Mateo Falcone (opera)
Mateo Falcone is a one-act opera composed by César Cui during 1906–1907. The libretto was adapted by the composer from Prosper Mérimée's like-named story from 1829 and Vasily Zhukovsky's verse rendering thereof, it was premiered on 14 December 1907, at the Bolshoi Theatre in Moscow. The premiere production of Mateo was a failure; this opera constitutes the last of three short serious operas by this composer, the other two being A Feast in Time of Plague and Mademoiselle Fifi. The musical setting of the text of Mateo Falcone has a declamatory-melodic character, in keeping with the composer's veneration, if not slavish emulation, of Alexander Dargomyzhsky's method of "melodic recitative,", most demonstrated in The Stone Guest. There are no extractable "numbers" from this opera to speak of, although highlights include the orchestral passages that suggest the rustic scenery with a kind of barcarolle, the intimate Latin prayer near the end, reminiscent of the composer's art songs. Mateo Falcone: baritone Giuseppa, his wife: soprano Fredrick, a Corsican carpenter baritone Fortunato, their son: alto Sanpiero, a smuggler: tenor Gamba, a sergeant: bass A few soldiers: tenors and bassesSetting: Corsica, 1800s The boy Fortunato is outside of his family's house, playing a horn while his parents are away.
Shots ring out in the distance, Sanpiero runs in, wounded. Fleeing the police, he asks Fortunato to hide him. Fortunato asks for and gets some money in return, hides Sanpiero, the smuggler; the police arrive, led by Gamba, a distant cousin of Mateo. They search the house and try to get information out of Fortunato, who resists with juvenile evasions until Gamba tempts the boy with an enamel-encased watch. Fortunato reveals Sanpiero. Mateo and his wife return. After Gamba tells them of their son's help in capturing Sanpiero, the wounded man curses the Falcone household for betrayal as he is carried away. Mateo has only one thing to do to preserve the honor of his family: he takes his son away from the house, says prayers with him, kills him with a single gunshot. César Cui. Матео Фальконе: драматическая сцена. Фортепианное переложение с пением. Москва: П. Юргенсон, 1907. Piano-vocal score at IMSLP Russian libretto in KOI-8 encoding Russian libretto in transliteration
Puss 'n Boots: Pero's Great Adventure
Puss'n Boots: Pero's Great Adventure is a video game released in 1990 by Electro Brain for the NES. There was a Japan-only prequel called Nagagutsu o Haita Neko: Sekai Isshū 80 Nichi Dai Bōken, it was loosely based on Jules Verne's book Around the World in Eighty Days. Pero's name is "Perrault" in the Japanese game; the character Pero, Toei Animation's mascot, is based on the cat from the folktale entitled "Puss in Boots" by Charles Perrault. The game's title comes from that story as well; as quoted from the manual: Count Gruemon, a notorious swine, hated mice with a passion. One day, he discovered a mouse in his castle. Frustrated and irate, Count Gruemon ordered Boots to find and destroy the mouse. However, Pero was a kind-hearted cat and had become friends with the mouse, so, helped the little creature to escape. In a fit of anger, Count Gruemon, aided by Dr. Gari-gari, a fiendish scientist wolf, sent Pero on a perilous time-travel journey around the world and into the past. Pero must locate and defeat Count Gruemon and the mad Dr. Gari-gari, use their time machine to get home - or be stuck in the past forever.
