1.
Opera
–
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
2.
Giuseppe Verdi
–
Giuseppe Fortunino Francesco Verdi was an Italian opera composer. Verdi was born near Busseto to a family of moderate means. Verdi came to dominate the Italian opera scene after the era of Bellini, Donizetti and Rossini, whose works influenced him. In his early operas Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy and he also participated briefly as an elected politician. He surprised the world by returning, after his success with the opera Aida. The baptismal register, prepared on 11 October 1813, lists his parents Carlo, additionally, it lists Verdi as being born yesterday, but since days were often considered to begin at sunset, this could have meant either 9 or 10 October. Verdi himself, following his mother, always celebrated his birthday on 9 October, Verdi had a younger sister, Giuseppa, who died aged 17 in 1833. From the age of four, Verdi was given lessons in Latin and Italian by the village schoolmaster, Baistrocchi. After learning to play the organ, he showed so much interest in music that his parents provided him with a spinet. Verdis gift for music was apparent by 1820–21 when he began his association with the local church, serving in the choir, acting as an altar boy for a while. After Baistrocchis death, Verdi, at the age of eight, Carlo Verdi was energetic in furthering his sons education. something which Verdi tended to hide in later life. He picture emerges of youthful precocity eagerly nurtured by a father and of a sustained, sophisticated. Verdi returned to Busseto regularly to play the organ on Sundays, at age 11, Verdi received schooling in Italian, Latin, the humanities, and rhetoric. By the time he was 12, he began lessons with Ferdinando Provesi, maestro di cappella at San Bartolomeo, director of the music school. This information comes from the Autobiographical Sketch which Verdi dictated to the publisher Giulio Ricordi late in life, in 1879, written, understandably, with the benefit of hindsight, it is not always reliable when dealing with issues more contentious than those of his childhood. The other director of the Philharmonic Society was Antonio Barezzi, a grocer and distiller. The young Verdi did not immediately become involved with the Philharmonic, by June 1827, he had graduated with honours from the Ginnasio and was able to focus solely on music under Provesi. By 1829–30, Verdi had established himself as a leader of the Philharmonic, none of us could rival him reported the secretary of the organisation, Giuseppe Demaldè
3.
Francesco Maria Piave
–
Francesco Maria Piave was an Italian opera librettist who was born in Murano in the lagoon of Venice, during the brief Napoleonic Kingdom of Italy. Piaves career spanned over twenty years working with many of the significant composers of his day, including Giovanni Pacini, Saverio Mercadante, Federico Ricci, and even one for Michael Balfe. He is most well known as Giuseppe Verdis librettist, for whom he was to write 10 librettos, the most well-known being those for Rigoletto and La traviata. But Piave was not only a librettist, he was a journalist and translator in addition to being the resident poet, later, Verdi was helpful in securing him the same position at La Scala in Milan. His expertise as a manager and his tact as a negotiator served Verdi very well. Verdi helped to support his wife and daughter, proposing that an album of pieces by famous composers be compiled, the composer paid for his funeral when he died nine years later in Milan aged 65 and arranged for his burial at the Monumental Cemetery. The composer completely dominates and enslaves the librettist, who becomes more than an instrument in his hands. Notes Sources Baldini, Gabriele, The Story of Giuseppe Verdi, Cambridge, et al, Cambridge University Press. ISBN 0-521-29712-5 Black, John, Piave, Francesco Maria in Stanley Sadie, The New Grove Dictionary of Opera, Vol. Three, ISBN 0-333-73432-7 ISBN 1-56159-228-5 Budden, Julian, Verdi. ISBN0028646169 ISBN9780028646169 Kimball, David, in Holden, Amanda, The New Penguin Opera Guide, New York, ISBN 0-140-29312-4 OGrady, Deidre, Piave, Boito, Pirandello, From Romantic Realism to Modernism. ISBN 978-0-7734-7703-2 ISBN 0-7734-7703-9 Phillips-Matz, Mary Jane, Verdi, A Biography, London & New York, ISBN 0-19-313204-4 Werfel, Franz and Stefan, Paul, Verdi, The Man and His Letters, New York, Vienna House. ISBN 0-8443-0088-8 Works by or about Francesco Maria Piave at Internet Archive
4.
Le roi s'amuse
–
Le roi samuse is a French play in five acts written by Victor Hugo. First performed on 22 November 1832 but banned by the government after one evening, the hero of the play, Triboulet is a court jester, through whose words Hugo attacks contemporary society. The king is a profligate and a womanizer, constantly looking for new conquests, having set his sights on a new mistress, the Countess de Cossé, Triboulet encourages the king to kill her husband. Triboulet is despised by the courtiers, who plot to abduct the woman living with him whom they assume is his mistress. Returning home, Triboulet cannot put the curse out of his mind and he meets a stranger on the street, Saltabadil, who offers his services to right the jesters wrongs. Triboulet declines and goes back to the house where he conceals from the world his daughter Blanche, knowing the character of the king and the nobility, he wants to protect her from seduction and only lets her out to attend mass. Blanche is pleased to receive a visit from her father but does not tell him that she has fallen in love with a man who has seen her in church. Hearing noises in the street Triboulet rushes out to investigate, at point the king enters the house in disguise. The king leaves again, but in the street the jester encounters a group of courtiers and they claim that, in accordance with the earlier plan of the jester they want to abduct Madame de Cossé. In fact, they have come after Blanche whom they believe to be Triboulets mistress and this is to be the revenge of the courtiers on the jester. They trick him into wearing a blindfold and run off with the girl. When he hears her voice in the distance he realises what has happened, the next day the courtiers prevent Triboulet from entering the room in which Blanche is with the prince. When she emerges she tells her father the story, which makes the jester determined to take revenge. As Saint-Vallier is taken to his execution Triboulet replies that the curse will soon act on the king and he goes to Saltabadila at an inn by the Seine and pays half the money for the murder. The king also arrives at the inn, where he waits for Maguelonne, Blanche overhears, and can see that the king is unfaithful but decides to save him by sacrificing herself. She enters and is mortally wounded, in the final act, it is now midnight and storm is passing. As lightning flashes he opens the sack and sees that the body in it is his daughter, after asking forgiveness of him she dies, a crowd is attracted by Triboulets cries and believes he has killed someone, but a woman stops them taking him away. A doctor also arrives at the scene and pronounces Blanche dead, Triboulet collapses with the words Jai tué mon enfant
5.
Victor Hugo
–
Victor Marie Hugo was a French poet, novelist, and dramatist of the Romantic movement. He is considered one of the greatest and best-known French writers, outside France, his best-known works are the novels Les Misérables,1862, and The Hunchback of Notre-Dame,1831. In France, Hugo is known primarily for his collections, such as Les Contemplations. He produced more than 4,000 drawings and also campaigned for causes such as the abolition of capital punishment. He is buried in the Panthéon in Paris and his legacy has been honoured in many ways, including his portrait being placed on French currency. Victor Hugo was the son of Joseph Léopold Sigisbert Hugo and Sophie Trébuchet, his brothers were Abel Joseph Hugo. He was born in 1802 in Besançon in the region of Franche-Comté. Hugos childhood was a period of political turmoil. Napoleon was proclaimed Emperor of the French two years after Hugos birth, and the Bourbon Monarchy was restored before his 13th birthday, since Hugos father was an officer, the family moved frequently and Hugo learned much from these travels. On a childhood trip to Naples, Hugo saw the vast Alpine passes and the snowy peaks, the magnificently blue Mediterranean. Though he was five years old at the time, he remembered the six-month-long trip vividly. They stayed in Naples for a few months and then headed back to Paris, at the beginning of her marriage, Hugos mother Sophie followed her husband to posts in Italy and Spain. Thereafter she dominated Hugos education and upbringing, as a result, Hugos early work in poetry and fiction reflect her passionate devotion to both King and Faith. It was only later, during the leading up to Frances 1848 Revolution. Young Victor fell in love and, against his mothers wishes, because of his close relationship with his mother, Hugo waited until after her death to marry Adèle in 1822. Adèle and Victor Hugo had their first child, Léopold, in 1823, on 28 August 1824, the couples second child, Léopoldine was born, followed by Charles on 4 November 1826, François-Victor on 28 October 1828, and Adèle on 24 August 1830. Hugos eldest and favourite daughter, Léopoldine, died aged 19 in 1843, on 4 September, she drowned in the Seine at Villequier, pulled down by her heavy skirts when a boat overturned. Her young husband also died trying to save her, the death left her father devastated, Hugo was travelling with his mistress at the time in the south of France, and first learned about Léopoldines death from a newspaper he read in a café
6.
La Fenice
–
Teatro La Fenice is an opera house in Venice, Italy. It is one of the most famous and renowned landmarks in the history of Italian theatre, however, the third fire was the result of arson. It destroyed the house in 1996 leaving only the exterior walls, in 1774, the Teatro San Benedetto, which had been Venices leading opera house for more than forty years, burned to the ground. By 1789, with interest from a number of opera lovers who wanted a spectacular new house. The house would face on one side a campo, or small plaza, however, the process was not without controversy especially in regard to the aesthetics of the building. Some thirty responses were received and, as Romanelli accounts, Selvas was designated as the design to be constructed, the actual award for best design went to his chief rival, Pietro Bianchi. However, Selvas design and finished opera house appears to have been of high quality, construction began in June 1790, and by May 1792 the theatre was completed. It was named La Fenice, in reference to the survival, first of the fire. La Fenice was inaugurated on 16 May 1792, with an opera by Giovanni Paisiello entitled I giuochi dAgrigento set to a libretto by Alessandro Pepoli. But no sooner had the house been rebuilt than a legal dispute broke out between the company managing it and the owners, the Venier family. The issue was decided in favor of the Veniers, at the beginning of the 19th century, La Fenice acquired a European reputation. Rossini mounted two major productions there, Tancredi in 1813 and Semiramide in 1823, two of Bellinis operas were given their premieres there, I Capuleti e i Montecchi in March 1830 and Beatrice di Tenda in March 1833. Donizetti, fresh from his triumphs at La Scala in Milan and at the Teatro di San Carlo in Naples, returned to Venice in 1836 with his Belisario, in December 1836, disaster struck again when the theatre was destroyed by fire. However, it was rebuilt with a design provided by the architect-engineer team of the brothers, Tommaso. The interior displays a late-Empire luxury of gilt decorations, plushy extravagance, La Fenice once again rose from its ashes to open its doors on the evening of 26 December 1837. Giuseppe Verdis association with La Fenice began in 1844, with the performance of Ernani during the carnival season. Over the next 13 years, the premieres of Attila, Rigoletto, La traviata, during the First World War, La Fenice was closed, but it reopened to become the scene of much activity, attracting many of the worlds greatest singers and conductors. On 29 January 1996, La Fenice was completely destroyed by fire, only its acoustics were preserved, since Lamberto Tronchin, an Italian acoustician, had measured the acoustics two months earlier
7.
