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Handel Arias
ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry. -
Angelica Inseguita
ANGELICA INSEGUITA ‘’La prima impressione è che questi cavalieri non sappiano bene cosa vogliono: un po’ inseguono, un po’ duellano, un po’ giravoltano, e sono sempre sul punto di cambiare idea.’’ I. Calvino, Orlando Furioso di Ludovico Ariosto raccontato da Italo Calvino, Mondadori, 1983, pag. 64 Abbiamo attribuito alla frase scelta questo quadro di Paolo Uccello, in quanto entrambi si ricollegano ad uno temi centrali del poema raccontato da Italo Calvino, ossia quello dell’inchiesta «fallimentare» che si traduce in un movimento circolare, che non approda mai ad una fine. L’inseguire vanamente questi oggetti delusori determina un allontanarsi fisicamente, ma anche moralmente da quelli che sono i loro doveri cavallereschi. Possiamo notare infatti nel quadro l'allontanamento dal campo di Paolo Uccello, Niccolò da Tolentino alla testa dei fiorentini, 1438. battaglia di alcuni cavalieri. Erika Gambardella, Lia Lisenni, Elvira Zullo IV E Bradamante e l’Ippogrifo (cap. 2) • Si introduce la narrazione: due guerrieri si trovano in una locanda. • Improvvisamente si avverte il passaggio dell’Ippogrifo in cielo. • L’oste della locanda spiega la situazione in cui gli abitanti del villaggio si trovano. • Il narratore descrive i due personaggi: si tratta di una guerriera cristiana, Bradamante, e un combattente musulmano, Brunello. Entrambi hanno lo stesso fine, cioè liberare Ruggiero dal mago Atlante. • I due personaggi si dirigono verso il castello del mago. • Bradamante lega Brunello e inizia lo scontro contro Atlante, che usa il suo libro magico. • Bradamante, fingendosi morta, inganna il mago, lo cattura e lo intrappola, costringendolo a far scomparire il castello. • Il castello si dissolve e ne escono Ruggiero e gli altri compagni prigionieri. -
Dragon Magazine #127
CONTENTS Magazine Issue #127 Vol. XII, No. 6 SPECIAL ATTRACTIONS November 1987 15 Cal1 to Arms: The fighters world, from berserkers to battlefields. 16 Lords & Legends Kyle Gray Four famous warriors from European myth and legend. 22 No Quarter! Arn Ashleigh Parker Publisher Mike Cook Creative combat for fighters with style. 26 Bazaar of the Bizarre The readers Editor A magical treasury of bows and bolts for arcane archers. Roger E. Moore 32 Two Hands Are Better Than One Donald D. Miller Assistant editor Fiction editor When a two-handed sword becomes a three-handed sword, and other handy facts. Robin Jenkins Patrick L. Price 36 In Defense of the Shield Tim Merrett Editorial assistants A good shield might be the best friend youll ever have. Eileen Lucas Barbara G. Young 38 Fighting for Keeps Roy G. Schelper Debbie Poutsch Georgia Moore Your new castle is full of orcs? Its BATTLESYSTEM supplement time! Art director 46 In the Heat of the Fight Sean Holland Roger Raupp Berserkers, ambushes, fanatics, tribal champions all in a days work. Production Staff 48 A Menagerie of Martial Arts Len Carpenter Marilyn Favaro Gloria Habriga Twenty all-new martial-arts styles for Oriental Adventures. Colleen OMalley OTHER FEATURES Subscriptions Advertising 8 Role-playing Reviews Ken Rolston Pat Schulz Mary Parkinson Game designers rush in where deities fear to tread. Creative editors 56 The Ecology of the Yeti Thomas Kiefer Ed Greenwood Jeff Grubb A particularly chilling encounter on the high glaciers. 62 Arcane Lore Arthur Collins Selections from a lost tome on lifes little illusions. -
Le Nozze Di Bradamante E Ruggiero Nell'orlando Furioso
FRANCESCA PASQUALINI Le nozze di Bradamante e Ruggiero nell’Orlando Furioso: un vademecum per un matrimonio aristocratico In La letteratura degli italiani 4. I letterati e la scena, Atti del XVI Congresso Nazionale Adi, Sassari-Alghero, 19-22 settembre 2012, a cura di G. Baldassarri, V. Di Iasio, P. Pecci, E. Pietrobon e F. Tomasi, Roma, Adi editore, 2014 Isbn: 978-88-907905-2-2 Come citare: Url = http://www.italianisti.it/Atti-di- Congresso?pg=cms&ext=p&cms_codsec=14&cms_codcms=397 [data consultazione: gg/mm/aaaa] La letteratura degli italiani 4. I letterati e la scena © Adi editore 2014 FRANCESCA PASQUALINI Le nozze di Bradamante e Ruggiero nell’Orlando Furioso: un vademecum per un matrimonio aristocratico Poiché tra gli intendimenti degli autori del Rinascimento molto forte è quello di fornire manuali e modelli di comportamento, vogliamo leggere anche in questo senso il polifunzionale poema dell’Ariosto. Un vademecum per gli sposi, per i promessi sposi Ruggiero e Bradamante, la cui reale vicenda sentimentale percorre il Furioso e lo informa di sé ben più del virtuale amore a cui deve Orlando la sua follia. Percorso formativo per Bradamante innanzitutto che s’avvia a diventare composta madre di famiglia e progenitrice di regnanti dall’indomita guerriera che la tradizione letteraria precedente consegnava ad Ariosto. Gentildonna da cavaliere, secondo una progressiva spoliazione dalle armi e rivestizione di virtù diplomatiche ed umane che costituiscono l’habitus non solo della donna di corte ma, più in generale, della classe aristocratica dell’Ancien Régime. Presupposto propedeutico a questo intervento è riconoscere la serietà con cui Ariosto guarda ai valori che informano il mondo cavalleresco dell’Orlando Furioso. -
