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  • Alfano. Resurrezione

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    Libretto d'opera

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    298 visualizzazioni6 pagine

    Alfano. Resurrezione

    Caricato da

    simonsun70
    Libretto d'opera

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    © All Rights Reserved
    Scarica in formato PDF o leggi online su Scribd
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    Magda Oliyero ¢ Giuseppe Gismondo Cee Re Ce tee ee CINE it ripper POU - FRANCO ALEANO (875-1954) 'RSURREZIONE ‘Opera in fur ats / Opera in quatro at eto Cesare Hana Katha Mialowna nce Bint Neat MatenaPaowns ‘Sofa anova roid sent Amant fist peasant Second peasant fatway ston employee second preset “hd poner takorbivs eda Head waren cheat edhead ‘Avwarden An Fence, woman ‘ea ett avail eonsck Magéa Otvoro (Goteppe Gsmondo Sto Boyer ‘ana D sexo Femanda Caden aya Suara ute Condo Yi Sc pio Cnn Andres Petras ‘Mare Gea Alga ‘Guseppin Nard {ficantPaloms Vera Magn Patten face Mare stetoron: ‘Mara Gran Allg Maya Soar fea Petras ‘anda ta ‘Gutppin Aad Femara Cadon Epo Clan Gseppe cco ito Sc chest and chorus Conductor Eko Boncompagrs FAI Turn, October 22,1971 or erone, arro pam s ‘ 2 8 8 Paro. che non sven (atten, OF servant. Kas isto east! (eatsha, Marea, Od soar Somra (eas, Maal Bit fight ma. ‘Sota, Ori {Wet camplte tanto (Sota, rt, Matrena aus) ‘Siatio in geanor atesha ‘Ak Katusha, un sogno © queso (Dine, tin) 10 kaushal Cara mi sembra 0g (Dime Kathe) ‘ikea acon (atusha Dini [ACT TWO / ATTO SECONDO SEoues (Katusha, Arma 14.Dh fa, wach beone {Coro Kets, Ans salary Bopa qual goo. (Muze anne Fatt 15. non ever? (athe, Anna 16.Quel can nnnegato (Pest peasant second essai Cori 228 220 208 22 an 143 238 3a 239 338 126 17 Qunge duane sev (iatusha, Anna). ‘Dpto, a cr eg venga aio (watusha. s9.hesto ct, # tena (Cent, Kaisha, Rata lion eiployeo) Sopa Teta aera (Core, Fede Koa, esd warden 21 rab a questa via (runenbac kata, Redd 2a evena ta Moa (Garde, Katusha. Redhead uncbads Cash 23 Qh pre ba gol enki, Kt Coe, sd, icc id wader) 25 Le gies too nea Capel (dad warden, rid ‘ota paying tne Piet coreg Piss corse (eam ee 2 (xine stl proces? 2 Cero cy srt ce post ‘Go tac ‘No Katha non dere co. Pena quel io fi pert int 5. Rh” Sei Dims (easha, it 6. Lasers ¢ state pi ito, (atusha, Din) 195 3.06 208 426 249 308 338 6736 an sor 1m 247 253 7. No lseatel stare. Pang pa {Bins cose 8, Ero andar via (Heed warden, Dia itatusha) ‘ACT FOUR ATTO.QUARTO ‘Sent, Rasta {Simonson Kasha 11Simorr. ashe. itt sete male (vera ath, Keto An ofl, mt). 12Nere para fsoron, oxi 13,Guando dune vee mse ‘Simonson 14 Prope Orit Neko (hn oc Dnt mons 15.46 Sq Ta 16 Kaisa Ho da pvt (Bri ah ‘Gi, Katt ted va pat ‘abs Br, Coo) 292 359 199 151 aa 248 a4 RICARDO ZANDONA (1883-1948) Francesca Magda Olvero Paolo Maro Del Monaco Orchesta and Chors of Tato alla Seat ‘Conductor Cananaren Gavazzen ‘tan, Jne 1959 19.Andate in legrezza pr lace ‘Pancesea 2o.Benvento, sgnore mio cognato \raneesca, Pal) _21.Palo date pce (ances 22 Ingniandstad vile appari en (Pan, Franses) 23. Ferche vote va (Paso, anes 24. Galata ce Dama, ebbtene peta (Pao, Francesca 2s.Earena vege tcavalere (rrancen Pal) “Total playing tine: 419 257 251 210 — Like hat of his comempory, Mascagni, Alfano's reputation asa composer rest unfirly on one opera an is associations with Haan fascism inthe 1920s, In Alan's case, the opera isnot even his own, for he best, remembered asthe composer who ‘completed Turando after Pucin's death, Despite his distinguished caemic and thetrical creer, none of his operas has entered the general repertory and few ae perfrmes toda, en i aly He was born near Naples in 1875 and begun his musical education athe local CConservtorio San Pict a Majella, At the age of twenty he moved to Leip ‘to coming his studies, and between 1899 and 1905 he ive in Pais. During this period be traveled extensively throughout Norther Europe nd not supisingy his easly works ad tong ‘eration influences as well asthe ‘amp of operatic verso, the coming to the end ofits populaiy as the new century dawned. (Over the following ten years Alan's style changed considerably, partly ‘because of broad general developments in the operatic world and pay because ‘ot his own catholic tastes in misc and Tteraure. With the extc but diverse influences of French impressionism and the poetry of Rabindranath Tagore his 1a leggenda di Sohintta (1921) was ‘one ofthe firs Talian operas to be set prose (ater than yes) Libretto — in this case one tat Alfano hms