Libretto
–
A libretto is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata. 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. The relationship of the librettist to the composer in the creation of a work has varied over the centuries, as have the sources. In the context of a modern English language musical theatre piece, Libretti for operas, oratorios and cantatas in the 17th and 18th centuries generally were written by someone other than the composer, often a well-known poet. Metastasio was one of the most highly regarded librettists in Europe and his libretti were set many times by many different composers. Another noted 18th-century librettist was Lorenzo Da Ponte, who wrote the libretti for three of Mozarts greatest operas, as well as for other composers. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer, Auber, Bellini, Donizetti, Rossini and Verdi. The French writers duo Henri Meilhac and Ludovic Halévy wrote a number of opera and operetta libretti for the likes of Jacques Offenbach, Jules Massenet. Arrigo Boito, who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli, the libretto is not always written before the music. Some composers wrote their own libretti, Richard Wagner is perhaps most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas. Hector Berlioz, too, wrote the libretti for two of his works, La Damnation de Faust and Les Troyens. Alban Berg adapted Georg Büchners play Woyzeck for the libretto of Wozzeck, sometimes the libretto is written in close collaboration with the composer, this can involve adaptation, as was the case with Rimsky-Korsakov and his librettist Belsky, or an entirely original work. In the case of musicals, the music, the lyrics, 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, lyrics and libretto, Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen. A famous case of the latter is Wagners 1861 revision of the original 1845 Dresden version of his opera Tannhäuser for Paris, since the late 19th century some opera composers have written music to prose or free verse libretti. The libretto of a musical, on the hand, is almost always written in prose
8.
Duchy of Mantua
–
The Duchy of Mantua was a duchy in Lombardy, Northern Italy, subject to the Holy Roman Empire. After the fall of the Western Roman Empire, Mantua was invaded by Byzantines, Lombards, in the 11th century it became a possession of Boniface of Canossa, marquis of Toscana. The last ruler of the family was the countess Matilde of Canossa, after the death of Matilde of Canossa, Mantua became a free commune and strenuously defended itself from the Holy Roman Empire in the 12th and 13th centuries. During the Investiture Controversy, Pinamonte Bonacolsi took advantage of the situation to seize power—as Captain General of the People—in 1273. His family ruled Mantua for the century, making it more prosperous. On 16 August 1328, the last Bonacolsi, Rinaldo, was overthrown in a revolt backed by the House of Gonzaga, ludovico, who had been podestà of the city in 1318, was elected capitano del popolo. Through a payment of 120,000 golden florins in 1433, Gianfrancesco was appointed marquis of Mantua by Emperor Sigismund, in 1459 Pope Pius II held a diet in Mantua to proclaim a crusade against the Turks. The first duke of Mantua was Federico II, who acquired the title from Charles V, the following year, the family acquired the Marquisate of Montferrat through marriage. Federico commissioned Giulio Romano to build the famous Palazzo Te, in the periphery of the city, in 1624, Ferdinando Gonzaga moved the ducal seat to a new residence, the Villa della Favorita, designed by the architect Nicolò Sebregondi. The War of the Mantuan Succession broke out, and in 1630 an Imperial army of 36,000 Landsknecht mercenaries besieged Mantua, Mantua never recovered from this disaster. Duke Ferdinand Charles, a ruler whose only aim was to hold parties and theatrical representations. After the latters defeat, he was declared deposed by Emperor Joseph I and took refuge in Venice, at his death, in 1708 his family lost Mantua forever in favour of the Habsburgs of Austria. Mantua was briefly united with the Duchy of Milan by an edict of Emperor Joseph II on 26 September 1786, Mantua was besieged by Napoleons French army in 1796, before falling in 1797. With the Treaty of Campo Formio, Mantua was annexed to the Cisalpine Republic becoming the Department of Mincio, duke of Mantua The House of Gonzaga, heirs to the sovereign marquessate of Mantua I Gonzaga di Mantova
9.
Jester
–
A jester was also an itinerant performer who entertained common folk at fairs and markets. Jesters are also modern-day entertainers who resemble their historical counterparts, Jesters in medieval times are often thought to have worn brightly coloured clothes and eccentric hats in a motley pattern and their modern counterparts usually mimic this costume. Much of the entertainment was performed in a style and many jesters made contemporary jokes in word or song about people or events well known to their audiences. The modern use of the English word jester did not come into use until the mid-16th century during Tudor times and this modern term derives from the older form gestour, or jestour, originally from Anglo-Norman meaning story-teller or minstrel. Other earlier terms included fol, disour, and bourder and these terms described entertainers who differed in their skills and performances but who all shared many similarities in their role as comedic performers for their audiences. Jesters could also give bad news to the King that no one else would dare deliver, the best example of this is in 1340, when the French fleet was destroyed at the Battle of Sluys by the English. Phillippe VIs jester told him the English sailors dont even have the guts to jump into the water like our brave French, early jesters were popular in Ancient Egypt, and entertained Egyptian pharaohs. Jesters were popular with the Aztec people in the 14th to 16th centuries, many courts throughout English royal history employed entertainers and most had professional fools, sometimes called licensed fools. Entertainment included music, storytelling, and physical comedy and it has also been suggested they performed acrobatics and juggling Henry VIII of England employed a jester named Will Sommers. During the reigns of Elizabeth I and James I of England, William Shakespeare wrote his plays, clowns and jesters were featured in Shakespeares plays, and the companys expert on jesting was Robert Armin, author of the book Fooled upon Foole. In Shakespeares Twelfth Night, Feste the jester is described as enough to play the fool. King James VI of Scotland also employed a jester called Archibald Armstrong, during his lifetime Armstrong was given great honours at court. He was eventually out of the Kings employment when he over-reached himself. Even after his disgrace, books telling of his jests were sold in London streets and he held some influence at court still in the reign of Charles I and estates of land in Ireland. Charles later employed a jester called Jeffrey Hudson who was very popular, Jeffrey Hudson had the title of Royal Dwarf because he was short of stature. One of his jests was to be presented hidden in a giant pie from which he would leap out, Hudson fought on the Royalist side in the English Civil War. A third jester associated with Charles I was called Muckle John, the last British nobles to keep jesters were the Queen Mothers family, the Bowes-Lyons. In the 18th century, jesters had died out except in Russia, Spain, in France and Italy, travelling groups of jesters performed plays featuring stylized characters in a form of theatre called the commedia dellarte
10.
Venice
–
Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
11.
Ernani
–
Ernani is an operatic dramma lirico in four acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Hernani by Victor Hugo. As musicologist Roger Parker notes, the composer intervened on several important points, Ernani was first performed on 9 March 1844 and it was immensely popular, and was revived countless times during its early years. It became Verdis most popular opera until it was superseded by Il trovatore after 1853, in 1904 it became the first opera to be recorded completely. Following the success of both Nabucco and I Lombardi, Verdi was approached by many companies wanting to commission him to write an opera for their houses. However, the composer was only willing to accept the terms which he proposed,12,000 Austrian lire to be paid after the first performance, in addition, he had the right to choose the singers from the assembled company for that season. Several subjects came to Verdis attention, for example, Byrons The Corsair was considered, However, both of these subjects were to become later Verdi operas, Il corsaro and I due Foscari. An unsolicited manuscript from the unknown Francesco Piave proposed an opera, Cromwell, based on Victor Hugos play, the idea for Hernani The Cromwell libretto arrived from Piave in pieces, and Verdi put it away until he had the complete version to work from. However, when the composer and La Fenices president met in Venice in late August and he continues, But oh, if only we could do Hernani instead that would be tremendous. I know that it would mean a great deal of trouble for the poet but my first task would be to try, all he would have to do would be to condense and tighten up, the action is already there ready made, and its all immensely good theatre. Tomorrow Ill write at length to Piave setting out all the scenes from Hernani which seem to me suitable, at this point he continues with suggestions for the poet. Setting the play as the opera, Ernani However, Piave was not at all pleased by this turn of events and felt that an opera based on Hernani could not be staged for reasons of censorship. For instance, the Kings first appearance in the play is from a cupboard where he has been hiding since some time after his arrival, thus he overhears much of the interaction between Elvira and Ernani before finally revealing himself. Verdi must have realized that no king would ever be allowed to hide in a cupboard, but the La Fenice directorate did approve the concept and the librettist was offered compensation, although he saved his Allan Cameron in reserve in case of mishap. For Budden, this marks a new outlook in Italian opera, because this would never have occurred to either Rossini or Donizetti, for whom plots were interchangeable. Although Verdi had agreed to try to accommodate the contralto Carolina Vietti when the opera was Allan Cameron, thus it became a comprimario role, one to be sung by a second-rung singer in the company. But, as Budden notes, Verdis difficulties with singers were not yet over, the season opened with I Lombardi in December 1843. It was a disaster, with singing from the tenor Domenico Conti. Two other operas early in the 1843/44 season were equally poorly received, Verdi then engaged a member of the chorus, the bass Antonio Selva who went on to a distinguished career
12.
I due Foscari
–
I due Foscari is an opera in three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on a historical play, The Two Foscari by Lord Byron. After his success with Ernani, Verdi received a commission from Romes Teatro Argentina, today, Foscari is revived occasionally and its fortunes have been helped by the interest taken by tenor Plácido Domingo in singing baritone roles. He has already performed the role of the Doge in Los Angeles in 2012, in Valencia in early 2013, in Vienna and London in 2014, Barcelona in 2015, and Milan in 2016. After Ernani, Verdi had considered a number of projects for the future. At the same time, the composer had accepted a commission from the Teatro Argentina in Rome and had considered the subject of Lorenzino de Medici on which Piave had already begun work, I like the plot and the outline is already there in Venice. It appears that Verdi had already submitted it to La Fenice at some time, and so he encourages Piave to work on it. As it turned out, the de Medici libretto was rejected by the Teatro Argentina and this gave Verdi the opportunity to re-read Byrons play and, in doing so, he came to the realization that the librettist had better NOT stick close to Byron. Thus, the lower key of the original piece stood out in direct contrast to the opera by which it was succeeded. However, as musicologist Roger Parker notes, it appears that Verdi was concentrating on personal rather than grand scenic effects. Upon receiving the libretto by mid-May, the composer sent a series of letters to the librettist over several months instructing him on many points where changes were needed. With the music completed over the summer, I due Foscari was given its Rome premiere performance on 3 November 1844. It appeared in Barcelona in 1845, in Lisbon, and Paris in 1846, in Venezia, and Prato in 1847, the first performances in the UK were given in London at Her Majestys Theatre on 10 April 1847. In the US, the opera was first presented in Boston on 10 May 1847, Paris saw a production in December 1846 at the Théâtre des Italiens, and it was taken up by several major Italian opera houses. 20th century and beyond In modern times Foscari has received occasional productions, in 1977 was performed in Barcelona Liceu with Vicente Sardinero and Pedro Lavirgen. La Scala presented it in 1988, also with Renato Bruson and it was performed by the Teatro di San Carlo in Naples in 2000 and recorded on DVD. The Royal Opera presented the opera in June 1995 with Vladimir Chernov, floridas Sarasota Opera included it in March 2008 as part of its Verdi Cycle. It was presented during the 2008/09 seasons of La Scala and the Bilbao Association of Lovers of Opera in Bilbao, also, concert opera performances have been common. The Los Angeles Opera presented a new production in September 2012, performances were conducted by the companys music director, James Conlon
13.
