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VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette. -
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. -
Oct Complete.Indd
courtesy of the Baltimore Opera Company New Repertoire Discoveries for Singers: An Interview with Michael Kaye by Maria Nockin Many young singers may id you ever wonder why that last which I established my edition of the Tales of Tales of Hoffmann you sang had all Hoffmann, I had to seek my own funding, but not yet be ready to do Dthose photocopied sheets added in? it’s very diffi cult to ask for a grant for yourself. Or why the version of “Butterfl y” you learned Fortunately, Gordon Getty, Frederick R. Giacomo Puccini’s operatic a few years ago isn’t the version you’re doing Koch, Paula Heil Fisher and the late Francis this year? Blame Michael Kaye and other Goelett (a great lover of contemporary music roles—but they can sing musicologists, who are diligently uncovering and French opera, who donated the funding authentic music faster than publishers can for many new productions of French works the great composer’s print it! Here’s some news teachers and at the Metropolitan Opera) were among recitalists can use. the generous private sponsors of my work. songs, and learn a great First recordings of previously unpublished MN: So you are one of the guilty parties music by important composers, and fi nancial deal about his style. responsible for making it impossible for advances from publishers, sometimes can singers to learn “the defi nitive Hoffmann!” Do help subsidize the preparation of the music you apply for grants so that you can work on for performance. fi nding lost music? There are also grants, endowments and MK: Normally that work is done under an fellowships that provide funding for this type umbrella of academia, but I had to fi nd other of research. -
Giacomo Puccini Krassimira Stoyanova
Giacomo Puccini Complete Songs for Soprano and Piano Krassimira Stoyanova Maria Prinz, Piano Giacomo Puccini (1858-1924) 5 Ave Maria Leopolda (Giacomo Puccini) Conservatory. It is introduced by solemn organ harmonies (Milan, 20 May 1896) with strong treble line. The melody is shaped by slow Songs This short song is a setting of one of the composer’s letters lingering inflections of considerable emotional intensity. The Giacomo (Antonio Domenico Michele Seconda Maria) Gramophone Company (Italy) Ltd. The tone of this song, to the conductor Leopoldo Mugnone (who conducted hymn moves on to a more questioning phase, and concludes Puccini (1858-1924) was born into a family with long musical by the famous librettist Illica, a man of exuberant and violent Manon Lescaut and La Bohème in Palermo). It is a jocular with a smooth organ postlude. The tune was used by the traditions. He studied with the violinist Antonio Bazzini passions, celebrates the positivism of the late 19th century. salutation, offering greetings to his spouse Maria Leopolda, composer in his first opera Le Villi (1883) as the orchestral (1818-1897) and the opera composer Amilcare Ponchielli The text reflects that, although life is transient, we sense the from the dark Elvira (Bonturi, Puccini’s wife) and the blonde introduction to No. 5 and the following prayer Angiol di Dio. (1834-1886), and began his career writing church music. existence of an ideal that transcends it, conquering oblivion Foschinetta (Germignani, Puccini’s stepdaughter), who He is famous for his series of bold and impassioned operas and death. The musical setting is confident and aspirational, send kisses and flowers. -
