POPULARITY
2 episodes with il trittico
4 episodes with il trittico
3 episodes with il trittico
3 episodes with il trittico
3 episodes with il trittico
2 episodes with il trittico
2 episodes with il trittico
4 episodes with il trittico
3 episodes with il trittico
A tradicional Ópera de Paris também entra em ritmo brasileiro neste ano em que se celebra o bicentenário das relações diplomáticas entre a França e o Brasil. A instituição programou vários concertos que integram a temporada cruzada entre os dois países. O primeiro recital, “Melodias Francesas e Brasileiras”, acontece nesta quarta-feira (9), trazendo pela primeira vez à cena da Ópera da Bastilha várias obras de compositores brasileiros. Os ingressos estão esgotados. O concerto “Melodias Francesas e Brasileiras” é uma iniciativa da Academia da Ópera de Paris, braço educativo da instituição de aperfeiçoamento de novas gerações de artistas líricos. A ideia de mostrar músicas do repertório brasileiro pouco tocadas na França, e do repertório francês no Brasil, foi da diretora da Academia, Myriam Mazouzi.Ele pensou em integrar a temporada cultural França-Brasil durante uma primeira viagem ao Brasil no ano passado. “A primeira ideia que tive foi um concerto colocando lado a lado melodias francesas de Poulenc, por exemplo, e melodias brasileiras para apresentar ao público francês e ao brasileiro as melodias de cada um de nossos países”, conta.Myriam Mazouzi reconhece que esse repertório brasileiro “não é uma música que conhecemos muito bem”. Foi necessário fazer uma pesquisa aprofundada para definir o programa do concerto, que conta com cerca de 20 músicas de compositores dos dois países.A França será representada por obras de Francis Poulenc, Erik Satie, Léo Delibes e Pauline Viardot. Do Brasil, serão interpretadas composições de Villa-Lobos, Carlos Gomes, Marlos Nobre, Alberto Nepomuceno, Jayme Ovalle, Hekel Tavares e Carlos Alberto Pinto Fonseca. Destes, o único que teve obras tocadas na Ópera da Bastilha foi Villa-Lobos, o compositor brasileiro mais conhecido na França.“Foi muito interessante ver (essa) riqueza da música brasileira”, avalia Mazouzi.Artistas-residentes brasileiros na Academia da Ópera de ParisPara fazer a escolha, o diretor artístico da Academia, Christian Schirm, contou com a ajuda de dois artistas brasileiros que passaram ou ainda estão se aperfeiçoando na instituição. O pianista e maestro carioca Ramon Theobald foi o primeiro brasileiro a integrar a Academia da Ópera de Paris, de 2021 a 2023. Ele estará no palco no dia 9 de abril e acredita que o repertório escolhido dá um panorama da produção brasileira.“Das melodias brasileiras escolhidas, muitas têm a ver com as nossas origens. Há melodias que falam de Yemanjá, de Xangô, há melodias do Villa-Lobos, que tem o estilo modinha, que é a música popular brasileira que começou com a influência portuguesa. É realmente uma foto geral do Brasil”, afirma Ramon.O baixo-barítono Luis Felipe Sousa, atualmente cantor-residente na Academia da Ópera de Paris, também ajudou a montar o programa e será um dos solistas do concerto “Melodias Francesas e Brasileiras”.Para ele, essa “é uma oportunidade muito especial de poder interpretar a música brasileira nos palcos estrangeiros, especialmente num palco tão importante quanto o da Ópera de Paris”. Luis Felipe ressalta que será "realmente muito emocionante" poder interpretar um repertório "que tem uma certa herança artística” e interpretar "canções que foram escritas por professores dos meus professores”.Além de Ramon Theobald e Luis Felipe, duas cantoras líricas brasileiras, Juliana Kreling e Lorena Pires, também estarão em cena. O concerto Melodias Francesas e Brasileiras contará ainda com a participação de todos os artistas residentes da instituição, que recebe anualmente 30 alunos de vários países do mundo.Primeira soprano brasileiraA soprano capixaba Lorena Pires, aliás, acaba de ser selecionada e será a terceira brasileira a integrar a Academia da Ópera de Paris a partir de setembro. Ramon Theobald lembra que a seleção é dificílima, mas garante que a rica experiência compensa.