Macbeth (opera)
–
Macbeth is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on William Shakespeares play of the same name. Written for the Teatro della Pergola in Florence, it was Verdis tenth opera, Macbeth was the first Shakespeare play that Verdi adapted for the operatic stage. Almost twenty years later, Macbeth was revised and expanded in a French version, after the success of Attila in 1846, by which time the composer had become well established, Macbeth came before the great successes of 1850 to 1853 which propelled him into universal fame. The first version of Macbeth was completed during the time which Verdi described as his years, which ranged over a period of 16 years. By the standards of the matter of almost all Italian operas during the first fifty years of the 19th century. The 1847 version was successful and it was presented widely. It was less successful, and the opera largely faded from view until the mid-20th century revivals. He only started working on Macbeth in September 1846, the reason for that choice being the availability of a particular singer. With Varesi under contract, Verdi could focus on the music for Macbeth, (Maffei was already writing a libretto for I masnadieri, which was based on the suggested Schiller play, but it could have been substituted for Macbeth had the baritone not been available. As a result of complications, including Verdis illness, that work was not to receive its premiere until July 1847. Piaves text was based on a translation by Carlo Rusconi that had been published in Turin in 1838. I have had him in my hands from my earliest youth, writing to Piave, Verdi made it clear how important this subject was to him. This tragedy is one of the greatest creations of man. If we cant make something out of it let us at least try to do something out of the ordinary. In spite of disagreements and Verdis need to constantly bully Piave into correcting his drafts, their version follows Shakespeares play quite closely, instead of using three witches as in the play, there is a large female chorus of witches, singing in three part harmony. The last act begins with an assembly of refugees on the English border, as early as 1852 Verdi was asked by Paris to revise his existing Macbeth in that city. However, nothing transpired but, again in 1864, Verdi was asked to provide additional music - a ballet, so began a revision of the original version of 1847 over the winter of 1864/65. Was a typical reaction to a first draft—in this case it was of Lady Macbeths new act 2 aria La luce langue, the result of which was from Verdis insistence came Lady Macbeths gripping scene. If all these specific demands which were placed on Piave were not enough, some relate to crucial elements in the drama, especially how Banquos appearances as a ghost should be presented
14.
Il corsaro
–
Il corsaro is an opera in three acts by Giuseppe Verdi, from a libretto by Francesco Maria Piave, based on Lord Byrons poem The Corsair. The first performance was given at the Teatro Grande in Trieste on 25 October 1848, the composer expressed interest in Byrons poem The Corsair as early as 1844 when he was planning an opera for Venice, but a suitable baritone was not available. In 1845, the composer had contracted with the Milanese publisher, Francesco Lucca, however, Verdi had not lost sight of Corsaro at all, as is demonstrated in a letter to Piave. Impatient because of the delays, Piave had asked for his libretto to be returned to him in order that he might fulfill another commitment. Verdi was shocked, Give you back Il corsaro, that Corsaro which has fascinated me and which Ive thought about so much. The composer continues to explain details of the work on the music he has already done, Piave relented, and he moved ahead on Macbeth s libretto. 19th century Lucca decided on the Teatro Grande in Trieste as the location for the Spring 1848 premiere, Verdi did not attend the first performance. However, Verdis biographer Mary Jane Phillips-Matz feels that Lucca chose a good house, in addition, she quotes from a long letter which Verdi wrote to the soprano Marianna Barbieri-Nini, who had been his Lady Macbeth at the 1847 premiere of that opera. In the letter, Verdi said that he wanted to tell you a few things about your pieces, as it turned out, the opera was poorly received by both the press and the public in Trieste, an unusual occurrence for Verdi. Budden notes that it vanished from the repertoire after three performances and that the feeling would have been that Trieste deserves a better opera than this. Relatively few performances were given in Italy after the premiere, although it was staged in Milan and Turin in 1852, and in Modena, Novara, Venice, 20th century and beyond In modern times, the opera is very much a rarity. It was given its first performances in Britain in March 1966 and it was presented as part of a Verdi Festival by the San Diego Opera in 1982 with Rosalind Plowright and June Anderson, and in 2004 by the Sarasota Opera as part of its Verdi Cycle. In concert versions, it was given by the Liceu Barcelona, the Opera Orchestra of New York presented it in March 2004. The Washington Concert Opera in Washington, D. C. presented a version in March 2014 with a cast including Michael Fabiano as Corrado, Tamara Wilson as Gulnara. Place, A Greek island in the Aegean and the Turkish city of Corone, time, The early 1800s The Greek Island Scene 1, Corrados ship The island is controlled by the corsairs, or pirates. A chorus introduces Corrado, the corsair, who is in exile. He laments his present condition, Tutto parea sorridere / The world seemed to smile upon my early life, but he receives a letter containing military intelligence about the Turkish Pasha, Seid. It convinces him to set sail with his comrades, and he immediately starts rallying the troops, Sì, di Corsari il fulmine / Yes, Scene 2, Medoras home Medora is alone, and anxious for Corrados return
15.
Stiffelio
–
Stiffelio is an opera in three acts by Giuseppe Verdi, from an Italian libretto by Francesco Maria Piave. The origin of this was the novel “Le pasteur d’hommes”, by Émile Souvestre and this was adapted into the French play Le pasteur, ou Lévangile et le foyer by Émile Souvestre and Eugène Bourgeois. That was in turn translated into Italian by Gaetano Vestri as Stifellius, Verdis experience in Naples for Luisa Miller had not been a good one and he returned home to Busseto to consider the subject for his next opera. The idea for Stiffelio came from his librettist and, entering into a contract with his publisher, Ricordi, he agreed to proceed, leaving the decision as to the location of the premiere to Ricordi. This became the Teatro Grande in Trieste and, in spite of difficulties with the censors which resulted in cuts and changes, however, by June 1850 it became clear that the subject was beyond Cammaranos ability to fashion into a libretto, and so it was abandoned. However, the commitment to Ricordi remained, Verdi had returned to Busseto with many ideas in mind, among them a new opera for Venice, which included a request for a draft scenario from Piave based on Victor Hugos Le roi samuse. Plus several others of interest to him, however, it was the librettist who came back with the suggestion of Stifellius, and between March and May 1850 discussions with Piave proceeded until a sketch of Stiffelio was received. Verdi responded enthusiastically, proclaiming it good and exciting and asking, in all the history Ive read, I dont remember coming across the name. Reactions to the choice of subject and how it worked as a libretto, the tendency of its most powerful moments to avoid or radically manipulate traditional structures has been much praised. Budden basically agrees, stating that was tired of stock subjects, he wanted something with genuinely human, as distinct from melodramatic, interest. Stiffelio had the attraction of being a play with a core of moral sensibility, the same attraction, in fact. As Stiffelio moved towards completion, Ricordi decided that it should be performed in Trieste, a married priest was a contradiction in terms. Therefore there was no question of a church in the final scene, the changes which were demanded included Stiffelio being referred to not as a minister, but as a sectarian. Both men were forced to agree to accept the changes. The story of shocked conservative post-Revolutionary Italian religious and political powers, from its very premiere at Trieste in November 1850, its text was diluted to appease the authorities, making a mockery of the action and thus of Verdis carefully calibrated music. The libretto was rewritten for subsequent revivals, and even some of Verdis music was dropped, hansells statement establishes what happened to Verdis opera in the years between the 1850 premiere and October 1993. To begin with, a version of the opera, entitled Guglielmo Wellingrode, was presented in 1851. In fact, when asked by impresario Alessandro Linari in 1852 to create a suitable ending, Verdi was furious
16.
Alexandre Dumas
–
Alexandre Dumas, also known as Alexandre Dumas, père, was a French writer. His works have translated into nearly 100 languages, and he is one of the most widely read French authors. His novels have been adapted since the twentieth century for nearly 200 films. Dumas last novel, The Knight of Sainte-Hermine, unfinished at his death, was completed by a scholar and published in 2005 and it was published in English in 2008 as The Last Cavalier. Prolific in several genres, Dumas began his career by writing plays and he also wrote numerous magazine articles and travel books, his published works totalled 100,000 pages. In the 1840s, Dumas founded the Théâtre Historique in Paris and his father, General Thomas-Alexandre Davy de la Pailleterie, was born in the French colony of Saint-Domingue to a French nobleman and an enslaved African woman. At age 14 Thomas-Alexandre was taken by his father to France, Dumas fathers aristocratic rank helped young Alexandre acquire work with Louis-Philippe, Duke of Orléans. He later began working as a writer, finding early success, decades later, in the election of Louis-Napoléon Bonaparte in 1851, Dumas fell from favour and left France for Belgium, where he stayed for several years. Upon leaving Belgium, Dumas moved to Russia for a few years before going to Italy, in 1861, he founded and published the newspaper LIndipendente, which supported the Italian unification effort. In 1864, he returned to Paris, though married, in the tradition of Frenchmen of higher social class, Dumas had numerous affairs. In his lifetime, he was known to have at least four illegitimate or natural children and he acknowledged and assisted his son, Alexandre Dumas, to become a successful novelist and playwright. They are known as Alexandre Dumas père and Alexandre Dumas fils, among his affairs, in 1866, Dumas had one with Adah Isaacs Menken, an American actress then less than half his age and at the height of her career. The English playwright Watts Phillips, who knew Dumas in his life, described him as the most generous. He also was the most delightfully amusing and egotistical creature on the face of the earth and his tongue was like a windmill – once set in motion, you never knew when he would stop, especially if the theme was himself. Dumas Davy de la Pailleterie was born in 1802 in Villers-Cotterêts in the department of Aisne, in Picardy and he had two older sisters, Marie-Alexandrine and Louise-Alexandrine. Their parents were Marie-Louise Élisabeth Labouret, the daughter of an innkeeper, at the time of Alexandres birth, his father was impoverished. It is not known whether she was born in Saint-Domingue or in Africa, brought as a boy to France by his father and legally freed there, Thomas-Alexandre Dumas Davy was educated in a military school and joined the army as a young man. As an adult, Thomas-Alexandre used his mothers name, Dumas, as his surname after a break with his father, Dumas was promoted to general by the age of 31, the first soldier of Afro-Antilles origin to reach that rank in the French army
17.
