Performeando Orfeu Negro
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Extracts of Orfeu Da Conceição (Translated by David Treece)
Extracts of Orfeu da Conceição (translated by David Treece) Extracts of Orfeu da Conceição (translated by David Treece) The poems and songs here translated are from the play Orfeu da Conceição, by Vinicius de Moraes and Antonio Carlos Jobim. This selection was part of the libretto for “Playing with Orpheus”, performed by the King’s Brazil Ensemble in October 2016, as part of the Festival of Arts and Humanities at King’s College London. Orpheus Eurydice… Eurydice… Eurydice … The name that bids one to speak Of love: name of my love, which the wind Learned so as to pluck the flower’s petals Name of the nameless star… Eurydice… Coryphaeus The perils of this life are too many For those who feel passion, above all When a moon suddenly appears And hangs there in the sky, as if forgotten. And if the moonlight in its wild frenzy Is joined by some melody Then you must watch out For a woman must be there about. A woman must be there about, made Of music, moonlight and feeling And life won’t let her be, so perfect is she. A woman who is like the very Moon: So lovely that she leaves a trail of suffering So filled with innocence that she stands naked there. Orpheus Eurydice… Eurydice… Eurydice… The name that asks to speak Of love: name of my love, which the wind - 597 - RASILIANA: Journal for Brazilian Studies. ISSN 2245-4373. Vol. 9 No. 1 (2020). Extracts of Orfeu da Conceição (translated by David Treece) Learned so as to pluck the flower’s petals Name of the nameless star… Eurydice… A Woman’s name A woman’s name Just a name, no more… And a self-respecting man Breaks down and weeps And acts against his will And is deprived of peace. -
3. Monody and Opera
Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced -
Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640
Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640 I. Introduction A. Groups of humanists flourished in Italy during the Baroque period. 1. New ideas included stile rappresentativo (representational style), monody, and recitative. 2. Early plays featuring music in this new manner included intermedia (singular: intermedio). Musical plays called favola in musica (fable in music) are now considered the first operas. B. An important figure was Claudio Monteverdi, who explored the seconda pratica (second practice), claiming, “the words are the master of the music.” II. The Baroque era A. The word Baroque is used to cover music from 1600 to 1750. It was applied to music later and used to describe the music as overly decorated and ornate. 1. It could be referred to as the Italian age because most of the musical innovations during the time took place in Italy. It could be called the Galilean period, because of Galileo Galilei’s work, along with other developments in science, or the Cartesian period after Descartes. 2. Theatrical age, instrumental age, and continuo age could also apply because of developments. III. Humanism and the Greek past A. During the sixteenth century, academies formed in Italy, modeled loosely on the academies of ancient Greece. B. The most important academy was in Florence. 1. This group considered the performance of Greek drama and poetry a musical event. 2. These ideas were adopted by a group of humanists known as the Camerata. IV. Monody and the representational style A. Galilei thought that music should represent the meaning or emotion. 1. -
Orfeo Ed Euridice
CHRISTOPH WILLIBALD GLUCK orfeo ed euridice conductor Opera in three acts Mark Wigglesworth Libretto by Ranieri de’ Calzabigi production Mark Morris Sunday, October 20, 2019 set designer 3:00–4:30 PM Allen Moyer costume designer First time this season Isaac Mizrahi lighting designer James F. Ingalls choreographer Mark Morris The production of Orfeo ed Euridice was made possible by a generous gift from Mr. and Mrs. Wilmer J. Thomas, Jr. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 99th Metropolitan Opera performance of CHRISTOPH WILLIBALD GLUCK’S orfeo ed euridice conductor Mark Wigglesworth in order of vocal appearance orfeo Jamie Barton amore Hera Hyesang Park* euridice Hei-Kyung Hong harpsichord Dan Saunders Orfeo ed Euridice is performed without intermission. Sunday, October 20, 2019, 3:00–4:30PM MARTY SOHL / MET OPERA A scene from Chorus Master Donald Palumbo Gluck’s Orfeo Musical Preparation John Keenan, Dan Saunders, and ed Euridice Howard Watkins* Assistant Stage Directors Gina Lapinski, Stephen Pickover, and Daniel Rigazzi Stage Band Conductor Gregory Buchalter Assistant Choreographer Sam Black Associate Costume Designer Courtney Logan Italian Coach Loretta Di Franco Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Orfeo ed Euridice is performed in the Vienna version, 1762, edited for the Gluck Complete Works (Gluck-Gesamtausgabe) by Anna Amalie Abert and Ludwig Finscher; used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Bärenreiter-Verlag, publisher and copyright owner. -
GCSE, AS and a Level Music Difficulty Levels Booklet
GCSE, AS and A level Music Difficulty Levels Booklet Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Music (1MU0) Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) First teaching from September 2016 First certification from 2017 (AS) 2018 (GCSE and A level) Issue 1 Contents Introduction 1 Difficulty Levels 3 Piano 3 Violin 48 Cello 71 Flute 90 Oboe 125 Cla rinet 146 Saxophone 179 Trumpet 217 Voic e 240 Voic e (popula r) 301 Guitar (c lassic al) 313 Guitar (popula r) 330 Elec tronic keyboa rd 338 Drum kit 344 Bass Guitar 354 Percussion 358 Introduction This guide relates to the Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Music (1MU0), Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) and Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) qualifications for first teaching from 2016. This guide must be read and used in conjunction with the relevant specifications. The music listed in this guide is designed to help students, teachers, moderators and examiners accurately judge the difficulty level of music submitted for the Performing components of the Pearson Edexcel GCSE, AS and A level Music qualifications. Examples of solo pieces are provided for the most commonly presented instruments across the full range of levels. Using these difficult y levels For GCSE, teachers will need to use the book to determine the difficulty level(s) of piece(s) performed and apply these when marking performances. For AS and A Level, this book can be used as a guide to assist in choosing pieces to perform, as performances are externally marked. -
International Journal of Education Humanities and Social Science
International Journal of Education Humanities and Social Science ISSN: 2582-0745 Vol. 2, No. 04; 2019 EARLY MELODRAMA, EARLY TRAGICOMIC Roberto Gigliucci Sapienza University of Rome Piazzale (Square) Aldo Moro, 5, Rome 00185, Italy [email protected] ABSTRACT This essay tries to demonstrate that the tragicomic blend, typical of Baroque Melodrama, has born much earlier than what is commonly believed. Just in the Jesuitical play “Eumelio” (1606) the hellish characters are definitely comical; a year later, in the celebrated “Orfeo” by Striggio jr. and Monteverdi, we think to find droll, if not grotesque, elements. The article ends considering the opera “La morte d’Orfeo” by S. Landi (1619), particularly focusing on the character of Charon. Key Words: Tragicomic, Melodrama, Orpheus’ myth. INTRODUCTION An excellent scholar as Gloria Staffieri, in a recent historical frame of Melodrama from its birth up to Metastasio, reaffirms a widespread statement: the “invention” of tragicomic blend in the Opera is due to Rospigliosi, during the Barberini age [1], starting from 1629 (Sant’Alessio) and developing increasingly during the Thirties [2]. A quite late birth, therefore, of the tragicomic element, which is universally considered one of the most identitarian – strongly peculiar – feature of Baroque Melodrama [3]. In our short speech, we would demonstrate that this fundamental trait of Operatic mood was born at the very inception of the genre itself. Rinuccini If we skip now the case of Dafne [4] (where Rinuccini puts himself in line with the experiment of satira scenica by Giraldi Cinzio, the Egle [5], with its sad metamorphic ending), we may consider Euridice as a happy ending tragedy. -
12 Amati Camperi 20100929
