Comic opera in one act by Giacomo Puccini
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10 episodes with Gianni Schicchi
4 episodes with Gianni Schicchi
2 episodes with Gianni Schicchi
2 episodes with Gianni Schicchi
2 episodes with Gianni Schicchi
2 episodes with Gianni Schicchi
2 episodes with Gianni Schicchi
3 episodes with Gianni Schicchi
2 episodes with Gianni Schicchi
PUCCINI: Gianni Schicchi, Ópera en un acto (51.02). R. Tebaldi (sop.), L. Danieli (mez.), A. lazzari (ten.), R. Ercolani (ten.), D. Carral (sop.), Coro y Orq. del Maggio Musicale Fiorentino. Dir.: L. Gardelli.Escuchar audio
Avui sentirem: "Gianni Schicchi" (extractes). Els
Hoy en La escena: Berenice Rodríguez y Franco Méndez nos platicarán sobre el movimiento escénico "Teatro del abandono" y nos compartirán sus próximas presentaciones. Damián Ramírez, tenor y director general de Híbrido Ópera Lab Voice Studio nos invita a la presentación de la ópera "Gianni Schicchi" de Giacomo Puccini, en PALCCO. Ivette Muro, actriz y directora de la compañía Cacao, arte y turismo, nos presenta "Sanar. Yo y mis otros yo", una obra de teatro del cuerpo. Producción y conducción: Irlanda Tostado Sistema Jalisciense de Radio y Televisión. Visita: www.jaliscoradio.com
Ayako Ohtake, a Sydney-based Japanese soprano singer, hosts monthly music segment called VIVA! Opera for SBS Japanese. - イタリアオペラの大作曲家、ジャコモ・プッチーニの没後100年となる今年。大武さんが選んだのは、ゆかいなオペラ「ジャンニ・スキッキ」から、名アリア「私のお父さん」です。
durée : 00:59:41 - Une heure, un compositeur : Puccini par Maria Callas - par : Aurélie Moreau - Héroïnes de Puccini interprétées par Maria Callas : la jeune Lauretta dans Gianni Schicchi, Cio-Cio-San alias Madame Butterfly, Mimí venue demander du feu à son voisin dans La Bohème, Manon Lescaut promise à l'exil, et la cruelle princesse Turandot.
Hace tiempo que no contestamos por los micrófonos las cartas de algunos oyentes. Recuperamos hoy tres misivas que tienen ya algún tiempo. En primer lugar la firmada por don Luis Pingarrón, que nos solicitaba la radiación del famoso Trío de El caballero de la rosa de Strauss por Montserrat Caballé, Teresa Zilys-Gara y Edith Mathis en la versión de Glyndebourne de 1965 dirigida por John Pritchard. Luego comentamos un párrafo de la extensa carta de don Manuel González en el que habla precisamente de Caballé. La escuchamos en dos arias de bigote: Suicidio de La Gioconda de Ponchielli y La mamma morta de Andrea Chénier de Giordano. Y comentamos sus interpretaciones. Antes habremos seguido a Edita Gruberova, de la que también habla nuestro oyente, cantando la cabaletta final de La sonnambula de Bellini. Cerramos el programa contestando a la carta de don Fernando (no consta su apellido), que pide que hablemos de dos cantantes mexicanos otrora famosos: el tenor Jorge Lagunes, que nos canta una copla popular, y la soprano Lupita Pérez, que nos obsequia con el vals de Musetta de La bohème y O mio babbino caro de Gianni Schicchi, ambas de Puccini. Cerramos con otro Jorge Lagunes, este barítono de nuestros días, que interpreta dos canciones muy famosas: La rosa y el sauce y Siboney.Escuchar audio
durée : 00:18:30 - Disques de légende du jeudi 07 mars 2024 - Gianni Schicchi constitue le troisième volet du Triptyque qui se présente comme un ensemble constitué de trois opéras en un acte. Ils ont pour titre : Il tabarro, Suor Angelica et Gianni Schicchi.
Clarence Ford speaks to Magadalene Minaar Cape Town Opera artistic director.See omnystudio.com/listener for privacy information.
Te is hátast dobsz a 4 most legnépszerűbb bűnügyi sorozattól in.hu 2024-01-27 20:02:01 Film USA Netflix A streamingszolgáltatók nem hagynak minket belesüllyedni a téli depibe: most is kidobtak pár újdonságot, amibe érdemes belemerülni a kanapédról.Igazi amerikai rémálomA Netflixen jelenleg az Igazi amerikai rémálom az egyik legnépszerűbb sorozat, nem véletlenül. Az újdonság egy igaz krimi-dokumentumsorozat, mely egy kaliforniai nő 2015-ös elrablásána Híres magyar férfiak, akik szakítás után sikeresebbek lettek, mint párjuk Joy 2024-01-27 19:30:00 Bulvár Párkapcsolat Egy szakítás, válás mindig fájdalmas és talán az egyik legnehezebb döntés életünk során, főleg ha az illető nagy hatást gyakorolt ránk. Újdonságok a Netflixen: 6 premierfilm és sorozat, amit a jövő héten nézhetsz" Mafab 2024-01-27 18:04:02 Film Netflix Ha egy pillanatra is elgondolkodtatok azon, vajon mennyire környékez meg titeket az unalom a következő héten, nem kell aggódni, a Netflix ezúttal is gondoskodik róla, hogy ez ne történjen meg. A streamingszolgáltató olyan vadonatúj tartalmakkal kényzetet majd bennünket, mint A popzene legjobb éjszakája, ami a "We are the world" című szám felvételén A film, amelyet minden békepártinak látnia kell Telex 2024-01-27 19:35:38 Film Ukrajna Fesztiválok Dokumentumfilm Szombaton indult a Budapesti Nemzetközi Dokumentumfilm Fesztivál. Az ukrán kormányt testközelből bemutató Harcban című film emlékeztet arra, hogy a világ egyszer már kipróbálta, milyen, ha nem reagál az orosz agresszióra. A méhész - Ezt lehet csípni! SG.hu 2024-01-27 18:08:36 Film Kultúra Jason Statham Jason Statham végre megmutatta, hogy még mindig tud szórakoztató és izgalmas filmeket készíteni. A méhész hosszú idő után a sztár legjobb akciója. 53 éves korában elhunyt Tordai Tekla színművész Fidelio 2024-01-27 18:00:00 Film Románia Színház A Kolozsvári Állami Magyar Színház színésznőjét január 26-án hajnalban, hosszú évekig tartó, méltósággal, hittel és reménységgel viselt szenvedés után érte a halál – adta hírül a Színház Online a kolozsvári teátrumra hivatkozva. 15 dolog, amit nem tudtál Russell Crowe és Christian Bale westernjéről port.hu 2024-01-28 08:30:00 Film Russell Crowe Christian Bale James Mangold filmje, a Börtönvonat Yumába olyan remake, amiről elmondható, hogy jobb, mint az eredeti. A Gianni Schicchi és a Carmina Burana bemutatóját is megtartotta a Kecskeméti Katona József Nemzeti Színház Színház.online 2024-01-28 09:47:51 Színpad Színház Kecskemét Nemzeti Színház Katona József Színház Igazi komolyzenei klasszikusok debütáltak péntek este a Kecskeméti Katona József Nemzeti Színház nagyszínpadán, ezúttal opera és balett formájában. A Gianni Schicchi és a Carmina Burana a már bevált rend szerint egymást követő két felvonásban mutatkozott be. Látni lehetett, hogy nem mindennapi film készül Origo 2024-01-28 09:37:39 Film Koltai Lajos Koltai Lajos úgy kezeli a zenét, mint a legnagyobb európai filmesek, például Fellini – mondta az Origónak a Semmelweis című, hihetetlen sikerű film zeneszerzője, Pacsay Attila. Szerb és orosz közönsége is van a magyar színháznak Újvidéken kultura.hu 2024-01-27 18:30:00 Színpad Szerbia Színház Kosztolányi Dezső Urbán András rendező, igazgató nevéről a szabadkai Kosztolányi Dezső Színház jut eszünkbe, ám egy ideje már az Újvidéki Színház élén áll. Friss igazgatóként csupán kicsivel több mint fél éve került Újvidékre, de már ennyi is elég volt, hogy pezsgést indítson be az idén ötvenéves intézményben. 2500 maskarás búcsúztatja a telet idén a mohácsi busójáráson Koncert.hu 2024-01-28 10:33:11 Zene Baranya Tavasz Mohács Busójárás A tervek szerint minden eddiginél több, 2500 maskarás és 71 busócsoport vesz részt a mohácsi, téltemető, tavaszköszöntő népszokáson, az idén február 8. és 13. között zajló busójáráson. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.
Te is hátast dobsz a 4 most legnépszerűbb bűnügyi sorozattól in.hu 2024-01-27 20:02:01 Film USA Netflix A streamingszolgáltatók nem hagynak minket belesüllyedni a téli depibe: most is kidobtak pár újdonságot, amibe érdemes belemerülni a kanapédról.Igazi amerikai rémálomA Netflixen jelenleg az Igazi amerikai rémálom az egyik legnépszerűbb sorozat, nem véletlenül. Az újdonság egy igaz krimi-dokumentumsorozat, mely egy kaliforniai nő 2015-ös elrablásána Híres magyar férfiak, akik szakítás után sikeresebbek lettek, mint párjuk Joy 2024-01-27 19:30:00 Bulvár Párkapcsolat Egy szakítás, válás mindig fájdalmas és talán az egyik legnehezebb döntés életünk során, főleg ha az illető nagy hatást gyakorolt ránk. Újdonságok a Netflixen: 6 premierfilm és sorozat, amit a jövő héten nézhetsz" Mafab 2024-01-27 18:04:02 Film Netflix Ha egy pillanatra is elgondolkodtatok azon, vajon mennyire környékez meg titeket az unalom a következő héten, nem kell aggódni, a Netflix ezúttal is gondoskodik róla, hogy ez ne történjen meg. A streamingszolgáltató olyan vadonatúj tartalmakkal kényzetet majd bennünket, mint A popzene legjobb éjszakája, ami a "We are the world" című szám felvételén A film, amelyet minden békepártinak látnia kell Telex 2024-01-27 19:35:38 Film Ukrajna Fesztiválok Dokumentumfilm Szombaton indult a Budapesti Nemzetközi Dokumentumfilm Fesztivál. Az ukrán kormányt testközelből bemutató Harcban című film emlékeztet arra, hogy a világ egyszer már kipróbálta, milyen, ha nem reagál az orosz agresszióra. A méhész - Ezt lehet csípni! SG.hu 2024-01-27 18:08:36 Film Kultúra Jason Statham Jason Statham végre megmutatta, hogy még mindig tud szórakoztató és izgalmas filmeket készíteni. A méhész hosszú idő után a sztár legjobb akciója. 53 éves korában elhunyt Tordai Tekla színművész Fidelio 2024-01-27 18:00:00 Film Románia Színház A Kolozsvári Állami Magyar Színház színésznőjét január 26-án hajnalban, hosszú évekig tartó, méltósággal, hittel és reménységgel viselt szenvedés után érte a halál – adta hírül a Színház Online a kolozsvári teátrumra hivatkozva. 15 dolog, amit nem tudtál Russell Crowe és Christian Bale westernjéről port.hu 2024-01-28 08:30:00 Film Russell Crowe Christian Bale James Mangold filmje, a Börtönvonat Yumába olyan remake, amiről elmondható, hogy jobb, mint az eredeti. A Gianni Schicchi és a Carmina Burana bemutatóját is megtartotta a Kecskeméti Katona József Nemzeti Színház Színház.online 2024-01-28 09:47:51 Színpad Színház Kecskemét Nemzeti Színház Katona József Színház Igazi komolyzenei klasszikusok debütáltak péntek este a Kecskeméti Katona József Nemzeti Színház nagyszínpadán, ezúttal opera és balett formájában. A Gianni Schicchi és a Carmina Burana a már bevált rend szerint egymást követő két felvonásban mutatkozott be. Látni lehetett, hogy nem mindennapi film készül Origo 2024-01-28 09:37:39 Film Koltai Lajos Koltai Lajos úgy kezeli a zenét, mint a legnagyobb európai filmesek, például Fellini – mondta az Origónak a Semmelweis című, hihetetlen sikerű film zeneszerzője, Pacsay Attila. Szerb és orosz közönsége is van a magyar színháznak Újvidéken kultura.hu 2024-01-27 18:30:00 Színpad Szerbia Színház Kosztolányi Dezső Urbán András rendező, igazgató nevéről a szabadkai Kosztolányi Dezső Színház jut eszünkbe, ám egy ideje már az Újvidéki Színház élén áll. Friss igazgatóként csupán kicsivel több mint fél éve került Újvidékre, de már ennyi is elég volt, hogy pezsgést indítson be az idén ötvenéves intézményben. 2500 maskarás búcsúztatja a telet idén a mohácsi busójáráson Koncert.hu 2024-01-28 10:33:11 Zene Baranya Tavasz Mohács Busójárás A tervek szerint minden eddiginél több, 2500 maskarás és 71 busócsoport vesz részt a mohácsi, téltemető, tavaszköszöntő népszokáson, az idén február 8. és 13. között zajló busójáráson. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.
