Boheme a Cagliari
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Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
1 Prime+Trama TRAVIATA
Parma e le terre di Verdi 1-28 ottobre 2007 La Traviata Musica di GIUSEPPE VERDI Parma e le terre di Verdi 1-28 ottobre 2007 Parma e le terre di Verdi 1-28 ottobre 2007 main sponsor media partner Il Festival Verdi è realizzato anche grazie a e con il sostegno e la collaborazione di Teatro Verdi di Busseto Teatro Comunale di Modena iTeatri di Reggio Emilia Soci fondatori Consiglio di Amministrazione Presidente Pietro Vignali Sindaco di Parma Consiglieri Paolo Cavalieri Maurizio Marchetti Sovrintendente Mauro Meli Direttore musicale Bruno Bartoletti Segretario generale Gianfranco Carra Collegio dei Revisori Giuseppe Ferrazza Presidente Nicola Bianchi Andrea Frattini La Traviata Melodramma in tre atti su libretto di Francesco Maria Piave dal dramma La Dame aux camélias di Alexandre Dumas figlio Musica di GIUSEPPE V ERDI Editore Universal Music Publishing Ricordi srl, Milano Villa Verdi a Sant’Agata La trama dell’opera Atto primo Parigi, alla metà dell’Ottocento. È estate e c’è festa nella casa di Violetta Valéry, una famosa mondana: è un modo per soffocare l’angoscia che la tormenta, perché ella sa che la sua salute è gravemente minata. Un nobile, Gastone, presenta alla padrona di casa il suo amico Alfredo, che l’ammira sinceramente. L’attenzione che Violetta dimostra per la nuova conoscenza non sfugge a Douphol, il suo amante abituale. Mentre Violetta e Alfredo danzano, il giovane le dichiara tutto il suo amore e Violetta gli regala un fiore, una camelia: rivedrà Alfredo solo quando sarà appassita. Alla fine della festa, Violetta deve ammettere di essersi innamorata davvero, per la prima volta. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
Rigoletto En La Biblioteca Pública “Azorín” Octubre 2012
Rigoletto en la Biblioteca Pública “Azorín” Octubre 2012 ■ INTRODUCCIÓN Rigoletto es un melodrama en tres actos con música de Giuseppe Verdi y libreto en italiano de Francesco Maria Piave, basado en la obra teatral Le Roi s'amuse, de Víctor Hugo. Fue estrenada el 11 de marzo de 1851 en el teatro La Fenice de Venecia. Está considerada por muchos una de las primeras obras maestras operísticas de mediados de la carrera de Verdi. Se trata de un drama de pasión, engaño, amor filial y venganza que tiene como protagonista a Rigoletto, el bufón jorobado de la corte del Ducado de Mantua. Historia Composición A principios de 1851, el teatro de La Fenice de Venecia invitó a Verdi a componer una nueva ópera para ser estrenada allí, en una época en que ya era un compositor bien conocido con un grado de libertad a la hora de elegir las obras que prefería musicar. Pidió entonces a Piave (con quien ya había trabajado en Ernani, I due Foscari, Macbeth, Il corsaro y Stiffelio) que examinara la obra Kean de Alejandro Dumas, padre, pero sentía que necesitaba un tema más enérgico con el que trabajar. Verdi pronto dio con el drama francés Le roi s’amuse (El rey se divierte), del escritor Víctor Hugo. Más tarde explicó que "Contiene posiciones extremadamente poderosas... El tema es grande, inmenso, y tiene un personaje que es una de las más importantes creaciones del teatro de todos los países y todas las épocas". Era un tema muy controvertido y el propio Hugo había tenido problemas con la censura en Francia, que había prohibido producciones de esta obra después de su primera representación casi veinte años antes (y continuaría prohibida durante otros treinta años). -
