I Puritani the Puritans Page 1 of 2 Opera Assn

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San Francisco War Memorial 1977 I Puritani The Puritans Page 1 of 2 Opera Assn. Opera House I Puritani (in Italian) Opera in three acts by Vincenzo Bellini Libretto by Carlo Pepoli Conductor CAST Paolo Peloso Sir Bruno Roberton Robert Johnson Stage Director Sir Riccardo Forth Giorgio Zancanaro Tito Capobianco Elvira Beverly Sills Scenery designed by Enrichetta di Francia Carol Vaness Ming Cho Lee Sir Giorgio Walton Bonaldo Giaiotti Costumes designed by Lord Gualtiero Walton David Cale Johnson Peter J. Hall Lord Arturo Talbot Cesar-Antonio Suarez Miss Sills's costumes by Carl Toms *Role debut †U.S. opera debut Chorus Director PLACE AND TIME: Mid-seventeenth century in Plymouth, England Richard Bradshaw Lighting Designer Thomas J. Munn Prompter Louis Salemno Musical Preparation Ernest Fredric Knell Wednesday, November 2 1977, at 7:30 PM Act I, Scene 1 -- Terrace of Lord Walton's castle Saturday, November 5 1977, at 8:00 PM Scene 2 -- Sir Giorgio Walton's study Tuesday, November 8 1977, at 8:00 PM Scene 3 -- Terrace of Lord Walton's castle Friday, November 11 1977, at 8:00 PM INTERMISSION Sunday, November 20 1977, at 2:00 PM Act II, Scene 1 -- Main hall of the castle Wednesday, November 23 1977, at 7:30 PM Scene 2 -- Hall in the castle INTERMISSION Act III -- Terrace of Lord Walton's castle San Francisco War Memorial 1977 I Puritani The Puritans Page 2 of 2 Opera Assn. Opera House Sponsors: Notes: Production owned by the Metropolitan Opera Association Live broadcast -- November 11 SUPERNUMERARIES Dorothy Brown Madeline Chase Barbara Clifford Joanne Dickson Gina Farruggio Janice Fillip Nancy Kennally Marilyn Mathers Cynthia Milina Edith Modie Louise Russo Ellen Sanchez Shelley Seitz Laurie Thompson Jesse Alexander Stewve Bauman Thomas Carlisle Ronald Cavin Rudolph Cook Burton Covel Donald Crawford Herbert Harvey Martin Izquierdo Kenneth Jakobs Janusz Julius Karoblis Rodney McCoy Gregorio Mendoza Lawrence Millner Paul Newman James Preovolos Noble Edward Reynolds Paul Ricks Raymond Salazar Thomas Simrock Jonathan Spieler Kent Spiers Colin Warner David Williams Joseph Williams Gerald Wood.

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La Sonnambula 3 Content
Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera.
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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
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BAZZINI Complete Opera Transcriptions
95674 BAZZINI Complete Opera Transcriptions Anca Vasile Caraman violin · Alessandro Trebeschi piano Antonio Bazzini 1818-1897 CD1 65’09 CD4 61’30 CD5 53’40 Bellini 4. Fantaisie de Concert Mazzucato and Verdi Weber and Pacini Transcriptions et Paraphrases Op.17 (Il pirata) Op.27 15’08 1. Fantaisie sur plusieurs thêmes Transcriptions et Paraphrases Op.17 1. No.1 – Casta Diva (Norma) 7’59 de l’opéra de Mazzucato 1. No.5 – Act 2 Finale of 2. No.6 – Quartet CD3 58’41 (Esmeralda) Op.8 15’01 Oberon by Weber 7’20 from I Puritani 10’23 Donizetti 2. Fantasia (La traviata) Op.50 15’55 1. Fantaisie dramatique sur 3. Souvenir d’Attila 16’15 Tre fantasie sopra motivi della Saffo 3. Adagio, Variazione e Finale l’air final de 4. Fantasia su temi tratti da di Pacini sopra un tema di Bellini Lucia di Lammeroor Op.10 13’46 I Masnadieri 14’16 2. No.1 11’34 (I Capuleti e Montecchi) 16’30 3. No.2 14’59 4. Souvenir de Transcriptions et Paraphrases Op.17 4. No.3 19’43 Beatrice di Tenda Op.11 16’11 2. No.2 – Variations brillantes 5. Fantaisia Op.40 (La straniera) 14’02 sur plusieurs motifs (La figlia del reggimento) 9’44 CD2 65’16 3. No.3 – Scène et romance Bellini (Lucrezia Borgia) 11’05 Anca Vasile Caraman violin · Alessandro Trebeschi piano 1. Variations brillantes et Finale 4. No.4 – Fantaisie sur la romance (La sonnambula) Op.3 15’37 et un choeur (La favorita) 9’02 2.