New general director of Anchorage Opera Ben Robinson directed the recent production of Donizetti's The Elixir of Love. We talk about the bold choices he made with that production. We also discuss Anchorage Opera's upcoming production of Scalia/Ginsburg which explores the friendship between the late US Supreme Court justices Ruth Bader Ginsburg and Antonin Scalia. In addition to serving as General Director of Anchorage Opera, Ben is also the artistic director of Opera Ithaca in New York and Raylnmor Opera in New Hampshire. He is the managing director of LyricFest in Philadelphia. Opera News called his Julia Child inspired film version of the Humberdinck opera Hansel and Gretel, “moving, visually daring.” That film joined the Opera Philadelphia Channel and was streamed last summer in a series of outdoor events. His production of Gianni Schicchi for Opera Ithaca in 2020 was described by Opera Magazine as “the deftest use of covid-era technology as part of modern operatic reality.”To purchase tickets to Anchorage Opera, visit AnchorageOpera.org Links to Clips in the show:Puccini's "Nessun Dorma" from Turandot sung by Luciano PavarottiPuccini's "Si, mi chiamano Mimì" from La Bohème sung by Martina Arroyo Donizetti's "Una furtiva lagrima" from L'elisir d'amore sung by Juan Diego FlorezWagner's "Hojotoho!" from Die Walküre sung by Alexandra LoutsionComposer/librettist Derrick Wang's "TED Talk" on Scalia/GinsburgSupreme Court Justice Ruth Bader Ginsburg discusses Scalia/Ginsburg
SynopsisOn today's date in 1918, the Metropolitan Opera in New York offered the world premiere performance of not one, not two, but three new operas by Giacomo Puccini.The three one-act operas are collectively billed as Il Trittico, or The Triptych. In order of their presentation at the Met, the triptych consisted of Il Tabarro (The Cloak), a rather sordid tale of passion and murder, followed by a sentimental tear-jerker titled Suor Angelica (Sister Angelica, after its Romantic heroine), and, for a comic finale, Gianni Schicchi, titled after the resourceful hero of its comic plot.Musical America reported a warm welcome for the three new Puccini operas, but did find Il Tabarro “in the main, black and brutal.” In that journal's opinion, the hit of the evening was the comic opera, Gianni Schicci. In particular, one brief soprano aria from that opera so pleased the first-night audience that it had to be encored.Over time, this little aria, “O Mio Babbino Caro,” has become one of Puccini's greatest hits and has even cropped up in the soundtracks of movies such as A Room With a View and G.I. Jane.Music Played in Today's ProgramGiacomo Puccini (1858-1924) Gianni Schicchi; Angela Gheorghiu, soprano; London Symphony; Antonio Pappano, cond. EMI 56587
Wexford Festival Opera's 2023 treats include a Wexford-ated take on Puccini's romp, Gianni Schicchi performed with local volunteers and future stars from Wexford Opera Factory.
Cantante, actor, dramaturgo, promotor cultural, maestro de canto, místico, excéntrico, y activista nudist4, lo facilita autodenominándose una V3dette.Dentro del ámbito operístico ha logrado sobresalir gracias a una presencia escénica brillante, consecuencia de haberse graduado como actor; posee además estudios de danza clásica y pantomima, y amplia experiencia en montajes teatrales para el Instituto Nacional de Bellas Artes. Como ejecutante de música de concierto, su repertorio abunda en la música barroca, piezas Mozartianas y de Lied alemán.Se ha presentado en los escenarios más relevantes del rubro cultural, incluidos el Auditorio Nacional, el Palacio de Bellas Artes y la Sala Nezahualcóyotl de la UNAM, así como distintos teatros y salas de concierto de diversos estados de la república.En ópera debuta en el estreno en México de la ópera El Niño y la Noche del compositor francés Franck Villard, en el papel de Evarist. Ha interpretado roles bufos como Don Magnifico, en La Cenerentola, y Don Bartolo de Il Barbiere di Siviglia, ambas de Gioachino Rossini. Asimismo, en octubre de 2020 estrenó para la Offenbach Operetta Studio la versión cinematográfica de Gianni Schicchi, de Giacomo Puccini, en el rol protagónico, y con quienes sigue trabajando en su formato cinematográfico de operas como II Tabarro de Gaetano Donizetti y Los Siete Pecados Capitales, de Kurt Weill.Desde el inicio de su carrera demostró especial interés en la música tradicional mexicana resaltando los sones, boleros y canciones de protesta, teniendo participaciones eventuales en centros culturales.A partir del 2017 y junto con el maestro Óscar Aguilar conformó múltiples programas de concierto entre los que destacan el Stand Up-Concierto La Chavela... Bien Vargas, un homenaje a la cantante Chavela Vargas en el centenario de su natalicio (con la creación de dicho espectáculo, Alexander Soto celebró diez años de trayectoria artística), el espectáculo Soy lo Prohibido, una recopilación de boleros, y Mi Primera Vez, concierto dedicado a los géneros ranchero, tango y paso doble. Como intérprete de música tradicional resalta su capacidad de transmitir al espectador gracias su calidad interpretativa.Enlaces a su trabajo:https://youtu.be/_ItSYF_kPIYhttps://youtu.be/zXeO6OTto3ghttps://youtube.com/playlist...https://vm.tiktok.com/ZMY6fk9ya/https://vm.tiktok.com/ZMY6fr4mj/ALEXANDER SOTO “Toda una Vdette” conversa con “Neuronautas y el Doc” acerca de su trabajo y trayectoria laboralPara contactarlo:Facebook, Instagram, YouTube, TikTok @AlexanderSotoOficialTwitter @AlexanderSotoOF¡Dale play!#cantante #musica #opera #teatro #actor #dramaturgo #cultura #canto #mistico #activista #vedette #filosofia #inba #concierto #auditorionacional #bellasartes #fonca #solistas #recitaldemúsica #espectaculo #musicacoral #contemporâneo #musicapopular #cabaret #comediamusical #musicales #tradicionalmexicana #sones #boleros #romance #protestante #rancheros #tango #gestióncultural #cultura #docência #tecnicavocal #holístico #OperaComoMedioEspiritual #ConversandoConUribaMeloso #UrbinaMeloso #albur #alburfino #tepito #musico #mexico #cdmx #podacst
Divina comedia Libro de Dante Alighieri CANTO TRIGESIMO EN aquel tiempo en que Juno, por causa de Semele, estaba irritada contra la sangre tebana, como lo demostró más de una vez, Atamas se volvió tan insensato que, al ver acercarse a su mujer, llevando de la mano a sus dos hijos, exclamó: "Tendamos las redes de modo que yo coja a su paso la leona con sus cachorros;" y extendiendo después las desapiadadas manos, agarró a uno de ellos, que se llamaba Learco, le hizo dar vueltas en el aire y lo estrelló contra una roca: la madre se ahogó con el hijo restante. Cuando la fortuna abatió la grandeza de los troyanos, que a todo se atrevían, hasta que el reino fué destruído juntamente con el rey, la triste Hécuba, miserable y cautiva, después de haber visto a Polixena muerta, y el cuerpo de su Polidoro tendido en la orilla del mar quedó con el corazón tan desgarrado, que, fuera de sí, empezó a ladrar como un perro; de tal modo la había trastornado el dolor. Pero ni los tebanos ni los troyanos furiosos demostraron tanta crueldad, no ya en torturar cuerpos humanos, sino ni siquiera animales, como la que vi en dos sombras desnudas y pálidas, que corrían mordiéndose, como el cerdo cuando se escapa de su pocilga. Una de ellas alcanzó a Capocchio, y se le afianzó a la nuca de tal modo, que tirando de él, le hizo arañar con su vientre el duro suelo. El aretino, que quedó temblando, me dijo: —Ese loco es Gianni Schicchi, que va rabioso maltratando a los demás. —¡Oh!—le dije yo—: no temas decirme quién es la otra sombra que va con él, antes que desaparezca, y ojalá no venga a hincarte los dientes en el cuerpo. Me contestó: —Es el alma antigua de la perversa Mirra, que fué amante de su padre contra las leyes del amor honesto: para cometer tal pecado se disfrazó bajo la forma de otra; como aquel que ya se va tuvo empeño en fingirse Buoso Donati, a fin de ganar la "Donna della Torma," testando en su lugar, y dictando las cláusulas del testamento.[38] Cuando hubieron pasado aquellas dos almas furiosas, sobre las cuales había tenido fija mi vista, me volví para mirar las sombras de los otros mal nacidos. Vi uno, que pareciera un laúd, si hubiese tenido el cuerpo cortado en el sitio donde el hombre se bifurca. La pesada hidropesía, que, a causa de los humores convertidos en maligna sustancia, hace los miembros tan desproporcionados, que el rostro no corresponde al vientre, le obligaba a tener la boca abierta, pareciéndose al hético que, cuando está sediento, dirige uno de sus labios hacia la barba y otro hacia la nariz. —¡Oh vosotros, que no sufrís pena alguna (y no sé por qué) en este mundo miserable!—nos dijo—: mirad y estad atentos al infortunio de maese Adam: yo tuve en abundancia, mientras viví, todo cuanto deseé; y ahora, ¡ay de mí!, sólo deseo una gota de agua. Los arroyuelos que desde las verdes colinas del Casentino descienden hasta el Arno, trazando frescos y apacibles cauces, continuamente están ante mi vista, y no en vano; pues su imagen me reseca más que el mal que descarna mi rostro. La rígida justicia que me castiga se sirve del mismo lugar donde he pecado para hacerme exhalar más suspiros. Allí está Romena, donde falsifiqué la moneda acuñada con el busto del Bautista, por lo cual dejé en la tierra mi cuerpo quemado. Pero si yo viese aquí el alma criminal de Guido, o la de Alejandro, o la de su hermano, no cambiaría el placer de mirarlos a mi lado ni aun por la fuente Branda. Una de ellas está ya aquí dentro, si es cierto lo que dicen las coléricas sombras de los que giran por estos sitios; pero ¿qué me importa, si tengo encadenados mis miembros? Si a lo menos fuese yo tan ágil que en cien años pudiera andar una pulgada, ya me habría internado por el sendero, buscándola entre esa gente deforme, a pesar de que la fosa tiene once millas de circunferencia y no menos de media milla de diámetro. Por su causa me veo entre estos condenados: ellos me indujeron a acuñar los florines, que bien tenían tres quilates de liga.
Cedar Rapids Opera brings two comedies to the Brucemore outdoor stage June 22-24, “American Gothical,” a delightful take on the creation of Grant Wood's masterpiece, from the pen of Cedar Rapids native and award-winning composer Robert Lindsay Nassif, and Puccini's “Gianni Schicchi,” in which a family must enlist the help of a scoundrel to help … Continue reading The post Culture Crawl 829 “Goofy & Upbeat…Except For That Guy Dying” appeared first on Jazz 88.3 KCCK.
