DOCSLIB.ORG

The Figure of Mary in Italian Opera Theological Foundations and Technical Analysis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Figure of Mary in Italian Opera Theological Foundations and Technical Analysis INTERNATIONAL MARIAN RESEARCH INSTITUTE UNIVERSITY OF DAYTON, OHIO In affiliation with the PONTIFICAL THEOLOGICAL FACULTY MARIANUM ROME ITALY By: Richard Eugene Lenar The Figure of Mary in Italian Opera Theological Foundations and Technical Analysis A Thesis submitted in partial fulfillment of the requirements for the degree Licentiate of Sacred Theology with specialization in Marian Studies Director: Father Thomas Thompson Marian Library/International Marian Research Institute University of Dayton 300 College Park Dayton, OH 45469-1390 2018 Vidimus et approbamus: Thomas A. Thompson, S.M., Ph.D. – Director Johann G. Roten, S.M., S.T.D. – Revisore 1 Daytonesis (USA), ex aedibus International Marian Research Institute, et Romae, ex aedibus Pontificiae Facultatis Theologicae Marianum, die 4 Ianuarii 2019. 2 Table of Contents Chapter 1: Background and Methodological Considerations ........................................................ 5 Introduction: The Presence of Mary in Italian Opera ................................................................. 5 The Importance of Popular Marian Devotion ............................................................................. 5 The Experience of Listening to Music ........................................................................................ 8 The Connection between Music and Theology - Music as a Language.................................... 10 The Connection between Music and Theology through Divine Revelation ............................. 13 Summary of Chapter 1 .............................................................................................................. 14 Chapter 2: The Title “Aiuto dei Cristiani” as an Expression of Italian Popular Devotion .......... 15 The Historical Development of the Marian Presence in Italian Opera ..................................... 15 Don Bosco as an Exemplar of Italian Marian Devotion .......................................................... 19 Don Bosco’s Place in the Historical Development of the Title Aiuto dei Cristiani.................. 21 Conclusion of Chapter 2 - Essential Characteristics of Don Bosco’s Formulation of the Title Aiuto dei Cristiani with Excerpts from his Writings................................................................. 24 Chapter 3: The Marian Operatic Presence during the 19th Century ............................................ 29 Terminology Associated with Marian Operatic References ..................................................... 29 Analysis of Operas with Marian References ............................................................................. 30 Verdi: I Lombardi alla prima crociata ..................................................................................... 30 Ricci: La Festa di Piedigrotta ................................................................................................... 34 Verdi: La Forza del Destino ..................................................................................................... 36 Boito: Mefistofele ...................................................................................................................... 38 Ponchielli: La Gioconda........................................................................................................... 41 Verdi: Otello .............................................................................................................................. 44 Summary of Chapter 3 .............................................................................................................. 47 Chapter 4: The Marian Operatic Presence during the Verismo Period ........................................ 48 Mascagni: Cavalleria Rusticana ............................................................................................... 48 Leoncavallo: Pagliacci .............................................................................................................. 49 Puccini: La Bohème ................................................................................................................... 51 Puccini: Tosca ........................................................................................................................... 52 Wolf-Ferrari: I Gioielli della Madonna ................................................................................... 54 Giacomo Puccini: Suor Angelica .............................................................................................. 61 Summary of Chapter 4 .............................................................................................................. 65 Chapter 5: Reflections and Conclusions ...................................................................................... 66 3 The Place of Music in Theological Method .............................................................................. 