Francis I of France
–
Francis I was the first King of France from the Angoulême branch of the House of Valois, reigning from 1515 until his death. He was the son of Charles, Count of Angoulême, and he succeeded his cousin and father-in-law Louis XII, who died without a male heir. Francis reign saw important cultural changes with the rise of absolute monarchy in France, the spread of humanism and Protestantism, Jacques Cartier and others claimed lands in the Americas for France and paved the way for the expansion of the first French colonial empire. For his role in the development and promotion of a standardized French language, he became known as le Père et Restaurateur des Lettres. He was also known as François au Grand Nez, the Grand Colas, following the policy of his predecessors, Francis continued the Italian Wars. In his struggle against Imperial hegemony, he sought the support of Henry VIII of England at the Field of the Cloth of Gold. When this was unsuccessful, he formed a Franco-Ottoman alliance with the Muslim sultan Suleiman the Magnificent, a controversial move for a Christian king at the time. Francis was born on 12 September 1494 at the Château de Cognac in the town of Cognac, which at that time lay in the province of Saintonge, today the town lies in the department of Charente. Francis was the son of Charles, Count of Angoulême, and Louise of Savoy. His family was not expected to inherit the throne, as his third cousin King Charles VIII was still young at the time of his birth, as was his fathers cousin the Duke of Orléans, later King Louis XII. However, Charles VIII died childless in 1498 and was succeeded by Louis XII, the Salic Law prevailed in France, thus females were ineligible to inherit the throne. Therefore, the four-year-old Francis became the heir presumptive to the throne of France in 1498 and was vested with the title of Duke of Valois. In 1505, Louis XII, having fallen ill, ordered that his daughter Claude and Francis be married immediately, Claude was heiress to the Duchy of Brittany through her mother, Anne of Brittany. Following Annes death, the took place on 18 May 1514. Louis died shortly afterwards and Francis inherited the throne and he was crowned King of France in the Cathedral of Reims on 25 January 1515, with Claude as his queen consort. As Francis was receiving his education, ideas emerging from the Italian Renaissance were influential in France, some of his tutors, such as François Desmoulins de Rochefort and Christophe de Longueil, were attracted by these new ways of thinking and attempted to influence Francis. His academic education had been in arithmetic, geography, grammar, history, reading, spelling, Francis came to learn chivalry, dancing, and music and he loved archery, falconry, horseback riding, hunting, jousting, real tennis and wrestling. He ended up reading philosophy and theology and he was fascinated with art, literature, poetry and his mother, who had a high admiration for Italian Renaissance art, passed this interest on to her son
18.
Censorship
–
Governments, private organizations and individuals may engage in censorship. When an individual such as an author or other creator engages in censorship of their own works or speech, Censorship could be direct or indirect, in which case it is referred to as soft censorship. Direct censorship may or may not be legal, depending on the type, location, there are no laws against self-censorship. In 399 BC, Greek philosopher, Socrates, defied attempts by the Greek state to censor his philosophical teachings and was sentenced to death by drinking a poison, hemlock. Socrates student, Plato, is said to have advocated censorship in his essay on The Republic, in contrast to Plato, Greek playwright Euripides defended the true liberty of freeborn men, including the right to speak freely. In 1766, Sweden became the first country to abolish censorship by law, the rationale for censorship is different for various types of information censored, Moral censorship is the removal of materials that are obscene or otherwise considered morally questionable. Pornography, for example, is often censored under this rationale, especially child pornography, Military censorship is the process of keeping military intelligence and tactics confidential and away from the enemy. This is used to counter espionage, which is the process of gleaning military information, political censorship occurs when governments hold back information from their citizens. This is often done to control over the populace and prevent free expression that might foment rebellion. Religious censorship is the means by which any material considered objectionable by a religion is removed. This often involves a dominant religion forcing limitations on less prevalent ones, alternatively, one religion may shun the works of another when they believe the content is not appropriate for their religion. Strict censorship existed in the Eastern Bloc, throughout the bloc, the various ministries of culture held a tight rein on their writers. Cultural products there reflected the needs of the state. Party-approved censors exercised strict control in the early years, in the Stalinist period, even the weather forecasts were changed if they suggested that the sun might not shine on May Day. Under Nicolae Ceauşescu in Romania, weather reports were doctored so that the temperatures were not seen to rise above or fall below the levels which dictated that work must stop. Independent journalism did not exist in the Soviet Union until Mikhail Gorbachev became its leader, pravda, the predominant newspaper in the Soviet Union, had a monopoly. Foreign newspapers were available if they were published by Communist Parties sympathetic to the Soviet Union. Possession and use of copying machines was tightly controlled in order to hinder production and distribution of samizdat, illegal self-published books, possession of even a single samizdat manuscript such as a book by Andrei Sinyavsky was a serious crime which might involve a visit from the KGB
19.
History of Austria
–
The history of Austria covers the history of Austria and its predecessor states, from the early Stone Age to the present state. The name Ostarrîchi has been in use since 996 AD when it was a margravate of the Duchy of Bavaria, Austria was dominated by the House of Habsburg from 1273 to 1806, when the Holy Roman Empire came to an end. When this empire collapsed in 1918, Austria was reduced to the main German speaking areas of the empire, however this union was forbidden by the Allies at the Treaty of Versailles. Following the First Republic, Austrofascism tried to keep Austria independent from the German Reich, but in 1938 it was annexed by Nazi Germany with the support of the large majority of the Austrian people. After the Second World War Austria again became an independent republic as the Second Republic in 1955, the history of Austria raises a number of questions. Should it be confined to the current Republic of Austria, or to all lands formerly ruled by the rulers of Austria, should Austrian history include 1938–1945 when it did not exist. Within Austria there are regional variations, and parts of Austria have at various times wished to become part of adjacent countries. Human habitation of current Austria can be traced back to the first farming communities of the early Stone Age. In the late Iron Age it was occupied by a Celtic culture, at the end of the 1st century BC this became part of the Roman Empires lands to the south of the Danube, and was incorporated as the Province of Noricum around 40 AD. The most important Roman settlement was at Carnuntum, in the 6th century, another Germanic people, the Bavarii occupied these lands until it fell to the Frankish Empire in the 9th century. Around 800 AD Charlemagne established the outpost of Avar March in what is now Lower Austria, to hold back advances from Slavs and Avars. In the 10th century an eastern outpost of the Duchy of Bavaria, bordering Hungary, was established as the Marchia orientalis or Margraviate of Austria in 976 and this Eastern March, in German was known as Ostarrîchi or Eastern Realm, hence Austria. The first mention of Ostarrîchi occurs in a document of that name dated 996 CE, from 1156 the Emperor Frederick Barbarossa created an independent duchy under the House of Babenberg, until its extinction in 1246, corresponding to modern Lower Austria. The 15th and early 16th century saw expansion of the Habsburg territories through diplomacy and marriages to include Spain. This expansionism, together with French aspirations and the resultant Habsburg-French or Bourbon-Habsburg rivalry were important factors shaping European History for 200 years, by 1526 Ferdinand had also inherited the kingdoms of Bohemia, and Hungary after the Battle of Mohács which partitioned the latter. However the Ottoman Empire now lay directly adjacent to the Austrian lands, even after the unsuccessful first Siege of Vienna by the Turks in 1529, the Ottoman threat persisted for another one and a half centuries. The 16th Century also saw the spread of the Reformation, from around 1600 the Habsburg policy of recatholicisation or Catholic Renewal eventually led to the Thirty Years War. Originally a religious war, it was also a struggle for power in central Europe, eventually the pressure of the anti-Habsburg coalition of France, Sweden, and most Protestant German states contained their authority to the Austrian and Czech lands in 1648
20.
Busseto
–
Busseto is a comune in the province of Parma, in Emilia-Romagna in Northern Italy with a population of about 7,100. Its history has very ancient roots which date back to the 10th century, the first written sources the name Busseto were in the form of Buxetum, which dates from the early twelfth century. It is believed that the name derives from buxus or, in another form. The Rocca, the fortress was built in the time of Adalberto Pallavicini, founder of the family, in the first half of the thirteenth century, it was completely rebuilt and surrounded by a moat and a drawbridge linking it to the square. In time, however, it was destroyed and rebuilt several times and then lost the drawbridge, in 1857 it was again rebuilt almost entirely in the neo-Gothic style by architect Pier Luigi Montecchini. The present-day Rocca has preserved the original keep and the main tower, la Rocca, within which lies the Teatro Verdi, it is now the Municipal Palace, the seat of the municipality of Busseto. Opera composer Giuseppe Verdi was born in the village of Le Roncole in 1813. Other figures from the world of opera are associated with the town, until his death, retired tenor Carlo Bergonzi owned the hotel I due Foscari, which also hosts the Accademia Verdiana. Bass-baritone Luca Pisaroni grew up there from the age of four after his family moved to Busseto in 1979 and it was in that town where, he noted, you feel Verdis spirit all over the place. And where his love of opera began, italian journalist Giovannino Guareschi also lived in Le Roncole, and his Mondo Piccolo is set there. In the town and the area many sites associated with the life of Verdi can be visited. These include, The nearby village of Le Roncole was Verdis birthplace on 10 October 1813, the house has been a national monument since 1901. Close by the square is the home of Antonio Barezzi. He became both Verdis patron and his father-in-law, in the upstairs lounge, the young Verdi gave his first public performance in 1830 and continued to frequent the house until the death of his benefactor. The first portrait of Verdi and an oil depicting Antonio Barezzi is on display in the house, Verdis letters are also on display. The Casa Barezzi is the headquarters of the Friends of Verdi, since 2001, there has been a permanent exhibition of objects and documents related to Verdi and his relationship to the Barezzi family. These are where Verdi played the organ and this is the house which Verdi bought in 1845. He lived there with Giuseppina Strepponi, not yet his wife, Verdi composed Luisa Miller, Stiffelio and Rigoletto while living there
21.