“Depois que a gente entra, a estrutura é incrível. A Ópera de Paris faz mais de 20 óperas por ano. Para assistir 20 óperas no Brasil, eu teria que ter vivido uns 3 ou 4 anos. Desde que estou aqui, já assisti produções, ensaios, de mais de 60 produções. É um ambiente riquíssimo. Todo o esforço para passar na audição valeu a pena”, relata o pianista que resolveu ficar na Europa. Ele mantém a conexão com a Academia e inicia uma carreira como maestro.A experiência desse aperfeiçoamento parisiense também é considerada fantástica pelo baixo-barítono Luis Felipe que, paralelamente às atividades da Academia, que produz em média um concerto por mês, tem a chance de participar de grandes produções da Ópera de Paris.“Isso não acontece com todos os cantores da Academia”, revela. O baixo-barítono brasileiro teve a oportunidade de cantar no início dessa temporada na ópera “Le Brigands”, de Offenbach, e atualmente está ensaiando “Il Trittico”, de Puccini, que estreia em 29 de abril. “Realmente é muito enriquecedor porque você canta em vários ambientes, com vários repertórios muito diferenciados”, resume.Olhar renovadoA vinda dos artistas-residentes brasileiros à Academia da Ópera, que recebem uma bolsa de estudo, é financiada com o apoio de um grupo de mecenas brasileiras, radicadas na França. E esses artistas trazem um olhar renovado à tradicional Ópera de Paris, diz Myriam Mazouzi.“O que está acontecendo hoje na Europa, na América do Norte, nos faz pensar nas nossas profissões, nossas missões, nossos desafios, nossas ambições, de forma diferente. A contribuição dos artistas brasileiros é trazer um olhar diferente sobre o que estamos vivenciando e sobre o nosso patrimônio. A música clássica, a Ópera de Paris, são instituições que datam de vários séculos atrás e, por isso, ter um olhar renovado, enriquecido, nos traz muito”, salienta a diretora e fundadora da Academia.“Eu diria que essa contribuição brasileira é justamente o que rompe com esse tradicionalismo. A gente traz a diferença, a gente traz a cor, a gente traz o axé. E a gente faz muito bem, jogar com a tradição de uma forma extremamente única, extremamente nossa”, completa Luis Felipe.Os ingressos para a apresentação de “Melodias Francesas e Brasileiras” no anfiteatro da Ópera Bastilha em 9 de abril já estão esgotados. Em setembro, o concerto será apresentado no Rio e em São Paulo. Os artistas-residentes da Academia também participam, em outubro, de três concertos no Teatro Muncipal do Rio, no Teatro Guaíra e no Municipal de São Paulo, em homenagem a Bizet.Ainda como parte da temporada cruzada França-Brasil, haverá em Paris, em julho, e, em São Paulo, em setembro, um concerto conjunto com músicos das orquestras de jovens ADO, da Academia da Ópera, e da paulista Guri. Nesse estreitamento de laços com o Brasil, a tradicional instituição francesa sonha em abrir uma filial da Escola de Dança da Ópera em Curitiba. As discussões começaram no ano passado.
Iñigo Alberdi disecciona las tres óperas de un acto para las que Giacomo Puccini se inspiró en la Divina Comedia de Dante....
durée : 00:17:57 - Disques de légende du mercredi 27 novembre 2024 - Toujours dans notre semaine spéciale Un automne avec Puccini, nous écoutons aujourd'hui Il Trittico dirigé par Lorin Maazel.
durée : 00:17:57 - Disques de légende du mercredi 27 novembre 2024 - Toujours dans notre semaine spéciale Un automne avec Puccini, nous écoutons aujourd'hui Il Trittico dirigé par Lorin Maazel.
Conversamos con Ainhoa Zubillaga y Juan Laborería, madre e hijo, cantantes profesionales y parte del elenco de Il Trittico de Giacomo Puccini...
