DLOG NEWSLETTER March 2017
Total Page:16
File Type:pdf, Size:1020Kb
Load more
										Recommended publications
									
								- 
												
												Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. - 
												
												CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. ReproB/T = Excellent reproduction orange box and printed top Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. “Direct recording” means recorded directly to cylinder, rather than dubbed from a Diamond-Disc master. This is used for cylinders in the lower 28200 series where there might be a question. BLANCHE ARRAL [s] 4108. Edison BA 28125. MIGNON: Je suis Titania (Thomas). Repro B/T. Just about 1-2. $40.00. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her native Italy and was on the roster of the Hammerstein Manhattan Opera, 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Manhattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career continued into the mid-1920s when she retired to Buenos Aires and taught. 4113. Edison BA 28159. LA TRAVIATA: Addio del passato (Verdi). ReproB/T. - 
												
												Homage to Two Glories of Italian Music: Arturo Toscanini and Magda Olivero
HOMAGE TO TWO GLORIES OF ITALIAN MUSIC: ARTURO TOSCANINI AND MAGDA OLIVERO Emilio Spedicato University of Bergamo December 2007 [email protected] Dedicated to: Giuseppe Valdengo, baritone chosen by Toscanini, who returned to the Maestro October 2007 This paper produced for the magazine Liberal, here given with marginal changes. My thanks to Countess Emanuela Castelbarco, granddaughter of Toscanini, for checking the part about her grandfather and for suggestions, and to Signora della Lirica, Magda Olivero Busch, for checking the part relevant to her. 1 RECALLING TOSCANINI, ITALIAN GLORY IN THE TWENTIETH CENTURY As I have previously stated in my article on Andrea Luchesi and Mozart (the new book by Taboga on Mozart death is due soon, containing material discovered in the last ten years) I am no musicologist, just a person interested in classical music and, in more recent years, in opera and folk music. I have had the chance of meeting personally great people in music, such as the pianist Badura-Skoda, and opera stars such as Taddei, Valdengo, Di Stefano (or should I say his wife Monika, since Pippo has not yet recovered from a violent attack by robbers in Kenya; they hit him on the head when he tried to protect the medal Toscanini had given him; though no more in a coma, he is still paralyzed), Bergonzi, Prandelli, Anita Cerquetti and especially Magda Olivero. A I have read numerous books about these figures, eight about Toscanini alone, and I was also able to communicate with Harvey Sachs, widely considered the main biographer of Toscanini, telling him why Toscanini broke with Alberto Erede and informing him that, contrary to what he stated in his book on Toscanini’s letters, there exists one letter by one of his lovers, Rosina Storchio. - 
												
												La-Traviata-Extract.Pdf
OVERTURE OPERA GUIDES in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago with the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with the repertory being staged by the company. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the libretto and the nuances of the score, readers’ understanding and appreciation of the opera and the art form in general will be enhanced. Daniel Kramer Artistic Director, ENO The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in association with English National Opera in 1980. It ran until 1994 and eventually included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, revised and newly commissioned articles, updated reference sections and a literal translation of the libretto that will enable the reader to get closer to the meaning of the original. - 
												
												MAFALDA FAVERO Is) from What in Total Amounts to a Very Short Span of Listening-Time
NI 7918 had the opera in her repertoire but does not mention it in her recollections of the various rarities. The recording, too, was a one-off, coupled on the original 78 disc with Tancredi Pasero singing Mephistopheles’ serenade from Gounod’s Faust. Another one-off is the ‘Ave Maria’ from Otello — she never sang the role of Desdemona on stage. It seems odd that there should be this and yet nothing on records of her Violetta, which was her major role in Verdi. The absence of her Massenet Manon is still more regrettable. But there it is: we are used to ‘learning’ our singers (pre-LP, that MAFALDA FAVERO is) from what in total amounts to a very short span of listening-time. The wonder is that they come across to us so vividly, the individuality so distinct. Those who know Favero simply from her duet with Tito Schipa probably know a great deal about her after all — think of those lovely, many-coloured inflections and the thrill of that unmistakably old-fashioned Italian vibrancy. With this present collection they will certainly be able to learn more — and perhaps some of them will share with the writer a certain perverse satisfaction in the thought that there was in fact more to our singer than our own ears will ever tell us. It leaves something to the imagination. © 2004 John Steane 8 NI 7918 NI 7918 and very new Renata Tebaldi to lead the Quartet in the prayer from Mosè in Egitto, the MAFALDA FAVERO 1903-1981 other the still reigning lyric soprano and link with Toscanini’s time at the theatre sixteen years earlier, Mafalda Favero. - 
												