Mantua
–
Mantua is a city and commune in Lombardy, Italy, and capital of the province of the same name. In 2016, Mantua became Italian Capital of Culture, as chosen by the Italian Government on 27 October 2015, in 2017, Mantua will also be European Capital of Gastronomy, included in the Eastern Lombardy District. In 2007, Mantuas centro storico and Sabbioneta were declared by UNESCO to be a World Heritage Site. Mantuas historic power and influence under the Gonzaga family has made it one of the artistic, cultural, and especially musical hubs of Northern Italy. Mantua is noted for its significant role in the history of opera, the city is known for its architectural treasures and artifacts, elegant palaces. It is the place where the composer Monteverdi premiered his opera LOrfeo and it is the nearest town to the birthplace of the Roman poet Virgil, who was commemorated by a statue at the lakeside park Piazza Virgiliana. Mantua is surrounded on three sides by artificial lakes, created during the 12th century, as the defence system. These lakes receive water from the Mincio River, a tributary of the Po River which descends from Lake Garda, the three lakes are called Lago Superiore, Lago di Mezzo, and Lago Inferiore. A fourth lake, Lake Pajolo, which served as a defensive water ring around the city. These dated, without interruption, from Neolithic times to the Bronze Age and the Gallic phases, and ended with Roman residential settlements, which could be traced to the 3rd century AD. Mantua was a settlement which was first established about the year 2000 BC on the banks of River Mincio. In the 6th century BC, Mantua was an Etruscan village which, the name may derive from the Etruscan god Mantus. This new Roman territory was populated by soldiers of Augustus. Mantuas most famous ancient citizen is the poet Virgil, or Publius Vergilius Maro, after the fall of the western Roman Empire in 476 AD, Mantua was invaded in turn by Goths, Byzantines, Longobards, and Franks. In the 11th century, Mantua became a possession of Boniface of Canossa, the last ruler of that family was the countess Matilda of Canossa, who, according to legend, ordered the construction of the precious Rotonda di San Lorenzo in 1082. The Rotonda still exists today and was renovated in 2013, free Imperial City of Mantua After the death of Matilda of Canossa, Mantua became a free commune and strenuously defended itself from the Holy Roman Empire during the 12th and 13th centuries. In 1198, Alberto Pitentino altered the course of River Mincio, three of these lakes still remains today and the fourth one, which ran through the centre of town, was reclaimed in the 18th century. Podesteria Rule From 1215, the city was ruled under the podesteria of the Gallic-Guelph Rambertino Buvalelli, during the struggle between the Guelphs and the Ghibellines, Pinamonte Bonacolsi took advantage of the chaotic situation to seize power of the podesteria in 1273
22.
House of Gonzaga
–
Their family includes a saint, twelve cardinals and fourteen bishops. Two Gonzaga descendants became empresses of the Holy Roman Empire, the first members of the family of historical importance are known to have collaborated with the Guelph faction alongside the monks of the Polirone Abbey. Starting from the 12th century they became a dominant family in Mantua, growing in wealth when their allies, the Bonacolsi, defeated the traditional familiar enemy, the Casalodi. Ludovico was succeeded by Guido and Ludovico II, while Feltrino, lord of Reggio until 1371, formed the cadet branch of the Gonzaga of Novellara, whose state existed until 1728. Francesco I abandoned the alliance with the Visconti of Milan. In 1530 Federico II received the title of Duke of Mantua, in 1531, the family acquired the Marquisate of Montferrat through marriage. Through maternal ancestors, the Gonzagas inherited also the Imperial Byzantine ancestry of the Paleologus, the Gonzaga-Nevers later came to rule Mantua again when Louiss son Charles inherited Mantua and Montferrat, triggering the War of the Mantuan Succession. Another cadet branch were first sovereign counts, later dukes of Guastalla and they descended from Ferrante, a younger son of Duke Francesco II of Mantua. Ferrantes grandson, Ferrante II, also played a role in the War of the Mantuan Succession, a further cadet branch was that of Sabbioneta, founded by Gianfrancesco, son of Ludovico III. Marie Louise Gonzaga, daughter of Prince Charles Gonzaga-Nevers, was a Polish queen consort from 1645 to her death in 1667. Two daughters of the house, both named Eleanor Gonzaga, became Holy Roman Empresses, by marrying emperors Ferdinand II of Germany and Ferdinand III, Holy Roman Emperor, from the latter Empress Eleanor, the current heirs of the Gonzaga descend. St. Aloysius Gonzaga was a member of a branch of this family. The House of Gonzaga is the inspiration for the play-within-the-play in Shakespeares Hamlet, in Act 3 scene 2, they act out a play called The Murder of Gonzago. Gonzaga rule continued in Mantua until 1708 and in Guastalla until 1746, both ruling lines became extinct, and the headship of the House of Gonzaga passed to the Vescovato line, descended from Giovanni, a son of Federico I Gonzaga. That branch, shorn of sovereign domains, is extant and its head is Don Maurizio Ferrante Gonzaga, Principe del Sacro Romano Impero, Marchese Gonzaga, Conte di Villanova, Conte di Cassolnovo, Marchese del Vodice, Signore di Vescovato, Patrizio Veneto. The branches of the Gonzaga family, showing marquises and dukes of Mantua in bold, dukes of Nevers and Rethel in italics and the Guastalla line to the right
23.
Triboulet
–
Triboulet was a jester of kings Louis XII and Francis I of France. He appears in Book 3 of François Rabelais Pantagrueline chronicles and he appears in Victor Hugos Le Roi samuse and its opera version, Giuseppe Verdis Rigoletto, a blend of Triboulet and French rigoler, intended to deflect the censorship that Hugos work had received. A triboulet, a jester dressed entirely in red, is a associated with the carnival of Monthey in Switzerland. Triboulet once came to the Monarch with a complaint, Triboulet, A noble has threatened to hang me. If he hangs you Ill have him beheaded fifteen minutes later, Triboulet, Well, would it be possible to behead him 15 minutes before. Once, Triboulet could not contain himself and slapped the monarch on the bum, the monarch lost his temper and threatened to execute Triboulet. A little later, the monarch calmed down a little and promised to forgive Triboulet if he could think of an apology more insulting than the offending deed, a few seconds later, Triboulet responded, Im so sorry, your majesty, that I didnt recognize you. I mistook you for the Queen, having broken an order from Francis I forbidding Triboulet from making jokes on the queen and courtesans, the king ordered that he should be put to death. Having served particularly well the king for years, Francis I granted Triboulet the right to choose the way he would die. Triboulet, with his mind, said the following, Bon sire, par sainte Nitouche et saint Pansard, patrons de la folie. Which translates to, Sir, for Saint Nitouches and Saint Pansards sake, patrons of insanity, having no other choice than to laugh, the king ordered that Triboulet must not be executed, but rather instead be banished from the realm. Media related to Triboulet at Wikimedia Commons Biographie
24.
Felice Varesi
–
Felice Varesi was a French-born Italian baritone with an illustrious singing career that began in the 1830s and extended into the 1860s. He is best remembered today for his association with several famous operas composed by Giuseppe Verdi. By 1841 he was singing at La Scala, Milan, and from 1842 to 1847 he was in demand in Vienna, here he created the role of Antonio in Donizettis Linda di Chamounix as well as appearing in other works by the same composer. In 1844 he sang the role of Don Carlo in Ernani at Padua, his initial Verdi opera, in 1847, in Florence, he was the first Macbeth in Verdis opera of that name. Then, in 1851 at La Fenice, Venice, he created Verdis Rigoletto and he came to London in 1864 to perform Rigoletto – probably his best known role – at Her Majestys Theatre. Varesi was admired for his intelligence, musicianship and acting ability as well for the quality of his voice. He set the scene for a generation of great Verdi baritones that included Francesco Graziani, Leone Giraldoni and Antonio Cotogni. He was married to the operatic soprano Cecilia Boccabadatti Gazzudo and their daughter, Elena, also sang as a soprano, opening a singing school in Chicago following her retirement from the stage. Forbes, Elizabeth, Varesi, Felice in The New Grove Dictionary of Opera, harold Rosenthal and John Warrack, Varesi, Felice in The Concise Oxford Dictionary of Opera ISBN 0-19-311321-X
25.
Teresa Brambilla
–
Teresa Brambilla was a celebrated Italian soprano most remembered today for having created the role of Gilda in Verdis opera, Rigoletto. During a career that spanned 20 years, she sang throughout Italy and in other European cities, including Paris, Barcelona, Teresa Brambilla was born in Cassano dAdda to a musical family. Teresa was one of five sisters who all became opera singers and her elder sister, Marietta was a contralto who specialised in travesti roles and sang in the premieres of several of Donizettis operas. Her younger sister, Giuseppina was also a contralto who appeared in opera houses in Italy, Spain. Her other two sisters, Annetta and Lauretta, were sopranos who had careers, appearing primarily in Italian opera houses. Like her sisters, Teresa Brambilla studied at the Milan Conservatory, where she first became acquainted with Giuseppina Strepponi, a fellow student and she then appeared on Russia at the Odessa Opera House, which at the time specialised in Italian opera. After singing in Barcelona, she returned to La Scala for the 1839/1840 season in Mercadantes Le due illustri rivali and the world premieres of Mazzucatos I corsari and Coccias Giovanna II. Brambilla, Giuseppina, Brambilla, Marietta, Brambilla, Teresa, Brambilla, Marietta in Dizionario Biografico degli Italiani, Volume 13. Opera premieres, An index of casts/performers, Opera Production, 1780–1880 in Giorgio Pestelli and Lorenzo Bianconi, Opera Production and Its Resources, pp. 81–164. Angels and Monsters, Male and Female Sopranos in the Story of Opera, 1600-1900
26.
Aria
–
An aria in music was originally any expressive melody, usually, but not always, performed by a singer. The term became used almost exclusively to describe a piece for one voice, with or without orchestral accompaniment. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, the term, which derives from the Greek and Latin aer first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term refers to an instrumental form. By the early 16th century it was in use as meaning a simple setting of strophic poetry, melodic madrigals. In the context of staged works and concert works, arias evolved from simple melodies into structured forms, the aria evolved typically in one of two forms. Binary form arias were in two sections, arias in ternary form were known as da capo arias, in the da capo aria the B episode would typically be in a different key – the dominant or relative major key. This version of form with ritornelli became a dominant feature of European opera throughout the 18th century. It is thought by some writers to be the origin of the forms of concerto. The ritornelli became essential to the structure of the aria – while the words determine the character of a melody the ritornello instruments often decided in terms it shall be presented. By the early 18th century, composers such as Alessandro Scarlatti had established the aria form and it offered balance and continuity, and yet gave scope for contrast. The very regularity of its conventional features enabled deviations from the normal to be exploited with telling effect. In the early years of the century, arias in the Italian style began to take over in French opera, giving rise eventually to the French genre of ariette, normally in a relatively simple ternary form. Types of operatic aria became known by a variety of terms according to their character – e. g. aria parlante, aria di bravura, aria buffa, and so on. By the end of this first vocal paragraph the music, if it were in a key as it usually was, had modulated to the dominant. The orchestra then played a second ritornello usually shorter than the first, the singer re-entered and sang the same words through a second time. The music of this paragraph was often slightly more elaborate than that of the first. There were more repeats of words and perhaps more florid vocalisations, the key worked its way back to the tonic for the final vocal cadence after which the orchestra rounded the section off with a final ritornello
27.