1 CRONOLOGIA LICEISTA S'inclou Una Llista Amb Les Representaciones
CRONOLOGIA LICEISTA S’inclou una llista amb les representaciones de Rigoletto de Verdi en la història del Gran Teatre del Liceu. Estrena absoluta: 11 de març de 1851 al teatre La Fenice de Venècia Estrena a Barcelona i al Liceu: 3 de desembre de 1853 Última representació: 5 de gener del 2005 Total de representacions: 362 TEMPORADA 1853-1854 3-XII-1853 RIGOLETTO Llibret de Francesco Maria Piave. Música de Giuseppe Verdi. Nombre de representacions: 25 Núm. històric: de l’1 al 25. Dates: 3, 4, 8, 11, 15, 22, 23, 25, 26 desembre 1853; 5, 6, 12, 15, 19, 31 gener; 7, 12, 26 febrer; 1, 11, 23 març; 6, 17 abril; 16 maig; 2 juny 1854. Duca di Mantova: Ettore Irfré Rigoletto: Antonio Superchi Gilda: Amalia Corbari Sparafucile: Agustí Rodas Maddalena: Antònia Aguiló-Donatutti Giovanna: Josefa Rodés Conte di Monterone: José Aznar / Luigi Venturi (17 abril) Marullo: Josep Obiols Borsa: Luigi Devezzi Conte di Ceprano: Francesc Sánchez Contessa di Ceprano: Cristina Arrau Usciere: Francesc Nicola Paggio: Josefa Garriche Director: Eusebi Dalmau TEMPORADA 1854-1855 Nombre de representacions: 8 Número històric al Liceu: 26, 27, 28, 29, 30, 31, 32, 33 Dates: 7, 10, 18 febrer; 13 març; 17 abril; 17, 27 maig; 7 juny 1855. Nota: Felice Varesi havia estat el primer Rigoletto a l'estrena mundial a la Fenice de Venècia l'11 de març de 1851. Duca di Mantova: Giacomo Galvani Rigoletto: Felice Varesi Gilda: Virginia Tilli Sparafucile: Agustí Rodas Maddalena: Matilde Cavalletti / Antònia Aguiló-Donatutti (7 de juny) Giovanna: Sra. Sotillo Conte di Monterone: Achille Rossi 1 Marullo: Josep Obiols Borsa: Josep Grau Contessa di Ceprano: Antònia Aguiló-Donatutti Director: Gabriel Balart TEMPORADA 1855-1856 L'òpera és anunciada com "Il Rigoletto". -
OTELLO Subota, 27
Giuseppe Verdi OTELLO Subota, 27. listopada 2012., 19 sati Foto: Metropolitan opera G. Verdi OTELLO Subota, 27. listopada 2012., 19 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 Giuseppe Verdi OTELLO Opera u etiri ina Libreto: Arrigo Boito prema istoimenoj tragediji Williama Shakespearea SUBOTA, 27. LISTOPADA 2012. POČETAK U 19 SATI. Praizvedba, Teatro alla Scala, Milano, 5. veljače 1887. Prva hrvatska izvedba: Hrvatsko zemaljsko kazalište u Zagrebu, 10. listopada 1899. Prva izvedba ansambla Metropolitana u Chicagu: 23. studenoga 1891. Prva izvedba ove produkcije: 21. ožujka 1994. OTELLO Johan Botha REDATELJ Elijah Moshinsky JAGO Falk Struckmann SCENOGRAF Michael Yeargan DESDEMONA Renée Fleming KOSTIMOGRAF Peter J. Hall CASSIO Michael Fabiano OBLIKOVATELJ RASVJETE Duane Schuler Solisti, zbor i orkestar Metropolitana ZBOROVOĐA Donald Palumbo KOREOGRAFKINJA Eleanor Fazan DIRIGENT Semyon Bychkov REŽIJA BORBI B. H. Barry Foto: Metropolitan opera Metropolitan Foto: Radnja se događa na Cipru potkraj 15. stoljeća. Stanka poslije drugoga čina. Svršetak oko 22.30 sata. Tekst: talijanski. Titlovi: engleski. Foto: Metropolitan opera Metropolitan Foto: PRVI IN ljubavnim duetom Otella i Desdemone (“Già No je i bjesni oluja dok se Cipru približava nella notte densa” - Ve se u gustoj noi). brod njegova zapovjednika, Mleanina Otella. Narod na obali moli za Otellov spas DRUGI IN i pobjedu. Brod se otrgnuo valovima i Otello Prvi je in završio ljubavnim duetom Otella i je stupio na ciparsko tlo ovjenan pobjedom Desdemone. I to je bio kraj njihove sree. -