												Problems of Tempo in Puccini's Operas
Problems of Tempo in Puccini's Arias Author(s): Mei Zhong Source: College Music Symposium, Vol. 40 (2000), pp. 140-150 Published by: College Music Society Stable URL: https://www.jstor.org/stable/40374404 Accessed: 22-08-2018 17:38 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms College Music Society is collaborating with JSTOR to digitize, preserve and extend access to College Music Symposium This content downloaded from 129.105.215.146 on Wed, 22 Aug 2018 17:38:20 UTC All use subject to https://about.jstor.org/terms Problems of Tempo in Puccini's Arias Mei Zhong problems of tempo in Puccini's soprano arias are surprisingly vexing for per- formers, given that the composer provided many indications in his scores, including many metronome markings, and supervised the preparation of several singers who went on to make early phonograph recordings of his arias. The difficulties arise from the lack of markings in some cases, ambiguous or impractical markings in others (with some evidence that at times Puccini himself was not reliable in this matter), doubts about the authorship of some markings, and wide variations in tempo among recorded perfor- mances. - 
												
												Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers
UNDERSTANDING THE LIRICO-SPINTO SOPRANO VOICE THROUGH THE REPERTOIRE OF GIOVANE SCUOLA COMPOSERS Youna Jang Hartgraves Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Jeffrey Snider, Major Professor William Joyner, Committee Member Silvio De Santis, Committee Member Stephen Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hartgraves, Youna Jang. Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers. Doctor of Musical Arts (Performance), August 2017, 53 pp., 10 tables, 6 figures, bibliography, 66 titles. As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.’ This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. - 
												
												An Operatic Child .'Whose Dreams ·Came True
February 23, 1918 MUSICAL AMERICA 3 AN OPERATIC CHILD .'WHOSE DREAMS ·CAME TRUE Claudia Muzio's Paper Dolls Were "Neddas" and "Toscas," and T o~day She Lives in the Air Castles She Built While Playing with Them Behind the Scenes-She Provides Her In terviewer with a Substantial Demonstration of Her Culi ~ nary Skill OME day some bright writer, having S exhausted all other subjects for dis rcourse, will publish an essay on the es sential role which spaghetti plays in the operatic world. How important-these succulent strands are to the welfare and happiness of the Italian singer is well known to those who have made periodic excursions into such Bohemian haunts as Del Pezza's, Gio lito's, Gonfarone's, Maria's, Romano's or Guffanti's. · Spaghetti offers unlimited possibilities for discussion, because no two persons agree on the proper method of preparing it. For instance, there is Spaghetti Ca ruso, Spaghetti Scotti and Spaghetti de Luca. They are all wonderful, and they are all different. But in New York last week there was discovered by a mere newspaperman a ·new variety known as Mw>:io Spaghetti, which is to be distingui;;;hed from all other brands by the fact that the raw Pll.otos b1f Presa Illustrating B67"VVce product, as well as the steaming, fra Results of a Photographer's Visit to the Home of Claudia grant outcome of culinary manipulation, Muzio. The Upper Right Hand Picture Shows ·the all results from the ingenuity and skill Prima Donna and Her Mother, Mrs. Carlo Muzio. - 
												