Bergamo
–
Bergamo is a city in Lombardy, Italy, about 40 km northeast of Milan and 30 km from the lakes Como and Iseo. The foothills of the Bergamo Alps begin immediately north of the town, Bergamo is the seat of the Province of Bergamo. With a population of around 120,000, Bergamo is the fourth-largest city in Lombardy, the metropolitan area of Bergamo extends beyond the administrative city limits, spanning over a densely urbanized area with slightly less than 500,000 inhabitants. The Bergamo metropolitan area is part of the broader Milan metropolitan area. As of 2015, Bergamo is the second most visited city in Lombardy after Milan, Bergamo occupies the site of the ancient town of Bergomum, founded as a settlement of the Celtic tribe of Cenomani. In 49 BC it became a Roman municipality, containing c.10,000 inhabitants at its peak, an important hub on the military road between Friuli and Raetia, it was destroyed by Attila in the 5th century. From the 6th century Bergamo was the seat of one of the most important Lombard duchies of northern Italy, together with Brescia, Trento, after the conquest of the Lombard Kingdom by Charlemagne, it became the seat of a county under one Auteramus. An important Lombardic hoard dating from the 6th to 7th centuries was found in the vicinity of the city in the 19th century and is now in the British Museum. From the 11th century onwards, Bergamo was an independent commune, the local Guelph and Ghibelline factions were the Colleoni and Suardi, respectively. Feuding between the two initially caused the family of Omodeo Tasso to flee north c, from 1264, Bergamo was intermittently under the rule of Milan. In 1331, it gave itself to John of Bohemia, after a short conquest by the Malatesta in 1407, in 1428 it fell under the control of the Venetian Republic, remaining part of it until 1797. Between 1797 and 1815, Bergamo and its territory were included in the political entities born in North Italy during the French, notably, the Venetians fortified the higher portion of the town. In 1815, it was assigned to the Austrian Empire, giuseppe Garibaldi freed it in 1859 during the Second Italian War of Independence, when Bergamo became part of the Kingdom of Italy. During the 20th century Bergamo became one of Italys most industrialized cities and it is also one of the few Italian cities that did not suffer major destruction during World War II. Bergamo experiences a subtropical climate characteristic of Northern Italy. While most of Italy is characterized by dry summers with little to no precipitation, Bergamo has the reverse trend, the two parts of the town are connected by funicular/cable car, roads, and foot-paths. Parking spaces are limited in the upper city. The upper city, surrounded by Venetian walls built in the 16th century, Città Alta is an extremely expensive place to live in, with properties being sold for five to twelve thousand euro per square meter
28.
Alexandria
–
Alexandria is the second largest city and a major economic centre in Egypt, extending about 32 km along the coast of the Mediterranean Sea in the north central part of the country. Its low elevation on the Nile delta makes it vulnerable to rising sea levels. Alexandria is Egypts largest seaport, serving approximately 80% of Egypts imports and exports and it is an important industrial center because of its natural gas and oil pipelines from Suez. Alexandria is also an important tourist destination, Alexandria was founded around a small Ancient Egyptian town c.331 BC by Alexander the Great. Alexandria was the second most powerful city of the ancient world after Rome, Alexandria is believed to have been founded by Alexander the Great in April 331 BC as Ἀλεξάνδρεια. Alexanders chief architect for the project was Dinocrates, Alexandria was intended to supersede Naucratis as a Hellenistic center in Egypt, and to be the link between Greece and the rich Nile valley. The city and its museum attracted many of the greatest scholars, including Greeks, Jews, the city was later plundered and lost its significance. Just east of Alexandria, there was in ancient times marshland, as early as the 7th century BC, there existed important port cities of Canopus and Heracleion. The latter was rediscovered under water. An Egyptian city, Rhakotis, already existed on the shore also and it continued to exist as the Egyptian quarter of the city. A few months after the foundation, Alexander left Egypt and never returned to his city, after Alexanders departure, his viceroy, Cleomenes, continued the expansion. Although Cleomenes was mainly in charge of overseeing Alexandrias continuous development, the Heptastadion, inheriting the trade of ruined Tyre and becoming the center of the new commerce between Europe and the Arabian and Indian East, the city grew in less than a generation to be larger than Carthage. In a century, Alexandria had become the largest city in the world and and it became Egypts main Greek city, with Greek people from diverse backgrounds. Alexandria was not only a center of Hellenism, but was home to the largest urban Jewish community in the world. The Septuagint, a Greek version of the Tanakh, was produced there, in AD115, large parts of Alexandria were destroyed during the Kitos War, which gave Hadrian and his architect, Decriannus, an opportunity to rebuild it. On 21 July 365, Alexandria was devastated by a tsunami, the Islamic prophet, Muhammads first interaction with the people of Egypt occurred in 628, during the Expedition of Zaid ibn Haritha. He sent Hatib bin Abi Baltaeh with a letter to the king of Egypt and Alexandria called Muqawqis In the letter Muhammad said, I invite you to accept Islam, Allah the sublime, shall reward you doubly. But if you refuse to do so, you bear the burden of the transgression of all the Copts
29.
Istanbul
–
Istanbul, historically known as Constantinople and Byzantium, is the most populous city in Turkey and the countrys economic, cultural, and historic center. Istanbul is a city in Eurasia, straddling the Bosphorus strait between the Sea of Marmara and the Black Sea. Its commercial and historical center lies on the European side and about a third of its population lives on the Asian side, the city is the administrative center of the Istanbul Metropolitan Municipality, both hosting a population of around 14.7 million residents. Istanbul is one of the worlds most populous cities and ranks as the worlds 7th-largest city proper, founded under the name of Byzantion on the Sarayburnu promontory around 660 BCE, the city developed to become one of the most significant in history. After its reestablishment as Constantinople in 330 CE, it served as a capital for almost 16 centuries, during the Roman and Byzantine, the Latin. Overlooked for the new capital Ankara during the period, the city has since regained much of its prominence. The population of the city has increased tenfold since the 1950s, as migrants from across Anatolia have moved in, arts, music, film, and cultural festivals were established at the end of the 20th century and continue to be hosted by the city today. Infrastructure improvements have produced a complex transportation network, considered a global city, Istanbul has one of the fastest-growing metropolitan economies in the world. It hosts the headquarters of many Turkish companies and media outlets and accounts for more than a quarter of the gross domestic product. Hoping to capitalize on its revitalization and rapid expansion, Istanbul has bid for the Summer Olympics five times in twenty years, the first known name of the city is Byzantium, the name given to it at its foundation by Megarean colonists around 660 BCE. The name is thought to be derived from a personal name, ancient Greek tradition refers to a legendary king of that name as the leader of the Greek colonists. Modern scholars have hypothesized that the name of Byzas was of local Thracian or Illyrian origin. He also attempted to promote the name Nova Roma and its Greek version Νέα Ῥώμη Nea Romē, the use of Constantinople to refer to the city during the Ottoman period is now considered politically incorrect, even if not historically inaccurate, by Turks. By the 19th century, the city had acquired other names used by foreigners or Turks. Europeans used Constantinople to refer to the whole of the city, pera was used to describe the area between the Golden Horn and the Bosphorus, but Turks also used the name Beyoğlu. The name İstanbul is commonly held to derive from the Medieval Greek phrase εἰς τὴν Πόλιν and this reflected its status as the only major city in the vicinity. The importance of Constantinople in the Ottoman world was reflected by its Ottoman name Der Saadet meaning the gate to Prosperity in Ottoman. An alternative view is that the name evolved directly from the name Constantinople, with the first, a Turkish folk etymology traces the name to Islam bol plenty of Islam because the city was called Islambol or Islambul as the capital of the Islamic Ottoman Empire
30.
Montevideo
–
Montevideo is the capital and largest city of Uruguay. According to the 2011 census, the city proper has a population of 1,319,108 in an area of 201 square kilometres. The southernmost capital city in the Americas, Montevideo is situated in the southern coast of the country, the city was established in 1724 by a Spanish soldier, Bruno Mauricio de Zabala, as a strategic move amidst the Spanish-Portuguese dispute over the platine region. It was also under brief British rule in 1807, Montevideo hosted all the matches during the first FIFA World Cup. Montevideo is the seat of the headquarters of Mercosur and ALADI, Latin America’s leading trade blocs. Montevideo has consistently rated as having the highest quality of life of any city in Latin America. As of 2010, Montevideo was the 19th largest city economy in the continent, in 2015, it has a GDP of $40.5 billion, and a per capita of $24,400. It is classified as a Beta World City, ranking seventh in Latin America, by 2014, is also regarded as the tenth most gay-friendly city in the world, first in Latin America. It is the hub of commerce and higher education in Uruguay as well as its chief port, the city is also the financial and cultural hub of a larger metropolitan area, with a population of around 2 million. There are several explanations about the word Montevideo, all agree that Monte refers to the Cerro de Montevideo, the hill situated across the Bay of Montevideo, but there is disagreement about the etymological origin of the video part. Monte vide eu is the most widespread belief but is rejected by the majority of experts, who consider it unlikely because it involves a mix of dialects. This is the oldest Spanish document that mentions the promontory with a similar to the one that designates the city. With the passing of time, these words were unified to Montevideo, no conclusive evidence has been found to confirm this academic hypothesis nor can it be asserted with certainty which were the other five mounts observable before the Cerro. Ovidio was the bishop of the Portuguese city of Braga, where he was always revered. Between 1680 and 1683, Portugal founded the city of Colonia do Sacramento in the region across the bay from Buenos Aires and this city met with no resistance from the Spanish until 1723, when they began to place fortifications on the elevations around Montevideo Bay. On 22 November 1723, Field Marshal Manuel de Freitas da Fonseca of Portugal built the Montevieu fort, a Spanish expedition was sent from Buenos Aires, organized by the Spanish governor of that city, Bruno Mauricio de Zabala. There was also one significant early Italian resident by the name of Jorge Burgues, a census of the citys inhabitants was performed in 1724 and then a plan was drawn delineating the city and designating it as San Felipe y Santiago de Montevideo, later shortened to Montevideo. The census counted fifty families of Galician and Canary Islands origin, more than 1000 indigenous, mostly Guaraní, in 1776, Spain made Montevideo its main naval base for the South Atlantic, with authority over the Argentine coast, Fernando Po, and the Falklands
31.