It's 1969, and a LOT is happening – including some important things at UC Santa Cruz. In the first part of a two-part series, Kyle tells the tale of UCSC's fourth year in existence, featuring (among other things) a restraining order between a Chancellor and the entire student body, a building occupation, and the arrival of Clark Kerr – educator, dreamer, and spiritual founder of UCSC – on the eve of commencement.DISCLAIMER: Sponsored by the Division of Student Affairs and Success and produced by our student podcasters, UCSC Slugcast supports free expression of ideas. Please be aware that the views and opinions expressed by speakers are that of the speaker alone and their appearance on the program does not imply an endorsement of them or any entity they represent. Similarly, views and opinions of University employees or students are their own and do not necessarily reflect the views of Slugcast, the Division of Student Affairs and Success, or the University.MUSIC: MUSIC:“dogtective” by Louie Zong (https://louiezong.bandcamp.com/) (2:12-3:20)“wild pokemon” by Louie Zong (https://louiezong.bandcamp.com/) (10:14-12:01)“O mio babbino caro” from the opera “Gianni Schicchi;” Giacomo Puccini (1858–1924), Giovacchino Forzano (1884–1970), Frances Alda (1879–1952), Public domain, via Wikimedia Commons (11:58-14:30)
nel trentesimo canto il nostro amico Dante incontra persone che hanno falsificato identità, denaro o parole. alla fine Dante osserva una buffa litigata tra Sinone e il maestro Adamo facendo arrabbiare VirgilioDante l'inferno nella divina commedia: Canto ventinovesimo 30 falsari di persona, monete e parola (Griffolino d'Arezzo, mastro Adamo, Sinone, Capocchio, Gianni Schicchi, Mirra, moglie di Putifarre)se hai voglia di farti quattro risate con amici, parlare di attualità, ascoltare cicli interessanti, farci domande e passare un po di tempo in modo spensierato seguici. siamo anche su podcast seguici su www.ioluielaltro.it telegram https://t.me/ioluielaltro facebook https://www.facebook.com/paginaioluielaltro #ioluielaltro #umorismo #risate
XXVIII: The Ninth Bolgia: Schismatics. Mahomet and Ali. Pier da Medicina, Curio, Mosca, and Bertrand de BornXXIX: Geri del Bello. The Tenth Bolgia: Alchemists. Griffo- lino d' Arezzo and CapocchinoXXX: Other Falsifiers or Forgers. Gianni Schicchi, Myrrha, Adam of Brescia, Potiphar's Wife, and Sinon of Troy
Puccini's El Trittico - three one act operas in one performance by Scottish opera in a co-production with Welsh National Opera of ‘El Trittico' directed by Sir David McVicar in Glasgow and Edinburgh with audio description. Puccini's El Trittico a trio of one-act operas of love and loss, El Trittico runs the gamut from high drama and heart-breaking tragedy to devilish black comedy and farce. Il Tabarro (The Cloak) sees a wife trapped in a marriage she yearns to escape, Suor Angelica (Sister Angelica) an outsider forced into a life for which she has no vocation, and Gianni Schicchi a dysfunctional family caught in the snare of a shameless conman. RNIB Connect Radio's Toby Davey was joined by Helen Lambert one of Scottish Opera's Audio Describers to find out a bit more about the two up-coming described performances of El Trittico. Hellen began by giving Toby a bit of background to the story of each of the three operas, an idea of how the set and costumes will look and what the whole Scottish opera audio described experience would be like for blind and partially sighted people coming to the two up-coming described performances in Glasgow and Edinburgh. Puccini's El Trittico will be audio described at the Theatre Royal, Glasgow on Saturday 18 March and also at the Festival Theatre, Edinburgh on Saturday 25 March with both performances at 6pm with Touch Tours starting at 4.30pm. More details about these and other Scottish Opera audio described performances can be found by visiting- https://www.scottishopera.org.uk/access Image: Scottish Opera logo
Lauretta: Renata Scotto | Nella: Betsy Norden | Ciesca: Marcia Baldwin | Zita: Lili Chookasian | Gianni Schicchi: Frank Guarrera | Rinuccio: Raymond Gibbs | Gherardo: Charles Anthony | Betto: Russell Christopher | Marco: Gene Boucher | Simone: Raymond Michalski | Gherardino: Lawrence Klein | Spinelloccio: Richard Best | Amantio: Andrij Dobriansky | Pinellino: Herman Marcus | Guccio: Edmond Karlsrud
Per il testo, iscriviti a https://italianoconletteratura.substack.com
Per il testo, iscriviti a https://italianoconletteratura.substack.com
For the season one finale episode of the Ampersand Manifesto, producer Naomi Tepper interviews Jessica Wan, creator and host of The Ampersand Manifesto who is a leadership coach & singer. Jessica's first Ampersand journey was as a double major in Product Design and Music, Vocal Performance as an undergrad at Stanford. She started her musical journey playing piano, violin, oboe, and the bass drum in marching band. Today, as a singer, Jessica enjoys performing opera, art song, musical theatre, jazz, and pop music. She holds an MBA from UC Berkeley's Haas School of Business. Jessica's career as a marketing leader has spanned the worlds of design, tech, startups, arts nonprofits, and education. For the past decade, she built and grew marketing teams, and it was through team leadership that she realized that coaching was her true passion. Are you a high achiever, a leader in your workplace, a person with many interests, maybe even an Ampersand? Well, guess what? Jessica works with people just like you. Jessica can help you navigate change, stay true to your values, and thrive as a leader. Learn more at jessicawan.com. She reads every single message. Credits Produced and Hosted by Jessica Wan Co-produced, edited, and sound design by Naomi Tepper Theme music by Denys Kyshchuk and Stockaudios from Pixabay Music excerpts "Der Hirt auf dem Felsen" (Shepherd on the Rock) by Franz Schubert. Jessica Wan, soprano, Natalie Parker, clarinet, Laura Dahl, piano. "O mio babbino caro," from Giacomo Puccini's opera Gianni Schicchi. Jessica Wan, soprano, Kevin Korth, piano.
As you can tell from the heading, Jay plays “Mood Indigo” in this episode—or rather, Ella Fitzgerald sings it. There is more jazz at the end, as the Oscar Peterson Trio does up “Tangerine.” This episode also includes an aria by Puccini—two versions of it. Then there is a rare and wonderful tone poem by Liszt. And more. Highly interesting, and nourishing. Chopin, Etude in C minor, Op. 10, No 2 (“Revolutionary”) Ellington, “Mood Indigo” Puccini, “Aria di Rinuccio” from “Gianni Schicchi” (in Italian) Puccini, “Rinuccio's Aria,” from “Gianni Schicchi” (in English) Liszt, Symphonic Poem No. 13, “From the Cradle to the Grave” Puccini, “Senza mamma” from “Suor Angelica” Schertzinger, “Tangerine”
"Being part of an ensemble taught me to look not just at my line but at all the music. The composer gives you so much information in the orchestra that you don't get from just the vocal line. That really informs your character. It allows me to be more fun and more creative if I can focus on being part of the whole at any given time."Bass Benjamin Sieverding of Minneapolis, MN has gained notice for his “resonant, expressive bass” (StarTribune). He most recently made his Metropolitan Opera debut as one of the Offstage Voices/Jury in Brett Dean's Hamlet. In 2022, he also made his Intermountain Opera Bozeman debut as Mr. Noble (Pish-Tush) in The Montana Mikado. In 2021, he made his Tulsa Opera debut as Betto in Gianni Schicchi and his Omaha Symphony debut performing excerpts from Mozart's Requiem and Handel's Messiah. In 2020, he was slated to return to Minnesota Opera to sing the roles of Bull and Neal in the world premiere of Edward Tulane, to make his Austin Opera debut as the Mandarin in Turandot, reprise the Dough's Mate in Companionship with Virginia Arts Festival, reprise Doctor Grenvil in La traviata with Out of the Box Opera, and return to Mill City Summer Opera as Sparafucile/Ceprano in Rigoletto. Mr. Sieverding has performed several roles with Minnesota Opera including Alfred Austrian in The Fix, Prison Warden George Benton in Dead Man Walking, Colline in La bohème, Frère Laurent in Roméo et Juliette, Sacristan in Tosca, and Sarastro in Die Zauberflöte. Other recent performances include appearances with South Dakota State Symphony, Madison Opera, Glacier Symphony, Pacific Symphony, Fort Worth Opera, Opera in the Heights, Opera South Dakota, Lakes Area Music Festival, and Madison Symphony Orchestra. In the upcoming season, Mr. Sieverding returns to Minnesota Opera, The Metropolitan Opera, and Madison Opera.To get in touch with Ben, you can visit his website: www.benjaminsieverding.com.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson from Pexels
We've been to Thebes and Troy. We've seen two rabid souls arrive to tear up old Capocchio and maybe the other alchemist. But who are these rabid pigs? Impersonators. People who pretend to be who they're not. You know, most of the modern world. Join me, Mark Scarbrough, as we look closely at the two impersonators in the last of the evil pouches (the "malebolge") of fraud in the giant eighth circle of Dante's INFERNO. Here are the segments for this episode of WALKING WITH DANTE: [01:27] My English translation of the passage: INFERNO, Canto XXX, lines 34 - 45. If you'd like to read along or drop a comment about this episode, please go to my website, markscarbrough.com. [03:03] The first rabid soul: Myrrha, a figure of incestuous love from Ovid's METAMORPHOSES. [07:30] The second rabid soul: Gianni Schicchi, a connection to the Donati family (from whom Dante's wife, Gemma, comes). [11:50] Two structural points: 1) There's so much twinning in the tenth evil pouch (or the tenth of the malebolge) of the falsifiers in INFERNO. [14:04] 2) There's a reference to the Gospel of Matthew 8: 28 - 34 running under this passage. [16:57] Two speculative questions: 1) Why are there so few women in hell? [23:14] 2) Why is impersonating someone such a terrible sin? [25:41] Maybe modern narratives need non-fluid characters to work.
We've come to the most complex opening of any canto in INFERNO. Canto XXX opens with two, long allusions about the tragedy of Thebes and Troy, both of which morph into similes for the damned, a medieval literary tour de force. Join me, Mark Scarbrough, as we stick around the final of the evil pouches (the "malebolge") of fraud, the eighth circle of Dante's INFERNO. We're almost done with fraud, but Dante saves the best for last: a canto that's part funny, part horrific, part repulsive, and part elegant. In other words, the heights of the poet's art. Here are the segments for this episode of WALKING WITH DANTE: [01:39] My English translation of the passage: INFERNO, Canto XXX, lines 1 - 33. If you'd like to read along or drop a comment, head over to my website, markscarbrough.com. [04:53] The ornate, elaborate opening of Canto XXX: two classical allusions, one about Thebes and the other about Troy. [06:00] The first allusion: to Thebes, from Ovid's METAMORPHOSES. [11:55] The second allusion: to Troy, again from Ovid's METAMORPHOSES. [15:49] A summary of these two opening allusions. [17:00] Morphing the allusions into similes. [19:46] The wealth of animal imagery in the passage--and madness as the final metamorphosis. [22:22] The plot (finally!) at the end of this long passage: Capocchio dragged off. [23:58] A bit about this rabid soul: Gianni Schicchi. [25:38] The biggest disruption of human civilization: contagion. [29:34] Canto XXX as the heart of falsification--and Dante's art. [32:02] Rereading INFERNO, Canto XXX, lines 1 - 33.