66 Correlation of Operatic Content with Mary as Aiuto dei Cristiani ........................................... 66 The Depiction of Marian Devotion: Praxis ............................................................................... 67 Theological Accuracy ............................................................................................................... 69 Exemplary Value ....................................................................................................................... 70 Summary ................................................................................................................................... 72 Bibliography ................................................................................................................................. 73 4 Chapter 1: Background and Methodological Considerations Introduction: The Presence of Mary in Italian Opera Although the Blessed Virgin Mary is not ordinarily associated with operas, these works contain numerous and varied references to her. Italian operas written during the last half of the 19th century and the first decades of the 20th provide the richest and most extensive examples of this Marian operatic presence. The presentation of Marian content by librettists in operatic narratives is deeply influenced by the practices of piety which were prevalent in the devotional praxis of the common Italian people. The primary dramatic reason that operas have Marian content is characters turn to her for help. The Marian presence in opera results from cultural and artistic considerations. The deeply Catholic aspects of 19th century Italian culture influenced daily life and conversation. Mary was frequently invoked as la Madonna (“the Lady”). Operas would naturally include Catholic images and language which refer to the la Madonna in diverse ways. The combination of music, text and visual arts can produce Marian content under each aspect: the music may be a setting of a Marian prayer or antiphon, the libretto may refer to Mary, or the scenery may contain Marian imagery or iconography. In a few cases, Mary is even a member of the opera’s cast. To examine this Marian operatic content, the present study will consider the music, text and stagecraft of Italian operas from a perspective that is cognizant of both the theological and the devotional. For this purpose, a series of operatic examples have been taken from famous operas as well as from lesser-known works. The timeframe encompasses the years 1840 to 1920, because in this period Italian operatic works exhibit the most extensive Marian content. The year 1890 will serve as an important milepost, since a shift to the so-called Verismo style occurred at that time. The Marian presence in opera has not been a common topic for scholarly research. The only extended study is Maria in der Musik by Gero Vehlow.1 This text is impressive for a comprehensive scope, which embraces all types of art music since the medieval period. Vehlow’s work is primarily musicological and does not treat theological issues at length. The present study will differ from Vehlow’s by considering the specifically theological significance of operatic episodes in which Marian devotion is portrayed or a character invokes Mary’s intercession and assistance. This study is organized in the following manner. Chapter 1 examines popular Marian devotion as well as the experience of listening to music and then develops theoretical considerations regarding the connection between music and theological method. Chapter 2 first provides a summary of the historical context of 19th century Italian opera. St. Don Bosco’s understanding of the Marian title “Aiuto dei Cristiani/Help of Christians” is then developed as a representative, but not exclusive, example of popular Italian Marian devotion. Chapter 3 will examine a series of Italian operas up to the year 1890. Chapter 4 will commence with the onset of the Verismo style and then examine operas until about 1920. Chapter 5 will provide a concluding synthesis by identifying and summarizing important theological and devotional themes. The Importance of Popular Marian Devotion 1 Gero Vehlow, Maria in der Musik (Köln: Verlag Christoph Dohr, 2007). 5 An important element of the Marian operatic presence is the depiction of popular devotion. In the present study, popular Marian devotion will be understood exclusively in terms of certain practices of piety associated with Mary. These practices include common Marian prayers, such as the Ave Maria, Salve Regina, and the rosary; the use of Marian images and statues; Marian processions; Marian figures of speech in daily conversation; and, most importantly,
Load more

Recommended publications
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran 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 August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • Albert-Lortzing-Gesellschaft E. V. Februar 2009
    Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Albert-Lortzing-Gesellschaft e. V. gegründet 2001 Lortzings Wohnhaus, die Große Funkenburg, in Leipzig Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 2 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Liebe Mitglieder, endlich halten Sie wieder einen Rundbrief in den Händen. Ich freue mich, daß auch diesmal zwei Mitglieder unserer Gesellschaft Beiträge verfasst haben, die den wesentlichen Teil dieses Rundbriefes ausmachen. Darüber hinaus finden Sie erneut Original-Rezensionen einiger Aufführungen durch Mitglieder unserer Gesellschaft sowie weitere Informationen, die hoffentlich Ihr Interesse finden. Das wichtigste Ereignis 2009 ist sicherlich das Mitgliedertreffen in Leipzig und die aus diesem Anlass stattfindende Fachtagung der Musikwissenschaftlichen Abteilung der Hochschule für Musik Felix Mendelssohn Bartholdy. Wir danken Herrn Prof. Dr. Schipperges sehr herzlich für die inhaltliche Planung und Organisation dieser Tagung. Ich wünsche allen einen schönen Frühling und freue mich, Sie bei dem Treffen in Leip- zig persönlich begrüßen zu können. Mit herzlichen Grüßen im Namen des ganzen Vorstands Ihre Irmlind Capelle Detmold, Ende Februar 2009 Impressum: Herausgeber: Albert-Lortzing-Gesellschaft e. V. c/o Prof. Dr. Bodo Gotzkowsky, Leipziger Straße 96, D – 36037 Fulda, Tel. 0661 604104 e-Mail: [email protected] Redaktion: Dr. Irmlind Capelle (V.i.S.d.P.) (Namentlich gezeichnete Beiträge müssen nicht unbe- dingt der Meinung des Herausgebers entsprechen.) © Lortzing-Gesellschaft e. V., 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Rosina Regina Lortzing geb. Ahles Die Suche nach ihrem Grab Ein Bericht von Petra Golbs Regina Rosina (geb.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • Milan and Seregno
    MILAN AND SEREGNO LIDA EMILIANA MELETAKI VICTORIA MILIARAKI NIKOLETA XENAKI C’3 MILAN Milan is the capital of Lombardy and the second most populous city in Italy after Rome. It is located in the north- western section of the Po Valley, approximately halfway between the river Po to the south and the foothills of the Alps with the great lakes (Lake Como, Lake Maggiore, Lake Lugano) to the north, the Ticino river to the west and the Adda to the east. MUSEUMS Some of the most popular museums are: • Pinacoteca di Brera • The Last Supper • Fondazione Prada • Museo del Novecento • Mudec • Museo Civico di Storia Naturale di Milano • Museo Poldi Pezzoli • Villa Necchi Campiglio PINACOTECA DI BRERA FONDAZIONE PRADA MONUMENTS/LANDMARKS Santa Maria delle Grazie This church was built between 1466 and 1490 by Giuniforte Solari and later partly modified by Bramante who re- designed the apse, the Tribuna, the Cloister and the Old Sacristy. In the Refectory there is one of the most famous paintings of Leonardo da Vinci: the “Last Supper”. The works of the fresco started in 1495 and finished in 1498. Monumental Cemetery Carlo Maciachini built the Monumental Cemetery between 1863 and 1866 at Porta Volta. Villa Reale (Royal Villa) One of the most important Milanese neo- classical buildings, the Royal Villa, was built in 1790 by Leopoldo Pollak. It has been the residence of Napolen and Josephine and also of Eugene Beauharnais and the General Radetzky. Pilasters and columns decorate all the building that is surrounded by an English- style garden. The insides are finely decorated with candelabras, sculptures, frescoes and other decorations typical of Lombard neo- classicism.
    [Show full text]
  • Mystical“ Traditions in an Apocalyptic Text? : the Throne Vision of Revelation 4 Within the Context of Enochic and Merkavah Texts
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2018 „Mystical“ traditions in an apocalyptic text? : the throne vision of revelation 4 within the context of enochic and merkavah texts Frey, Jörg DOI: https://doi.org/10.1515/9783110597264 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-167157 Book Section Published Version Originally published at: Frey, Jörg (2018). „Mystical“ traditions in an apocalyptic text? : the throne vision of revelation 4 within the context of enochic and merkavah texts. In: Collins, John J; de Villiers, Pieter G R; Collins, Adela Yarbro. Apocalypticism and Mysticism in Ancient Judaism and Early Christianity. Berlin: Walter de Gruyter, 103-127. DOI: https://doi.org/10.1515/9783110597264 Jörg Frey “Mystical” Traditions in an Apocalyptic Text? The Throne Vision of Revelation 4 within the Context of Enochic and Merkavah Texts Introduction: Apocalypticism and Mysticism as Contested Categories The boundaries between apocalypticism and mysticism often appear unclear or blurred. This is not only due to the observation of mystical elements in apo- calyptic texts and of revelatory experiences within the context of mystical religion. It is, even more so, due to the fact that the two terms are scholarly categories subject to definition, and depending on their respective definitions, the group of texts or textual elements attributed to each category varies con- siderably. Furthermore, both terms have a long history of reception in Christian theology and biblical exegesis, and both have been intensely rejected by certain theological traditions.