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I Puritani, De Bellini, En La Història Del Gran Teatre Del Liceu
CRONOLOGIA LICEISTA S’inclou una llista amb les representacions de I puritani, de Bellini, en la història del Gran Teatre del Liceu. - Estrena absoluta: 24 de gener de 1835 al Théâtre-Italien de París. - Estrena a Barcelona: 14 desembre de 1836 al Teatre de la Santa Creu. - Estrena al Liceu: 17 de maig de 1848. Darrera representació al Liceu: 15 de febrer del 2001. - Total de representacions al Liceu: 108. TEMPORADA 1848-1849 Llibret del comte Carlo Pepoli. Música de Vincenzo Bellini. Nombre de representacions: 10 Dates: 17, 18, 21 maig; 2, 4, 7, 15 juny; 21 juliol; 8 agost; 6 setembre 1848. L'òpera era anunciada amb el títol sencer de "I puritani e i cavalieri". Crítiques: El Barcelonés 19/05/1848; Diario de Barcelona 20/05/1848 (corresponent a la segona funció). Nota: Durant bona part del segle XIX el Liceu anuncià el personatge de Sir Bruno Roberton (així ho havia escrit el llibretista) com a “Roberson” (sic). Lord Gualtiero Valton: Antoni Vives Sir Giorgio: Luigi Silingardi Lord Arturo Talbo: Albnerto Bozzetti Sir Riccardo Forth: Gaetano Ferri Sir Bruno Roberton: Ferran Rauret Enrichetta: Antònia Aguiló-Donatutti Elvira: Giovanna Rossi-Caccia Director: Marià Obiols TEMPORADA 1854-1855 Nombre de representacions: 1 Número històric: 11 Data: 1 maig 1855 Lord Gualtiero Valton: Josep Obiols Sir Giorgio: Agustí Rodas Lord Arturo Talbo: Giacomo Galvani Sir Riccardo Forth: Achille Rossi Sir Bruno Roberton: Josep Grau Enrichetta di Francia: Matilde Cavalletti Elvira: Elisa Villó de Genovès 1 Director: Gabriel Balart? * Nota: La representació va acabar després de l'acte I per una indisposició sobtada d'Elisa Villó de Genovès.
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Aria: "Cinta Di Fiori" from "I Puritani" for String Quintet
Mike Magatagan Arranger, Composer, Interpreter, Publisher United States (USA), SierraVista About the artist I'm a software engineer. Basically, I'm computer geek who loves to solve problems. I have been developing software for the last 25+ years but have recently rekindled my love of music. Many of my scores are posted with individual parts and matching play-along however, this is not always practical. If you would like individual parts to any of my scores or other specific tailoring, please contact me directly and I will try to accommodate your specific needs. Artist page : https://www.free-scores.com/Download-PDF-Sheet-Music-magataganm.htm About the piece Title: Aria: "Cinta di fiori" from "I Puritani" for String Quintet Composer: Bellini, Vincenzo Arranger: Magatagan, Mike Copyright: Public Domain Publisher: Magatagan, Mike Instrumentation: String Quintet : 2 Violins, Viola, Cello and Bass Style: Romantic Comment: Vincenzo Salvatore Carmelo Francesco Bellini (1801 -- 1835) was an Italian opera composer. A native of Catania, Sicily, his greatest works are I Capuleti ed i Montecchi (1830), La sonnambula (1831), Norma (1831), Beatrice di Tenda (1833), and I puritani (1835). Known for his long-flowing melodic lines, for which he was named the Swan of Catania, Bellini was the quintessential composer of bel canto opera. He died in Puteaux, France at the age of... (more online) Mike Magatagan on free-scores.com • listen to the audio • share your interpretation • comment • contact the artist First added the : 2021-02-21 Last update : 2021-02-21 10:52:47 Aria: "Cinta di fiori" from "I Puritani" Vincenzo Bellini (1801-1835) Interpretation for String Quintet by Mike Magatagan 2021 Andante ( = 72) Violin 1 Violin 2 Viola cresc.