„Il trittico“, das Tryptichon ist die Zusammenfassung von drei einaktigen Opern zu einem Ganzen. Giacomo Puccini hat ein solches Tryptichon geschaffen. Gestern ging die Premiere der Salzburger Festspiele im Großen Festspielhaus über die Bühne. radio klassik Stephansdom Opernliebhaber Richard Schmitz berichtet. „Il trittico“ wird sehr selten an einem Abend gespielt. Es ist das Verdienst der Salzburger Festspiele, alle drei Opern ins Programm genommen zu haben. Mit der Oper „Gianni Schicchi“ ist Giacomo Puccini ähnliches gelungen wie Giuseppe Verdi mit „Falstaff“. Mit der Konzentration der Ausdrucksmittel ist eine Partitur entstanden, die keinen Ton zu viel aber auch keinen zu wenig enthält. Es geht um die Fälschung eines Testamentes im Florenz der Renaissance und um den pfiffigen Bauern Gianni Schicchi. Köstlich wird die geldgierige Familie des Erblassers karikiert. Nach dieser Oper versteht man nicht, dass Gianni Schicchi bei Dante in dessen Divina Commedia in der Hölle schmort. Die zweite Oper führt in die Welt der kleinen Hafenarbeiter an der Seine in Paris. Michele, der Besitzer eines kleinen Frachtkahns erdrosselt seinen Gehilfen Luigi, weil dieser ihn mit seiner Frau Giorgetta betrügt. Die Leiche wird unter einem Mantel versteckt. Deshalb „Il tabarro“, der Mantel. Giacomo Puccini und sein Librettist Giuseppe Adami haben da eine Vertiefung eines banalen Eifersuchtsmordes zu einer psychologischen Tragödie geschrieben. Mit Giovacchino Forzano, der schon für „Gianni Schicchi“ das Textbuch geschrieben hatte, entstand „Suor Angelica“, die Geschichte eines adligen Mädchens, das nach der Geburt eines unehelichen Sohnes ins Kloster gesteckt wurde und dort Selbstmord begeht, als sie erfährt, dass ihr Sohn schon vor zwei Jahren gestorben ist. Alle drei Opern sind vollwertige Werke; ob man sie wirklich in dieser Reihenfolge spielen muss, bleibe dahingestellt. Christof Loy verlegt die Handlungen in die Gegenwart und erzählt die Geschichten schnörkellos in praktikablen Bühnenbildern von Etienne Pluss. Das geht sich bei den beiden ersten Opern gut aus. Erbschaftsstreitigkeiten und Frauenmord im Transportgewerbe gibt es auch heute. Bei Schwester Angelica spießt es sich. Schon im 19. Jahrhundert hat man keine Mädchen mehr ins Kloster gesperrt, weil sie ein uneheliches Kind zur Welt gebracht haben; heute schon gar nicht. Selbstverständlich liegt es nahe die drei Stücke aufzuführen, wenn man eine Singschauspielerin wie Asmik Grigorian zur Verfügung hat. Und tatsächlich ist sie das Ereignis des Abends. Als Lauretta kann sie ihren Vater überreden, ein Verbrechen zu begehen, als Giorgetta erleidet sie die Zerrüttung ihrer Ehe und entdeckt ihren toten Geliebten unter dem Mantel, schließlich erlebt sie als Angelica unerfülltes Mutterglück. Asmik Grigorian setzt ihren geschmeidigen, wunderbaren Sopran ein und kann mit Puccinis Hilfe zu Tränen rühren. Nur bei der Angelica fällt ihr das schwer, da spießt sich einiges, die lässt kalt. Wie auch die Tante Prinzessin von Karita Mattila. Eine blonde Businesstussy im Kostüm kann kaum Entsetzen und Wut hervorrufen. Die sollte viel herrischer und boshafter klingen. Überlegen und pfiffig Misha Kiria als Gianni Schichi, nachdenklich bis zum Mord Roman Burdenko als Michele. Die übrigen 23 Sängerinnen und Sänger kann ich nicht alle aufzählen, aber sie hatten alle Festpielniveau. Dass die Wiener Philharmoniker mit Franz Welser-Möst prächtig harmonisierten, braucht man nicht zu betonen. Das Publikum war begeistert - auch ich war es nach den ersten zwei Opern. Meine Einschätzung der „Angelica“ hat sich auch nach dieser luxuriösen Realisation nicht verbessert. W
Les deux guerres mondiales impactent profondément la Monnaie. Un homme tient la barre pendant ces années de défis : Corneil de Thoran. Surnommé « le gentilhomme au pupitre », il dirige d'abord l'Orchestre et puis deviendra directeur de la Monnaie pendant plusieurs années. Côté répertoire, les œuvres de Wagner, trop associées à l'envahisseur, sont écartées. C'est désormais la musique de Puccini, Stravinsky, Berg ou encore Milhaud qui résonne dans la fosse d'orchestre. Les difficultés financières et les luttes sociales qui marquent les périodes de l'entre-deux guerres et de l'après-guerre n'empêchent pas la Monnaie et ses musiciens de proposer au public de surprenantes et ambitieuses créations comme, par exemple, l'Antigone de Honegger en 1927. Consultez également la page dédiée à notre programmation anniversaire. Extraits musicaux Gianni Schicchi, G. Puccini Sacre du Printemps, I. Stravinsky L'ange de feu, S. Prokofiev Wozzeck, A. Berg Die Fledermaus, J. Strauss Die Zauberflöte, W.A. Mozart Boléro, M. Ravel script original et recherches : Thierry Loreau édition : La Monnaie / De Munt voix : Olivia Wahnon de Oliveira et Xavier Falques enregistrements : La Monnaie / De Munt réalisation : La Monnaie / De Munt montage et mixage : Leslie Guttierez co-production : La Monnaie / De Munt & Musiq3 producteur exécutif : Musiq3 Merci à Zoé, Jan et Sybille des Archives de la Monnaie pour leur aide et leurs conseils précieux. Merci à Geert, Philippe et Lucie pour leur soutien technique et créatif indéfectible. Merci à Leslie pour le montage et merci à Thierry pour ses recherches, ses souvenirs musicaux. Merci à Olivia et Xavier d'avoir prêté leurs voix à ces histoires.
Il trittico, Il tabarro di Giacomo Puccini https://open.spotify.com/album/2TwBW19PyURvb1MHlrYGME?si=-pEP55c-QPWupJe7v50IXg&utm_source=copy-link http://www.murashev.com/opera/Il_trittico_(Il_tabarro,_Suor_Angelica,_Gianni_Schicchi)_libretto_Italian
Mallory Harding, mezzo-soprano, and Artistic Director of New Moon Opera joins the show to discussBiographyChicago-based mezzo-soprano Mallory Harding most recently performed with Haymarket Opera in their filmed production of Acis and Galatea, and previously covered the role of Maxualinda and sang in the chorus in their production of The Dragon of Wantley by John Frederick Lampe. As a founding member and the Artistic Director of New Moon Opera, Mallory has appeared as Zita in Gianni Schicchi, Armelinde in Pauline Viardot's Cendrillon, Croûte-au-Pot in Mesdames de la Halle by Offenbach, Dinah in Trouble in Tahiti, and Hansel in Hansel and Gretel.Ms. Harding performed with Evanston Chamber Opera in the world premiere of Joseph's Gift by Francis Lynch as Alto Narrator and was hailed as "simply fanastic" (Aaron Hunt, Chicago Theatre Review). She frequently performs with Vox 3 Collective and has sung the roles of Line and Agathe in their Chicago premiere of Carl Nielsen's Maskerade, in addition to appearing in numerous Vox 3 cabarets and recitals all over the city of Chicago. She also is the alto section leader and cantor at St. Francis Xavier Catholic Church in Wilmette.Mallory Harding received her Master of Music degree from the University of Missouri-Columbia in 2012, where she performed the roles of Tisbe in La Cenerentola and Valencienne in The Merry Widow.Visit Creative Peacemeal Podcast on social media, browse podcast swag, and continue the creative conversations via the blog!Website https://tstakaishi.wixsite.com/musicInstagram @creative_peacemeal_podcastFacebook https://www.facebook.com/creativepeacemealpod/RedBubble Merch Shop: CPPodcast.redbubble.com
Donald Macleod delves into the operas of Giacomo Puccini Giacomo Puccini was man of the theatre to his fingertips. Born in Lucca in 1858, into a distinguished family of church musicians, Puccini was never destined to follow in his forebears' footsteps. His fate was sealed when as a teenager he walked thirty miles to hear Verdi's Aida. He knew immediately that theatre was his calling and from that point on he wrote almost exclusively for the stage. A perfectionist and an often unreasonable taskmaster, Puccini agonised over each of his operas. Beginning with Manon Lescaut, the opera that launched Puccini internationally, this week Donald Macleod follows the off and the on-stage dramas of La Boheme, Tosca, Madam Butterfly, La fanciulla del West, Suor Angelica, Gianni Schicchi, Il tabarro and the opera he left incomplete at his death in 1924, his final masterpiece, Turandot. The stories on stage are interleaved with events in his personal life, from an early scandal over his affair with a married woman and some very dodgy skulduggery in his business dealings, to the suicide of one of his servants, a tragedy of such proportion, he was plunged in to a deep depression, haunted by the events for the rest of his life. This week, Donald Macleod celebrates a composer whose music expresses every human emotion, there's a host of landmark recordings, including the voices of Jonas Kaufmann, Angela Gheorghiu, Anna Netrebko and Roberto Alagna. We'll hear Mimì's touching calling card from La Boheme, in the classic Victoria de los Angeles version, while Renato Scotto pours all Madam Butterfly's hopes into the heart-breaking Un bel dì. There's the raw pain of Sister Angelica mourning her dead son, and the dark desperation of a jealous husband in Il tabarro. On Wednesday Callas and Gobbi's anguished, sadistic torture scene in Tosca still has the power to shock us as much as it did on its first night in 1900. It's high stakes and nail-biting tension in La fanciulla del West as Minnie trades the life of her outlaw lover on the outcome of a card game. Joan Sutherland's icy Princess Turandot, a magnificent pairing with Luciano Pavarotti's Prince Calaf comes on Friday along with a certain aria made famous by the 1990 world cup, heard here in the hands of another Puccini specialist, Jussi Björling. Music Featured: Manon Lescaut, Act 1: Donna non vidi mai Le Villi, Act 1: Preghiera: Angiol di dio Messa di Gloria (Credo) Crisantemi Manon Lescaut, Act 2: Dispettosetto questo Riccio!; In quelle trine morbide Manon Lescaut, Act 4: Sola, perduta, abbandonata; Fra le tue bracce amore La Bohème, Act 1: Mi chiamano Mimì La Bohème, Act 1: Pensier profondo!; Legna!; Si può Capriccio sinfonico La Bohème, Act 3: Donde lieta uscì; Dunque è proprio finita….Addio, dolce svegliare Tosca, Act 1 (excerpt) Tosca, Act 1: Ah! Finalmente (excerpt) Vissi d'arte, Act 2 (excerpt) Tosca, Act 2 (excerpt) Tosca, Act 3 (excerpt) Madama Butterfly, Act 1 (excerpt) Madama Butterfly, Act 1: Viene la sera; Vogliatemi bene Gianni Schicchi (O mio babbino caro) Gianni Schicchi (excerpt) Il tabarro (Nulla silenzio!) La fanciulla del West, Act 1 (excerpt) La fanciulla del West, Act 2: Una partita a poker! Suor Angelica (excerpt) Turandot (Nessun Dorma) Madam Butterfly, Act 2: Un bel dì vedremo Madam Butterfly, Act 2: Una nave da guerra; Scuoti quella fronda di ciliegio; Or vieni ad adornar Turandot, Act 1: In Questa Reggia; Ascolta straniera; Gloria o vincitore! La Boheme, Act 4: Fingevo dormire Presented by Donald Macleod Produced by Johannah Smith For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Giacomo Puccini (1858-1924) https://www.bbc.co.uk/programmes/m0012rn4 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z
Episode 1684: Our article of the day is Gianni Schicchi.
Vielleicht haben Sie Rosa Feola vor vier Jahren im Münchner Nationalthater gesehen: als Lauretta in Puccinis "Gianni Schicchi". Oder als Gilda in Verdis "Rigoletto". Gerade ist sie wieder in München und singt die Micaela in Bizets "Carmen". BR-KLASSIK-Moderator Michael Atzinger hat mit Rosa Feola gesprochen - zwei Stunden vor Vorstellungsbeginn.
