Fundació Orfeó Català -Palau de la Música Catalana
Memòria Digital de Catalunya.
Palau de la Música Catalana, Freiburger Barockorchester, Palau de la Música Catalana: Cor de Cambra, Jacobs, René, Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro, Concerts (Execució musical) -- Programes, Concerts (Orquestra), Cors (Veus mixtes), and Òpera
Programa del concert celebrat el 3 de desembre de 2013, dins el cicle "Palau 100" 2013-2014. Conté notes al programa i el text de l'obra que s'interpreta
Carter, Tim, 1954- author. and Carter, Tim, 1954- author.
Bohème (Puccini, Giacomo), Giulio Cesare (Handel, George Frideric), Incoronazione di Poppea (Monteverdi, Claudio), Nozze di Figaro (Mozart, Wolfgang Amadeus), Rigoletto (Verdi, Giuseppe), Opera -- Italy., and Opera.
"Eschewing the technical musical detail that all too often dominates writing on opera, Carter begins instead where the composers themselves did: with the text. Walking readers through the relationship between music and poetry that lies at the heart of any opera, Carter then offers explorations of five of the most enduring and emblematic Italian operas: Monteverdi's The Coronation of Poppea; Handel's Julius Caesar in Egypt; Mozart's The Marriage of Figaro; Verdi's Rigoletto; and Puccini's La Bohème"--Dust jacket flap.
Comedy -- History and criticism., European drama (Comedy) -- History and criticism., and Criticism, interpretation, etc.
"Traditional philosophy places a singular emphasis on tragedy, acting under the assumption that tragedy is more profound than comedy. Gelven argues that comedy deserves equal if not not greater attention from philosophy. Through the interpretative readings and concrete analysis of three classical works, Gelven shows that comedy provides an access to truth unavailable by any other means. Silvius in Shakespeare's As You Like It, Cherubino in Mozart's The Marriage of Figaro, and Lord Goring in Wilde's An Ideal Husband are examined in terms of why and how they are comic, along with how and why they are seen both as fools and yet as graced. Gelven finds that in revealing the spirit of graced folly, comedy teaches us about our own essence, the fundamental nature of our finitude. This will undoubtedly be of considerable importance not only to philosophical aestheticians or literary critics, but also for those seeking to understand the nature of truth itself."--Jacket.
Munro, Donald George Alfred, 1913-2012, Mozart, Wolfgang Amadeus, 1756-1791, New Zealand Opera Company, Opera companies, Anniversaries, Costume, Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro, and Kelburn
A commissioned acrylic portrait made for a New Zealand Opera Company reunion in Kelburn, Wellington in Jan or Feb 1998, featuring Donald Munro dressed as Count Almaviva in Mozart's 'The marriage of Figaro'. Munro stands centre-stage in full costume, featuring a powdered wig, red velvet frock-coat and long brown waistcoat, brown knickerbockers, white leggings and high buckled shoes. His left hand rests on the hilt of his sword. Behind him stand a number of other characters from the opera, also dressed in costume This painting was reproduced on the back of Donald Munro's funeral service sheet, in 2012 Inscriptions: Recto - bottom right - Raymond Boyce '97 [in brushpoint]; Verso - top centre - Painting - acrylic on canvas - by Raymond Boyce 1997. Donald Munro as Count Almaviva, The Marriage of Figaro. The New Zealand Opera Company 1958 also to commemorate the founding of the company [in felt pen] Quantity: 1 acrylic(s). Physical Description: Acrylic on canvas, 680 x 450 mm, adhered to foam board, 710 x 480 mm Provenance: Donation: Dr Doug Munro, Wellington, 2012 Portrait presented to Donald Munro in 1998. Bequeathed to his family on his death
Opera has long fascinated creative artists and audiences alike. It is often regarded as the pinnacle of high art, yet it is also shrouded in mystique. This book unravels its many layers by looking closely at five of the most enduring and emblematic Italian operas from Monteverdi to Puccini
MUSIC -- Genres & Styles -- Opera, MUSIC -- Printed Music -- Opera & Classical Scores, Così fan tutte (Mozart, Wolfgang Amadeus), Don Giovanni (Mozart, Wolfgang Amadeus), Nozze di Figaro (Mozart, Wolfgang Amadeus), Opera, Sex in music, Sex in music, and Opera -- 18th century
Includes bibliographical references and index Overtures: Introduction ; Enlightenment as negative freedom ; Enlightened music -- Masculine music: Music of enlightened masculinity ; Angry masculine music ; Libertinage and musical libertinage ; The Enlightenment's legitimation of feelings ; Sensitive masculine music ; Conclusions to part II : the differentiation of masculine music -- Feminine music: Music of enlightened femininity ; Sorrowful feminine music ; Hysterical feminine music ; Music of feminine moral frailty ; The musical ridicule of feminine intentions ; Two maids' and a peasant girl's music ; Conclusions to part III : the differentiation of feminine music -- Seductions: Simple musical seductions ; Complex musical seduction : Fiordiligi and Ferrando -- Finales: Five finales ; Don Giovanni and the stone man ; Kant, Sade and Don Giovanni ; Così fan tutte Act II Finale ; The futures of the operas