    [Show full text]
  • Early Opera in Spain and the New World. Chad M
    World Languages and Cultures Books World Languages and Cultures 2013 Transatlantic Arias: Early Opera in Spain and the New World. Chad M. Gasta Iowa State University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/language_books Part of the Spanish Linguistics Commons Recommended Citation Gasta, Chad M., "Transatlantic Arias: Early Opera in Spain and the New World." (2013). World Languages and Cultures Books. 8. https://lib.dr.iastate.edu/language_books/8 This Book is brought to you for free and open access by the World Languages and Cultures at Iowa State University Digital Repository. It has been accepted for inclusion in World Languages and Cultures Books by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. 89_Biblioteca_Aurea.pdf 1 10/27/13 8:16 PM mploying current theories of ideology, propaganda and musical reception, Transatlantic Arias: Transatlantic Arias examines the development Eand impact of early opera in Spain and the Americas Early Opera in Spain through close examination of the New World’s first three extant operas. What emerges is an amazing and the New World C history of extraordinarily complex lyrical and musical works for their time and place, which are M also critical for illuminating inimitable perspectives Y on the cohabitation and collaboration of indigenous Transatlantic Arias Transatlantic CM groups and Europeans. MY CHAD M. GASTA is Associate Professor of Spanish and CY Chair of the Department of World Languages & 89 CMY Cultures at Iowa State University where he also serves as Director of International Studies and K Co-Director of the Languages and Cultures for Professions (LCP) program.
    [Show full text]
  • Il Segreto Di Susanna
    Ermanno WOLF-FERRARI Il Segreto di Susanna Serenade for Strings Judith Howarth Àngel Òdena Oviedo Filarmonía Friedrich Haider Ermanno Wolf-Ferrari (1876–1948) Il segreto di Susanna (1905–09) · Serenade for Strings in E flat major (1893) Ermanno In 1903, the Residenztheater in Munich staged a premiere work of a master-craftsman. It was given its first performance that established the reputation of a young German-Italian at the Munich Odeon on 7 July 1894 and was well-received, WOLF-FERRARI composer, Ermanno Wolf-Ferrari (1876–1948). Although ‘with much benevolent shaking of professorial heads’, as (1876–1948) he was only 27 years old, Wolf-Ferrari’s opera Le donne Wolf-Ferrari later recalled. This Serenade is an early work, curiose succeeded not only in giving the comedies of but everything that was to characterise the composer’s art the Venetian dramatist Carlo Goldoni (1707–1793) a new from then on is already there – the individual tone of voice lease of artistic life, but also in launching a fundamental that sits somewhere between carefree cheerfulness, bliss Il segreto di Susanna renewal of opera buffa offering a clear alternative to the and bitter melancholy, the gift for writing inspired melodies Intermezzo in one act (1905–09) dominance of Richard Wagner and Giacomo Puccini. (the Andante), and not least the ability to integrate polyphonic Libretto by Enrico Golisciani (1848–1918) The years that followed were perhaps Wolf-Ferrari’s most writing into the music almost playfully, but at the same time in productive period as a composer: I quattro rusteghi, Il a way that is full of expression (the fugato of the final Presto).
    [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]
  • University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [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]
  • The Mysterious Affair of the Serenade
    THE MYSTERIOUS AFFAIR OF THE SERENADE The time has come for the revaluation of Aldo Finzi, a Jewish composer who was on the point of winning, with his “playful comedy” when the anti-Jewish laws were about to be issued in Italy, the competition for a new opera which the La Scala Theatre had published. Aldo Finzi’s “Serenade to the Wind”, an injustice to be repaired. “ ... go, serenade to the wind, but don’t reveal that your singing - hides a secret longing - for a weeping moment - of an intimate torment...” On 11th February 1936 Wolf Ferrari’s “Il campiello”was staged at the Scala Theatre , conducted by Gino Marinuzzi with an all star cast: Mafalda Favero, Margherita Carosio, Iris Adami- Corradetti, Giuseppe Nessi, the very colourful and sunny only scene by Pieretto Bianchi. It can still be admired in the nowadays impossible to find volume that La Scala caused to be published in 1946 (1). Just seven years before, Toscanini had conducted, in addition to Fidelio, also Falstaff and Meistersingers in what was going to be his last Scala season before World War II (2). In December of the same year, on Bronislaw Hubermann’s invitation, he went to Palestine ( Jerusalem and Tel Aviv) to conduct the first Israeli orchestra and he was so impressed by the new life of the country he was visiting that he stated: “Here in Palestine I have found the country where I can be only Man as I conceive him” (3). These were the times and the place where a Jewish composer, on the eve of those anti-Jewish laws that were to alter radically the landscape of Italian music, was about to set to music a libretto by Carlo Veneziani, a “comedy of manners” racy and romantic, spicy and amusing, in which graceful satire and tart repartees combined to create the kind of wit which, to quote Falstaff,” creates wit in others”.
    [Show full text]
  • 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.
    [Show full text]