Many nations have a national poet, whose poetry helps carve out their own unique cultural niche in human civilization. Italy has enjoyed many literary geniuses for over two millennia, but still looks to one man the most: Dante. Like major poets in other cultures, Dante's influence on the Italian language can hardly be overstated. The Divine Comedy was the first major work of literature to leave Latin behind in favor of Italian, and it remains the world standard of poetic excellence. Dante's fertile imagination also inspired artists, writers and theologians, making him almost as influential about the afterlife as he is linguistically. Join Humanities West in person at The Commonwealth Club, or via livestream, to celebrate the 700th Anniversary of Dante's death—which ironically occurred not that many months after he completed his speculations about post-death possibilities—with a two-hour, three-lecture Dante feast: • Timothy Hampton on "Dante After Dante: the Forms of Memory." Though there were many "in the know" about the achievement of Dante's great poem during his lifetime, his vast influence on Italian poetry and world literature was uneven in the centuries following his death. In some areas of artistic creation—for example, in the painting of Botticelli—Dante was powerfully present. In other areas (poetry, philosophy, literary criticism) his influence was definite, but diffuse and oblique. This lecture will speak about the ways in which Dante's work did and didn't shape Italian and European culture in the early modern period. • Kip Cranna on "Dante at the Opera: From the Divine Comedy to a Comic Puccini Delight." In "The Inferno," part one of The Divine Comedy, Dante introduces the condemned sinner Gianni Schicchi, consigned to the Eighth Circle of Hell along with others guilty of fraud. His crime: impersonating the deceased Buoso Donati to falsify Buoso's will for his own benefit. Dante personally knew the Donatis (he was married to one), and therein lies an intriguing tale of medieval Florentine society. The story of this fraudulent will and the legend surrounding it became the inspiration for the famed composer Giacomo Puccini's only comic opera. After outlining the Dante-Puccini connection, San Francisco Opera's Dramaturg Emeritus Kip Cranna will present brief video highlights from the opera Gianni Schicchi, including the ever-popular aria "O mio babbino caro." • Marisa Galvez on "Dante Before Dante Become Dante." In retrospect it almost seems like Dante invented Italian literary culture, but he arrived on the Italian literary scene as a love poet—an admirer of courtly love and the troubadour traditions which had begun a century earlier in Occitania, and had spread to Italy, Spain and then most of Europe. Dante defined the troubadour lyrics as rhetorical, musical and poetical fiction — which is also a good description of The Divine Comedy. NOTES MLF: Humanities Note: This program contains EXPLICIT language. SPEAKERS Kip Cranna Dramaturg Emeritus, San Francisco Opera Marisa Galvez Professor of French and Italian, and by Courtesy, of German Studies and Comparative Literature; Faculty Director, Structured Liberal Education, Stanford University Timothy Hampton Aldo Scaglione and Marie M. Burns Distinguished Professor of French and Comparative Literature; Director, Doreen B. Townsend Center for the Humanities, University of California, Berkeley George Hammond —Moderator In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on October 22nd, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices
Many nations have a national poet, whose poetry helps carve out their own unique cultural niche in human civilization. Italy has enjoyed many literary geniuses for over two millennia, but still looks to one man the most: Dante. Like major poets in other cultures, Dante's influence on the Italian language can hardly be overstated. The Divine Comedy was the first major work of literature to leave Latin behind in favor of Italian, and it remains the world standard of poetic excellence. Dante's fertile imagination also inspired artists, writers and theologians, making him almost as influential about the afterlife as he is linguistically. Join Humanities West in person at The Commonwealth Club, or via livestream, to celebrate the 700th Anniversary of Dante's death—which ironically occurred not that many months after he completed his speculations about post-death possibilities—with a two-hour, three-lecture Dante feast: • Timothy Hampton on "Dante After Dante: the Forms of Memory." Though there were many "in the know" about the achievement of Dante's great poem during his lifetime, his vast influence on Italian poetry and world literature was uneven in the centuries following his death. In some areas of artistic creation—for example, in the painting of Botticelli—Dante was powerfully present. In other areas (poetry, philosophy, literary criticism) his influence was definite, but diffuse and oblique. This lecture will speak about the ways in which Dante's work did and didn't shape Italian and European culture in the early modern period. • Kip Cranna on "Dante at the Opera: From the Divine Comedy to a Comic Puccini Delight." In "The Inferno," part one of The Divine Comedy, Dante introduces the condemned sinner Gianni Schicchi, consigned to the Eighth Circle of Hell along with others guilty of fraud. His crime: impersonating the deceased Buoso Donati to falsify Buoso's will for his own benefit. Dante personally knew the Donatis (he was married to one), and therein lies an intriguing tale of medieval Florentine society. The story of this fraudulent will and the legend surrounding it became the inspiration for the famed composer Giacomo Puccini's only comic opera. After outlining the Dante-Puccini connection, San Francisco Opera's Dramaturg Emeritus Kip Cranna will present brief video highlights from the opera Gianni Schicchi, including the ever-popular aria "O mio babbino caro." • Marisa Galvez on "Dante Before Dante Become Dante." In retrospect it almost seems like Dante invented Italian literary culture, but he arrived on the Italian literary scene as a love poet—an admirer of courtly love and the troubadour traditions which had begun a century earlier in Occitania, and had spread to Italy, Spain and then most of Europe. Dante defined the troubadour lyrics as rhetorical, musical and poetical fiction — which is also a good description of The Divine Comedy. NOTES MLF: Humanities Note: This program contains EXPLICIT language. SPEAKERS Kip Cranna Dramaturg Emeritus, San Francisco Opera Marisa Galvez Professor of French and Italian, and by Courtesy, of German Studies and Comparative Literature; Faculty Director, Structured Liberal Education, Stanford University Timothy Hampton Aldo Scaglione and Marie M. Burns Distinguished Professor of French and Comparative Literature; Director, Doreen B. Townsend Center for the Humanities, University of California, Berkeley George Hammond —Moderator In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on October 22nd, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices
A cura di Paolo PellegriniGianni Schicchi: Tito GobbiLauretta: Victoria de los ÁngelesRinuccio: Carlo del MonteZita: Anna Maria CanaliDirettore: Gabriele SantiniOrchestra del Teatro Reale dell'Opera di Roma
Giacomo Puccini Gianni Schicchi
ArticlesGo Man GoGianni SchicchiEar MountainPithole, Pennsylvania Follow us on the social medias!http://twitter.com/podofwonder & podofwonder at gmail dot comDanny: http://twitter.com/dannyplaysrpgs & http://dannymakesrpgs.itch.ioMorgan: http://instagram.com/morganthefae & http://twitter.com/morgan_the_faeEddie: http://instagram.com/monstersbyed & http://strangebuttruegames.com
Libri: Antonio Tabucchi, Sostiene Pereira (Feltrinelli)..Fernando Pessoa, Poesie di Fernando Pessoa (trad. A. Tabucchi, M.J. de Lancastre, Adelphi)..Barry Lopez, Attraverso spazi aperti (trad. S. Reggiani, Black Coffee)..Richard Ford, Canada (trad. V. Mantovani, Feltrinelli)..Valerio Magrelli, Geologia di un padre (Einaudi)..Valerio Magrelli, Il sangue amaro (Einaudi)..Musica:..Madredeus, Guitarra, Milagre, Céu da Mouraria (Oinda, colonna sonora di Lisbon Story)..U2, Stay (faraway, so close), (Zooropa)..Cave, Ellis, Home, The Road, Story Time (The Road, colonna Sonora)..The Low Anthem, Oh My God, Charlie Darwin (Oh My God, Charlie Darwin)..Teho Tehardo, In limine, Will You Still Jeer, Train of Thought (L'alligatore, colonna sonora)..Arcade Fire, Ready to Start (The Suburbs)..Giacomo Puccini, O mio babbino caro (Gianni Schicchi)..Sharon Van Etten, Seventeen (Remind Me Tomorrow)..Nat King Cole, Quizás, Quizás, Quizás (In the Mood for Love, colonna sonora)..Afterhours, Il mio ruolo (Quello che non c'è)..Film: Lisbon Story, Wim Wenders..Così lontano, così vicino, Wim Wenders..In the Mood for Love, Wong Kar-wai
La Voz Humana en la Música - Gianni Schicchi by Radiotelevisión de Veracruz
The Australian tenor, Gregory Dempsey, was born in Melbourne in1931. He originally trained as a baritone but made his debut as Don Ottavio in Don Giovanni in 1954 with National Opera of Victoria, also appearing as Turiddu in Cavalleria Rusticana and Pedro in d’Albert’s Tiefland. In 1955 he won the £1,000 Lever Award (a commercial radio award) and in 1956 was a grand finalist in the Mobil Quest.When the Elizabethan Trust Opera was formed in 1956 he took part in its season of four operas. The following season, he appeared in their productions of Tosca, La bohème and The Tales of Hoffmann, and in the 1958 season sang principal roles in Carmen, The Barber of Seville and Fidelio. He became a permanent member of the chorus for the Channel 9 television singers. 1960 found him singing Monostatos in The Magic Flute, the First Jew in Salome, Goro in Madama Butterfly and Rinuccio in Gianni Schicchi. During this season, Gregory Dempsey sang a matinee of Goro in Madama Butterfly, followed by Luigi in Il tabarro (replacing another tenor) followed by Rinuccio in Gianni Schicchi. Three roles, quite different roles, in one day!In Perth, he sang in both opera in a double-bill as Mundit – an aborigine – in the 1962 premiere of the Australian opera, Dalgerie and followed with Beppe in Pagliacci after interval. Gregory Dempsey joined Sadler’s Wells Opera in London in 1962 and this was his main UK base for the next fifteen years. His roles there and the Coliseum included Tom Rakewell, Peter Grimes, Jimmy Mahoney, Albert Gregor, Skuratov, Don José, Erik, David, Mime (Das Rhinegold and Siegfried) and the Shepherd in King Roger. He created the role of Boconnion in Richard Rodney Bennet’s The Mines of Sulphur after which one critic wrote “an heroic-villainous part of formidable challenge.” Dempsey appeared as Dionysus in the British premiere of Henze’s The Bassarids and the title role in the first British staging of The Adventures of Mr Brouček. Gregory Dempsey worked frequently with Scottish Opera, in roles including Britten’s Albert Herring, Quint and Lysander, as well as Florestan, Aeneas in The Trojans, David and Števa. Later, with Scottish Opera, he created the role of Bothwell in Musgrave’s Mary, Queen of Scots in 1977. He made his Covent Garden debut in 1972 as Števa, returning as the Drum Major in Wozzeck. In the USA he appeared in San Francisco from 1966, as Albert Gregor and Tom Rakewell.He returned to Sydney to become a member of Opera Australia singing David in Die Meistersinger von Nürnberg, Herman in Queen of Spades, Dimitri in Boris Godunov, Jimmy in The Rise and Fall of the City of Mahagonny, Mime in both Das Rheingold and Siegfried, Trin in La fanciulla del West, Valzacchi in Der Rosenkavalier and Bob Boles in Peter Grimes. With Victoria State Opera he sang Nero in L’incoronazione di Poppea, Il ritorno d’Ulisse in patria, The Magician in The Consul, Monostatos in The Magic Flute, Benoît and Alcindoro in La bohème, Incredible in Andrea Chenier, Prince Populescu in Countess Maritza, Ajax l in La belle Hélène, Jamie in My Fair Lady and Borsa in Rigoletto. With the Adelaide Festival, he was seen as Nero in L’incoronazione di Poppea, Mark in The Midsummer Marriage, Gregor in The Makropulos Case, Zinoviy Borisovich Izmailov in Lady Macbeth of Mtsensk and The Adventures of Mr. Brouček. His clear, perfectly tuned tenor voice was suited to a plethora of different repertoire and styles. From Monteverdi to the most difficult contemporary compositions, Gregory Dempsey made them relevant to every audience. His charm and ever-ready humour made him loved by every colleague.(Text: Brian Castles-Onion)The STAGES podcast is available from Apple podcast, Whooshkaa, Spotify and where you find your favourite podcasts. www.stagespodcast.com.au
On today’s episode, R.J. is joined by Keith Colclough, the Assistant Professor of Voice and the Director of Opera. Colclough received his undergraduate degree from Pepperdine, and then went on to win the Fulbright fellowship to Mannheim, Germany, and later on he was also instructed by the Tanglewood Music Center and the Music Academy of the West, amongst others. His performance credits include but are not limited to solo performances at the LA Philharmonic and Opera Santa Barbara, and later his directing credits would include Pepperdine Opera classics such as Gianni Schicchi, Dido and Aeneas, and Die Fledermaus. Colclough discusses his experience and passion for opera, including how he himself came to the art and how he encourages students to find their own voices. The struggles and triumphs of online learning are delved into, specifically how they relate to the opera program’s upcoming performance of Cendrillon. According to Colclough, the dedication and talent of these students has been remarkable through this process, and it is not a performance to miss! Cendrillon Details Thursday, April 22–Saturday, April 24, 2021 Ticket link: https://www.etix.com/ticket/e/1016886/pepperdine-music-malibu-center-for-the-arts-digital-performances More info about the Center for the Arts can be found: https://arts.pepperdine.edu/visit/digital-resources.html Music Composer: Jeremy Zerbe
durée : 01:27:55 - Le religieux lyrique et symphonique (4/5) - par : François-Xavier Szymczak - Le Comte Ory de Rossini et ses compagnons se déguisent en pieuses pèlerines, les moines des Fiançailles au couvent de Prokofiev vident leurs meilleures bouteilles, et Gianni Schicchi de Puccini récupère malicieusement un héritage destiné à l’église… - réalisé par : Emmanuel Benito
Soprano singer Sara Duchovnay offers us a rare glimpse into the challenging and rewarding life as an opera singer. We learn how focus, training and determination leads you onto the main stage. She shares her inspirational perspective on successfully dealing with rejections and set backs. This episode is for everyone daring to dream big of a life on stage. Besides singing, her love for vintage and antique jewellery led her become a curator, collector, and treasure hunter of beautiful pieces. Addressing this second passion, she set up Songbird Sara Jewelry. Sara has performed the role Lauretta in Gianni Schicchi with Opera Delaware, Stella in A Streetcar Named Desire with Opera San Jose, and Die erste Dienerin in Die ägyptische Helena with Odyssey Opera and Musetta in La bohème. Roles in Sara's current repertoire include the title role in Alcina, the title role in Rusalka, and Leonora in Il trovatore. She made her role debut as Nedda in Pagliacci, under the baton of Steven White. A native of Bryn Mawr, Pennsylvania, Sara holds a Bachelor of Music degree in Vocal Performance from the Hartt School of Music and a Master of Music degree in Vocal Performance from the San Francisco Conservatory of Music. She was a previous studio artist at Opera Santa Barbara as well as an artist in residence at Opera Saratoga. Click here for more: http://www.saraduchovnay.com https://songbirdsaraantiquejewelry.com
En gammel mann trekker sitt siste sukk, og det er mange som mener det er akkurat de som bør arve ham. Ragnhild Motzfeldt tar oss inn i handlingen i denne komiske operaen.