History of Opera CD Booklet
Richard Fawkes The History of Opera NON- Read by Robert Powell FICTION HISTORIES NA417612D 1 VERDI RIGOLETTO 8.660013-14 Soloists, Czecho-Slovak RSO, Alexander Rahbari Opera – the beginnings 4:15 Orazio Vecchi (1550-1605) VECCHI L’AMFIPARNASO 8.553312 Cappella Musicale di S Petronio di Bologna, Sergio Vartolo 2 The Baroque – opera emerges 5:16 Jacopo Peri (1561-1633) Giulio Caccini (1550-1610) Emilio de Cavalieri (1550-1602) CAVALIERI RAPPRESENTATIONE DI ANIMA E DI CORPO 8.554096-97 Cappella Musicale di S Petronio di Bologna, Sergio Vartolo 3 Claudio Monteverdi (1567-1643) 5:39 MONTEVERDI L’ORFEO 8.553319 Cappella Musicale di S Petronio di Bologna, Sergio Vartolo MONTEVERDI LAMENTI BAROCCHI VOL 3 8.553320 Lamento d’Arianna, Anna Caterina Antonacci, soprano Cappella Musicale di S Petronio, Sergio Vartolo 4 The first public opera house in Venice – 1637 3:06 Antonio Cesti (1623-1649) 2 5 Opera spreads 5:24 Giovanni Battista Pergolesi (1710-1736) PERGOLESI LA SERVA PADRONA SAGA 5360 Soloists, Hamburg RSO, George Singer. Used with kind permission from National Sound Archive, British Library 6 Opera in France 5:12 Jean-Baptiste Lully (1632-1687) LULLY BALLET MUSIC FOR THE SUN KING 8.554003 Aradia Baroque Ensemble, Kevin Mallon Jean Philippe Rameau (1683-1764) RAMEAU ANACREON 8.553746 Capella Savaria, Mary Térey-Smith 7 Opera in Germany – 17th century 1:41 Heinrich Schütz (1585-1672) 8 Opera in England – 17th century 6:57 John Blow (1649-1708) Henry Purcell (1659-16) PURCELL DIDO & AENEAS (ACT II Witches & Sorceress Scene) The Scholars Baroque -
LA TRAVIATA Di Giuseppe Verdi a TEATRO CON LA LUTE
A TEATRO CON LA LUTE LA TRAVIATA di Giuseppe Verdi Ricerca contenuti ed immagini a cura di Elvira V. Resta gruppo LUTE TEATRO Durata: 3 ore inclusi due intervalli Melodramma in tre atti Libretto di Francesco Maria Piave Musica di Giuseppe Verdi Direttore Alberto Maniaci Regia Mario Pontiggia Scene Francesco Zito e Antonella Conte Costumi Francesco Zito Luci Bruno Ciulli Coreografia Giuseppe Bonanno Orchestra e Coro del Teatro Massimo Allestimento del Teatro Massimo Cast Violetta Maria Francesca Mazzara Flora Bervoix Carlotta Vichi Annina Piera Bivona Alfredo Germont Francesco Castoro Giorgio Germont Badral Chuluunbaatar Gastone Pietro Picone Il barone Douphol Lorenzo Grante Il marchese D’Obigny Alessio Verna Il dottor Grenvil Alessandro Abis Giuseppe Francesco Polizzi / Pietro Luppina Un domestico di Flora / Un commissionario Antonio Barbagallo / Cosimo Diano Matador Gaetano La Mantia Zingarella Monica Piazza Direttore D’Orchestra Alberto Maniaci Nato a Palermo, si è diplomato in Pianoforte, Composizione e Direzione d‟orchestra presso il Conservatorio della sua città. Allievo di P. Bellugi e di E. Nicotra per la direzio- ne d‟orchestra e di M. Betta per la composizione, nel 2016 è stato allievo di R. Muti alla “Riccardo Muti Music Academy”. Nel 2012 ha vinto il terzo premio al V Concorso “L. Mancinelli” di Orvieto e il “Premio delle Arti” del MIUR. Ha diretto la Peter The Great Music Academy di San Pietroburgo, l‟Orchestra Jazz Si- ciliana, la Florence Symphonietta, l'Orchestra Sinfonica del Conservatorio di Palermo, la Mediterranean Chamber Orchestra, l‟Orchestra Giovanile “F. Fenaroli” di Lanciano, l‟Istituzione Sinfonica Abruzzese, l‟Orchestra da Camera Fiorentina, l‟Orchestra Filar- monia Veneta, l‟Orchestra della Magna Grecia e l‟Orchestra Giovanile Mediterranea da lui fondata. -
Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis
Parola Scenica: Towards Realism in Italian Opera ETDHendrik Johannes Paulus du Plessis A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of PhD by Thesis Abstract This thesis attempts to describe the emergence of a realistic writing style in nine- teenth-century Italian opera of which Giuseppe Verdi was the primary architect. Frequently reinforced by a realistic musico-linguistic device that Verdi would call parola scenica, the object of this realism is a musical syntax in which nei- ther the dramatic intent of the text nor the purely musical intent overwhelms the other. For Verdi the dramatically effective depiction of a ‘slice of a particular life’—a realist theatrical notion—is more important than the mere mimetic description of the words in musical terms—a romantic theatrical notion in line with opera seria. Besides studying the device of parola scenica in Verdi’s work, I also attempt to cast light on its impact on the output of his peers and successors. Likewise, this study investigates how the device, by definition texted, impacts on the orchestra as a means of realist narrative. My work is directed at explaining how these changes in mood of thought were instrumental in effecting the gradual replacement of the bel canto singing style typical of the opera seria of Rossini, Donizetti, and Bellini, by the school of thought of verismo, as exemplified by Verdi’s experiments. Besides the work of Verdi and the early nineteenth-cen- tury Italian operatic Romanticists, I touch also briefly on the œuvres of Puccini, ETDGiordano and the other veristi. -
BILANCIO DI ESERCIZIO 2003 BILANCIO DI ESERCIZIO 2003 Bilancio Di Esercizio 2003
COPERTINA_COPERTINA 14/01/11 11:08 Pagina 1 TEATRO REGIO DI TORINO TEATRO FONDAZIONE DI TORINO BILANCIO DI ESERCIZIO 2003 BILANCIO DI ESERCIZIO 2003 Bilancio di Esercizio 2003 FONDAZIONE DI TORINO BILANCIO DI ESERCIZIO 2003 FONDAZIONE DI TORINO Sovrintendente Walter Vergnano Direttore artistico Marco Tutino Consiglio d’amministrazione Presidente Sergio Chiamparino Sindaco della Città di Torino Vicepresidente Giovanni Zanetti Consiglieri Franco Amato Fabrizio Maria Carminati Francesco Devalle Giuseppe Pichetto Vittorio Sette Walter Vergnano Sovrintendente Segretario Piero Robba Collegio dei revisori Presidente Marco Bianchi Revisori Andrea Marengo Luigi Puddu ALBO DEI FONDATORI STATO ITALIANO AZIENDE METROPOLITANE DEL COMUNE DI TORINO Azienda Energetica Metropolitana Torino SpA Azienda Multiservizi Igiene Ambientale Torino SpA Gruppo Torinese Trasporti SpA Società Metropolitana Acque Torino SpA e i sostenitori: Autostrada Torino Milano SpA, Carrozzeria Bertone SpA, Cartiere Burgo SpA, Carpano SpA, CSP SpA, Ergom Automotive SpA, Ferrero SpA, Luigi Lavazza SpA Manifattura Tessile di Nole SpA, Martini & Rossi SpA, Newfren SpA, Pininfarina SpA Prisma SpA, Sagat - Turin Airport, Saiag SpA, SKF Industrie SpA ADERENTI ALLA FONDAZIONE CIET Srl Pitagora Revisione Srl Tenuta La Fiammenga Unioncamere Piemonte FONDAZIONE DI TORINO RELAZIONE SULLA GESTIONE Teatro Regio Torino Don Quichotte Musica di Jules Massenet 10 Bilancio di Esercizio 2003 BILANCIO AL 31 DICEMBRE 2003 RELAZIONE SULLA GESTIONE Gli obiettivi che la Fondazione ha perseguito con la gestione dell’esercizio 2003 sono, oltre a quel- li indicati nelle norme vigenti, quelli approvati dal Consiglio d’Amministrazione di concerto con l’assemblea dei Soci Fondatori. In particolare l’esercizio 2003 rappresenta il primo esercizio in cui la programmazione della Stagione d’Opera e dei Concerti sono stati pienamente realizzati dall’attuale Direzione Artistica. -
