DOCSLIB.ORG

Aureliano in Palmira

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aureliano in Palmira GIOACHINO ROSSINI AURELIANO IN PALMIRA Juan Francisco Gatell Silvia Dalla Benetta Marina Viotti Ana Victória Pitts Camerata Bach Choir, Poznań Virtuosi Brunensis José Miguel Pérez-Sierra 1 Sinfonia Andante maestoso – Allegro con brio 6:59 No. 7, Finale I Atto I & Eccomi, ingiusti numi 25:22 No. 1, Introduzione (Arsace, Zenobia, Aureliano, Gioachino 2 Sposa del grande Osiride 15:28 Oraspe, Licinio, Coro) (Coro, Gran sacerdote, Zenobia, Arsace, Oraspe) ROSSINI Recitativo (1792–1868) 3 Secondino gli dei (Gran sacerdote) 0:34 Atto II No. 2, Aria No. 8, Introduzione 4 Stava, dirà la terra (Gran sacerdote) 3:57 * Del cielo, ahi! miseri! (Coro) 2:38 Aureliano in Palmira No. 3, Marcia, Coro e Cavatina Recitativo 5 ( Opera seria in two acts (1813) Marcia 1:13 Tutto è perduto 3:12 Coro (Zenobia, Aureliano) Libretto by Felice Romani (1788–1865) 6 Vivi eterno, oh grande Augusto (Coro) 1:12 No. 9, Recitativo, Duetto e Quartetto Cavatina Recitativo 7 ) Aureliano ...................................................................................................Juan Francisco Gatell, Tenor Romani, a voi soltanto – Cara patria! 6:31 Se udir volessi, ingrata 0:37 (Aureliano, Coro) (Aureliano) Zenobia .................................................................................................... Silvia Dalla Benetta, Soprano Recitativo Duetto 8 Olà. Venga, e si ascolti 2:14 ¡ Se libertà t’è cara 5:48 Arsace ...................................................................................................... Marina Viotti, Mezzo-soprano (Aureliano, Arsace) (Aureliano, Zenobia) ™ Publia ..............................................................................................Ana Victória Pitts, Mezzo-soprano No. 4, Duetto Quartetto 9 Pensa che festi a Roma 9:02 Corri Augusto 3:51 Oraspe ...................................................................................................................................... Xiang Xu, Tenor (Aureliano, Arsace) (Licinio, Publia, Aureliano, Zenobia) Recitativo No. 10, Coro, Scena, Aria, Scena e Rondò Licinio ............................................................................................................................ Zhiyuan Chen, Bass 0 Giorno di gloria è questo 2:19 Coro (Licinio, Aureliano, Publia, Oraspe) £ L’Asia in faville è volta (Coro) 7:06 High Priest ............................................................................................. Baurzhan Anderzhanov, Bass No. 5, Coro Scena ! Venga Zenobia, oh Cesare 1:37 ¢ Dolci silvestri orrori 3:36 (Coro) (Arsace) Camerata Bach Choir, Poznań • Chorus-master: Ania Michalak Recitativo Aria Virtuosi Brunensis (Karel Mitáš, Artistic Director) @ Cesare, a te mi guida 2:26 – Perché mai le luci aprimmo 3:47 (Zenobia, Publia, Aureliano, Oraspe) (Arsace) No. 6, Coro, Recitativo e Aria Recitativo José Miguel Pérez-Sierra Coro § Qual lieto suono!… 1:27 # Music Assistant and Fortepiano: Fabio Maggio Cedi, cedi: a lui t’arrendi… (Coro) 1:04 (Arsace, Un pastore, Coro) Recitativo Scena $ Ah! no: voi lo sperate invano 1:32 ¶ Ah! non posso 2:47 Recorded: 12, 14 and 22 July 2017 at the Trinkhalle, Bad Wildbad, Germany (Zenobia, Publia, Licinio, Aureliano) (Arsace, Oraspe, Coro) for the XXIX ROSSINI IN WILDBAD Festival (Artistic director: Jochen Schönleber) Aria Rondò A co-production of Rossini in Wildbad (Artistic Director: Jochen Schönleber) with SWR % Là pugnai; la sorte arrise 7:47 • Non lasciarmi in tal momento 2:10 Executive producer: Jochen Schönleber (Zenobia, Coro) (Arsace, Coro) Revised version by Ian Schofield, Edition Peters, London Recitativo Recitativo ^ Chi mai creduto avria 2:07 ª La sicurezza tua 2:30 (Aureliano, Publia) (Publia, Aureliano, Licinio, Zenobia) No. 