On today’s date in 1918, the Metropolitan Opera in New York offered the world premiere performance of not one, not two, but three brand-new operas by Giacomo Puccini. The three one-act operas are collectively billed as “Il Trittico” or “The Triptych.” In order of their presentation at the Met, the triptych consisted of “Il Tabarro” (or “The Cloak”), a rather sordid tale of passion and murder, followed by a sentimental tear-jerker titled “Suor Angelica” (or “Sister Angelica,” after its Romantic heroine), and, for a comic finale, “Gianni Schicchi,” titled after the resourceful hero of its comic plot. Musical America reported a warm welcome for the three new Puccini operas, but did find “Il Tabarro” “in the main, black and brutal.” In that journal’s opinion, the hit of the evening was the comic opera, “Gianni Schicci.” In particular, one brief soprano aria from that opera so pleased the first night audience that it had to be encored. Over time, this little aria, “O mio babbino caro,” has become one of Puccini’s “Greatest Hits,” and has even cropped up in the soundtracks of a movies like “A Room With a View” and “G.I. Jane.”
On today’s date in 1918, the Metropolitan Opera in New York offered the world premiere performance of not one, not two, but three brand-new operas by Giacomo Puccini. The three one-act operas are collectively billed as “Il Trittico” or “The Triptych.” In order of their presentation at the Met, the triptych consisted of “Il Tabarro” (or “The Cloak”), a rather sordid tale of passion and murder, followed by a sentimental tear-jerker titled “Suor Angelica” (or “Sister Angelica,” after its Romantic heroine), and, for a comic finale, “Gianni Schicchi,” titled after the resourceful hero of its comic plot. Musical America reported a warm welcome for the three new Puccini operas, but did find “Il Tabarro” “in the main, black and brutal.” In that journal’s opinion, the hit of the evening was the comic opera, “Gianni Schicci.” In particular, one brief soprano aria from that opera so pleased the first night audience that it had to be encored. Over time, this little aria, “O mio babbino caro,” has become one of Puccini’s “Greatest Hits,” and has even cropped up in the soundtracks of a movies like “A Room With a View” and “G.I. Jane.”
Der große italienische Komponist Giacomo Puccini, Schöpfer von Opern wie Tosca, La Boheme oder Madame Butterfly, war 1920 62 Jahre alt. Immer noch sehr produktiv war sein letztes umfangreicheres Werk erst zwei Jahre zuvor an der Metropolitan Opera in New York uraufgeführt worden. (Tryptichon aus den Einaktern Il tabarro (der Mantel), Suor Angelica (Schwester Angelika) und Gianni Schicchi). Wie es bis heute üblich ist, empfing er hin und wieder bei sich Journalisten, so auch den Korrespondenten des Berliner Tageblattes Hanns Warning, der in der Ausgabe vom 19. Mai von seinem Gespräch mit Puccini berichtet. Darin geht es nicht zuletzt um dessen Verhältnis zur deutschen Musikszene und um die Aussicht auf kommende Puccini-Aufführungen im Deutschen Reich. Gelesen von Frank Riede.
In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Opera buffa, the beloved old Italian tradition of opera comedy, is what you get by adding music to the even older Italian tradition of improvised (artisanal) comedy, commedia dell’arte. The fools and buffoons of commedia—the sassy wenches, befuddled old professors, suicidal young lovers, dirty old misers, hungry Harlequins, arrogant soldiers, zany servants, and all the rest—found new ways of entertaining us once they began singing gloriously. And with the opera orchestra functioning as a laugh track and adding jokes of its own, opera buffa continues to disarm us and charm us while putting a big grin on our faces. The Barber of Seville and The Elixir of Love are great examples of the genre. Musical examples on the podcast drawn from Seattle Opera recordings of La Cenerentola, 2013, conducted by Giacomo Sagripanti; The Barber of Seville, 2011, conducted by Dean Williamson and starring José Carbo and Lawrence Brownlee; The Marriage of Figaro, 2009, conducted by Dean Williamson and starring Nicolas Cavallier and Barry Johnson; Così fan tutte, 2006, conducted by Andreas Mitisek; the 1986 Hungaroton recording of La serva padrona, starring Katalin Farkas and Jozsef Gregor, with Capella Savaria conducted by Pal Nemeth; Falstaff, conducted by Karajan and starring Luigi Alva, soloists, and the Philharmonia Orchestra (Columbia 1956); Gianni Schicchi, conducted by Antonio Pappano (EMI 1998); and L’elisir d’amore, Ileana Cotrubas, Geraint Evans, and the orchestra of Covent Garden conducted by John Pritchard (Columbia 1977) Stay tuned for another podcast introducing another kind of opera next week!
Today, in the first of two consecutive episodes. I pay tribute to the great Mirella Freni, who died on February 7 and who would have celebrated her 85th birthday on February 27th. Celebrated for the freshness of her timbre, her musical integrity and commitment, her vocal prowess and longevity, and her expressivity, Freni sang a repertoire which covered a wide range of styles and languages. Today’s selections, from over the course of her entire career, feature her exclusively in duet, and include selections from Gianni Schicchi, I Puritani, L’Elisir d’amore, Le nozze di Figaro, La Bohème, Otello, Manon Lescaut, Don Carlo, Le due illustri rivali, Don Giovanni, and La Traviata with Alfredo Kraus, Nicolai Gedda, Gundula Janowitz, Franco Corelli, Luciano Pavarotti, Peter Dvorsky, Luis Lima, Renata Scotto, and her husband Nicolai Ghiaurov. Three selections from a rare 1977 LP of Puccini and Verdi duets with the superlative (and notorious!) Italian tenor Franco form the centerpiece of this loving tribute. Countermelody is a new podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please also visit the Countermelody website for updates, additional content, and to pledge your support. www.countermelodypodcast.com
Our full interview with Elizabeth Llewellyn, featured on our February 2020 podcast ('The Capitalist's Opera House, $45m Gianni Schicchi and Maria Who?') Recorded on 24 January 2020. Host - David Ward Guest - Elizabeth Llewellyn https://elizabethllewellyn.com/
All of the latest opera news. Don’t forget to rate, review and subscribe on your favourite podcast platform. Episode content 0.50 Opera Awards shortlist and vote in audience award - http://bit.ly/2Pc4FPS 2.25 Met 2020-21 season announcement - http://bit.ly/2PclvOp 7.17 Welsh National Opera 2020-21 season announcement - http://bit.ly/2HKRS2S 10.44 Opera North 2020-21 season announcements - http://bit.ly/39RmxHB 17.53 Leeds Conducting Competition making a return - http://bit.ly/37GQoB6 20.05 Arts Council England survey and statistics 29.45 Glyndebourne Opera Cup semi finalists - http://bit.ly/2SJf9Z4 30.20 Cost of young artist programmes - http://bit.ly/2Va45pG 41.55 Interview with Guy Withers 54.14 Elizabeth Llewelyn interview – reviews for Luisa Miller 1.09.00 Subsidy for opera companies - http://bit.ly/37RrGOJ 1.21.50 Mirella Freni - http://bit.ly/32kwUkH 1.23.15 St Louis’ $45m gift - https://abcn.ws/2wvsV92 1.24.55 $5,000 to appear on stage with Opera Australia - http://bit.ly/2vVCMEI 1.28.13 Opera on TV, Radio and Film 1.29.05 Hidden Gem 1.30.58 Quiz Recorded in Leeds, UK on 20 February 2020 Produced by Northern Opera Group Host – David Ward Guests – Lorna James, Chris Pelly
On September 26th, an officer from the Los Angeles Police Department was walking through the Wilshire-Normandie subway station in Koreatown, when a beautiful voice caught him off guard. Ahead stood a slight, middle-aged woman. Her shoulder-length blond hair was tied up in pigtails, her clothes swallowed her tiny figure. Her right-hand rested on a pushcart, filled to the brim with personal belongings and covered with a blue plaid blanket, while her left-hand juggled bags and tubs of belongings as she sang an aria from Gianni Schicchi. Follow this link to view the sermon and watch the live streaming version on our website https://www.templeemanuel.com/rabbi/rabbi-aliza-berger/lapdhq/
Andreas gets to know a whole new class of hipsters! We are so excited we got to talk to Janet Todd for a moment between scenes at a dress rehearsal. Luvi Avendano and Robert Norman explain how a character tenor and a bass baritone can share a triple-role. Newcomer Adam Cioffari discusses joining POP for the first time. Finally POP stalwart E. Scott Levin teases Gianni Schicchi next month! Two shows remaining in 2019! 12/13, and live-streamed on 12/14! All shows 8pm at the historic Highland Park Ebell Club. https://www.youtube.com/watch?v=XB-n3vTuL9s
We started the show with a few shout-outs to Shiny Fuzzy Muddy ( a crafts market happening Dec 14-15), Graham Clark's 24hr Stand-up Comedy Show (happening Nov 29-30), and It's a Wonderful Christmas-ish Holiday Miracle (starting tonight). We followed that with a review of Hedda Gabler, and interviews. One with the cast of O Christmas Tea, a comedy show happening next week, and Cariboo Magi, a genre bending style play. We ended the show with our farewells, and a review of the opera Gianni Schicchi produced by Opera Mariposa.
Do you love opera? Hate it? Indifferent? Give Tiffany the length of a mini-episode and you might finding yourself warming to it. Tiffany tells how she fell in love with opera at age 12, and how her passion for the art form goes hand in hand with her passion for Italy and the Italian language. She also explains where to start your exploration of opera (in a word: Puccini). Music featured on this episode: O Mio Babbino Caro from Gianni Schicchi by Puccini (with Kiri Te Kanawa) Dunque è proprio finito...? from La Bohème by Puccini (with Mirella Freni and Luciano Pavarotti) Va Pensiero from Nabucco by Verdi (with the chorus of Teatro dell'Opera di Roma) ---------------------------------------- ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. DONATE: Prefer a one-time donation? Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!
We started the show with an interview with Sevan Kochkarian who is one of the lead in the opera GIANNI SCHICCHI being put on by Opera Mariposa. We then had a review of Timothy Findley’s The Wars adapted by Dennis Garnhum, followed by two reviews of Certified, an amazing one-woman show, and Turn of the Screw, a great example of horror theatre. We ended the show with an interview Made in BC dancer Leah 'McFly' McKesey and a review of The Price being put on be the United Players Club.