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Premiere I PURITANI Opera Seria in Three Acts by Vincenzo Bellini Libretto by Carlo Pepoli Sung in Italian with German and English Surtitles
Premiere I PURITANI Opera seria in three acts by Vincenzo Bellini Libretto by Carlo Pepoli Sung in Italian with German and English surtitles Conductor: Tito Ceccherini Director: Vincent Boussard Set Designer: Johannes Leiacker Costume Designer: Christian Lacroix Video: Isabel Robson Lighting Designer: Joachim Klein Chorus Master: Tilman Michael Dramaturge: Zsolt Horpácsy Elvira: Brenda Rae / Zuzana Marková (January 2019) Lord Arturo Talbo: John Osborn Sir Riccardo Forth: Iurii Samoilov Lord Gualtiero Valton: Thomas Faulkner Sir Giorgio: Kihwan Sim Sir Bruno Roberton: Michael Porter Enrichetta di Francia: Bianca Andrew / Kelsey Lauritano (December 8th, 14th, 16th 2018) A woman: Sofia Pintzou Oper Frankfurt's Chorus; Frankfurter Opern- und Museumsorchester A co-production with the Opéra Royal de Wallonie, Liège With generous support from the Frankfurt Patronatsverein – Sektion Oper The opera seria I puritani by Vincenzo Bellini (1801-1835), one of the leading bel canto composers, was performed for the first time on January 24 1835 in the Théâtre Italien in Paris, in the edition written for it. The last masterpiece by this composer was performed for the first time in Italy at La Scala Milan that same year, not long before the composer died. After an argument between Bellini and Felice Romani, the librettist for seven of his nine operas, the less experienced Carlo Pepoli completed the texts, to make Bellini's own views on how it should be shaped possible. Bellini's meticulous orchestration of his almost endless arcs of melodies and use of dramatic motifs made up for the deficient, barely credible story line. Elvira, daughter of a puritan governor Lord Gualtiero Valton, is about to marry Lord Arturo Talbo, a follower of the almost crushed Stuarts.
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La Cultura Italiana
LA CULTURA ITALIANA VINCENZO BELLINI (1801-1835) This month’s essay is about an Italian opera composer from Sicily who was known primarily for his long-flowing melodic lines that garnered for him the sobriquet “The Swan of Catania.” He was the quintessential composer of Bel Canto opera. He became a master of the varied possibilities of the human voice, teasing out the proficiencies for vocal production. In so doing, he created a novel art which culminated in the Bel Canto style. He saw a dual purpose for vocal works: first, for the development of the aria and vocal piece within the opera or context of the song, and second, for the wider context of presenting that opera or musical drama as a symbol of the beauty of human accomplishment within the arts. Vincenzo Salvatore Carmelo Francesco Bellini was born in Catania, Sicily, on November 3, 1801, the son of Rosario Bellini and Agata Ferlito Bellini. He was the eldest of his parents’ seven children. He was blond and blue-eyed, unusual for a Sicilian, a throw-back to his ancestors’ roots in central Italy. He was a child prodigy from a highly musical family. His grandfather, Vincenzo Tobia Bellini, had studied at the conservatory in Naples and, in Catania from 1767, had been an organist and teacher, as had Vincenzo’s father, Rosario. Both were also composers of note. An anonymous 12-page hand-written history, held in Catania’s Museo Belliniano, states that Bellini could sing an air of the Italian opera buffa composer, Valentino Fioravanti, at 18 months, that he began studying music theory at age two, the piano at three, and by the age of five could, apparently, play very well.