Volume 63, Number 09 (September 1945) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1945 Volume 63, Number 09 (September 1945) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 63, Number 09 (September 1945)." , (1945). https://digitalcommons.gardner-webb.edu/etude/202 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Qualities . Successful Elementary Teaching Pieces Should Have / EDUCATIONAL POINTS / APPEALING TO PUPIL /MELODY /PLEASING TO These Favorite Easy Piano LISTENERS /ADHERENCE TO GRADE /ATTRACTIVELY PUBLISHED Pieces Have Such Qualities GRADE TWO—Legato and Staccato GRADE ONE—Various Keys Cat. No. Title Composer Price Price Cat. No. Title Composer 19219 Humming Birds’ Lullaby M. L. Preston .25 A descriptive little number giving an Ella Ketterer .30 opportunity for 23666 The Bobolink legato practice. Key of G. May be both played and sung. 25292 Hawaiian Nights .Daniel Rowe .25 Frank H. Grey 35 8400 The Contented Bird Very popular with young pianists. in In fancy one can hear This little piano piece is very popular. Written mostly the steel guitar and ukulele in the dreamy waltz melody, quarter and eighth notes. Key of F. -
La Direzione D'orchestra Italiana
ATTI DEL CONVEGNO Novara, Sala d’onore dell’Arengo 25 novembre 2019 La direzione d’orchestra italiana A cura di Ettore Borri Indice Prefazione ..................................................................... 1 GUIDO SALVETTI Il ruolo del direttore d’orchestra nella nascita del sinfonismo italiano .......... 3 ORESTE BOSSINI Il segno nell’acqua. Appunti per una storia della direzione d’orchestra in Italia .. 11 ETTORE BORRI L’imprenditore e il direttore d’orchestra: Edoardo Sonzogno e Leopoldo Mu- gnone, carteggio 1888-1894 .................................................... 49 MARIO GIARDA Guido Cantelli a Novara. Bibliografia cantelliana essenziale .................... 85 ALBERTO VIARENGO Il bene di scrivere: lettere scelte dell’epistolario di Guido Cantelli .............. 97 GIANFRANCO CAPRA ‘‘Come nacque il premio Cantelli’’ da Storia del Premio Cantelli 1961-1980 ... 107 ANGELO FOLETTO Eredita` e modernita` di Guido Cantelli ......................................... 109 PIERO RATTALINO Memorie di un datore di lavoro................................................ 129 ALFRED BRENDEL Su alcuni direttori italiani...................................................... 135 ALDO CECCATO Ricordo di Guido Cantelli ..................................................... 139 DONATO RENZETTI Ricordi e testimonianze: conversazione con Angelo Foletto e Ettore Borri ...... 141 Indice dei nomi ..................................................................... 155 V Prefazione Il 2020 segna il quarantennale del Festival Cantelli1 fondato dal- -
Ó P E R a 2017
ÓPERA 2017 JEFE DE GOBIERNO Horacio Rodríguez Larreta VICEJEFE DE GOBIERNO Diego Santilli JEFE DE GABINETE Felipe Miguel MINISTRO DE CULTURA Ángel Mahler DIRECTORA GENERAL María Victoria Alcaraz Hojas institucionales 2017.indd 1 3/20/17 12:20 Ascenso y caída de la ciudad de Mahagonny AUFSTIEG UND FALL DER STADT MAHAGONNY ÓPERA EN TRES ACTOS DE KURT WEILL (1930) LIBRETO DE BERTOLT BRECHT DIRECTOR MUSICAL INVITADO DISEÑO COREOGRÁFICO ASISTENTE DE DIRECCIÓN David Syrus Ignacio González Cano Mercedes Marmorek ESCENÓGRAFA REPOSITORA DIRECCIÓN DE ESCENA DIRECTOR DEL CORO ESTABLE Noelia Svoboda Marcelo Lombardero Miguel Martínez ASISTENTE DE ESCENOGRAFÍA Martina Nosetto DISEÑO DE ESCENOGRAFÍA Diego Siliano ASISTENTES DE VESTUARIO Michelle Krymer Lihuen Savegnago DISEÑO DE VESTUARIO Luciana Gutman ASISTENTE COREOGRÁFICO Manuco Firmani DISEÑO DE ILUMINACIÓN STAGE MANAGER José Luis Fiorruccio Artur Gonçalves COPRODUCCIÓN DEL TEATRO COLÓN, EL TEATRO MUNICIPAL DE SANTIAGO DE CHILE Y EL TEATRO MAYOR DE BOGOTÁ Auge y caída de la ciudad de Mahagonny. Ópera en tres actos con música de Kurt Weill y libreto de Bertolt Brecht. Editor Original: Universal Edition. Representante exclusivo: Barry Editorial www.barryeditorial.com.ar GA | Gran Abono. ANT | Abono Nocturno Tradicional. FE | Función Extraordinaria. ANN | Abono Nocturno Nuevo. AV | Abono Vespertino AGOSTO MARTES 22, 20 H GA | VIERNES 25, 20 H ANT | SÁBADO 26, 20 H FE | DOMINGO 27, 17 H AV | MARTES 29, 20 H ANN Duración: Acto I: 70 min. Intervalo. Acto II y acto III juntos: 65 min. Duración total: -