Havana
–
Havana is the capital city, largest city, province, major port, and leading commercial centre of Cuba. The city extends mostly westward and southward from the bay, which is entered through a narrow inlet, the sluggish Almendares River traverses the city from south to north, entering the Straits of Florida a few miles west of the bay. King Philip II of Spain granted Havana the title of City in 1592, walls as well as forts were built to protect the old city. The sinking of the U. S. battleship Maine in Havanas harbor in 1898 was the cause of the Spanish–American War. Contemporary Havana can essentially be described as three cities in one, Old Havana, Vedado and the suburban districts. The city is the center of the Cuban government, and home to various ministries, headquarters of businesses, the current mayor is Marta Hernández of the Communist Party of Cuba. In 2009, the city/province had the third highest income in the country, the city attracts over a million tourists annually, the Official Census for Havana reports that in 2010 the city was visited by 1,176,627 international tourists, a 20% increase from 2005. Old Havana was declared a UNESCO World Heritage Site in 1982, the city is also noted for its history, culture, architecture and monuments. As typical of Cuba, Havana also features a tropical climate, in May 2015, Havana was officially recognized as one of the New7Wonders Cities together with Vigan, Doha, La Paz, Durban, Beirut, and Kuala Lumpur. Most native settlements became the site of Spanish colonial cities retaining their original Taíno names, an alternate theory is that Habana is derived from the Middle Dutch word havene, referring to a harbour, etymologically related to the English word haven. All attempts to found a city on Cubas south coast failed, however, an early map of Cuba drawn in 1514 places the town at the mouth of this river. The town that became Havana finally originated adjacent to what was then called Puerto de Carenas, the quality of this natural bay, which now hosts Havanas harbor, warranted this change of location. Pánfilo de Narváez gave Havana – the sixth town founded by the Spanish on Cuba – its name, the name combines San Cristóbal, patron saint of Havana. Shortly after the founding of Cubas first cities, the served as little more than a base for the Conquista of other lands. Havana began as a port, and suffered regular attacks by buccaneers, pirates. The first attack and resultant burning of the city was by the French corsair Jacques de Sores in 1555, ships from all over the New World carried products first to Havana, in order to be taken by the fleet to Spain. The thousands of ships gathered in the bay also fueled Havanas agriculture and manufacture, since they had to be supplied with food, water. On December 20,1592, King Philip II of Spain granted Havana the title of City, later on, the city would be officially designated as Key to the New World and Rampart of the West Indies by the Spanish Crown
32.
Royal Opera House
–
The Royal Opera House is an opera house and major performing arts venue in Covent Garden, central London. The large building is referred to as simply Covent Garden. It is the home of The Royal Opera, The Royal Ballet, originally called the Theatre Royal, it served primarily as a playhouse for the first hundred years of its history. In 1734, the first ballet was presented, a year later, Handels first season of operas began. Many of his operas and oratorios were written for Covent Garden and had their premieres there. The current building is the theatre on the site following disastrous fires in 1808 and 1856. The façade, foyer, and auditorium date from 1858, the main auditorium seats 2,256 people, making it the third largest in London, and consists of four tiers of boxes and balconies and the amphitheatre gallery. The proscenium is 12.20 m wide and 14.80 m high, the main auditorium is a Grade I listed building. The letters patent remained in the possession of the patentees heirs until the 19th century, in 1728, John Rich, actor-manager of the Dukes Company at Lincolns Inn Fields Theatre, commissioned The Beggars Opera from John Gay. In addition, a Royal Charter had created a fruit and vegetable market in the area, at its opening on 7 December 1732, Rich was carried by his actors in processional triumph into the theatre for its opening production of William Congreves The Way of the World. Despite the frequent interchangeability between the Covent Garden and Drury Lane companies, competition was intense, often presenting the plays at the same time. Rich introduced pantomime to the repertoire, himself performing and a tradition of seasonal pantomime continued at the modern theatre, in 1734, Covent Garden presented its first ballet, Pygmalion. Marie Sallé discarded tradition and her corset and danced in diaphanous robes, george Frideric Handel was named musical director of the company, at Lincolns Inn Fields, in 1719, but his first season of opera, at Covent Garden, was not presented until 1734. His first opera was Il pastor fido followed by Ariodante, the première of Alcina, there was a royal performance of Messiah in 1743, which was a success and began a tradition of Lenten oratorio performances. From 1735 until his death in 1759 he gave regular seasons there and he bequeathed his organ to John Rich, and it was placed in a prominent position on the stage, but was among many valuable items lost in a fire that destroyed the theatre on 20 September 1808. In 1792 the architect Henry Holland rebuilt the auditorium, within the shell of the building but deeper and wider than the old auditorium. Rebuilding began in December 1808, and the second Theatre Royal, the Old Price Riots lasted over two months, and the management was finally forced to accede to the audiences demands. During this time, entertainments were varied, opera and ballet were presented, kemble engaged a variety of acts, including the child performer Master Betty, the great clown Joseph Grimaldi made his name at Covent Garden
33.
Giovanni Matteo Mario
–
Giovanni Matteo De Candia, also known as Mario, was an Italian opera singer. The most celebrated tenor of his era, he was lionized by audiences in Paris and he was the partner of the opera singer Giulia Grisi. His aristocratic family belonged to the Savoyard-Sardinian nobility and social elite and his relatives were members of the Royal Court of Turin, while his father held the rank of general and was aide-de-camp to King Charles Felix of Sardinia. Sometimes, however, he is referred to in print by the appellation of Giovanni Mario. Marios decision to become a professional singer arose from accidental circumstances and he was 12 years old when he moved from Cagliari to Turin, where he studied at the Royal Military Academy. Among his fellow students at the academy was the future Prime Minister of Italy, while serving as a second-lieutenant in the King of Sardinias Guards in Turin, he got some debt. His father refused to him and the young man, on 24 November 1836, was expelled from the army. Then he left Piedmont and travelled to Paris, for a time he earned his living by giving fencing and riding lessons. People believed him to be a count or a marquis and he never made clear to be only cavaliere, because he possessed an exceptionally fine natural voice, Mario was encouraged by the composer Giacomo Meyerbeer to become a singer. He took singing lessons from two teachers, a Frenchman named Ponchard and the former Italian tenor Marco Bordogni, and proved so gifted that he was offered an engagement with the Opéra. The young tenor made his debut there on 30 November 1838 as the hero of Meyerbeers Robert le diable, Meyerbeer had provided a new recitative and aria for him in the second act. Marios performance generated great excitement, and a new star was born, despite scoring an immediate success, owing to the splendid quality of his singing and a dashing stage presence, he did not choose to stay long at the Paris Opéra. In 1839 he was first heard in London, achieving instant success in Donizettis Lucrezia Borgia and his first appearance there was as Nemorino in Donizettis Lelisir damore. From 1841 Mario and Grisi lived together, the music critic and playwright George Bernard Shaw, who was born in 1856 and therefore could not have heard Mario in his prime, said his singing featured a marked vibrato. Mario created few operatic parts, the most notable being that of Ernesto in Donizettis Don Pasquale. However, he sang in the première of Rossinis Stabat Mater, the Royal Opera House, Covent Garden in London and the Théâtre Italien in Paris were the scenes of most of his stage triumphs. He sang in London from 1847 until 1867 and again during 1871, Mario also made occasional appearances elsewhere in England in oratorio, for example at the Birmingham Festival of 1849 and at the Hereford Festival of 1855. Also, he undertook a string of tours around the United Kingdom
34.
Giorgio Ronconi
–
Giorgio Ronconi was an Italian operatic baritone celebrated for his brilliant acting and compelling stage presence. In 1842, he created the title-role in Giuseppe Verdis Nabucco at La Scala, Ronconi was born in Milan and had been taught to sing by his father, Domenico Ronconi, who was a leading tenor. He married soprano Elguerra Giannoni on 8 October 1837 in Naples, by some accounts Giannoni had sung with some success at the Lyceum Theatre and at the Kings Theatre in London. In his later years, Ronconi founded a school of singing at Granada in Spain, Ronconi died in Madrid, aged 79. He made his debut at Pavia in 1831, as Valdeburgo in Bellinis La straniera. In 1842, Ronconi appeared for the first time in London, at Her Majestys Theatre, Ronconis success with audiences outside Italy was immediate, and he continued to be one of the most popular and influential operatic artists in Europe until the early 1870s, when he retired. His voice was neither extensive in compass nor fine in quality, but the genius of his acting, a large section is devoted to descriptions of Ronconis powers in the critic Henry Fothergill Chorleys Recollections of 1862. Ronconi instigated a long line of great Italian baritones that continued into modern times, but the most esteemed of his contemporaries and immediate successors were probably Felice Varesi, Leone Giraldoni, Francesco Graziani and Antonio Cotogni, all of whom were outstanding Verdi singers. Another celebrated 19th century baritone, Sir Charles Santley, wrote in his memoirs that, next morning he received a reprimand for using the prohibited word, accompanied by a request to use the word lealtà on future occasions in its stead. Notes Sources This article incorporates text from a now in the public domain, Chisholm, Hugh. Thirty Years Musical Recollections, Volume II, The Year 1847, maitland, J. A. Fuller, Groves Dictionary of Music and Musicians, Vol.4. Two Centuries of Opera at Covent Garden, rosenthal, Harold, John Warrack, The Concise Oxford Dictionary of Opera, Oxford University Press, London Santley, Charles, Student and Singer, The Reminiscences of Charles Santley
35.
Academy of Music (New York City)
–
The Academy of Music was a New York City opera house, located on the northeast corner of East 14th Street and Irving Place in Manhattan. The 4, 000-seat hall opened on October 2,1854, the review in The New York Times declared it to be an acoustical triumph, but In every other aspect. The Academys opera season became the center of life for New Yorks elite. The Academy of Music has been described as the first successful dedicated opera house in the United States, by May 1853, the interior has been dismantled and the furnishings sold off, with the shell of the building sold to the Mercantile Library Association. The stages proscenium opening was 48 feet, with an additional 35 feet in the wings, the height of the proscenium opening was 30 feet. Its first opera season was from October through December 1854, the Max Maretzek Italian Opera Company was engaged by US actor James Henry Hackett. The company performed Bellinis Norma for the inauguration of the theatre with Giulia Grisi in the title role, Maretzeks company performed an annual season at the Academy through 1878. His company was not the group active at the opera house as the theater during this time. Musicologist George Whitney Martin writes, New Yorks Academy of Music, from 1854 to 1883 the citys leading house for opera, because it was primarily a real estate venture run by a board of investors seeking the highest rent possible. The Academy hosted several American premieres, including Rigoletto, Il trovatore, La traviata, Aida, Lohengrin, Die Walkure, in 1860 it was the site of a reception for the Prince of Wales. These balls were covered by the press, which did little to dim the enthusiasm or ribald behavior of the participants, one reporter wrote that women were thrown in the air and then sexually assaulted amid the jeers and laughter of the other drunken wretches on the floor. Not a whisper of shame in the crowd and these spectacles grew in size over the following decades, in 1876, one such ball was attended by over 4000 people. Still, it was the season that made the Academy the mainstay of social life for New Yorks uppertens. This emblem of social prominence was passed down generation to generation. The Metropolitans new opera house at Broadway and 39th Street, twice the size of the Academy and it contained three tiers of elegant boxes to display the wealth of the citys new economic leaders. The new opera house was an instant success with New York society and music lovers alike, in 1888 the Academy began to offer vaudeville. From January 28 to March 1901, a revival of Clyde Fitchs play Barbara Frietchie appeared there, the venue was rented by labor organizations in the early 1900s and used to stage rallies. In 1926 it was demolished, along with its neighbor Tammany Hall, on the south side of 14th Street across from the site of the opera house, a movie theatre opened in 1927 which took the name the Academy of Music
36.