Trivia Question: https://goo.gl/forms/tHhjsq5nROdpOWaJ2 Learn about the story and background of "Il Campanello" by Gaetano Donizetti. Listen until the end for a chance to win a free ticket to our double bill! Purchase to Il Campanello & Gianni Schicchi here: https://www.eventbrite.com/e/il-campanello-gianni-schicchi-tickets-55173984874?fbclid=IwAR1lhmc1yQON-1ZrPw5ldjrLWMC69lS7DbR9f0zeQy6vMyZYmtWFj5AakAI Facebook: facebook.com/newmoonoperacompany Insta: @newmoonopera Twitter: @newmoonopera Website: newmoonopera.org
Laupäeval esietendub Vanemuise väikeses majas „Madama Butterfly. Kuna tegemist on Giacomo Puccini ühe tuntuima teosega, siis räägime saates vähem ooperist ja rohkem lavastajast – Robert Annusest. Kuuleme, mis muusikainstrumenti mängis 5-aastane Robert rahvamuusikaansamblis Piibar; mis kallutas teda oboe-õpinguid jätma ning lavastajaks õppima ja kelle rolli ta on mänginud Puccini ooperis „Gianni Schicchi“. Lisaks saame teada, kes külalissolistidest armus Tartu linna. Saate külaliseks on lavastaja Robert Annus.
Mallory Harding, Artistic Director of NMO, sits down with soprano Jessica Oliver to discuss the story of Gianni Schicchi. Read Mary Lutz Govertsen's article about Gianni Schicchi here: https://www.newmoonopera.org/single-post/2019/02/14/The-Story-of-Gianni-Schicchi Purchase tickets to our double bill of Il Campanello & Gianni Schicchi here: https://www.eventbrite.com/e/il-campanello-gianni-schicchi-tickets-55173984874?fbclid=IwAR08pd8C-Y64Z9H44qyoXZafyOMamH3T2PHXHuFnUECo7l7XYBC5LIBNx7o Like us Facebook, follow us on Instagram and Twitter @newmoonopera, and visit our website at newmoonopera.org for more information.
New Moon Opera artists Rachael Long and Steven Michael Patrick have a conversation with artistic director Mallory Harding about how the opera audience experience has changed. They also play some fun opera games and talk about NMO's upcoming double bill of Il Campanello and Gianni Schicchi. Visit newmoonopera.org for more information. Be sure to like us on Facebook, follow us on Instagram and Twitter.
To finish out Puccini's Il Trittico, we talk about his only comic opera: Gianni Schicchi, a story about a greedy family trying to save their inheritance from a monastery. Amidst the ridiculousness that ensues is one of the most famous arias of all time. We're sure you'll recognize it.
Il Trittico is a set of three one-act operas by Giacomo Puccini that premiered in 1918. The first opera, IlTabarro, centers on an evening in the life of river workers on a barge in Paris’s Seine of the early 20th century. The second opera, Suor Angelica, takes place entirely in a convent and features only female singers. It is set in the late 17th century, and give a glimpse into life of the convent sisters and how they manage their desires. The final opera, Gianni Schicchi, is comedic and cautionary tale. Inspired by Dante’s Canto 30 on falsifiers, Gianni Schicchi, shows a world of two emotions: greed and love. Love may triumph, but greed keeps us astonished and amused.
Una passeggiata tra arte, musica e aneddoti della Genova antica e attuale insieme al poliedrico artista e scenografo Genovese Enrico Musenich. In questa seconda parte ci lasceremo alle spalle campetto prima e piazza Banchi poi attraversando alle atmosfere da suq di sottoripa per arrivare in Strada Nuova (via Garibaldi). Chi è Enrico Musenich:Nato a Roma nel 1962, studia violino e viola con Renato de Barbieri, scenografia e illustrazione con Emanuele Luzzati e Gianni Polidori.Si forma come tecnico di palcoscenico, scenotecnico e scenografo realizzatore al Teatro della Tosse, al fianco di Elio Sanzogni e al Teatro dell’Opera di Genova. È disegnatore scenotecnico al Teatro Carlo Felice di Genova; ne è stato Direttore Allestimenti Scenici ad interim per la Stagione 2014/2015.Nel 2009, in occasione del secondo anniversario della scomparsa di Emanuele Luzzati, riceve l’incarico per la ricostruzione de “Il Turco in Italia”, storico allestimento del 1983 del Rossini Opera Festival: realizzerà il nuovo progetto per il grande palcoscenico genovese, la maquette, e un cartone animato divenuto poi sigla dell’omonimo DVD prodotto da RAI Trade.Nel 2011, sempre per il Carlo Felice, firma le scene de “Il Campanello” e “Gianni Schicchi” con la regia di Rolando Panerai e, dai bozzetti di Francesco Musante, realizza il progetto scenografico de “La Bohéme”, regia di Augusto Fornari.Nel 2013 sarà incaricato di progettare un nuovo allestimento di “Rigoletto” con materiali di dotazione del Teatro Carlo Felice: regia di Rolando Panerai, costumi di Regina Schrecker. L’allestimento sarà riproposto all’aperto alla Fortezza del Priamar a Savona e nello stesso Teatro Carlo Felice sotto la Direzione di Fabio Luisi.Per “Suor Angelica e Il Tabarro” con Aprile Millo, a sostegno iconografico del dittico andato in scena in forma di concerto, realizza 2 tavole originali per i fondali video proiettati.Nel 2014 è scenografo assistente nell’allestimento di “Carmen”, regia di Davide Livermore.Nel 2015 assume l’interim della Direzione Allestimenti del Teatro Carlo Felice e firma le scene di Lucia di Lammermoor di Dario Argento: l’allestimento sarà in cartellone alla Royal Opera House di Muscat in Oman nel gennaio 2016.Sempre nel 2015 progetta e realizza le scene de La Vedova Allegra, regia di Augusto Fornari.Nel 2017 firma le scene de La Cenerentola, regia di Aldo Tarabella, costumi originali di Emanuele Luzzati, nuovo allestimento del Teatro del Giglio di Lucca, in coproduzione con: Teatro Alighieri di Ravenna, Fondazione Teatri di Piacenza, e la collaborazione di Teatro Comunale "A. Rendano" di Cosenza, Ente Luglio Musicale Trapanese.È tra i 5 fondatori del canale streaming webTV del Teatro Carlo Felice.E’ scenografo in numerosi spettacoli per ragazzi e attivo collaboratore nei laboratori per lescuole.Inventa Happy Charly, fumetto ispirato alla torre scenica del Teatro Carlo Felice; il fumetto èpresente su Facebook, e da marzo a dicembre 2016 è stato regolarmente pubblicato su OltrePalco, il magazine del Teatro dell’Opera di Genova.
Una passeggiata tra arte, musica e aneddoti della Genova antica e attuale insieme al poliedrico artista e scenografo Genovese Enrico Musenich. In questa seconda parte ci lasceremo alle spalle campetto prima e piazza Banchi poi attraversando alle atmosfere da suq di sottoripa per arrivare in Strada Nuova (via Garibaldi). Chi è Enrico Musenich:Nato a Roma nel 1962, studia violino e viola con Renato de Barbieri, scenografia e illustrazione con Emanuele Luzzati e Gianni Polidori.Si forma come tecnico di palcoscenico, scenotecnico e scenografo realizzatore al Teatro della Tosse, al fianco di Elio Sanzogni e al Teatro dell’Opera di Genova. È disegnatore scenotecnico al Teatro Carlo Felice di Genova; ne è stato Direttore Allestimenti Scenici ad interim per la Stagione 2014/2015.Nel 2009, in occasione del secondo anniversario della scomparsa di Emanuele Luzzati, riceve l’incarico per la ricostruzione de “Il Turco in Italia”, storico allestimento del 1983 del Rossini Opera Festival: realizzerà il nuovo progetto per il grande palcoscenico genovese, la maquette, e un cartone animato divenuto poi sigla dell’omonimo DVD prodotto da RAI Trade.Nel 2011, sempre per il Carlo Felice, firma le scene de “Il Campanello” e “Gianni Schicchi” con la regia di Rolando Panerai e, dai bozzetti di Francesco Musante, realizza il progetto scenografico de “La Bohéme”, regia di Augusto Fornari.Nel 2013 sarà incaricato di progettare un nuovo allestimento di “Rigoletto” con materiali di dotazione del Teatro Carlo Felice: regia di Rolando Panerai, costumi di Regina Schrecker. L’allestimento sarà riproposto all’aperto alla Fortezza del Priamar a Savona e nello stesso Teatro Carlo Felice sotto la Direzione di Fabio Luisi.Per “Suor Angelica e Il Tabarro” con Aprile Millo, a sostegno iconografico del dittico andato in scena in forma di concerto, realizza 2 tavole originali per i fondali video proiettati.Nel 2014 è scenografo assistente nell’allestimento di “Carmen”, regia di Davide Livermore.Nel 2015 assume l’interim della Direzione Allestimenti del Teatro Carlo Felice e firma le scene di Lucia di Lammermoor di Dario Argento: l’allestimento sarà in cartellone alla Royal Opera House di Muscat in Oman nel gennaio 2016.Sempre nel 2015 progetta e realizza le scene de La Vedova Allegra, regia di Augusto Fornari.Nel 2017 firma le scene de La Cenerentola, regia di Aldo Tarabella, costumi originali di Emanuele Luzzati, nuovo allestimento del Teatro del Giglio di Lucca, in coproduzione con: Teatro Alighieri di Ravenna, Fondazione Teatri di Piacenza, e la collaborazione di Teatro Comunale "A. Rendano" di Cosenza, Ente Luglio Musicale Trapanese.È tra i 5 fondatori del canale streaming webTV del Teatro Carlo Felice.E’ scenografo in numerosi spettacoli per ragazzi e attivo collaboratore nei laboratori per lescuole.Inventa Happy Charly, fumetto ispirato alla torre scenica del Teatro Carlo Felice; il fumetto èpresente su Facebook, e da marzo a dicembre 2016 è stato regolarmente pubblicato su OltrePalco, il magazine del Teatro dell’Opera di Genova.
Una passeggiata tra arte, musica e aneddoti della Genova antica e attuale insieme al poliedrico artista e scenografo Genovese Enrico Musenich. Punto di partenza la fontana di piazza De Ferrari, di fronte al palazzo ducale ed al Teatro Carlo Felice, da li ci inoltriamo nei vicoli fino ad arrivare in via Luccoli in direzione piazza Campetto.Chi è Enrico Musenich:Nato a Roma nel 1962, studia violino e viola con Renato de Barbieri, scenografia e illustrazione con Emanuele Luzzati e Gianni Polidori.Si forma come tecnico di palcoscenico, scenotecnico e scenografo realizzatore al Teatro della Tosse, al fianco di Elio Sanzogni e al Teatro dell’Opera di Genova. È disegnatore scenotecnico al Teatro Carlo Felice di Genova; ne è stato Direttore Allestimenti Scenici ad interim per la Stagione 2014/2015.Nel 2009, in occasione del secondo anniversario della scomparsa di Emanuele Luzzati, riceve l’incarico per la ricostruzione de “Il Turco in Italia”, storico allestimento del 1983 del Rossini Opera Festival: realizzerà il nuovo progetto per il grande palcoscenico genovese, la maquette, e un cartone animato divenuto poi sigla dell’omonimo DVD prodotto da RAI Trade.Nel 2011, sempre per il Carlo Felice, firma le scene de “Il Campanello” e “Gianni Schicchi” con la regia di Rolando Panerai e, dai bozzetti di Francesco Musante, realizza il progetto scenografico de “La Bohéme”, regia di Augusto Fornari.Nel 2013 sarà incaricato di progettare un nuovo allestimento di “Rigoletto” con materiali di dotazione del Teatro Carlo Felice: regia di Rolando Panerai, costumi di Regina Schrecker. L’allestimento sarà riproposto all’aperto alla Fortezza del Priamar a Savona e nello stesso Teatro Carlo Felice sotto la Direzione di Fabio Luisi.Per “Suor Angelica e Il Tabarro” con Aprile Millo, a sostegno iconografico del dittico andato in scena in forma di concerto, realizza 2 tavole originali per i fondali video proiettati.Nel 2014 è scenografo assistente nell’allestimento di “Carmen”, regia di Davide Livermore.Nel 2015 assume l’interim della Direzione Allestimenti del Teatro Carlo Felice e firma le scene di Lucia di Lammermoor di Dario Argento: l’allestimento sarà in cartellone alla Royal Opera House di Muscat in Oman nel gennaio 2016.Sempre nel 2015 progetta e realizza le scene de La Vedova Allegra, regia di Augusto Fornari.Nel 2017 firma le scene de La Cenerentola, regia di Aldo Tarabella, costumi originali di Emanuele Luzzati, nuovo allestimento del Teatro del Giglio di Lucca, in coproduzione con: Teatro Alighieri di Ravenna, Fondazione Teatri di Piacenza, e la collaborazione di Teatro Comunale "A. Rendano" di Cosenza, Ente Luglio Musicale Trapanese.È tra i 5 fondatori del canale streaming webTV del Teatro Carlo Felice.E’ scenografo in numerosi spettacoli per ragazzi e attivo collaboratore nei laboratori per lescuole.Inventa Happy Charly, fumetto ispirato alla torre scenica del Teatro Carlo Felice; il fumetto èpresente su Facebook, e da marzo a dicembre 2016 è stato regolarmente pubblicato su OltrePalco, il magazine del Teatro dell’Opera di Genova.