11, Recitativo e Aria Recitativo Although the framework of the action – the Emperor in his earlier operas. This innovation is also usually associated Recitativo fl È deciso il destino 0:44 Aureliano’s wars with Zenobia, the ruler of Palmyra – is with Naples and explained in terms of theatrical practice there. º Corrasi… (Aureliano) 0:40 (Publia) historically accurate, it is not the Roman hero of the title who is This is, to a certain extent, correct. All the opere serie for Naples Aria No. 13, Aria: the central figure of the opera, but the Palmyran–Persian couple feature orchestral recitatives, while all those written at the same ⁄ Più non vedrà quel perfido 6:03 ‡ Non mi lagno, che il mio bene 3:10 Zenobia and Arsace. The story is told from their perspective, time outside Naples retain recitativo secco. Nevertheless, (Aureliano, Coro, Publia, Licinio) (Publia) with Aureliano as their antagonist. Aureliano is the opera that makes most extensive use of Recitativo Recitativo The material is handled extremely well and represents a orchestral recitatives while basically retaining the secco form. ¤ Vedesti? Oh come irato 2:23 — Scacciar mi è forza alfine 1:34 considerable advance vis-à-vis Tancredi, Rossini’s previous The rest of the musical setting also follows this open (Publia, Zenobia, Oraspe) (Aureliano, Publia, Licinio) and considerably more successful opera seria. The question of structure, allowing for frequent changes of mood. Besides No. 12, Scena, Duetto e Terzetto No. 14, Coro whether the drama is ‘open’ or ‘closed’, and the related question the big ensemble scenes such as the impressive Finale I, the Scena · Nel tuo core unita sia (Coro) 0:47 of how many music numbers there should be, is indicative of numerous duets – which are a fundamental characteristic of ‹ Inutil ferro!… 3:48 Recitativo the innovative nature of the libretto’s subject matter. (The Rossini’s non-Neapolitan opere serie – are central to the opera. ‚ (Arsace, Oraspe, Zenobia) I prigionieri a me 1:05 terms ‘open’ and ‘closed’ drama go back to the German literary The lovers Arsace and Zenobia alone are given three duets of Duetto (Aureliano, Publia, Zenobia, Arsace) critic Volker Klotz, who distinguished between plays where › haunting beauty. Admittedly, two of these female duets (Arsace Mille sospiri e lagrime (Zenobia, Arsace) 4:16 No. 15, Finale II the individual acts are tightly connected in a logical sequence is the only part Rossini wrote for a castrato and is therefore Terzetto a Copra un eterno oblìo 2:59 fi leading up to a clear resolution of the plot – closed form – generally sung by an alto) form part of larger ensembles. In Giunge Augusto… 8:42 (Aureliano, Coro, Publia, Licinio, Oraspe, and plays where scenes hang together loosely or are even addition, Aureliano is given a duet with Arsace and one with (Zenobia, Arsace, Aureliano) Zenobia, Arsace) interchangeable, and where the ending does not really bring Zenobia. Arsace’s Gran scena and the shepherds’ chorus about any conclusive solution or result.) The two different formal mentioned earlier are among the other musical high points of Gioachino Rossini (1792–1868) treatments have an enormous impact on how effective a play is. the opera. Musically speaking, the latter anticipates the famous Aureliano in Palmira It is characteristic of the Classical operas of Mozart’s time (the prayer from Mosè. The chorus is remarkable textually as well: classic ‘bundle of arias’) that the action is driven forward by the the shepherds praise their woods with growing intensity as recitatives while the arias have a retarding effect. The inclusion places of freedom (‘stanze di libertà’). Aureliano in Palmira: An Operatic Tribute important. The work was given 14 times at La Scala that season of ensembles changes the dynamic, meaning that