To make matters worse, the Cat Kingdom has sent Killers after Pero because he helped a mouse and thereby violated Cat Kingdom Law. Pero must travel to exotic lands and overcome many hazards, but can he defeat the combined might of the diabolical Count Gruemon, Dr. Gari-gari, the Killers? Note: In the original film; the objective of each stage is to reach the end and defeat the boss. There are quite a few enemies along the way. A weapon may be selected by pausing the game and moving the control pad to the right or left until the player finds the desired weapon. All vehicles in the stages that use them have weapons. Pero has 3 lives, the game allows three continues until forcing you to start at the first level; the Wonderful World of Puss'n Boots Captain N: The Game Master Once Upon a Time Machine synopsis - A more detailed synopsis of the Captain N episode
A libretto is the text used in, or intended for, an extended musical work such as an opera, masque, cantata or musical. The term libretto is sometimes used to refer to the text of major liturgical works, such as the Mass and sacred cantata, or the story line of a ballet. Libretto, from Italian, is the diminutive of the word libro. Sometimes other language equivalents are used for libretti in that language, livret for French works and Textbuch for German. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot; some ballet historians use the word libretto to refer to the 15–40 page books which were on sale to 19th century ballet audiences in Paris and contained a detailed description of the ballet's story, scene by scene. The relationship of the librettist to the composer in the creation of a musical work has varied over the centuries, as have the sources and the writing techniques employed.
In the context of a modern English language musical theatre piece, the libretto is referred to as the book of the work, though this usage excludes sung lyrics. Libretti for operas and cantatas in the 17th and 18th centuries were written by someone other than the composer a well-known poet. Pietro Trapassi, known asMetastasio was one of the most regarded librettists in Europe, his libretti were set many times by many different composers. Another noted, he who wrote the libretti for three of Mozart's greatest operas, for many other composers as well. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer, Bellini, Donizetti and Verdi; the French writers' duo Henri Meilhac and Ludovic Halévy wrote a large number of opera and operetta libretti for the likes of Jacques Offenbach, Jules Massenet and Georges Bizet. Arrigo Boito, who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli composed two operas of his own; the libretto is not always written before the music.
Some composers, such as Mikhail Glinka, Alexander Serov, Rimsky-Korsakov and Mascagni wrote passages of music without text and subsequently had the librettist add words to the vocal melody lines. Some composers wrote their own libretti. Richard Wagner is most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas. Hector Berlioz, wrote the libretti for two of his best-known works, La Damnation de Faust and Les Troyens. Alban Berg adapted Georg Büchner's play Woyzeck for the libretto of Wozzeck. Sometimes the libretto is written in close collaboration with the composer. In the case of musicals, the music, the lyrics and the "book" may each have their own author. Thus, a musical such as Fiddler on the Roof has a composer, a lyricist and the writer of the "book". In rare cases, the composer writes everything except the dance arrangements – music and libretto, as Lionel Bart did for Oliver!. Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen.
There are the preliminary steps of selecting or suggesting a subject and developing a sketch of the action in the form of a scenario, as well as revisions that might come about when the work is in production, as with out-of-town tryouts for Broadway musicals, or changes made for a specific local audience. A famous case of the latter is Wagner's 1861 revision of the original 1845 Dresden version of his opera Tannhäuser for Paris; the opera libretto from its inception was written in verse, this continued well into the 19th century, although genres of musical theatre with spoken dialogue have alternated verse in the musical numbers with spoken prose. Since the late 19th century some opera composers have written music to prose or free verse libretti. Much of the recitatives of George Gershwin's opera Porgy and Bess, for instance, are DuBose and Dorothy Heyward's play Porgy set to music as written – in prose – with the lyrics of the arias, duets and choruses written in verse; the libretto of a musical, on the other hand, is always written in prose.
The libretto of a musical, if the musical is adapted from a play, may borrow their source's original dialogue liberally – much as Oklahoma! used dialogue from Lynn Riggs's Green Grow the Lilacs, Carousel used dialogue from Ferenc Molnár's Liliom, My Fair Lady took most of its dialogue word-for-word from George Bernard Shaw's Pygmalion, Man of La Mancha was adapted from the 1959 television play I, Don Quixote, which supplied most of the dialogue, the 1954 musical version of Peter Pan used J. M. Barrie's dialogue; the musical Show Boat, different from the Edna Ferber novel from which it was adapted, uses some of Ferber's original dialogue, notably during the miscegenation scene. And Lionel Bart's Oliver! Uses chunks of dialogue from Charles Dickens's novel Oliver Twist, although it bills itself
Puss in Boots
"Master Cat, or The Booted Cat" known in English as "Puss in Boots", is an Italian and European literary fairy tale about a cat who uses trickery and deceit to gain power and the hand of a princess in marriage for his penniless and low-born master. The oldest telling is by Italian author Giovanni Francesco Straparola, who included it in his The Facetious Nights of Straparola in XIV–XV. Another version was published in 1634 by Giambattista Basile with the title Cagliuso, a tale was written in French at the close of the seventeenth century by Charles Perrault, a retired civil servant and member of the Académie française; the tale appeared in a handwritten and illustrated manuscript two years before its 1697 publication by Barbin in a collection of eight fairy tales by Perrault called Histoires ou contes du temps passé. The book remains popular. Perrault's Histoires has had considerable impact on world culture; the original Italian title of the first edition was Costantino Fortunato, but was known as Il gatto con gli stivali.