Una passeggiata tra arte, musica e aneddoti della Genova antica e attuale insieme al poliedrico artista e scenografo Genovese Enrico Musenich. Punto di partenza la fontana di piazza De Ferrari, di fronte al palazzo ducale ed al Teatro Carlo Felice, da li ci inoltriamo nei vicoli fino ad arrivare in via Luccoli in direzione piazza Campetto.Chi è Enrico Musenich:Nato a Roma nel 1962, studia violino e viola con Renato de Barbieri, scenografia e illustrazione con Emanuele Luzzati e Gianni Polidori.Si forma come tecnico di palcoscenico, scenotecnico e scenografo realizzatore al Teatro della Tosse, al fianco di Elio Sanzogni e al Teatro dell’Opera di Genova. È disegnatore scenotecnico al Teatro Carlo Felice di Genova; ne è stato Direttore Allestimenti Scenici ad interim per la Stagione 2014/2015.Nel 2009, in occasione del secondo anniversario della scomparsa di Emanuele Luzzati, riceve l’incarico per la ricostruzione de “Il Turco in Italia”, storico allestimento del 1983 del Rossini Opera Festival: realizzerà il nuovo progetto per il grande palcoscenico genovese, la maquette, e un cartone animato divenuto poi sigla dell’omonimo DVD prodotto da RAI Trade.Nel 2011, sempre per il Carlo Felice, firma le scene de “Il Campanello” e “Gianni Schicchi” con la regia di Rolando Panerai e, dai bozzetti di Francesco Musante, realizza il progetto scenografico de “La Bohéme”, regia di Augusto Fornari.Nel 2013 sarà incaricato di progettare un nuovo allestimento di “Rigoletto” con materiali di dotazione del Teatro Carlo Felice: regia di Rolando Panerai, costumi di Regina Schrecker. L’allestimento sarà riproposto all’aperto alla Fortezza del Priamar a Savona e nello stesso Teatro Carlo Felice sotto la Direzione di Fabio Luisi.Per “Suor Angelica e Il Tabarro” con Aprile Millo, a sostegno iconografico del dittico andato in scena in forma di concerto, realizza 2 tavole originali per i fondali video proiettati.Nel 2014 è scenografo assistente nell’allestimento di “Carmen”, regia di Davide Livermore.Nel 2015 assume l’interim della Direzione Allestimenti del Teatro Carlo Felice e firma le scene di Lucia di Lammermoor di Dario Argento: l’allestimento sarà in cartellone alla Royal Opera House di Muscat in Oman nel gennaio 2016.Sempre nel 2015 progetta e realizza le scene de La Vedova Allegra, regia di Augusto Fornari.Nel 2017 firma le scene de La Cenerentola, regia di Aldo Tarabella, costumi originali di Emanuele Luzzati, nuovo allestimento del Teatro del Giglio di Lucca, in coproduzione con: Teatro Alighieri di Ravenna, Fondazione Teatri di Piacenza, e la collaborazione di Teatro Comunale "A. Rendano" di Cosenza, Ente Luglio Musicale Trapanese.È tra i 5 fondatori del canale streaming webTV del Teatro Carlo Felice.E’ scenografo in numerosi spettacoli per ragazzi e attivo collaboratore nei laboratori per lescuole.Inventa Happy Charly, fumetto ispirato alla torre scenica del Teatro Carlo Felice; il fumetto èpresente su Facebook, e da marzo a dicembre 2016 è stato regolarmente pubblicato su OltrePalco, il magazine del Teatro dell’Opera di Genova.
Marshall Taylor is the artistic director of Quisisana Resort, a summer resort in western Maine that specializes in musical entertainment. Over the course of his career, he has performed as Edna in Hairspray, Tony in The Most Happy Fella, Tevye in Fiddler on the Roof, Horace in Hello, Dolly!, Harold Hill in The Music Man, and Senex in A Funny Thing Happened on the Way to the Forum. Marshall served as artistic director of ShowCase Concerts in Phoenix, Arizona, where he developed operatic “informances” designed for young audiences, and he frequently appeared with the Phoenix Symphony and Oklahoma City Philharmonic. His operatic roles have included Papageno in The Magic Flute, Marcello in La Bohème, Gianni Schicchi in Gianni Schicchi, and Guglielmo in Cosi fan tutte. https://www.themainemag.com/radio/radio-guests/marshall-taylor/
In this pre-show talk, KUSC's Brian Lauritzen discusses "Gianni Schicchi" and "Pagliacci."
His North American debut was as Alvise in Ponchielli's La Gioconda at the second season opening of Hammerstein's Manhattan Opera House. It was the night of "Golden Age" stars, also featuring American debuts of Giovanni Zenatello as Enzo and Jeanne Gerville-Réache as La Cieca, while Lillian Nordica sang the tile role, Mario Ancona was Barnaba and Eleanora de Cisnero was Laura. A year later, Metropolitan Opera engaged Didur as Méphistophélès in Gounod's Faust at the inauguration of the new Brooklyn Academy of Music to be followed two days later by his Ramfis in Giuseppe Verdi's Aida. On this all-star opening night of the 1908 season, Arturo Toscanini was in the pit and the rest of the cast included Emmy Destinn in her Met debut as Aida, Enrico Caruso (Radames), Louise Homer (Amneris) and Antonio Scotti (Amonasro). He remained with the company for a quarter of a century and became one of its principal bass singers, counting 933 performances in 55 roles.[9] It was at the Met in 1913 that he appeared in the title role of Boris Godunov in the American premiere of Mussorgsky's opera.[10][11][12] Didur created the roles in three operas by Giacomo Puccini at the Met, La fanciulla del West and the Il tabarro and Gianni Schicchi of the Il Trittico trilogy. He also appeared at the world premiere of Humperdinck's Die Königskinder. His other important "firsts" at the Met include the US premieres of Mozart's Così fan tutte, Smetana's The Bartered Bride, Borodin's Prince Igor (singing both Prince Galitzky and Khan Konchak), and Montemezzi's L'amore dei tre re. He also sang under the baton of Gustav Mahler in Mozart's Le nozze de Figaro, Smetana's The Bartered Bride and the Met premiere of Tchaikovsky's The Queen of Spades. Didur's last appearance at the Met was in the role of Coppélius in Les Contes d'Hoffmann on 11 February 1932.[9] His voice had been on the wane for some time and he returned to live in Europe.[13
A Gianni Schicchi már volt. Ez most a triptichon egy másik darabja, aminek apropója az előbbitől eltérően nem az, hogy mostanában láttam volna, hanem felkészülés arra, hogy meg fogom nézni Pintér Béla Bajnok című darabját a Katonában, melynek alapja ez az opera.
This week, it's a special hour-plus show! We talk with soprano Emily Birsan, who is currently in Puccini's "Gianni Schicchi" at Chicago Opera Theater. Our team reviews the show, as well as its prelude in the double-bill: Poulenc's "La Voix Humaine", featuring Patricia Racette. Oliver sets up a new battle royale in our TKO segment, and George gives you the week's opera headlines. Wow!
Der spanische Komponist Enrique Granados wurde vorallem als Schöpfer von Klavierwerken bekannt. Am Theater Regensburg hatte nun seine düstere Kurzoper "Goyescas" Premiere, ein Eifersuchtsdrama nach Goya, kombiniert mit Giacomo Puccinis "Gianni Schicchi".
Az Erkelben egy egészen rettenetes rendezés megy most, de a darab az jó.
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The superb baritone,Giuseppe Taddei, appears as Michele in "Il Tabarro." This is from Venice, 1969 under Oliviero de Fabritiis. Angelo Mori is Luigi, Jolanda Michieli sings Giorgetta, and Anna Di Stasio is La Frugola. This is followed by some scenes from Gianni Schicchi with Taddei, Adriana Martino (Lauretta), Luciano Saldari (Rinuccio), and Mafalda Masini (Zita.) (69 min.)
A beautiful compilation of famous artists of the past singing Puccini material. Arias and scenes are from Tosca,Boheme,Suor Angelica, Gianni Schicchi, Mme.Butterfly, and Manon Lescaut. All selections are announced. (69 min.)
She sang magnificently into her 70's ( as we discovered after her passing), we offer a July 6, birthday tribute to her. (1910-1992). Included are Gershwin songs (She knew how to sing pop, a rarity among opera divas), arias/scenes from La Rondine,Gianni Schicchi, Tosca, and Thais (with Robert Merrill), and some Louise scenes with Norman Treigle. We also include some Butterfly scenes when she was almost 65, with Russell Christopher and Nedda Casei. Kirsten was one of our finest American artists and we treasure her memory. (68 min.)
Kevin Rainey presents an audio introduction to Puccini's triptych.
As I do each year, I wished the wonderful Magda Olivero a happy birthday today,Mar.25th, and she sends her "abbraccio" to all of you. This podcast contains live material from Amsterdam between 1962 and 1972 and is testament to the miracle of her art. I do hope you enjoy it and will search Youtube for much more material.(68 min.) Manon Lescaut ,Tosca,Iris,Risurrezione,Adriana, Mefistofele, Iris, Manon Lescaut (1964),Turandot, Gianni Schicchi, Boheme, La Rondine, Fanciulla del West
Mirella Freni, one of the great sopranos in the world of opera, is presented in live performances. She sings the Strauss Four Last Songs, and arias from Gianni Schicchi,Adriana Lecouvreur, L'Amico Fritz, La Boheme, Turandot,Carmen, Vespri Siciliani, and the Eugen Onegin Letter Scene. (70 min.)
The first podcast dedicated to the art of the legendary Maria Callas. Selections include scenes from: Aida, Tosca, Norma, Nabucco, Aroldo, Armida, Gianni Schicchi, Abduction from the Seraglio, Andrea Chenier, Lucia, Tristan und Isolde, Gioconda, Vespri Siciliani, plus the Proch Variations and Callas" Farewell to her Julliard Students (73 min.)
An affectionate tribute to the very great Magda Olivero,whowill celebrate her 97th birthday on March 25. The selectionsincluded in this podcast range from 1940 to 1993!! Traviata, Tosca, Risurrezione, Adriana Lecouvreur,FedoraFanciulla, Gianni Schicchi, Lodoletta, Jenufa, Mme.Butterfly,La Rondine, Manon, Mefistofele,plus "O del mio amato ben." (81 minutes)
I am happy to present highlights from the career of one of my all-time favorite artists, Antonietta Stella, who made such a great impression on me in her Met seasons. The operas represented are: Aida, Simon Boccanegra,Attila, Aroldo, Tosca, Don Carlo, Il Trovatore, Vespri Sicilani, Andrea Chenier,Luisa Miller Gianni Schicchi, Fanciulla del West, Mme.Butterfly (85 minutes)
Selections from operas where a doctor (or a so-called doctor) is involved in the action. Operas include: Elisir d"amore, Macbeth, Forza del Destino, TraviataDon Pasquale, Barbiere di Siviglia, Gianni Schicchi,Cosi Fan Tutte, Wozzeck Nozze di Figaro, VanessaTales of Hoffmann. (64 minutes)
Leo Nucci is the wily Gianni Schicchi in this 2000 Vienna performance.
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