En 2024 el mundo de la ópera celebra el centenario de la muerte de Puccini. Con este motivo, se están preparando homenajes al compositor en muchos teatros entre ellos, Euskalduna Bilbao. ABAO Bilbao Ópera fusiona tradición y modernidad en su 73º temporada, que, para conmemorar el centenario de Giacomo Puccini, incluye en su programa 2024-2025 'Il Trittico' por primera vez en su historia. En este 'Hoy por Hoy Bilbao-Bizkaia' repasamos las futuras óperas de este 2024-2025
Il 23enne scledense di Magrè ha piazzato tre prestazioni super in tre giornate di gare, collezionando due argenti e un bronzo nella tappa conclusiva di Singapore. Il piazzamento nella Top10 mondiale nella rassegna giunta in coda alla stagione 2024 con le Olimpiadi come apice, conferma Thomas tra i campioni del nuoto internazionale. Ora il riposo.
A cura di Paolo PellegriniGiacomo Puccini – Il TritticoSUOR ANGELICASuor Angelica, Renata Tebaldila Zia Principessa, Giulietta Simionatola Badessa, Lucia Danielila Maestra delle novizie, Anna Di Stasiola Zelatrice, Miti Truccato PaceSuor Genovieffa, Dora CarralSuor Osmina, Yeda ValtrianiSuor Dolcina, Giuliana Tavolaccinila Sorella Infermiera, Anna Di StasioCoro e Orchestra del Maggio Musicale FiorentinoLamberto Gardelli, direttoreIL TABARROMichele, Ettore BastianiniLuigi, Salvatore PumaIl Tinca, Angelo MercurialiIl Talpa, Eraldo CodaGiorgetta, Nora De Rosa (Lenotti)La Frugola, Ebe TicozziVenditore di canzonette, Luigi AlvaSinfonieorchester des Norddeutschen Rundfunks (Hamburg)Mario Cordone, direttore1955(RA)GIANNI SCHICCHIGianni Schicchi, Tito GobbiLauretta, Cecilia FuscoZita, Jolanda GardinoRinuccio, Renzo CasellatoGherardo, Mario CarlinNella, Liliana Rossi (Perino)Gherardino, Carlo AmbrosoniBetto di Signa, Angelo NosottiSimone, Paolo MontarsoloMarco, Mario Basiola jnr.Ciesca, Luisella Ciaffi RicagnoSpinelloccio, Giorgio OnestiPinellino, Christiano DalamangasGuccio, Enzo ViaroAmantio di Nicolao, Carlo BadioliOrchestra – RAI MilanoMassimo Pradella, direttore1963(RA)
Tager dig med to gange i Det Kongelige Teater. Både til Don Carlos og Il Trittico - lyt og nyd! Og så er der igen lytterønsker i en lind strøm og det elsker jeg bare så meget. Her er både Tosca og Traviata, samt musik af Jules Massenat og Jean-Philippe Ramau. Der kommer også en smuk Kyrie af Puccini. Vært: Lotte Heise.
It's been 100 years since the death of the Italian opera composer Giacomo Puccini. From La bohème to Turandot, Puccini's operas remain some of the most popular around the world. To explore Puccini's life and legacy, we're joined by musicologist Dr Linda Fairtile and hear performances from two upcoming Opera Australia productions.Also, over their 20-year history, Brisbane's contemporary circus company Circa have grown enormously in scale, reputation and ambition. Right now, the entire ensemble are at home in Brisbane rehearsing seven different shows that are bound for stages right across the world, including a major new production of Dido and Aeneas with Opera Queensland.
Il Manuale della femminista guastafeste di Sara Ahmed è un saggio accessibile e divertente che amplia i concetti di femminismo, solidarietà e resistenza. Il Trittico di Puccini, tre atti unici senza un filo conduttore, va in scena a Torino. A Venezia è in corso la più grande retrospettiva europea della pittrice etiope americana Julie Mehretu. L'ultima stagione della serie tv Bridgerton è disponibile in streaming.CONTiziana Triana, direttrice editoriale di FandangoMattia Palma, critico musicaleIvan Carozzi, giornalista e scrittoreClaudio Rossi Marcelli, giornalista di InternazionaleSe ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su http://internazionale.it/podcastScrivi a mailto:podcast@internazionale.it o manda un vocale a tel:+393347063050Produzione di Claudio Balboni e Vincenzo De Simone.Musiche di Carlo Madaghiele, Raffaele Scogna, Jonathan Zenti e Giacomo Zorzi.Direzione creativa di Jonathan Zenti.