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"Mad Scenes" in Nineteenth Century Opera. Charlotte Fakier Pipes Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 A Study of Six Selected Coloratura Soprano "Mad Scenes" in Nineteenth Century Opera. Charlotte Fakier Pipes Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pipes, Charlotte Fakier, "A Study of Six Selected Coloratura Soprano "Mad Scenes" in Nineteenth Century Opera." (1990). LSU Historical Dissertations and Theses. 5087. https://digitalcommons.lsu.edu/gradschool_disstheses/5087 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
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Norma Study Guide
aormina (Sicily) (Sicily) aormina ra venerd%C3%AC16.jpg - content/uploads/2012/08/norma - Teatro Antico overlooking the city of T city the overlooking Antico Teatro Felice Romani http://www.gbopera.it/wp Production Photo by Tim Matheson at Vancouver Ope at Vancouver Matheson by Tim Photo Production Through singing, opera must by Jill Leahy Norma make you weep, shudder, die. (Quote by Vincenzo Bellini) Norma is an opera in two acts by Vincenzo Bellini that can make audiences weep and artists shudder. And, the title character dies at the end! The immediate source for Romani, the librettist, was a 5-act play, Norma, ossia L'infanticidio (Norma, or The Infanticide), by the French poet Alexandre Soumet. However, the roots of the story go back to the Greek myth about Medea, who was a priestess of the moon-goddess in Colchis in Asia Minor. In Bellini's Norma, usually set in 50 BCE soon after Caesar's conquest of Gaul, the Druid priestess Norma falls in love with a Roman soldier. Bellini chose the subject in July 1831 and composed the opera in time for its premier at La Scala on December 26, 1831—the traditional start of the carnival season in Italy. The custom of the time was for opera composers to create parts for specific singers whose voices and capabilities they knew because opera singers were the Giuditta Pasta as Norma “rock stars” of their day. One such singer, Giuditta Pasta, was a soprano who some consider among the greatest opera singers ever. Bellini wrote Norma for her and it was not only one of her greatest roles, but also Bellini’s masterpiece and a leading example of the bel canto opera genre.
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Puritani Release-Rc
FOR IMMEDIATE RELEASE: October 14, 2004 Rebekah Chewning 410.625.1600 x 311 Deborah Goetz 410.625.1600 x 312 BALTIMORE OPERA COMPANY PRESENTS Vincenzo Bellini’s I Puritani (The Puritans) November 13, 17, 19, 21, 2004 WORLD RENOWNED COLORATURA SOPRANO, ELIZABETH FUTRAL DEBUTS IN THE ROLE OF ELVIRA (Baltimore) –The Baltimore Opera Company continues its groundbreaking 2004-05 season with another Baltimore Opera premiere, I Puritani (The Puritans) by Vincenzo Bellini on Saturday, November 13 at 8:15, Wednesday, November 17 at 7:30, Friday, November 19 at 8:15, and Sunday, November 21 at 3:00. Widely praised coloratura soprano, Elizabeth Futral makes her debut in the role of Elvira opposite one of the world’s most elegant bel canto tenors, Gregory Kunde. The opera will be conducted by Steven White and directed by Alessandra Panzavolta. Elizabeth Futral, one of today’s leading lyric-coloratura sopranos, debuts in the role of Elvira, who is in love with Arturo although their families are fighting on opposite sides of the English Civil War. Miss Futral’s vibrant voice and stage personality have thrilled audiences at San Francisco Opera, New York City Opera, Lyric of Chicago, Metropolitan Opera, Israeli Philharmonic, Florida Grand Opera and Washington Opera. The elegant bel canto tenor, Gregory Kunde sings the role of Arturo. He has brought his impeccable phrasing and dramatic intensity to this role in Munich, Deutsche Opera Berlin, San Francisco, Vienna Staatsoper, Teatro Comunale di Bologna and at the Bavarian State Opera. Giovanni Meoni (Count di Luna in 2003 Rigoletto) and Mikhail Svetlov (Ferrando, last seen at the BOC in Il Trovatore 2003), return as Riccardo Forto and Giorgio Valton.
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