												The H1eclakc Club 361
The H1eclakc Club 361 Incidental Dances by Anna Ludmilla and Corps de Ballet Nineteenth Festival, 1926: Chicago Civic Opera presented ••La Gioconda" (Ponchielll) Conductor, Giorgio Polacco Artists: Rosa Raisa Gildo Morelato Augusta Lenska Desire Defrere Flora Perini Ludovico Oliviero Antonio Cortis Glocomo Rimini Alexander Kipnis Antonio Nlcollch Incidental Dances by Miles Shermont, Dagmara, Nemeroff, Romany and Corps de Ballet "'Boris Godunotf" (Modest Moussorgsky) Conductor, Giorgio Polacco Artists: Feodor Chaliapin Lodovico Oltvlero Gladys Swartout Augusta Lenska Elizabeth Kerr :f"J.ora Perini Jose Mojica Romeo Boscacci Forrest Lamont Gulseppe Minerva Virgilio Lazzari Alice D'Hermanoy Edouard Cotreuil Cilda Morelato Antonio Nicolich Twentieth Festival, 1926: Carolyn Powers Thomas, violinist Soloists: Kathryn Brown, contralto Rudolph Ganz, Conductor St. Louis Symphony Twenty-first Festival, 1927: Chicago Civic Opera presented Alda (Verdi) Conductor, Giorgio Polacco Artists : Rosa Raisa Edouard Cotreuil Augusta Lenska Virgilio Lazzari Florence Misgen Giacomo Rimtnl Charles Marshall Lodovico Oliviero Incidental Dances by Miles, Shermont, Samuels and Corps de Ballet La Traviata (Verdi) Conductor, Roberto Moranzoni Artists: Claudia Muzio Desire Defrere Charles Hackett Giovanni Polese Richard Bonelli Antonio Nicolich Alice d'Hermanoy Anna Correnti Jose Mojica Gildo Morelato Incidental Dances by Miles, Shermont, Samuels and Corps de Ballet Twenty-second Festival, 1928: 11 Trovatore (Verdi) Conductor, Henry G. Weber Artists: Rosa Raisa Eugenio Sandrini Alice d'Hermanoy Albert Rappaport Giacomo Rimtni Virgilllo Lazzari Antonio Cortis Cyrena Van Gordon Incidental Dances by Misses Chapman, Flnholt, Letteaux, N. Smith and Ballet Rigoletto (Verdi) Conductor, George Polacco . - 
												
												11-30-2018 Trittico Eve.Indd
GIACOMO PUCCINI il trittico conductor Il Tabarro Bertrand de Billy Opera in one act with a libretto by production Giuseppe Adami, based on the play Jack O’Brien La Houppelande by Didier Gold set designer Suor Angelica Douglas W. Schmidt Opera in one act with a libretto by costume designer Jess Goldstein Giovacchino Forzano lighting designers Gianni Schicchi Jules Fisher and Opera in one act with a libretto Peggy Eisenhauer by Giovacchino Forzano, based on revival stage directors a passage from the narrative poem Gregory Keller and J. Knighten Smit Divina Commedia by Dante Alighieri Friday, November 30, 2018 7:30–11:20 PM The production of Il Trittico was made possible by a generous gift from Karen and Kevin Kennedy Additional funding for this production was received from the Gramma Fisher Foundation, general manager Peter Gelb Marshalltown, Iowa, The Annenberg Foundation, Hermione Foundation, Mr. and Mrs. William R. jeanette lerman-neubauer music director Miller, and M. Beverly and Robert G. Bartner Yannick Nézet-Séguin 2018–19 SEASON The 83rd Metropolitan Opera performance of GIACOMO PUCCINI’S il tabarro conductor Bertrand de Billy in order of vocal appearance giorget ta Amber Wagner michele George Gagnidze luigi Marcelo Álvarez tinca Tony Stevenson* talpa Maurizio Muraro a song seller Brian Michael Moore** frugol a MaryAnn McCormick young lovers Ashley Emerson* Yi Li Friday, November 30, 2018, 7:30–11:20PM 2018–19 SEASON The 77th Metropolitan Opera performance of GIACOMO PUCCINI’S suor angelica conductor Bertrand de Billy in order of - 
												