Eingängige Musik, die von Herzen kommt und gerade deshalb oft als "rührselig" verspottet wird: Puccini bewährt sich am Deutschen Nationaltheater in Weimar gleich dreifach als Fachmann für emotionale Ausnahmezustände und wässrige Augen - bei der Premiere am 18. Mai von "Il trittico". Das Publikum war begeistert!
durée : 00:22:54 - Disques de légende du mardi 07 mai 2024 - L'Orchestre et le chœur du Mai Musical Florentin, dirigés par Bruno Bartoletti, enregistrés au théâtre Verdi de Florence en 1991.
Le istituzioni europee si reggono su un complesso equilibrio di accordi formali, impegni reciproci, coesione politica e rapporti di fiducia. Quando un impegno viene disatteso le ripercussioni si propagano a tutti gli ambiti. Immaginare di servirsi delle istituzioni e dei fondi europei solo quando fa comodo e sfanculare tutti gli altri partner per motivi di pura propaganda politica interna scatenano conseguenze che presto per l'inquilina pro tempore di Palazzo Chigi diventeranno molto dolorose.Con il PNRR da portare a termine ed un piano di riforme da spalmare per un arco di sette anni nel quadro del PSC, ci sarà ampio spazio per rendere pan per focaccia agli apprendisti stregoni.
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
Opernexperte Richard Schmitz bespricht die Premiere der drei Einakter von Giacomo Puccini am 4. Oktober 2023 an der Wiener Staatsoper.
My coach from 1988-1990 was Trudy Kane. Ms Kane was Principal Flute with the Metropolitan Opera 1976-2008 and is Professor Emeritus at the Frost School of Music, University of Miami. She received both her BM and MM from the Juilliard School. She is active in the commercial recording field and can be heard on the soundtracks of many film scores including The Untouchables and Beauty and the Beast (original). She can be heard and seen on many Met videos including Il Trittico, Manon Lescaut, Peter Grimes and three different La Bohemes. Her solo CD In the French Style includes Sonatas by Franck, Fauré and the Gieseking Sonatine.
Die litauische Sopranistin Asmik Gregorian in allen drei Frauenrollen von Puccinis Opern-Dreiteiler "Il Trittico" - wie das ohne Qualitätseinbußen funktioniert, konnte man 2002 auf den Salzburger Festspielen bewundern. Das Ergebnis liegt jetzt vor - in Bild und Ton.
In 60 secondi, ogni giorno, il vicedirettore del Sole 24 Ore Alberto Orioli commenta le principali notizie, su Radio24 e in questo podcast
In 60 secondi, ogni giorno, il vicedirettore del Sole 24 Ore Alberto Orioli commenta le principali notizie, su Radio24 e in questo podcast
Just when you thought Anna and Krista couldn't find another pop culture tie-in to opera, they found one! This time, they present Puccini's 3-for-1 opera Il Trittico. You'll gasp, you'll cry, you'll laugh, you'll wonder why Puccini's original wishes weren't honored (just like a writer of certain Hobbit-centric books). They also pay homage to the late Chaim Topol and stand up for Sonya Yoncheva, who doesn't deserve the hate she's gotten.
Auf dem Weg zur Vorstellung noch schnell über die Oper schlau machen? Kein Problem, hier wird sie... kurz erklärt! Heute: Il trittico von Giacomo Puccini.
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
Il trittico: un retaule musical puccinià
Ramon Gener nos habla en su esperacio "Operando" de Puccini, de su relación con los libretistas y de Il trittico, que está basada en la Divinna comedia. Escuchar audio
„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
Puccinis „Il Trittico“ kann durchaus auch ermüden, nicht so Christof Loys Inszenierung für die Salzburger Festspiele. Die litauische Sopranistin Asmik Grigorian überstrahlt alles – und die szenische wie musikalische Umsetzung ist großartig.Jörn Florian Fuchs im Gespräch mit Britta Bürgerwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei
Er steckt gerade mitten in den Proben zu Puccinis Spätwerk "Il Trittico" bei den Salzburger Festspielen. Neben einer neuen CD mit Strauss, geht es für ihn und sein Cleveland Orchestra Ende August auf Europatournee.