Philomusica on-line 9/2 – Sezione II/371-385 Atti del VI Seminario Internazionale di Filologia Musicale. «La filologia musicale oggi: il retaggio storico e le nuove prospettive» Murder in Thrace A Shakespearean Orpheus in Seventeenth-Century Venice Alexandra Amati-Camperi University of San Francisco [email protected] § Tutti i momenti storici più significativi § Most momentous points in the history della storia dell’opera includono una of opera involve retelling the myth of versione del mito d’Orfeo, un mito Orpheus. This “superannuated” musical musicale il cui protagonista è stato l’eroe myth has been the quintessential operistico per eccellenza dalle favole della operatic hero for centuries, from the corte fiorentina alla riforma di Gluck, Florentine court favole, through Gluck’s fino alla ripresa comica di Offenbach. In reform, to Offenbach’s spoof. Hitherto una delle versioni si è celato finora un undetected in one retelling of the myth riferimento ad un’altra figura are allusions to another dramatic figure: drammatica: Otello. L’Orfeo di Aureli e Othello. Aureli and Sartorio’s L’Orfeo Sartorio (Venezia, 1673), un lavoro (Venice, 1673), a pivotal work in opera importante nella storia dell’opera seria, seria history, contains under the contiene un’imitazione dell’Otello di mythological plot an intentional Shakespeare, malcelata sotto il manto imitation of Shakespeare’s Othello. mitologico. Sebbene non sia chiaro While Shakespearean scholars don’t quando l’Otello sia arrivato a Venezia, i know when Othello reached Venice, the numerosi paralleli tra quest’Orfeo e similarities between this L’Orfeo and l’Otello non possono annoverarsi fra le Othello are too numerous to be coincidenze. -
Orfeu: Mito, Ópera E Poesia. Um Estudo Comparado Orpheus: Myth, Opera and Poetry
Orfeu: mito, ópera e poesia. Um estudo comparado Orpheus: myth, opera and poetry. A comparative study. Maria Vitoria Fregni Adriane da Silva Duarte 1 Resumo: Este artigo tem por objetivo a análise do libreto da ópera L'Orfeo , de Claudio Monteverdi, escrito por Alessandro Striggio, baseado no mito grego de Orfeu. Com isso, busca- se estabelecer uma aproximação entre o estudo da Literatura e o da Música, o que é mais do que natural, uma vez que em sua origem essas artes eram inseparáveis. Palavra-chave: mitologia; ópera; Barroco; Monteverdi; Orfeu. Abstract: This paper intends to analyze the libretto of Claudio Monteverdi's opera L'Orfeo , written by Alessandro Striggio, based on Orpheus' myth. It's natural to examine poetry and music simultaneously, since they were inseparable for a long time. Keywords: mythology, opera, baroque, Monteverdi, Orpheus. A ópera surgiu na transição do século XVI para o XVII, em um colegiado de nobres de Florença conhecido como Camerata Fiorentina. Destinada ao estudo da cultura clássica, a Camerata era composta por músicos amadores, todos membros da aristocracia italiana. Esses nobres se dedicavam ao estudo da cultura clássica, em especial do teatro grego, no qual se inspiraram para inaugurar um novo gênero: o drama musical. Abandonando a estética musical vigente até então, os florentinos buscavam a fidelidade à palavra recitada, capaz de captar o ouvinte através da expressão objetiva do potencial melódico da fala do orador. Com isso, desenvolveram uma nova maneira de escrever música para voz: o estilo Recitativo , um intermediário entre a recitação falada e a canção. Com base nessa nova música, os fiorentinos compuseram duas obras dramático-musicais, Dafne (Peri, 1597) e L’Euridice (Rinuccini e Peri, 1600), ambas com enredo baseado em passagens da mitologia clássica, como seria 1 Maria Vitoria Fregni é graduanda do curso de Música da ECA/USP. -
Required Text: Robert Stam, Tropical Multiculturalism: a Comparative History of Race in Brazilian Cinema and Culture (Duke UP, 2004)