Renaissance and Reformation, 1978-79
Sound and Silence in Ariosto's Narrative DANIEL ROLFS Ever attentive to the Renaissance ideals of balance and harmony, the poet of the Orlando Furioso, in justifying an abrupt transition from one episode of his work to another, compares his method to that of the player of an instrument, who constantly changes chord and varies tone, striving now for the flat, now for the sharp. ^ Certainly this and other similar analogies of author to musician^ well characterize much of the artistry of Ludovico Ariosto, who, like Tasso, even among major poets possesses an unusually keen ear, and who continually enhances his narrative by means of imaginative and often complex plays upon sound. The same keenness of ear, however, also enables Ariosto to enrich numerous scenes and episodes of his poem through the creation of the deepest of silences. The purpose of the present study is to examine and to illustrate the wide range of his literary techniques in each regard. While much of the poet's sensitivity to the aural can readily be observed in his similes alone, many of which contain a vivid auditory component,^ his more significant treatments of sound are of course found throughout entire passages of his work. Let us now turn to such passages, which, for the convenience of the non-speciaUst, will be cited in our discussion both in the Italian text edited by Remo Ceserani, and in the excellent English prose translation by Allan Gilbert."* In one instance, contrasting sounds, or perhaps more accurately, the trans- formation of one sound into another, even serves the implied didactic content of an episode with respect to the important theme of distin- guishing illusion from reality. -
L'héroisme Chevaleresque Dans Le "Roland Amoureux" De
L'héroïsme chevaleresque dans le Roland Amoureux de Boiardo Couverture : Illustration extraite de la Nouvelle traduction de Roland l'Amou- reux par LESAGE, Paris, 1717 (cliché Bibliothèque Municipale de Lyon) INSTITUT D'ÉTUDES DE LA RENAISSANCE ET DE L'AGE CLASSIQUE Denise ALEXANDRE-GRAS L'héroïsme chevaleresque dans le - Roland Amoureux de Boiardo Publications de l'Université de Saint-Etienne 0 Institut d'études de la Renaissance et de l'Age Classique, 1988 34, rue Francis-Baulier — 42100 Saint-Etienne ISBN 2-86724-032-8 INTRODUCTION Matteo Maria Boiardo est un écrivain dont l'œuvre et la personnalité, complexes et contradictoires, demeurent parmi les plus déroutantes qui soient. Il n'est en effet pas possible de réduire toute son activité à la seule composition du «poème» 1, d'ignorer notamment ses œuvres latines et d'imaginer qu'il ait oublié sa culture humaniste durant les quinze dernières années de sa vie. Or, le contraste est évident entre ses œuvres mineures de goût humaniste (les œuvres latines, les Eglogues en italien , le Timon inspiré de Lucien) et son poème cheva- leresque modelé sur des œuvres populaires que les humanistes méprisaient volontiers. Son Canzoniere, dont le titre classicisant, Amorum libri, est signifi- catif, combine certes diverses sources, mais il apparaît précisément comme une tentative de synthèse raffinée dans laquelle la poésie latine et les thèmes néo- platoniciens viennent enrichir le legs de la poésie lyrique médiévale et du pé- trarquisme, ce qui semble fort éloigné de l'esprit général du poème, si éloigné même que Pier Vincenzo Mengaldo a pu parler d'un tel hiatus entre les deux œuvres, qu'on n'en saurait trouver d'équivalent dans l'histoire italienne toute entière 2. -
Le Fou Et La Magicienne Réécritures De L'arioste À L