Si continua a parlare di videogiochi con un menù molto variegato, si parte dal divertente e colorato Lego Skywalker saga per passare dal bellissimo Returnal e concludere con "il viaggio" di Road 96. Buon ascolto! --- Send in a voice message: https://anchor.fm/triangolonerdangolo/message
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
Dans ce dernier épisode de Résonances de la saison, nous profitons de la rencontre entre la partition d'Il trittico de Puccini et le concept de Tobias Kratzer à l'occasion de sa nouvelle production pour rencontrer le célèbre dessinateur de presse, homme de radio et de télévision Pierre Kroll. Afin de faire écho au réalisme qui caractérise l'œuvre de Puccini et à la mise en scène qui fait appel à des univers issus d'arts plus « populaires », notre invité nous parlera du métier de caricaturiste, et de comment rendre compte d'une réalité sociale ou politique, de manière humoristique, mais pas toujours… Avec la série Résonances, nous quittons les murs de notre Théâtre pour retrouver les échos de nos opéras dans le monde actuel. Micros en poche, nous rendons visite à un.e invité.e qui puisse enrichir de ses connaissances ou de son expérience les grandes thématiques abordées dans nos productions. Chaque épisode consiste en une longue conversation narrée et ponctuée de quelques amuse-bouches musicaux. Abonnez-vous aux podcasts de la Monnaie - sur Spotify - sur Apple podcasts - sur Stitcher - sur Google Podcasts Crédits Résonances autour de Il trittico Pierre Kroll, invité Isabelle Dumont, voix Sébastien Herbecq, voix Rédaction et Production La Monnaie / De Munt Merci au Centre Belge de la Bande Dessinée pour son chaleureux accueil
Versione audio: Nel 1961, il pittore surrealista Joan Miró (1893-1983), poeta visivo di rara raffinatezza, oramai quasi settantenne, dipinse tre quadri che costituiscono un trittico e che l’artista chiamò semplicemente Blu, e più precisamente Blu I, Blu II e Blu III. Dipinse queste tre opere in un solo giorno, il 4 marzo, seguendo un impulso […] L'articolo Il Trittico del Blu di Miró proviene da Arte Svelata.
Versione audio: Il Trittico dell’Adorazione dei Magi è un capolavoro di Rogier Van der Weyden (1399 ca.-1464), considerato uno dei più grandi maestri della pittura fiamminga. Dipinto nel 1455, a olio su tavola, si trovava un tempo nella Chiesa di Santa Colomba a Colonia, e per questo è anche noto come Trittico di Santa Colomba. Oggi è […] L'articolo Il Trittico dell’Adorazione dei Magi di Rogier Van der Weyden proviene da Arte Svelata.
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.”
A Parisian love affair. A Convent suicide. A Florence farce. Everything you need for a tear jerking, side splitting, heart pounding good time. Combined with the perfect cocktail, you may never want to stop listening!
One year ago we were in rehearsals for our fall production of IL TRITTICO, and in workshops for the premiere of FLIGHT OF THE HUMMINGBIRD. Listen as Rebecca catches up with artists from these two productions, and hears stories from behind the scenes.