through- All things considered, Rossini got a libretto that was – considerably more than the ‘usual three performances’ which, composed passages can be used to advance the plot. This completely aligned with the way he was developing and very We know relatively little about the genesis of this opera. The in Milanese terms, meant an opera had been a flop. In addition can be taken one step further by ‘opening’ the arias by adding well suited to his ideas. He probably had some say in the contract has not survived. In the summer of 1813, Rossini to that run, Aureliano was given regularly until 1831, receiving the chorus or interjections by other characters. In Rossini’s shaping of the text. It would be possible to find fault with the travelled from Bologna to Milan, arriving there by 4 October its final 19th-century performance in 1835. It was staged in at writing, this goes so far that the dividing line between arias happy ending or lieto fine, which feels as though it has been at the latest and staying on into January of the following year. least 50 towns, though with two striking idiosyncrasies: Italian and ensembles sometimes becomes blurred. This evolution bolted on and which goes against both historical fact and the He wrote to his parents several times, telling them how he performances of the opera were concentrated in northern and towards more open forms and, with them, more rapidly paced inner logic of the drama. But tragic finales were still by no was progressing with the composition. He was working on central Italy (the area that had constituted the Kingdom of Italy operas is generally associated with Rossini’s Neapolitan period means customary in Italy at that time, and having just seen the the opera ‘like an angel’ and was sure it would be a success, under Napoleon I), and there were hardly any performances (1815–22), but Aureliano already represents an important step tragic ending he himself had composed for a revival of Tancredi self-consciously assessing his new work as ‘divine music’. On abroad. Rossini
Load more

Recommended publications
  • Guillaume Tell Guillaume
    1 TEATRO MASSIMO TEATRO GIOACHINO ROSSINI GIOACHINO | GUILLAUME TELL GUILLAUME Gioachino Rossini GUILLAUME TELL Membro di seguici su: STAGIONE teatromassimo.it Piazza Verdi - 90138 Palermo OPERE E BALLETTI ISBN: 978-88-98389-66-7 euro 10,00 STAGIONE OPERE E BALLETTI SOCI FONDATORI PARTNER PRIVATI REGIONE SICILIANA ASSESSORATO AL TURISMO SPORT E SPETTACOLI ALBO DEI DONATORI FONDAZIONE ART BONUS TEATRO MASSIMO TASCA D’ALMERITA Francesco Giambrone Sovrintendente Oscar Pizzo Direttore artistico ANGELO MORETTINO SRL Gabriele Ferro Direttore musicale SAIS AUTOLINEE CONSIGLIO DI INDIRIZZO Leoluca Orlando (sindaco di Palermo) AGOSTINO RANDAZZO Presidente Leonardo Di Franco Vicepresidente DELL’OGLIO Daniele Ficola Francesco Giambrone Sovrintendente FILIPPONE ASSICURAZIONE Enrico Maccarone GIUSEPPE DI PASQUALE Anna Sica ALESSANDRA GIURINTANO DI MARCO COLLEGIO DEI REVISORI Maurizio Graffeo Presidente ISTITUTO CLINICO LOCOROTONDO Marco Piepoli Gianpiero Tulelli TURNI GUILLAUME TELL Opéra en quatre actes (opera in quattro atti) Libretto di Victor Joseph Etienne De Jouy e Hippolyte Louis Florent Bis Musica di Gioachino Rossini Prima rappresentazione Parigi, Théâtre de l’Academie Royale de Musique, 3 agosto 1829 Edizione critica della partitura edita dalla Fondazione Rossini di Pesaro in collaborazione con Casa Ricordi di Milano Data Turno Ora a cura di M. Elizabeth C. Bartlet Sabato 20 gennaio Anteprima Giovani 17.30 Martedì 23 gennaio Prime 19.30 In occasione dei 150 anni dalla morte di Gioachino Rossini Giovedì 25 gennaio B 18.30 Sabato 27 gennaio
    [Show full text]
  • References in Potpourris: 'Artificial Fragments' and Paratexts in Mauro Giuliani's Le Rossiniane Opp. 119–123