												Claudia Muzio (1889-1936), Her Life and Career
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Massey Research Online Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Laurence (Larry) L. Jenkins ID:02139481 Course Number: 133.881 Performance and Research Associate Professor Donald Maurice, Supervisor Claudia Muzio (1889-1936), Her Life and Career A thesis in fulfilment of the requirements for the degree Master of Philosophy Massey University Conservatorium of Music College of Fine Arts, Design and Music Wellington, New Zealand Due date: 31October2003 Table of Contents Chapter Title Page Summary and Acknowledgements 1 Introduction 4 One Birth, Early Childhood and Musical Training 7 Two Debut and Early Career 18 Three Covent Garden, London, 1914 - The First Big Break 24 Four The First Years at the Metropolitan, New York, 1916-17 32 Five The Metropolitan Seasons of 1918-19; Claudia Conquers South America 43 Six Endings at the Metropolitan and More Successes in South America 49 Seven Last Years at the Metropolitan and New Beginnings In Chicago 54 Eight 1926, Toscanini, and Turandot 70 Nine 1927, Norma Debut and the Onassis Episode 79 Ten The Beginning of the Higgins Era 87 Eleven The Last Chicago Season 97 Twelve 1932, the Opening of the San Francisco War Memorial House, and Claudia's Return to New York 106 Thirteen Historic Returns to Buenos Aires and New York 112 Fourteen 1934 and 1935, the Final Years of Singing and a Great Premiere 122 Fifteen "La Commedia efinite !" (I Pagliacci) 134 Bibliography 141 Discography 145 Chronology 148 List of Illustrations 166 Summary The purpose ohhis thesis is to provide a much-needed account of the life and career of one of the most respected sopranos of the twentieth century. - 
												
												T Reasury O Pera
MANON LESCAUT•MARTHA• MEFISTOFELE• DIE MEISTERSINGER• MIGNON• NORMA• LE NOZZE DI FIGARO• OTELLO• PAGLIACCI I PESCATORI DI PERLE DIE ZAUBERFLÖTE • • PORGY AND BESS THE PRIMA VOCETREASURYTHE PRIMA OFOPERA TWO VOLUME DIE WALKÜRE • • LE POSTILLON DE LONJUMEAU IL TROVATORE • TREASURY TRISTAN UND ISOLDE • • OPERA PRINCE IGOR LA TRAVIATA • • Great Arias in Historic Recordings I PURITANI TOSCA • ARTISTS INCLUDE • CARUSO •CHALIAPIN •FARRAR •TETRAZZINI RIGOLETTO TANNHAÜSER • McCORMACK •PONSELLE •TIBBETT NI 1738NI NI 1738 • RINALDO FIVE DISC SET LA SONNAMBULA ROMEOET JULIETTE•DER ROSENKAVALIER• SADKO• SAMSON ET DALILA• SEMELE• SIMON BOCCANEGRA• THE SNOW MAIDEN MANON LESCAUT•MARTHA• MEFISTOFELE• DIE MEISTERSINGER• MIGNON• NORMA• LE NOZZE DI FIGARO• OTELLO• PAGLIACCI I PESCATORI DI PERLE NI 1738 NI 1738 DIE ZAUBERFLÖTE • PRIMA VOCE • PORGY AND BESS PRIMA VOCE puts the performance first. Our aim in transferring 78s to compact DIE WALKÜRE disc is simple: to allow the full musical enjoyment of these recordings without the • distraction of intrusive surface noise between the performer and the listener. This is achieved by a process which re-records rather than re-masters the original sound. • First, to maintain the original sound, several takes are made of each 78. These LE POSTILLON DE LONJUMEAU takes are then digitally edited together and any intrusive clicks or thumps are IL TROVATORE removed at this stage: the removal is judged by human ear alone, and not with the • TREASURY aid of computer programs or electronic filters. Only mint condition 78rpm pressings manufactured from the finest materials of the time are used for transfer, providing a further, natural reduction in surface noise. The result captures for all time the immediacy of the original performances.