VAI 2005 Fall Catalog.Pmd
2005 FALL CATALOGUE THE LEADER IN RECORDINGS OF HISTORIC PERFORMANCES AND RARE REPERTOIRE A-18 GEN TWO NEW DVDS IN ALICIA ALONSO ON VVVAI’sss BROADWAAAY SERIES Listing on page 2 Listings on page 3 New Compact Disc Releases on Page 22 These and other recent VAI DVD releases pp. 2-8! New Hardy & Kicco Classics DVDs on Page 21 A Tribute to the “Voice of an Angel” Listing on page 3 Listing on page 3 February 1, 1922 ••• December 20, 2004 Details of this 2-DVD retrospective on page 3 Listing on page 7 Listing on page 6 From the President of VAI Recently Released Dance & Orchestral DVDs from VAI Dear Friends, Our current listings feature some of HARDY CLASSICS DVD Broadway’s brightest stars. Most of this material derives from the rich archives of the Bell Telephone Hour which has provided us with performances by some of the greatest artists from the worlds of opera, dance and the concert stage. The Broadway offerings were no less luminous with star turns from such legendary greats as Ethel Merman, Barbara Cook, Robert Goulet, Alfred Drake, Carol Lawrence, Larry Kert, Dolores Gray John Raitt, Howard Keel and Gretchen Wyler. Highlighting our new releases are TWO NEW DANCE DVDS FROM VAI DVDs devoted to the art of Barbara Cook and Carol Lawrence. Both ladies ALICIA ALONSO – PRIMA BALLERINA ASSOLUTA This GISELLE are still very much in the public eye. compilation from 1958 to 1985 includes extracts from many of Alicia Miss Cook, a cabaret favorite, is about NUREYEV • FRACCI Alonso’s most celebrated roles. -
Lucia Di Lammermoor Resources
LUCIA DI LAMMERMOOR RESOURCES Books Lucia di Lammermoor (Opera Journeys Libretto Series) [Paperback] Author: Gaetano Donizetti. Notes: A complete libretto with Italian and English translation side-by-side, plus music highlight examples. English. 44 pages. Ricordi. 2002. Lucia di Lammermoor in Full Score (Dover Music Scores) [Paperback] Author: Gaetano Donizetti. English. 528 pages. Ricordi. 2012. Lucia Di Lammermoor: A Grand Opera in Four Acts (Classic Reprint) [Paperback] Author: Gaetano Donizetti. Notes: Read this book online for free with the Forgotten Books reader or download to your computer. English. 24 pages. Forgotten Books. 2015. Lucia di Lammermoor: Score [Paperback] Author: Gaetano Donizetti. Notes: (Study Score). This opera full score edition includes a colorful cover and an introductory synopsis in English of the libretto. English. 534 pages. Ricordi. 2005. Lucia di Lammermoor: Vocal Score (G. Schirmer Opera Score Editions) Author: Gaetano Donizetti. Notes: (Vocal Score). Italian/English. Translated by Natalia MacFarren.. English. 254 pages. G. Schirmer, Inc. 1986. Lucia di Lammermoor: Vocal Score ITALIAN ONLY (Ricordi Opera Vocal Score) [Paperback] Author: Gaetano Donizetti. Notes: (Vocal Score). Italian. 288 pages. Ricordi. 1988. The Bride of Lammermoor (Annotated) [Kindle Edition] Author: Sir Walter Scott. Notes: Free, read on any device. To help readers understand the Scottish dialect in Scott's writing, the edition includes a glossary, as well as a scholarly introduction. English. 253 pages. Amazon Digital Services, Inc. 2012. SAN FRANCISCO OPERA Education Materials LUCIA DI LAMMERMOOR Resources Films/DVDs Donizetti - Lucia di Lammermoor / Netrebko, Beczala, Kwiecien, Metropolitan Opera (2009) Actors: Anna Netrebko, Piotr Beczala, Mariusz Kwiecien, Ildar Abdrazakov. Conductor: Marco Armiliato. Director: Mary Zimmerman. -