The frontispiece to the earliest English editions depicts an old woman telling tales to a group of children beneath a placard inscribed "MOTHER GOOSE'S TALES" and is credited with launching the Mother Goose legend in the English-speaking world. "Puss in Boots" has provided inspiration for composers and other artists over the centuries. The cat appears in the third act pas de caractère of Tchaikovsky's ballet The Sleeping Beauty, appears in the sequels to the animated film Shrek. Puss in Boots is a popular pantomime in the UK; the tale opens with the youngest son of a miller receiving his inheritance -- a cat. At first, the youngest son laments, as the eldest brother gains the mill, the middle brother gets the mules; the feline is no ordinary cat, but one who requests and receives a pair of boots. Determined to make his master's fortune, the cat bags a rabbit in the forest and presents it to the king as a gift from his master, the fictional Marquis of Carabas; the cat continues making gifts of game to the king for several months.
One day, the king decides to take a drive with his daughter. The cat persuades his master to enter the river which their carriage passes; the cat disposes of his master's clothing beneath a rock. As the royal coach nears, the cat begins calling for help in great distress; when the king stops to investigate, the cat tells him that his master the Marquis has been bathing in the river and robbed of his clothing. The king has the young man brought from the river, dressed in a splendid suit of clothes, seated in the coach with his daughter, who falls in love with him at once; the cat hurries ahead of the coach, ordering the country folk along the road to tell the king that the land belongs to the "Marquis of Carabas", saying that if they do not he will cut them into mincemeat. The cat happens upon a castle inhabited by an ogre, capable of transforming himself into a number of creatures; the ogre displays his ability by changing into a lion, frightening the cat, who tricks the ogre into changing into a mouse.
The cat pounces upon the mouse and devours it. The king arrives at the castle that belonged to the ogre, impressed with the bogus Marquis and his estate, gives the lad the princess in marriage. Thereafter, the cat enjoys life as a great lord; the tale is followed by two morals: "one stresses the importance of possessing industrie and savoir faire while the other extols the virtues of dress and youth to win the heart of a princess." The Italian translation by Carlo Collodi notes that the tale gives useful advice if you happen to be a cat or a Marquis of Carabas. This is the theme in France, but other versions of this theme exist in Asia and South America. Perrault's "The Master Cat, or Puss in Boots" is the most renowned tale in all of Western folklore of the animal as helper. However, the trickster cat was not Perrault's invention. Centuries before the publication of Perrault's tale, Somadeva, a Kashmir Brahmin, assembled a vast collection of Indian folk tales called Kathā Sarit Sāgara that featured stock fairy tale characters and trappings such as invincible swords, vessels that replenish their contents, helpful animals.