Jonathan Miller
–
Sir Jonathan Wolfe Miller, CBE is an English theatre and opera director, actor, author, television presenter, humourist, and medical doctor. Miller began directing operas in the 1970s and has become one of the worlds leading opera directors with several classic productions to his credit. His best-known production is probably his 1982 Mafia-styled Rigoletto set in 1950s Little Italy, in its early days he was an associate director at the National Theatre and later ran the Old Vic Theatre. As a writer/presenter of more than a dozen BBC documentaries, he has become a television personality. Miller grew up in St Johns Wood, London, in a well-connected Jewish family and his father Emanuel, who suffered from severe rheumatoid arthritis, was a military psychiatrist, and subsequently a paediatric psychiatrist in Harley House. His mother Betty Miller was a novelist and biographer, Millers sister Sarah worked in television for many years and retained an involvement with Judaism that he, an atheist, has always eschewed. He was educated at Taunton School and St Pauls School, London where he developed an early interest in the biological sciences, while studying medicine, Miller was involved in the Cambridge Footlights, appearing in the revues Out of the Blue and Between the Lines. Miller helped to write and produce the musical revue Beyond the Fringe and this launched, in addition to his own, the careers of Alan Bennett, Peter Cook and Dudley Moore. Miller quit the show shortly after its move from London to Broadway in 1962, all these appointments were unsolicited invitations, the Monitor appointment arose because Miller had approached Huw Wheldon about taking up a place on the BBCs director training course. Wheldon assured him that he would pick it up as he went along, Millers first experience of directing a stage-play was for John Osborne, whose Under Plain Cover he directed in 1962. In 1964, he directed the play The Old Glory by the American poet Robert Lowell in New York City and it was the first play produced at the American Place Theatre and starred Frank Langella, Roscoe Lee Brown, and Lester Rawlins. The play won five Obie Awards in 1965 including an award for Best American Play as well as awards for Langella, Brown and he wrote, produced, and directed an adaptation for television of Alice in Wonderland for the BBC. He followed this with Whistle and Ill Come to You starring Michael Hordern, a adaptation of M. R. Jamess 1904 ghost story Oh, Whistle. By 1970, his reputation in British theatre was such that he mounted a National Theatre Company production of The Merchant of Venice starring Sir Laurence Olivier and he later resigned as associate director. Miller held a fellowship in the history of medicine at University College. In 1974, he started directing and producing operas for Kent Opera and Glyndebourne. Miller has become one of the leading opera directors with classic productions being Rigoletto. Miller drew upon his own experiences as a physician as writer and presenter of the BBC television series The Body in Question, for a time, he was a vice-president of the Campaign for Homosexual Equality
37.
English National Opera
–
English National Opera is an opera company based in London, resident at the London Coliseum in St. Martins Lane. It is one of the two opera companies in London, along with The Royal Opera, Covent Garden. ENOs productions are sung in English, Baylis subsequently built up both the opera and the theatre companies, and later added a ballet company, these evolved into ENO, the Royal National Theatre and The Royal Ballet, respectively. Baylis acquired and rebuilt the Sadlers Wells theatre in north London, the opera company grew there into a permanent ensemble in the 1930s. During the Second World War, the theatre was closed and the company toured British towns, after the war, the company returned to its home, but it continued to expand and improve. By the 1960s, a theatre was needed. In 1968, the moved to the London Coliseum and adopted its present name in 1974. Among the conductors associated with the company have been Colin Davis, Reginald Goodall, Charles Mackerras, Mark Elder, the current music director of ENO is Martyn Brabbins. Noted directors who have staged productions at ENO have included David Pountney, Jonathan Miller, Nicholas Hytner, Phyllida Lloyd, ENOs current artistic director is Daniel Kramer. In addition to the operatic repertoire, the company has presented a wide range of works, from early operas by Monteverdi to new commissions, operetta. In 1889, Emma Cons, a Victorian philanthropist who ran the Old Vic theatre in a area of London. Although the theatre licensing laws of the day prevented full costumed performances, Cons presented condensed versions of well-known operas, among the performers were noted singers such as Charles Santley. These operatic evenings quickly became more popular than the dramas that Cons had been staging separately, in 1898, she recruited her niece Lilian Baylis to help run the theatre. At the same time she appointed Charles Corri as the Old Vics musical director, Baylis and Corri, despite many disagreements, shared a passionate belief in popularising opera, hitherto generally the preserve of the rich and fashionable. They worked on a budget, with an amateur chorus. By the early years of the 20th century, the Old Vic was able to present semi-staged versions of Wagner operas, Emma Cons died in 1912, leaving her estate, including the Old Vic, to Baylis, who dreamed of transforming the theatre into a peoples opera house. In the same year, Baylis obtained a licence to allow the Old Vic to stage performances of operas. In the 1914–1915 season, Baylis staged 16 operas and 16 plays, the opera, however, remained her first priority
38.
American Mafia
–
The American Mafia, also referred to as the Italian Mafia or the Italian-American Mafia, is a highly organized Italian-American criminal society. The organization is referred to by members as Cosa Nostra or La Cosa Nostra. The Mafia in the United States emerged in impoverished Italian immigrant neighborhoods in New Yorks East Harlem, Lower East Side and it has its roots in the Sicilian Mafia but is a separate organization in the United States. Today, the American Mafia cooperates in various activities with Italian organized crime groups, such as the Sicilian Mafia, Camorra in Naples. The most important unit of the American Mafia is that of a family, despite the name of family to describe the various units, they are not familial groupings. The Mafia is currently most active in the Northeastern U. S. especially in New York City, Philadelphia, New Jersey, and New England while also being active in Chicago and Florida. At the Mafias peak, there were at least 26 cities around the United States with Cosa Nostra families, with many more offshoots and associates in other cities. There are five main New York City Mafia families, known as the Five Families, the Gambino, Lucchese, Genovese, Bonanno, at its peak, the Mafia dominated organized crime in the U. S. Each crime family has its own territory and operates independently, while nationwide coordination is overseen by the Commission, the term Mafia was originally used in Italy by the media and law enforcement to describe criminal groups in Sicily. The origins of the term are debatable though most agree the term is derived from the word Maafir a term rooted in Arabic, like the Sicilian Mafia, the American Mafia did not use the term Mafia to describe itself. Neither group has a name and instead used the term cosa nostra when referring to themselves. Mafia properly refers to either the Sicilian or Italian-American Mafia, kennedys political team, referred to as the Irish Mafia. The press also coined the name National Crime Syndicate to refer to the network of U. S. organized crime, which includes the Jewish Mafia elements. The first published account of what became the Mafia in the United States dates to the spring of 1869, emigration from southern Italy to the Americas was primarily to Brazil and Argentina, and New Orleans had a heavy volume of port traffic to and from both locales. The Black Hand was a given to an extortion method used in Italian neighborhoods at the turn of the 20th century. It has been mistaken for the Mafia itself, which it is not. The Black Hand was a society, but there were many small Black Hand gangs. Black Hand extortion was often viewed as the activity of a single organization because Black Hand criminals in Italian communities throughout the United States used the methods of extortion
39.
Little Italy, Manhattan
–
Little Italy is a neighborhood in lower Manhattan, New York City, once known for its large population of Italian Americans. Today the neighborhood consists of only a few Italian stores and restaurants and it is bounded on the west by Tribeca and Soho, on the south by Chinatown, on the east by the Bowery and Lower East Side, and on the north by Nolita. Little Italy on Mulberry Street used to extend as far south as Worth Street, as far north as Houston Street, as far west as Lafayette Street and it is now only three blocks on Mulberry Street. Little Italy originated as Mulberry Bend, jacob Riis described Mulberry Bend as the foul core of New York’s slums. During this time period Immigrants of the late 19th century usually settled in ethnic neighborhood, therefore, the “mass immigration from italy during the 1880’s” led to the large settlement of Italian immigrants in lower manhattan. The results of migration had created an influx of Italian immigrants which had led to the commercial gathering of their dwelling. Little Italy was not the largest Italian neighborhood in New York City, Tonelli said that Little Italy was perhaps the city’s poorest Italian neighborhood. In 1910 Little Italy had almost 10,000 Italians, that was the peak of the communitys Italian population, at the turn of the 20th century over 90% of the residents of the Fourteenth Ward were of Italian birth or origins. Tonnelli said that it meant that residents began moving out to more spacious digs almost as soon as they arrived, such a vastly gowing community impacted the U. S. labor movement in the 20th century” by making up much of the labor population in the garment industry. After World War II, many residents of the Lower East Side began moving to Brooklyn, Staten Island, eastern Long Island, and New Jersey. Chinese immigrants became a presence after the U. S. Immigration Act of 1965 removed immigration restrictions. In 2004, Tonelli said, You can go back 30 years and find newspaper clips chronicling the expansion of Chinatown, prior to 2004, several upscale businesses entered the northern portion of the area between Houston and Kenmare Street. Tonelli said Real-estate prices zoomed, making it tougher for the old-timers—residents. After the September 11 attacks in 2001, areas below Houston Street were cut off for the rest of the fall of 2001, the San Gennaro feast, scheduled for September 13, was postponed. Business from the Financial District dropped severely, due to the closure of Park Row, which connected Chinatown, Tonelli said the post-9/11 events strangely enough, ended up motivating all these newfangled efforts to save what’s left of the old neighborhood. This sentiment has also echoed by Italian culture and heritage website ItalianAware. The site has called the dominance of Italians in the area and it attributes this to the quick financial prosperity many Italians achieved, which afforded them the opportunity to leave the cramped neighborhood for areas in Brooklyn and Queens. The site also goes on to state that the area is referred to as Little Italy more out of nostalgia than as a reflection of a true ethnic population