Boito's Mefistofele: a Survey of the Studio Recordings by Ralph Moore
Boito’s Mefistofele: A survey of the studio recordings by Ralph Moore Mefistofele is one of a clutch of operas still routinely disdained by critics and cognoscenti alike for its supposed lack of quality. Like La gioconda - on which he worked as librettist under the pen-name of "Tobia Gorrio" - and La rondine, Boito’s masterpiece is too often unfairly excoriated as patchy and amateurish. I don't hear it; it is admittedly a little fractured and episodic (largely owing to Boito withdrawing it after the first performances and feeling obliged to impose large cuts and re-writing) but I love its impulsive, free-flowing originality. In addition to its grateful vocal writing, there are also some wonderful purely orchestral passages, such as the growling, serpentine introduction to Margherita’s desperate aria, and Boito’s unexpected key changes constantly add piquancy to the harmonic palate. The monumental Prologue, at least, has long been acknowledged as superlative, in the way it builds chromatically to provide an overwhelming, cosmic climax; it is one of the great scenes in opera and Toscanini made a famous recording of it. The Epilogue is similarly rousing, recalling and capitalising on the effect of that introduction. I recently had an online discussion with some MusicWeb colleagues some of whom postulated that its only merits lay in a few brief extracts, but by the time we had finished collating the best arias and the beautiful choral scenes, they easily amounted to more than half of the work - which cannot be said for every opera which is more firmly established in the repertoire or more frequently performed. -
*Encore Norma 2:8:19
ENCORE OPERA FOUNDED BY STEVE SCHWARTZ For February 8, 2019 This Week’s Program COMING ATTRACTION BY BELLINI (NOT VERDI) BY GENE MARTIN As promised, here is the program for NORMA next Tuesday’s (2/12/19) Bella Vocci BY STEVE SCHWARTZ concert, 7:0 pm in the Chapel: Runtime: 169 minutes • Live from Gran • From Lakme by Delibes: Teatre Del Liceu2007 • DVD released 2009 by ARTHAUS • MPAA not rated • Sous le Dôme Épais (The Flower Duet) ASIN B0020MST72 Meghan McCall & Anamer Castrello • From The Pearl Fishers by Bizet Norma is the most popular of Belliini’s Au Fond du Temple Saint (At the Temple) operas. Vincenzo Bellini was one of Brian Arreola & Gustavo Ahualli the three best known composers in the opera genre “bel canto” (beautiful • From Samson & Delila by Saint Saens Mon Cœur S'ouvre (My Heart Opens…) singing), which dominated the first Anamer Castrello half of the 19th century. The others? Gaetano Donizetti (Lucia di • From Rigoletto by Verdi Questa o Quella (This One or That One). Lammermmoor, L’Elisir d’Amore) and Brian Arreola Giaocchino Rossini (Barber of Seville, • From Carmen by Bizet Italian Girl in Algiers). Chant du Toreador (Toreador Song) Norma premiered in 1831 after Gustavo Ahualli Belllini’s great success in opera buffa • From Marriage of Figaro by Mozart with La Sonnabula. But, Norma Voi Che Sapete (You Who Know) differed from its predecessors mostly Anamer Castrello by being tragic and emotional rather • From La Traviata by Verdi than comic. Richard Wagner, one of its Pura Siccome un Angelo (Pure as an Angel) most vociferous proponents was not Meghan McCall & Gustavo Ahualli known for approving other composers’ • From Tales of Hoffman by Offenbach work; so we know it must be ‘heavy’ Belle Nuit, ô Nuit d'Amour (Barcarolle) as well as melodious.