AIX MARSEILLE UNIVERSITÉ ÉCOLE DOCTORALE 355 ESPACES, CULTURES ET SOCIÉTÉS CENTRE AIXOIS D’ÉTUDES ROMANES – EA 854 DOCTORAT EN ÉTUDES ITALIENNES Fanny EOUZAN LE FOU ET LA MAGICIENNE RÉÉCRITURES DE L’ARIOSTE À L’OPÉRA (1625-1796) Thèse dirigée par Mme Perle ABBRUGIATI Soutenue le 17 juin 2013 Jury : Mme Perle ABBRUGIATI, Professeur, Aix Marseille Université Mme Brigitte URBANI, Professeur, Aix Marseille Université M. Jean-François LATTARICO, Professeur, Université Lyon 3 – Jean Moulin M. Camillo FAVERZANI, Maître de conférences HDR, Université Paris 8 – Saint Denis M. Sergio ZATTI, Professore, Università di Pisa Je remercie chaleureusement L’École doctorale 355 Espaces, Cultures et Sociétés de l’Aix Marseille Université de m’avoir permis d’achever cette thèse. La Fondazione Cini de Venise de m’avoir accueillie pour un séjour de recherches. Le personnel de la Bibliothèque nationale de Turin de m’avoir aidée dans mes recherches sur les partitions de Vivaldi. Les membres du jury d’avoir accepté de lire mon travail. Ma directrice de recherches, Mme Perle Abbrugiati, pour son soutien indéfectible et ses précieux conseils. Mon compagnon, mes enfants, mes parents et mes beaux-parents, mes amis et mes collègues, pour leurs encouragements et leur compréhension pendant cette longue et difficile période. SOMMAIRE INTRODUCTION 1 I. Origine des réécritures : l’Arioste 2 1. Les personnages 4 2. L’Arioste et les arts 9 3. De l’Arioste au Tasse : le genre chevaleresque, ses réécritures littéraires et sa réception 16 II. L’Arioste à l’opéra 25 Avertissement : choix de traductions et citations 35 Description du corpus : le sort des personnages après l’Arioste 37 PREMIÈRE PARTIE : REPÉRAGES, LA PÉRÉGRINATION DES PERSONNAGES, REFLET DE LA FORTUNE DE L’ARIOSTE ET MARQUEUR DE L’HISTOIRE DE L’OPÉRA 45 I. -
Robert Garnier's Bradamante (1582): an English Translation of Act IV, with An
Robert Garnier's Bradamante (1582): An English Translation of Act IV, With an Introduction Concerning the Historical Development of the Title Character An Honors Thesis (HONRS 499) by Nathan Rush Thesis Advisor Dr. Donald Gilman Ball State University Muncie, Indiana May 2009 Expected Date of Graduation: December 2009 c I ( f '-11 ," -11 ! ( .~ ..;.3 0 Table of Contents ;.' ( , . k -il' ~ , ' f 1. Abstract .................................................................. '" .................................................... 3 2. Acknowledgements ...................................................................................................... 4 3. Introduction .................................................................................................................. 5 4. Difficulties of Translation .......................................................................................... 16 5. Works Cited ................................................................................................................ 18 6. Translation .................................................................................................................. 20 7. Endnotes ..................................................................................................................... 39 2 Abstract The title character of Robert Garnier's Bradamante (1582) was introduced to French literature through the matiere de France (Matter of France), epic poems written during the Middle Ages. The personage of Bradamante was expanded over time -
Livree 1.Pdf
p i L BRAR ES PUBLIC LIBRARY THE BRANCH 3 3333 02373 0530 --&~f- JL b y SB>^^ "- * A BOOK OF MARIONETTES c o -o o ^ I a _= z ~ c/i 4-1 (LI O. o. 3 a. A BOOK ofj MARIONETTES by HELEN HAIMAN JOSEPH SX I -'* **'} v >. ...... York B. W. HUEBSCH COPYRIGHT, 1920, BY B. W. HUEBSCH To my Father ELIAS HAIMAN With pride and love for the brave simplicity and gentle nobility of his life '* . i . i > - > * -, .* .*- ',. r?rs; : V .*' , ", -;-- Note THE story of the marionette is endless, in fact it has neither beginning nor end. The marionette has been everywhere and is everywhere. One cannot write of the puppets without saying more than one had in- tended and less than one desired: there is such a piquant insistency in them. The purpose of this book is altogether modest, but the length of it has grown to be presumptuous. As to its merit, that must be found in the subject matter and in the sources from which the material was gathered. If this volume is but a sign-post pointing the way to better historians and friends of the puppets and through them on to more puppet play it will have proven merit enough. The bibliography appended is a far from complete list of puppet literature. It includes, however, the most important works of modern times upon mario- nettes and much comment, besides, that is casual or curious or close at hand. The author is under obligation to those friendly individuals who generously gave of their time and NOTE interest and whose suggestions, explanations and kind assistance have made possible this publication. -
Transcripts of Dramatic Musical Works in Full Score
TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS MUSIC DIVISION Compiled by Susan Clermont Senior Music Specialist Library of Congress Music Division A BIBLIOGRAPHY OF TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS This bibliography comprises close to 700 transcripts of dramatic musical works in full score copied from original music manuscripts and early imprints for the Library of Congress’s Music Division between 1903 and 1939. The original sources were located in over three dozen European libraries in Austria, Belgium, France, Great Britain, Germany, Hungary, Italy and Russia. The majority of the operas cited in this document date from the seventeenth and eighteenth centuries; about fifteen percent are reproductions of nineteenth-century works. Also included in this bibliography are transcripts of incidental music for dramas, melodramas, ballets, and pantomimes (see Appendix B). Finally, Appendix C comprises a short list of instrumental works, mostly for viola da gamba, that were transcribed over a two-year period when the parameters of this project were provisionally broadened. In 1902, a new set of guidelines for the systematic development of the newly-reorganized Music Division’s collections was instituted: opera immediately received a considerable share of attention because, “the peculiar condition of opera in the United States seemed to demand that a center of reference and research be created for the students of opera.” [Oscar Sonneck, Dramatic Music: Catalogue of Full Scores…, 1908] Accordingly, a series of “want lists” were compiled; however, when it was determined after a comprehensive search that hundreds of items included on the Music Division’s desiderata list for operas in full score were unprocurable in manuscript or print versions, the option of contracting copyists to generate transcripts was explored. -
A History of Epic Poetry (Post-Virgilian)
Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027089246 Cornell University Library PN 1303.C59 History of epic poetry (post-Virgilian' 3 1924 027 089 246 A History of Epic Poetry A History of Epic Poetry (POST-VIRGILIAN) BY JOHN CLARK. M.A. Second Classical Master in the High School of Dundee Author of "Manual of Linguistics" U ne suffit pas, pour connaitre I'^popee d'avoir lu Virgile et Homere. Voltaire, Essai snr la Foesie Epique. EDINBURGH OLIVER AND BOYD LONDON: SIMPKIN, MARSHALL, HAMILTON, KENT & CO., LIMITED 1900 _^ PREFACE The following pages are meant to exhibit the different national renderings of a variety of poetry that perhaps more than any other has given status to the literature possessing a great specimen of it, and supremacy to the poet of that specimen. I have restricted my formal examination of poems to those of the post - Virgilian period. So much excellent criticism has been made on Homer and Virgil that it seemed presumption on my part, as well as a needless increase of the bulk of the book, to adventure a full statement of the epical position of these two princely poets. It is clear, however, that no history of epic poetry could be called satisfactory that did not contain some reference to these poets—that did not, indeed, to a definite if limited extent, take into account and appraise their work. I have therefore in the Introduction devoted some pages to a consideration of certain aspects of the epical quality of their respective poems. -
Orlando Furioso by Ludovico Ariosto (1532) Orlando Furioso Is an Italian Epic Poem by Ludovico Ariosto Which Has Exerted a Wide Influence on Later Culture
Galician Princess Isabella character in Orlando Furioso epic poem by Ludovico Ariosto (1532) Orlando Furioso by Ludovico Ariosto (1532) Orlando furioso is an Italian epic poem by Ludovico Ariosto which has exerted a wide influence on later culture. The earliest version appeared in 1516, although the poem was not published in its complete form until 1532. Orlando Furioso is a continuation of Matteo Maria Boiardo's unfinished romance Orlando Innamorato (Orlando in Love, published posthumously in 1495). In its historical setting and characters, it shares some features with the Old French Chanson de Roland of the eleventh century, which tells of the death of Roland. The story is also a chivalric romance which stemmed from a tradition beginning in the late 1 Middle Ages and continuing in popularity in the 16th century and well into the 17th. Galician Princess Isabel in Orlando Furioso NOT the Isabel (d’Este) mentioned by Melissa in Canto XIII. Orlando finds XII, Backstory and travels with Orlando XIII, mentioned in XVIII as Zerbino’s lover, Gabrina lies to Zerbino about her XX, Rescues Zerbino XXIII, Death of Zerbino and saved by hermit XXIV, captured by Rodomonte XXVIII, slain by Rodomonte XXIX Classical Types Arethusa, Daphne, Juliet Daughter of the King of Galicia, Lover of Zerbino, Kidnapped and Slain by Rodomonte TLDR Beautiful Moor Loses Star-Crossed Lover, Pulls Surprise Death on Would-be Rapist Summary The Christian Scottish Prince Zerbino wins Isabel’s heart when he attends a tournament in her father’s kingdom of Galicia. The faith-crossed lovers arrange an elopement that will bring Isabel by ship to Scotland, but a storm leaves Isabel stranded with a small crew of survivors.