    References in Potpourris: ‘Artificial Fragments’ and Paratexts in Mauro Giuliani’s Le Rossiniane Opp. 119–123 Francesco Teopini Terzetti Casagrande, Hong Kong The early-nineteenth-century guitar virtuoso Mauro Giuliani (1781– 1829) was a master of the potpourri, a genre of which the main characteristic is the featuring of famous opera themes in the form of musical quotations. Giuliani’s Le Rossiniane comprises six such potpourris for guitar, composed at the time when Rossini was the most famous operatic composer in Europe; they are acknowledged as Giuliani’s chef-d’oeuvre in this genre. Through an investigation of the original manuscripts of Le Rossiniane No. 3, Op. 121, and No. 5, Op. 123, I consider that Giuliani, apparently in order to be fully understood by both performers and audiences, wanted to overtly reference these musical quotations; and that he left various paratextual clues which in turn support the validity of my observations. Utilizing both music and literary theory my analysis investigates and categorizes three types of peritextual elements adopted by Giuliani in order to classify and reference the quoted musical themes in Le Rossiniane for both performers and the public: title, intertitle, and literal note. Further investigation of these works also leads to the hypothesis that each of Giuliani’s musical quotations, called in this paper artificial fragments, can be considered as a further, and essential referential element within the works. At the beginning of the nineteenth century the making of potpourris was the quickest way to compose ‘new’ and successful music. Carl Czerny (1791–1857) stated that the public of that time “experience[d] great delight on finding in a composition some pleasing melody […] which it has previously heard at the Opera […] [and] when […] introduced in a spirited and brilliant manner […] both the composer and the practiced player can ensure great success” (1848 online: 86).
    [Show full text]
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • Aureliano in Palmira Gioachino Rossini (1792-1868) : Felice Romani (1788-1865)
    1/3 Data Livret de Aureliano in Palmira Gioachino Rossini (1792-1868) : Felice Romani (1788-1865) Langue : Italien Genre ou forme de l’œuvre : Œuvres musicales Date : 1813 Note : "Dramma serio" en 2 actes créé à Milan, Teatro alla Scala, le 26 décembre 1813. - Livret de Felice Romani d'après "Zenobia di Palmira" d'Anfossi Éditions de Aureliano in Palmira (19 ressources dans data.bnf.fr) Partitions (13) Cavatina del maestro , Gioachino Rossini Quartetto pastorale , Gioachino Rossini Rossini nell' Aureliano in (1792-1868), Paris : Pacini nell'Aureliano in Palmira. (1792-1868), Paris : Pacini Palmira. [Chant et piano] , [s.d.] Composto dal maestro , [s.d.] Rossini. [Chant et accompagnement de piano] Aureliano in Palmira, opéra , Gioachino Rossini Cavatina nell'Aureliano in , Gioachino Rossini in due atti, musica di (1792-1868), Paris : Palmira, musica del (1792-1868), Paris : Pacini Rossini [Partition chant et Schonenberger , [s.d.] maestro Rossini. [Chant et , [s.d.] piano] piano] Terzettino nel Aureliano in , Gioachino Rossini Cavatina nell'Aureliano in , Gioachino Rossini Palmira del maestro (1792-1868), Paris : Pacini Palmira del maestro (1792-1868), Paris : Pacini Rossini. [Chant et piano] , [s.d.] Rossini. [Chant et piano] , [s.d.] Aureliano in Palmira. Mille sospiri e lagrimé. - [7] Aureliano in Palmira , Felice Romani (2019) (1788-1865), Gioachino Rossini (1792-1868), Pesaro : Fondazione Rossini data.bnf.fr 2/3 Data Aureliano in Palmira, opera , Felice Romani Mille sospiri e Lagrime. Air , Gioachino Rossini in 2 atti (1788-1865), Gioachino à 2 v. tiré d'Aureliano in (1792-1868), Paris : [s.n.] , (1855) Rossini (1792-1868), Paris Palmira 1823 : Schonenberger , [1855] (1823) Ecco mi, ingiustinumi.
