialogue was aLnost al"ways nodified from production to production.
    [Show full text]
  • Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
    Listen to Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of Discoveries every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, April 5th, 2008, 5:00-6:00 p.m. • Louis Spohr (1784-1859). Symphony No. 4 in F, Op 86 “The Consecration of Sound” (1832). Budapest Symphony Orchestra, Alfred Walter. Marco Polo 8.223122. 38:49 • Spohr. Overture to Faust, Op. 60 (1813/23). Budapest Symphony Orchestra, Alfred Walter. Marco Polo 8.223122. 7:35 An experimental composer, the first conductor to use a baton, and the inventor of the violin chin-rest (someone had to invent it!) was Louis Spohr. His program music was considered avant-garde in the 1830s, and many considered him the most important German composer between Beethoven and Brahms. The New York Philharmonic, at its founding in 1843, stated that its mission was to be an American orchestra that could play the music of Mozart, Beethoven, Haydn, and Spohr. He was the leading conductor of his day, an unparalleled orchestrator, and one of the top violin soloists on the continent. His legacy includes 15 violin concertos, 35 string quartets, 10 symphonies, four clarinet concertos, 90 lieder, dozens of operas, and a school of violin performance reaching well into the 20th century. We don’t hear his music today with nearly the same frequency that mid-19th-century audiences did, but it’s worth considering what the attraction might have been. He titled his fourth symphony—the most popular of his symphonies during his lifetime—Die Weihe der Töne (“The Consecration of Sound”).
    [Show full text]
  • Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne
    Program ONE huNdrEd TwENTy-FirST SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PhilliP huSChEr ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life.
    [Show full text]