In this episode, we'll be hearing from Michael Seal, Associate Conductor of the City of Birmingham Symphony Orchestra, and now, podcaster. Michael has been creating a new podcast over the lockdown period called A Mic on the Podium. This is a series of fascinating conversations with his conductor colleagues, in which they openly discuss their journey into music, the art of conducting and their experiences of the profession. Check it out! We discuss the inspiration behind Michael's podcast and what he's been doing during this free time. We also learn about his background as a violinist and conductor, and hear some of his thoughts on the craft of conducting. Michael offers some really useful advice to young conductors towards the end of this discussion. Many thanks to Michael for talking especially for this podcast! Published 7th July 2020; interview recorded 12th June 2020. michaelseal.com amiconthepodium.podbean.com Michael Seal is the Associate Conductor of the City of Birmingham Symphony Orchestra (CBSO), a unique appointment which recognises his work as Assistant Conductor, and the special relationship he has built with the orchestra. His in-depth knowledge of orchestras from an insider's position (he was a violinist with the CBSO early in his career) gives him a unique perspective and he quickly builds rapport and trust with the orchestras he works with. His energy and enthusiasm are infectious and he has built a reputation for outstanding results, delivered with great charm and often on a typically British tight rehearsal schedule. Michael has worked with many of the UK's finest orchestras, frequently being invited as guest conductor with the BBC orchestras and Royal Liverpool Philharmonic orchestras, as well as the Academy of St.Martin in the Fields, Bournemouth Symphony Orchestra, Royal Philharmonic Orchestra, Royal Scottish National Orchestra, London Philharmonic Orchestra and Ulster Orchestra. Internationally, he has conducted the Brussels Philharmonic, Frankfurt Radio Symphony Orchestra, KBS Symphony Orchestra, Norwegian Radio Orchestra, Odense Symphony Orchestra, Joensuu City Orchestra, Orquesta Académica del Instituto Superior de Arte del Teatro Colón, Orquesta Filarmónica de Buenos Aires and both RTÉ Concert and National Symphony Orchestras. Michael has a special bond with the CBSO Youth Orchestra, conducting them on numerous occasions, and being involved with them since their foundation. His love of opera led to critically acclaimed performances of Puccini’s Il Trittico at the Birmingham Conservatoire. He has also assisted both Sakari Oramo and Andris Nelsons in opera performances of Peter Grimes, Carmen, Der Rosenkavalier, Lohengrin, Tristan & Isolde and The Flying Dutchman. He recently made his debut with the Malaysian Philharmonic, Trondheim Symphony and WDR Funkhausorchester, as well as returning to RLPO, LPO, RSNO, Buenos Aires Philharmonic and Bournemouth Symphony Orchestras. He will also play an integral role in celebrating the 100th birthday of the CBSO in 2020/21.
Amanda, John, Melanie, Sarah and special guest Brianna Bock review Pacific Opera Victoria's Il Trittico (2:14), Emerald City Project at William Head on Stage (8:20), Atomic Vaudeville's Rocky Horror Show (14:56) and Starry Starry Sky's Once More with Feeling: An Unlicensed Buffie The Vampyre Slayer Parody (22:56). Plus we chat affordable artist housing (29:10) and arts spaces (34:38), including updates on the Victoria Edelweiss Club and info from Councillor Jeremy Loveday.
Puccini composed the three distinct operas of IL TRITTICO with the intention that they always be performed together, which is exactly how audiences are experiencing them this season as we celebrate the centenary of the world premiere at The Met. In this pre-performance lecture, lecturer Naomi Barrettara explores the musical language, source materials, and the themes that link these three short operas.
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.
Il tabarro / Suor Angelica / Gianni Schicchi Drei Opern in je einem Akt Komponist Giacomo Puccini · Libretti von Giuseppe Adami und Giovacchino Forzano In italienischer Sprache mit deutschen und englischen Übertiteln
Il tabarro / Suor Angelica / Gianni Schicchi Drei Opern in je einem Akt Komponist Giacomo Puccini · Libretti von Giuseppe Adami und Giovacchino Forzano In italienischer Sprache mit deutschen und englischen Übertiteln | Neuproduktion
Drei völlig verschiedene Geschichten. Drama, Rührstück und Komödie. Zusammen bilden sie Il trittico. Ein Werk voller Kontraste. Was verbindet die drei Stücke aber zu einem Triptychon? In unserem Podcast geben führen wir in die Hintergründe und Motive der Oper „Il trittico“ ein.
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
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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.)
From 1967, the only time Beverly Sills sang the Puccini Trittico. In Tabarro she is joined by a young Placido Domingo and Seymour Schwartzman; in Suor Angelica the wonderful Frances Bible is the Principessa.(Another superb artist who never got to the Met);In Gianni Schicchi we hear Norman Treigle,one of the greatest singers I ever heard, and Salvator Novoa. Julius Rudel is the conductor. Even in 1967, there were decent tape recorders to preserve performances like this and we must be grateful to whomever recorded the one Sills Trittico. (73 min.)
Kevin Rainey presents an audio introduction to Puccini's triptych.
Leo Nucci is the wily Gianni Schicchi in this 2000 Vienna performance.
Christina Gallardo-Domas is Suor Angelica.
Magda Olivero stars in this 1970 performance of Puccini's one-act shocker Il tabarro.
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