In the Panchatantra, a collection of Hindu tales from the fifth century A. D. a tale follows a cat who fares much less well than Perrault's Puss as he attempts to make his fortune in a king's palace. In 1553, "Costantino Fortunato", a tale similar to "Le Maître Chat", was published in Venice in Giovanni Francesco Straparola's Le Piacevoli Notti, the first European storybook to include fairy tales. In Straparola's tale however, the poor young man is the son of a Bohemian woman, the cat is a fairy in disguise, the princess is named Elisetta, the castle belongs not to an ogre but to a lord who conveniently perishes in an accident; the poor young man becomes King of Bohemia. An edition of Straparola was published in France in 1560; the abundance of oral versions after Straparola's tale may indicate an oral source to the tale. In 1634, another tale with a trickster cat as hero was published in Giambattista Basile's collection Pentamerone although neither the collec
The Saracen (opera)
The Saracen, is an opera by César Cui composed during 1896-1898. The libretto was written by Vladimir Vasilievich Stasov and the composer, based on a play by Alexandre Dumas entitled Charles VII chez ses grands vassaux; the opera was premiered on 2 November 1899, in Saint Petersburg at the Mariinsky Theatre, with Eduard Nápravník as conductor. It was staged in 1902 by the Moscow Private Opera at the Solodovnikov Theatre, but never became part of the standard operatic repertoire; the Saracen can be understood to some extent as a sequel to Tchaikovsky's opera The Maid of Orleans in that events involving the same French monarch are involved. Charles VII, King of France: tenor Count Savoisy: bass Yaqoub, a Saracen: baritone Bérengère, Countess Savoisy: soprano Agnès Sorel: soprano Dunois: baritone Isabelle: Raymond: bass André: tenor Archer: baritone Chaplain: bass Treasurer: baritone Page: soprano 1st Sentry: tenor 2nd Sentry: tenor Archers, trumpeters, courtiers of the king and of Count Savoisy: chorusThe action takes place in France of the early 15th-century, in the castle of Count Savoisy.
Act I. A chorus of archers makes merry; when André shows everyone the stag that he has just killed, Yaqoub relates a story about how he as a boy in Egypt had killed a lion preying on his father's herd. Raymond enters, reminding Yaqoub of saving the latter's life, presents a letter from Pope Benedict XIII, to which all but Yaqoub cross themselves; the noise of calls for his death brings in Bérangère. She asks him what the trouble is, he relates what his life was like before being taken prisoner by Raymond; when she tells that her own suffering is greater than his, he sees her as a comforting angel, promises to kill the person, making her unhappy. The Chaplain enters with the people to say prayers for Savoisy to have an heir, he reads from the Biblical story of Sarah and Hagar. As they pray, Raymond commands Yaqoub to kneel, but the Saracen's refusal brings about a conflict in which Yaqoub kills Raymond with a dagger. Count Savoisy appears on the scene and calls for a trial of Yaqoub, whereupon the Chaplain leads a prayer for Raymond.
Act II. The Chaplain tells Bérangère that her marriage to the Count is dissolved by papal decree, that she must go to a convent, she exits. After making sure that the Chaplain has taken care of the matter, Savoisy rationalizes that his divorce is necessary in order to produce an heir for France; when the court enters for the trial of Yaqoub, a page announces that the King is arriving, thus giving Savoisy a chance to hold the trial in the King's presence. After the King and Agnès enter, Yaqoub defends himself on the grounds that he has been deprived of his freedom. Savoisy pronounces a sentence of death; the King dismisses everyone except Savoisy. It turns out; when Agnès calls the King to bed, alone, stands guard as he sleeps. Act III, it is the next morning. Savoisy, still on guard, hopes that there will be news of victory for France so that the King will take action, he exits. The King and Agnès greet the new day, he would rather be in her arms than under a crown. Outside, rumblings can be heard. Savoisy enters, insisting on the King's service for France, but the latter decides to go hunting, exits.
Savoisy prevents Agnès from going along and convinces her that she has caused the King to be distracted from his royal duties. The hunt is being prepared; the King enters, learns from Dunois that his commanders have been captured. Agnès appears; when she tells the King that he is not acting as a responsible monarch of his country and that she will go to join the winner of the war, the King comes to his senses and calls everyone to battle. Act IV. Bérangère, alone, is suffering. Savoisy is surprised to find her, she begs forgiveness. Cursing him, she exits to prepare for her departure. Yaqoub, having decided to entrust himself again to the Count, enters. Savoisy tells the Chaplain to take his ex-wife to a convent and to return to preside over his wedding to Isabelle. After a woman dressed like Bérangère leaves with the Chaplain, Bérangère herself comes out and startles Yaqoub, who informs her of the upcoming wedding, she refuses to believe that it will take place, until Isabelle is greeted by the Count.