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [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]
  • Teatro San Carlo
    Naples – Teatro San Carlo History: On the night of February 13th 1816, a fire destroyed a large part San Carlo theatre in less than an hour. The only parts of the building to survive the fire were the external masonry walls. The restoration was carried on in only nine months, was directed by Antonio Niccolini who re-made, in its main features, the 1812 Hall. The Tuscan architect, in fact, still keeps the horseshoe shape of the boxes and the proscenium configuration, just adding the wonderful clock with the low-relief of the "Time and the Hours" that we can still admire. The centre of the ceiling was decorated with a painting by Antonio, Giuseppe and Giovanni Cammarano, Apollo introducing the greatest poets in the world to Minerva. The artists were also responsible for the stage curtain, which was later replaced by the painting Parnassus by Giuseppe Mancinelli and Salvatore Fergola (1854). The restoration of San Carlo Theatre was completed by the side facade made on drawings by the architects Francesco Gavaudan and Pietro Gesuè after the demolition of Palazzo Vecchio between (1838 -1842). As official architect of the royal theatres, Niccolini will also coordinate the next works of maintenance and restoration. Among these activities we remember the modernization of 1844 made with his son Fausto and Francesco Maria Del Giudice. The foyer we can see nowadays, in the eastern wing of the Royal Palace, was buildt in 1937 upon a design of Michele Platanìa. It was completely destroyed in 1943 by a bomb and rebuilt immediately after the war.
    [Show full text]
  • [STENDHAL]. — Joachim Rossini , Von MARIA OTTINGUER, Leipzig 1852
    REVUE DES DEUX MONDES , 15th May 1854, pp. 731-757. Vie de Rossini , par M. BEYLE [STENDHAL]. — Joachim Rossini , von MARIA OTTINGUER, Leipzig 1852. SECONDE PÉRIODE ITALIENNE. — D’OTELLO A SEMIRAMIDE. IV. — CENERENTOLA ET CENDRILLON. — UN PAMPHLET DE WEBER. — LA GAZZA LADRA. — MOSÈ [MOSÈ IN EGITTO]. On sait que Rossini avait exigé cinq cents ducats pour prix de la partition d’Otello (1). Quel ne fut point l’étonnement du maestro lorsque le lendemain de la première représentation de son ouvrage il reçut du secrétaire de Barbaja [Barbaia] une lettre qui l’avisait qu’on venait de mettre à sa disposition le double de cette somme! Rossini courut aussitôt chez la Colbrand [Colbran], qui, pour première preuve de son amour, lui demanda ce jour-là de quitter Naples à l’instant même. — Barbaja [Barbaia] nous observe, ajouta-t-elle, et commence à s’apercevoir que vous m’êtes moins indifférent que je ne voudrais le lui faire croire ; les mauvaises langues chuchotent : il est donc grand temps de détourner les soupçons et de nous séparer. Rossini prit la chose en philosophe, et se rappelant à cette occasion que le directeur du théâtre Valle le tourmentait pour avoir un opéra, il partit pour Rome, où d’ailleurs il ne fit cette fois qu’une rapide apparition. Composer la Cenerentola fut pour lui l’affaire de dix-huit jours, et le public romain, qui d’abord avait montré de l’hésitation à l’endroit de la musique du Barbier [Il Barbiere di Siviglia ], goûta sans réserve, dès la première épreuve, cet opéra, d’une gaieté plus vivante, plus // 732 // ronde, plus communicative, mais aussi trop dépourvue de cet idéal que Cimarosa mêle à ses plus franches bouffonneries.