Journey :: Opera Theatre and Music Festival of Lucca, Italy
Journey :: Opera Theatre and Music Festival of Lucca, Italy :: Summer... http://www.ccmoperalucca.org/content.jsp?articleId=171 Cavalleria Rusticana Synopsis Santuzza a young peasant woman soprano Turiddu a young peasant tenor Lucia his mother, an innkeeper contralto Alfio a carrier baritone Lola Alfio’s wife mezzo-soprano Villagers Setting A village in Sicily on Easter Sunday 1880 Verga’s play Cavalleria rusticana received its first performance in the Teatro Carignano, Turin, on 14 January 1884 with Eleanora Duse as Santuzza. Mascagni saw it less than a month later in Milan but did not think of making it into an opera until June 1888, when he read in Il secolo that the publisher Sonzogno had announced the second competition for a one-act opera (Puccini had unsuccessfully submitted Le villi for the first). Mascagni commissioned the libretto from his fellow-citizen Targioni-Tozzetti who, worried about his ability to satisfy the precise terms of the competition, enlisted the help of another Livornese writer, Menasci. The libretto was ready in December 1888, the opera in May 1889; part of it was sent to Puccini and he in turn sent it to the publisher Giulio Ricordi, who failed to realize its worth, thus losing a golden opportunity. Needless to say, the opera won the competition and made a fortune for the publishing firm of Edoardo Sonzogno, who had arranged that the short season of the Teatro Costanzi in Rome would include the operas of the three finalists. Mascagni’s masterpiece, interpreted by Gemma Bellincioni and Roberto Stagno and conducted by Leopoldo Mugnone, was a resounding success and within a few months had been rapturously received in all the principal cities of Europe and America. -
Editing the Double Bass Concerto of Antonio Scontrino
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2020 Editing the Double Bass Concerto of Antonio Scontrino Roberto Pineda Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Pineda, Roberto, "Editing the Double Bass Concerto of Antonio Scontrino" (2020). Dissertations. 1835. https://aquila.usm.edu/dissertations/1835 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. EDITING THE DOUBLE BASS CONCERTO OF ANTONIO SCONTRINO by Roberto Pineda A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Marcos Machado, Committee Chair Dr. Joseph Brumbeloe Dr. Christopher Goertzen Dr. Hsiaopei Lee Dr. Stephen Redfield December 2020 COPYRIGHT BY Roberto Pineda 2020 Published by the Graduate School ABSTRACT Antonio Scontrino (1850-1922) was an important Italian Romantic composer, virtuoso double bassist, and respected pedagogue who is relatively unknown outside of the Italian musical community. His compositional output is prolific and includes string quartets, operas, symphonies, concerti, solo pieces, songs, and religious works. Indeed, Scontrino was a compelling composer who deserves more attention from the international musical community. In addition to his compositional expertise, he was an artful double bass performer whose works for the instrument, while distinctly idiomatic, are compositions of high quality.