Bérangère reminds Yaqoub of his promise to kill her tormentor. At first he refuses to kill Savoisy, because of being saved in the desert, but when she tells him that Savoisy has her love as long as he is alive, Yaqoub resolves to kill him. A choir sings the "Gloria Patri." From the wedding service Savoisy and Isabelle proceed to their chamber. Yaqoub follows them. Savoisy is stabbed offstage and cries out, whereupon Bérangère drinks poison; when Yaqoub runs out of the bridal chamber, followed by the wounded Savoisy, Bérangère takes direct responsibility for killing her husband. Savoisy dies, Yaqoub pleads with Bérangère to run away with him, but she dies and Yaqoub is left in despair for what she has done to him. In this opera the composer makes his first attempt at writing each act in the score without dividing into separate numbers or scenes. Several musical selections could be extracted. Orchestral Introduction The Count's Lullaby. "Spi, spokojno spi" "Gloria Patri" and Wedding Recessional Audio sketch of this selection via MI
Puss in Boots (1999 film)
Puss in Boots is an animated direct-to-video movie, created in 1999 by Phil Nibbelink. It is based on the story Puss in Boots; the film features the voices of Judge Reinhold, Dan Haggerty, Michael York, Vivian Schilling. The story follows Handsome Gunther, a poor young man whose sole possession is his anthropomorphic cat; the cat, wanting to help his owner out of poverty, decides to use his wit to turn Gunther into a prince. In his plan, the cat tries to help Gunther win the heart of the Princess. However, an evil shapeshifting ogre has his eyes on marrying the girl. After she is captured and his clever cat go after the Princess to rescue her before it is too late. In the film, the ogre's shape changing abilities and other magical powers are granted by a necklace, which he must wear to survive during daylight. Differing from the original tale, is that the ogre wants to marry the Princess, he offers the king unlimited gold and diamonds for his marrying the king's daughter, but the king refuses. When Puss in Boots tricks the ogre into morphing into a mouse, the ogre escapes him and realizes the deception morphs into a large monster and attempts to kill the cat.
But his necklace is stolen, the princess, miller's son and cat are able to prevent him from catching the necklace by dawn. In the film, some mice are on the side of the miller's son following an initial confrontation with Puss in Boots. Michael York – Puss in Boots Judge Reinhold – Gunther Dan Haggerty – The King Vivian Schilling – Princess Kevin Dorsey – Ogre Charles von Bernuth – Zeek List of animated feature-length films Puss in Boots on IMDb Puss in Boots at Rotten Tomatoes Puss in Boots at AllMovie
Nagagutsu o Haita Neko: Sekai Isshū 80 Nichi Dai Bōken
Nagagutsu o Haita Neko: Sekai Isshū 80 Nichi Dai Bōken is a 1986 video game based on the third film of The Wonderful World of Puss'n Boots, released in Japan for the Family Computer. Four years the game was released in North America under the title Puss'n Boots: Pero's Great Adventure; the main character is the Puss in Boots character from the tale. He is known for helping an impoverished master attain wealth through the use of trickery. Loosely based on Jules Verne's classic novel Around the World in Eighty Days tied together with a classic anime, the player has 80 days in order to travel the world. One day passes in the game every minute, although certain items can subtract the number of remaining days, providing the player with less time to complete the game. If these 80 days elapse before the player finishes the trip, the game is over no matter how many lives the player has remaining. Places that are explored include: England, the Atlantic Ocean, Hong Kong, the Pacific Ocean, the North Pole, Big Ben.
The game features "death water," a video game feature where video game characters die after coming into contact with a watery substance. This game involves driving boats and balloons in addition to the standard walking through the stages. Adaptations of Puss in Boots