    [Show full text]
  • Acc Ross LOCANDINA 2014
    ACCADEMIA ROSSINIANA Seminario permanente di studio sui problemi della interpretazione rossiniana diretto da Alberto Zedda 2014 3~18 luglio Teatro Sperimentale PROGRAMMA Giovedì 3 luglio Sabato 12 luglio 11.00 - 13.30 Inaugurazione dell’Accademia e 10.30 - 13.30 Master Class Juan Diego Flórez presentazione dei corsi 15.30 - 19.30 L’avventura del trucco Luca Oblach Gianfranco Mariotti, Alberto Zedda 15.30 - 19.00 Corso di interpretazione vocale Domenica 13 luglio Riposo condotto da Alberto Zedda Coordinamento musicale Anna Bigliardi Lunedì 14 luglio 10.30 - 13.00 Corso di interpretazione vocale Venerdì 4 luglio 16.00 - 17.30 Cantare Rossini: teoria e pratica 10.30 - 13.30 Corso di interpretazione vocale 18.30 - 20.00 Incontro con gli artisti di Armida 16.00 - 18.00 Dalla funzione dei muscoli del tronco al canto Frank Musarra Martedì 15 luglio 10.30 - 13.30 Corso di interpretazione vocale Sabato 5 luglio 15.00 - 16.30 Il mio lavoro come regista d’opera 10.30 - 13.30 Master Class Mario Martone 15.30 - 18.30 La consapevolezza dei risuonatori 18.00 - 20.00 Incontro con gli artisti di al servizio del timbro vocale: fisiologia Aureliano in Palmira e prevenzione Franco Fussi Mercoledì 16 luglio Domenica 6 luglio Riposo 10.30 - 12.30 Corso di interpretazione vocale 12.30 - 13.30 Discussione su temi e contenuti Lunedì 7 luglio dell’Accademia 2014 10.30 - 13.30 Corso di interpretazione vocale 15.30 - 19.30 Momenti di interpretazione 16.00 - 18.00 Il suono e l’improvvisazione e improvvisazione Elisabetta Courir Marco Mencoboni Giovedì 17 luglio Martedì
    [Show full text]
  • Gioachino Rossini (1792–1868)
    4 CDs 4 Christian Benda Christian Prague Sinfonia Orchestra Sinfonia Prague COMPLETE OVERTURES COMPLETE ROSSINI GIOACHINO COMPLETE OVERTURES ROSSINI GIOACHINO 4 CDs 4 GIOACHINO ROSSINI (1792–1868) COMPLETE OVERTURES Prague Sinfonia Orchestra Christian Benda Rossini’s musical wit and zest for comic characterisation have enriched the operatic repertoire immeasurably, and his overtures distil these qualities into works of colourful orchestration, bravura and charm. From his most popular, such as La scala di seta (The Silken Ladder) and La gazza ladra (The Thieving Magpie), to the rarity Matilde of Shabran, the full force of Rossini’s dramatic power is revealed in these masterpieces of invention. Each of the four discs in this set has received outstanding international acclaim, with Volume 2 described as “an unalloyed winner” by ClassicsToday, and the Prague Sinfonia Orchestra’s playing described as “stunning” by American Record Guide (Volume 3). COMPLETE OVERTURES • 1 (8.570933) La gazza ladra • Semiramide • Elisabetta, Regina d’Inghilterra (Il barbiere di Siviglia) • Otello • Le siège de Corinthe • Sinfonia in D ‘al Conventello’ • Ermione COMPLETE OVERTURES • 2 (8.570934) Guillaume Tell • Eduardo e Cristina • L’inganno felice • La scala di seta • Demetrio e Polibio • Il Signor Bruschino • Sinfonia di Bologna • Sigismondo COMPLETE OVERTURES • 3 (8.570935) Maometto II (1822 Venice version) • L’Italiana in Algeri • La Cenerentola • Grand’overtura ‘obbligata a contrabbasso’ • Matilde di Shabran, ossia Bellezza, e cuor di ferro • La cambiale di matrimonio • Tancredi CD 4 COMPLETE OVERTURES • 4 (8.572735) Il barbiere di Siviglia • Il Turco in Italia • Sinfonia in E flat major • Ricciardo e Zoraide • Torvaldo e Dorliska • Armida • Le Comte Ory • Bianca e Falliero 8.504048 Booklet Notes in English • Made in Germany ℗ 2013, 2014, 2015 © 2017 Naxos Rights US, Inc.
    [Show full text]
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • Kenneth E. Querns Langley Doctor of Philosophy
    Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c.
    [Show full text]