|
Amelia Felle
Amelia Felle (born 1961) is an Italian operatic soprano and voice teacher. Born in Bari, she has been active on the stages of Italian and European opera houses and concert halls since her debut in 1981. She holds the chair in vocal chamber music at the Conservatorio di Santa Cecilia in Rome, a position she previously held at the Conservatorio Tito Schipa in Lecce. Biography Felle was born in Bari and received her diplomas in piano and singing from the city's Conservatory of Bari, Conservatorio Niccolò Piccinni. At the same time she obtained a diploma in architecture from the Accademia di Belle Arti di Bari. She made her singing debut in Bari in 1981 performing in oratorios by Vivaldi and Pergolesi with the Orchestra Sinfonica della Provincia di Bari. After winning the Concorso Liederistico Internazionale di Finale Ligure and the Voci Nuove per la Lirica competitions in 1984, she made her debut on the opera stage at Teatro Lirico Sperimentale in Spoleto as Adina in ''L'elisir d' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bari
Bari ( , ; nap, label= Barese, Bare ; lat, Barium) is the capital city of the Metropolitan City of Bari and of the Apulia region, on the Adriatic Sea, southern Italy. It is the second most important economic centre of mainland Southern Italy after Naples. It is a port and university city, as well as the city of Saint Nicholas. The city itself has a population of 315,284 inhabitants, over , while the urban area has 750,000 inhabitants. The metropolitan area has 1.3 million inhabitants. Bari is made up of four different urban sections. To the north is the closely built old town on the peninsula between two modern harbours, with the Basilica of Saint Nicholas, the Cathedral of San Sabino (1035–1171) and the Hohenstaufen Castle built for Frederick II, which is now also a major nightlife district. To the south is the Murat quarter (erected by Joachim Murat), the modern heart of the city, which is laid out on a rectangular grid-plan with a promenade on the sea and the majo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guillaume Tell
''William Tell'' (french: Guillaume Tell, link=no; it, Guglielmo Tell, link=no) is a French-language opera in four acts by Italian composer Gioachino Rossini to a libretto by Victor-Joseph Étienne de Jouy and L. F. Bis, based on Friedrich Schiller's play ''Wilhelm Tell,'' which, in turn, drew on the William Tell legend. The opera was Rossini's last, although he lived for nearly 40 more years. Fabio Luisi said that Rossini planned for ''Guillaume Tell'' to be his last opera even as he composed it. The often-performed overture in four sections features a depiction of a storm and a vivacious finale, the "March of the Swiss Soldiers". Paris Opéra archivist Charles Malherbe discovered the original orchestral score of the opera at a secondhand book seller's shop, resulting in its being acquired by the Paris Conservatoire. Performance history ''Guillaume Tell'' was first performed by the Paris Opéra at the Salle Le Peletier on 3 August 1829, but within three performances cuts we ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Großes Sängerlexikon
''Großes Sängerlexikon'' (''Biographical Dictionary of Singers'', literally: Large singers' lexicon) is a single-field dictionary of singers in classical music, edited by Karl-Josef Kutsch and Leo Riemens and first published in 1987. The first edition was in two volumes and contained the biographies of nearly 7000 singers from the 1590s through the 1980s. It grew out of ''Unvergängliche Stimmen. Kleines Sängerlexikon'' (Immortal voices. Small singers' lexicon), published in 1962, which covered only singers who had made recordings. A 1992 review in ''Neue Zeitschrift für Musik'' described the ''Großes Sängerlexikon'' as "indispensable in the search for concise background information about those persons who are undoubtedly the most important to the performance of opera."Arndt, Michael (1992) "Reviewed Work: ''Großes Sängerlexikon Ergänzungsband'' by Karl-Josef Kutsch, Leo Riemens" ''Neue Zeitschrift für Musik'', Vol. 153, No. 9, p. 50. Retrieved via JSTOR 26 March 2019 . ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leo Riemens
Leonardus Antony Marinus Riemens (3 December 1910 – 3 April 1985) was a Dutch musicologist and cultural journalist. He wrote a book about Maria Callas, and together with Karl-Josef Kutsch began a reference book about opera singers in 1962, which grew to ''Großes Sängerlexikon'', the standard reference in the field. Background and career Born in Zevenbergen, Riemens grew up in a family of physicians in Amsterdam. He studied musicology in Amsterdam and worked from 1931 as a feature editor for the newspaper '. Later he was a member of the extreme-right NSB. During the Second World War he worked for the nazified ''Nederlandsche Omroep''. From 1954 to 1976 he was an opera and television critic for the newspaper ''De Telegraaf''. Riemens published numerous articles in the professional journals ''Opera'', ', '' Gramophone'' and '' Opera News''. He wrote an opera guide and a biography about Maria Callas. At Radio Hilversum he designed the series ''Uren der Zangkunst''. Riemens ow ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karl-Josef Kutsch
Karl-Josef Kutsch, also known as K. J. Kutsch, (born 11 May 1924) is a German physician and co-author with Leo Riemens of the ''Großes Sängerlexikon'', the standard reference for opera singers. Life and work Born in Gangelt, Kutsch studied medicine, was drafted and participated as a soldier in the Russia campaign of the Second World War. He then completed his studies at the Goethe University Frankfurt in 1948. He practised as a physician from 1952 to 1989 in his hometown, together with his wife. From the 1950s, Kutsch built a collection of records and singers' biographies. Together with the Dutch musicologist Leo Riemens, he published a small biographical dictionary of singers in 1962 under the title ''Unvergängliche Stimmen'' (''Immortal Voices'').Jan David SchmitzSängerlexikon CD-ROMhsozkult.de In 1975 the work was revised as ''Unvergängliche Stimmen / Sängerlexikon'', which was again revised in 1985 with his and Riemens' cooperation and became the standard work. Under t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Simon Boccanegra