Film 162 The Afro-Brazilian Experience and Brazilian Cinema Fall 2008: Tuesdays & Thursdays, 8:00-9:50; Horace Mann 193 Instructor: Vincent Bohlinger Office: Craig-Lee 355 Telephone: x8660 E-mail: [email protected] Office Hours: Thursdays 10:00-11:50, also by appointment Course Overview: This course serves as an introduction to the cinema of Brazil by way of exploring issues of race and representation. We start with a study of the international stereotypes surrounding Brazil, then examine the Cinema Nôvo movement, and finally move toward commercial and critical successes of the past few decades. We will be analyzing a number of challenging films in order to understand their broader political, cultural, and aesthetic contexts. Required Text: Robert Stam, Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture (Duke UP, 2004) Recommended: one of the following dvds (for the analysis paper): Pixote (Hector Babenco, 1981); City of God (Fernando Meirelles, 2002); Madame Satã (Karim Aïnouz, 2002); Bus 174 (José Padilha, 2002); The Man Who Copied (Jorge Furtado, 2003); Antônia (Tata Amaral, 2006) Course Requirements: 10% Participation (note attendance policy below) 20% Mid-Term Exam (in class) 20% Research Paper (5-7 pages) 20% Analysis Paper (5-7 pages) 30% Final Exam (in class) Course Policies: - Attendance is mandatory and counts toward the participation grade. More than three absences will result in a lower grade and possibly course failure. - Please come to class on time and remain in class for the duration of the session. Late arrivals and early departures count as partial absences, as do temporary exits during screening, lecture, or discussion. -
Martha Jane Gilreath Submi Tted As an Honors Paper in the Iartment Of
A STTJDY IN SEV CENT1 CHESTRATIO>T by Martha Jane Gilreath SubMi tted as an Honors Paper in the iartment of Jiusic Voman's College of the University of Xorth Carolina Greensboro 1959 Approved hv *tu£*l Direfctor Examining Committee AC! ' IKTS Tt would be difficult to mention all those who have in some way helped me with this thesis. To mention only a few, the following have mv sincere crratitude: Dr. Franklyn D. Parker and members of the Honors -fork Com- mittee for allowing me to pursue this study; Dr. May ". Sh, Dr. Amy Charles, Miss Dorothy Davis, Mr. Frank Starbuck, Dr. Robert Morris, and Mr, Robert Watson for reading and correcting the manuscript; the librarians at Woman's College and the Music Library of the University of North Carolina through whom I have obtained many valuable scores; Miss Joan Moser for continual kindness and help in my work at the Library of the University of North Carolina; mv family for its interest in and financial support of my project; and above all, my adviser, Miss Elizabeth Cowlinr, for her invaluable assistance and extraordinary talent for inspiring one to higher scholastic achievenent. TAm.E OF COKTB 1 1 Chapter I THfcl 51 NTURY — A BACKGROUND 3 Chapter II FIRST RUB OR( 13 Zhapter III TT*rn: fTIONS IN I] 'ION BY COMPOSERS OF THE EARLY SEVE TORY 17 Introduction of nasso Continuo 17 thods of Orchestration 18 Duplication of Instruments 24 Pro.gramatic I'ses of Scoring .25 id Alternation between Instruments. .30 Introduction of Various Instrumental devices 32 Dynamic Contrasts 32 Rowing Methods 33 Pizzicato -
M O N T E V E R
MONTEVERDI Music is the servant of the words 2012 LET US INNOVATE by Simone Kotva FROM IMITATION OF NATURE MONTEVERDI’S REVERSAL TO NATURAL IMITATION At the turn of the sixteenth century, the cusp of Monteverdi christened his musical aesthetics the We should see what are the rhythms of a self- The sentence immediately preceding Plato’s antici - what historians have since called “the modern era,” seconda prattica , or Second Practice. Its purpose disciplined and courageous life, and after looking at pation of Monteverdi’s motto is a discussion of the Claudio Monteverdi poses the perennial question was to oppose the establishment, what he called those, make meter and melody conform to the leitmotif of Classical philosophy, namely the “self- of every artist: how do my compositions relate to the First Practice of music theory. Monteverdi speech of someone like that. We won’t make disciplined and courageous life,” or human nature. those of past masters? How does innovation characterised the First Practice (whether justly or speech conform to rhythm and melody . Plato’s belief (which was also Aristotle’s) was that relate to imitation? not), as concerned exclusively with the rules of (Republic 400a; my emphasis) human nature was formed through a life-long pro - “pure” harmony stripped of any relation to text, cess of cultivating good habits. These good habits For Monteverdi, living in a time of vitriolic polemics rhythm and melody. It philosophical foundations The final sentence mirrors the emphatic declara - would eventually lead to good virtues,