wrote, based on Kalidas's poem = andi remains arguably his most important stage wok Soom ater its premiere Alfano’ syle hanged radically ain this time as result of his involvement in ian Fascism. Inline with he dictates of the pary’sinellectual manifesto, which he helped formulate, rch ercestal textures and complex harmonies were replaced by simple neolasicism;, ukimatels, however, his attic ‘conscience prevented him fom signing the manifesto, which condemned all “modernism” in Halian musi, ‘The full score of La leggenda di Sabinaala was destoyed during the Second Word Wat, and Alfano Ltr spent many years reconstructing it. tn its revised form the opera was renamed Simply Sokal an fist perform in 1952 Rome, Its one ofthe few of tis operas not have own lst rom the repentry: anthers Riwrrsion, the Tas that be composed uring his verismo Petiod athe tm of the twentieth centr. Is est performance at Tan's ‘Teatro Vitorio Emanele in November 1904 was his greatest sucesso date— he was il only event: nine ~and it stalished hs mame with the Haan publi Based on Tolstoy's 1900 novel eskresenive Resurrection’, he story ie setin Russia around 1910, In Act 1 Katasha Miksilowns, a maid, confesses to Prince Dmiti Neludof that she has for some tine been seerely in love with im. They become lovers, bt shorty ‘before he is alld to his regiment she becomes peepmant. Act 2 takes pice in ‘rally station some months ater, before the bin oftheir child. Katisha goes to met Date an his aval home ‘but ses him with another woman ‘Act 3x stn a prison for posts ‘who are swaitng deportation to Sibel (One ofthe inmates is Kaos, now convicted murderer. Duc to his respected socal poston asa nobleman init served a a juror athe al, and he now offers to mike amends fo his elie rejecton of herby following her fo exile, In Act 4, set he Siberian ‘ison camp, Dit announces that he hs obtained pardon fo er bat ineadof accepting feedom and ‘mariage te hm she chooses to remain eee ‘in captivity with Simonson, apolitical prisoner who, though notte love of her Iie, hay atlas estore her slf-espect. Alfano's sting of the story has ‘moments of high melodrama for ‘Ktisha that endeared the oper 4 ‘numberof drumati soprane inthe ‘vente entry. Indeed, the oe is relatively lighly drawn and needs the Imerprettive,hstroni and vocal powers ofa gifted singer inorder fri ‘to come alive oa stage. One such soprano was the American Mary Garden (1874-1967) who sang inthe Chicago premiere of Risurrecione in December 1925, snd foe whom Kats soon became one ofr favourite contemporary “heroins'. Inthe 1971 performance on thes diss the role was sng by the greatest Kaisha of more nes, Magda Olver ‘She was born in 1910 at Saiz, ear “Twin, and bepan serous musical studios wile wil a child. She made her profesional debut in a Rao Turin production of Catozzo's 1 Miser Dolores in December 1992, and her age debt, Laurta i Gianni Schioi,eok place the following year. Forte emer ofthe 1930 she enjoyed growing succes thoughout Tealy and aed oer reper oles that included Adana Lacouveur, Cio- co-san, Li, Manon, Marguerite Fas), ‘Micaela Mimi, Minnie (La Fancull det Wes), Suze (L’Amico Pris) and Violet 1 1941 she marie the industrialist Aldo Busch and gave up her burgeoning copertic caret, Devoting herself to her Isband and his wartime work, be performed only occasionally either in the acl church chiro for charity concent. Butt seoms that by 1950 she had easidered returning to the operat stage: ertinly she neded litle persuasion when sppached by none ‘other than Cle, who pleaded with her, “Aa atin sch a8 you has obligations 10 the publi nd oar” In Janary 1951 she resumed her carer, begining with performances of Le Bokime in Rome followed a foright ater by Adriana Lecouvrear in Brescia by the, however, ilea was dead and he never saw the long-awaited return of is favourite Adrian, Oliveros carer quickly regained momentum. One eri wee that her ability to enthralus with a depth of ‘expression hardly imaginable is 2 irate ofthe Ite stage another hat “Mags doesnot sng a oe she Interprets ie". Ouse tly opinion ‘ms divided over the dsineive sound of her voice, but before long er reputation had ed 10 appearances in Amsterdam, Antwerp, Brussels, Buenos Aires, Edinburgh, Lisbon, Londoo, Pais and ‘Vienna. And aftr rimphant US detat in Cherobin's Medea in 1967 she became a regular part of American ‘operate ie thanks oer performances ‘withthe Opera Theatre of New Jerse. Her foal operatic perfomance of Poulene's La Voie Humaine, took place in Verona in March 1981 but she

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