''Simon Boccanegra'' () is an opera with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play ''Simón Bocanegra'' (1843) by Antonio García Gutiérrez, whose play ''El trovador'' had been the basis for Verdi's 1853 opera, ''Il trovatore''. ''Simon Boccanegra'' was first performed at Teatro La Fenice in Venice on 12 March 1857. Given the complications of the original plot and the generally poor popular response – although the critical one was more encouraging – the opera dropped out of favour after 1866. Finally, 23 years later, Verdi's publisher persuaded the composer to revise the opera, with text changes to be prepared by Arrigo Boito, the librettist who aspired to work with the aging composer on a project which eventually became a new opera, ''Otello'', but to which Verdi had not totally committed at that time. The revised version of ''Simon Boccanegra'', with the now-famous Council Chamber scene, was first perfor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Don Carlo
''Don Carlos'' is a five-act grand opera composed by Giuseppe Verdi to a French-language libretto by Joseph Méry and Camille du Locle, based on the dramatic play '' Don Carlos, Infant von Spanien'' (''Don Carlos, Infante of Spain'') by Friedrich Schiller. In addition, several incidents, of which the Forest of Fontainebleau scene and ''auto-da-fé'' were the most substantial, were borrowed from Eugène Cormon's 1846 play ''Philippe II, Roi d'Espagne''. The opera is most often performed in Italian translation, usually under the title ''Don Carlo''. The opera's story is based on conflicts in the life of Carlos, Prince of Asturias (1545–1568). Though he was betrothed to Elisabeth of Valois, part of the peace treaty ending the Italian War of 1551–59 between the Houses of Habsburg and Valois demanded that she be married instead to his father Philip II of Spain. It was commissioned and produced by the Théâtre Impérial de l'Opéra (Paris Opera) and given its premiere at the Sa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ernani
''Ernani'' is an operatic ''dramma lirico'' in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the 1830 play ''Hernani (drama), Hernani'' by Victor Hugo. Verdi was commissioned by the Teatro La Fenice in Venice to write an opera, but finding the right subject took some time, and the composer worked with the inexperienced Piave in shaping first one and then another drama by Hugo into an acceptable libretto. As musicologist Roger Parker notes, the composer "intervened on several important points, insisting for example that the role of Ernani be sung by a tenor (rather than by a contralto as had originally been planned).Parker, p. 71 ''Ernani'' was first performed on 9 March 1844 and it was "immensely popular, and was revived countless times during its early years". It became Verdi's most popular opera until it was superseded by ''Il trovatore'' after 1853. In 1904 it became the first opera to be recorded completely. Composition history Fol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aida
''Aida'' (or ''Aïda'', ) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in the Old Kingdom of Egypt, it was commissioned by Cairo's Khedivial Opera House and had its première there on 24 December 1871, in a performance conducted by Giovanni Bottesini. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York's Metropolitan Opera alone, ''Aida'' has been sung more than 1,100 times since 1886. Ghislanzoni's scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera. Elements of the opera's genesis and sources Isma'il Pasha, Khedive of Egypt, commissioned Verdi to write an opera to celebrate the opening of the Suez Canal, but Verdi declined. However, Auguste Mariette, a French Egyptologist, proposed to Khedive Pasha a plot for a celebratory ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ballo In Maschera
''Un ballo in maschera'' ''(A Masked Ball)'' is an 1859 opera in three acts by Giuseppe Verdi. The text, by Antonio Somma, was based on Eugène Scribe's libretto for Daniel Auber's 1833 five act opera, '' Gustave III, ou Le bal masqué''. The plot concerns the assassination in 1792 of King Gustav III of Sweden who was shot, as the result of a political conspiracy, while attending a masked ball, dying of his wounds thirteen days later. It was to take over two years between the commission from Naples, planned for a production there, and its premiere performance at the Teatro Apollo in Rome on 17 February 1859. In becoming the ''Un ballo in maschera'' which we know today, Verdi's opera (and his libretto) underwent a significant series of transformations and title changes, caused by a combination of censorship regulations in both Naples and Rome, as well as by the political situation in France in January 1858. Based on the Scribe libretto and begun as ''Gustavo III'' set in Stockhol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Verdi
Giuseppe Fortunino Francesco Verdi (; 9 or 10 October 1813 – 27 January 1901) was an Italian composer best known for his operas. He was born near Busseto to a provincial family of moderate means, receiving a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Gioachino Rossini, Gaetano Donizetti, and Vincenzo Bellini, whose works significantly influenced him. In his early operas, Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. He also participated briefly as an elected politician. The chorus "Va, pensiero" from his early opera ''Nabucco'' (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi did not seek to ingratiate himself with popular movements. As he became professionally successful, he was able ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
