few weeks ago I talked about my book and I had that would go on sale soon, but do not say when. Well then, I can say at this point to my satisfaction, that the book is now available for all who are interested in life and opera production of the Swan of Pesaro. But before you can tell where you get, price and others, I tell you exactly what is with what you are going to find if you want to do with it. The exact number is 241 pages and is organized into six chapters and three annexes, preceded by an index, a preliminary note, and a prologue. I'm going to be explaining what each one of the parties.
· Index, notes and prologue preliminary. Is being welcomed to the book. Preliminary note written by a server and do it a declaration of intentions and motives that led me to write the book. The foreword is written by the great Rossini tenor that has been José Manuel Zapata. Quite an honor for me to accept preface for the book came to be the icing on the cake.
· Chapter I: Who was Rossini? . A monograph on the composer, in my view, should be led by a biography of the protagonist. The biographical chapter, to promote order and organize your life, subdivided into six sections, which are to be:
- The years of study (1792-1809)
- Travel to glory without scales (1810 - 1814)
- A busy period (1815-1823)
- London and Paris (1824-1829)
- Hard Five decades (1830-1854)
- The last step: peace and quiet (1854-1868)
· Chapter II: The Rossini opera over time . Considered that it might be interesting to a section that would serve as exposure to the fate of Rossini operas from the moment he came from the pen of the composer to this day. As in the previous chapter, it also subdivided, this time into four sections:
- Introduction
- The popularization of the music Rossini
- Years in limbo
- The Rossini Renaissance
· Chapter III: Gioachino Rossini operas . Here I get fully into the story writing each and every one of the operas and Rossini pastiche, 41 in total. Before diving into stories, do a short introduction and an explanatory classification of Rossini's operatic corpus into three categories: comic operas, serious and semiseria. And in the stories, before beginning each argument, the data indicated concerning lyricist (and if need be, work on which was based), date of composition and premiere of the opera, Nugar release, characters and more voice to which they belong and names of the performers who participated in the premiere of the opera after the story of the 41 arguments, I conclude with a section dedicated to the unfinished opera and projects, ie those operas that could be and were not finally.
· Chapter IV: The vocalism Rossini. As title suggests, this chapter is to delve into aspects of the vocalism Rossini, both male and female. For ease of exposition, subidivido chapter in the following sections:
- Introduction
- male vocalist. This comment vocal characteristics of tenors, baritones and bass
Rossini - Classification of men's roles in the operas of Rossini. Here classify all male Rossini roles, both primary and secondary, full operatic production of the composer. If in Chapter III showed the vocal cord to which they belonged, and refining here and indicate exactly what type we are talking about (if contraltino, baritenor, etc).
- Female Vocalist: Here comment the vocal characteristics of sopranos, mezzo-sopranos and altos
Rossini - Classification of women's roles in the operas of Rossini. Here Rossini classify all female roles, both primary and secondary, in full operatic production of the composer. As with male vocalist, and refining here and indicate exactly what type we are talking about (if funny, serious, musician, etc).
· Chapter V: The Rossini autopréstamos . In this chapter I collect autopréstamos that we are in all Rossini operatic production. After an introduction, I am indicating opera opera that we find those reuses. I give you an example of the process that I follow in the exhibition:
Dorliska Torvald and receive music
:
1. L'Stravagante wrong. The melody of the last section of the trio between Ernestine and Gamberotto Buralicchio at the end of Act I of L'Stravagante wrong ("you Amabilia Volgi) bears some similarity to the end of Act II of Torvald and Dorliksa ("To this happy").
2. L'occasione fa il bark. The end of the duet between Don Parmenion and Ernestina ("Quel gentle, vague quel Oggetto") saves a considerable similarity to the end of the duet between Dorliska and Carlotta of Act I of Torvald and Dorliska (via Oh, signora mia ").
3. Tancredi. The cabaletta of argyria aria beginning with Act II of Tancredi ("Forgive questo pianto") resembles at times the cabaletta Torvald's aria in Act II of Torvald and Dorliska ("Ah, potessi il mio braccio "). The chords that initiate the chorus of warriors Act II of Tancredi (il Muore prode ") are similar to those that lead duo Dorliska and Torvald in Act II of Torvald and Dorliska (Quest'ultimo addio").
4. Sigismondo. Sigismondo's aria from Act II ("Alma area, il più wretched") keeps the similarity with the cabaletta Dorliska aria in Act II of Torvald and Dorliska ("Ah, die per sposo expensive).
· Chapter VI: Rossini's music and added alternative. Rossini composed new pieces that add time or other alternatives would in his operas. In this chapter I am dedicated to exposing these new compositions, also indicating the references record that we find recorded that part. The chapter ends with a section devoted to the existing alternate endings Tancredi, Otello, Maometto and Guillaume Tell. I give you an example to see how you do the exhibition:
La Gazza Ladra
Act I
Deh, Lasciate ... Beviam, tocchiamo to gara. This is an aria that serves as an alternative to toast Pippo "Tocchiamo, beviamo" and his music was taken from the aria Sivenas placed at the beginning of Demetrius and Polybius. Rossini wrote this piece for the first performances of the play in 1818 (an years after its premiere in Milan) at the Teatro Nuovo in Pesaro (now Teatro Rossini) on the occasion of the inauguration of the Colosseum. In a toast, Pippo shows his joy at the return of Giannetto (son of local landowners) about military
contests and invites everyone to celebrate with a glass of wine. Discography
Marilyn Horne. Arie alternative. Orchestra Sinfonica della RAI di Torino /
Alberto Zedda. Fonit Cetra. 1983.
· Annex 1: Thematic Index . Throughout the chapter III as indicated, prior to the narrative story of each of the operas of Rossini, data concerning librettist / s of the opera, first interpreters of their roles and theater that hosted the premiere of each work. However I thought it might be useful to the reader a thematic index to pool these data and to obtain an overview of the professional relationship between the composer and librettist, and theater performers responsible for presenting their titles. For example, if we see all Rossini operas that premiered at La Scala, with subject index to go to theaters and watch the entries for the Scala can see it. If we want to see how many roles premiered Filippo Galli, just leave the subject index of performers Galli and look to see what they were. If we want to see how many scripts Rossini wrote Tottola, we go to table of contents of librettists, we looked at the list and settled.
· Annex 2: Basic Discography . This indicated a record label of each of the Rossini operas that come to constitute a basic discography of the composer. Critical comments and I do not intend to convert the annex into a sort of critical label, but tell the reader recordings of the operas in order to facilitate your search.
· Annex 3: References of interest. This literature indicated and interesting web addresses related to the book's protagonist.
And with that we got to page 241 and the end of the book.
Now I will tell you as to how to find, price and more. In principle you can find it in the editorial itself, which is served by direct sales. You can find the book HERE. Also you have a shortcut button to the right of the blog, under the cover of the book. Why do I say this "in principle"? Really easy. The book has just gone on sale and until it hits the stores still have to go through the process for distribution. In the page you may also find the ISBN number.
on the price. I do not go looking for benefits, among other things because I have not had to make an investment. So my priority is not to return get the book, but to get the reader. I tried the price as low as best they can. At the end is stuck in € 14.30
Nothing, and I began an adventure that ends in July 2005 and terminating two years or so later. In closing, I leave with the paragraph which finished the preliminary note of the book, which is to reflect what I have tried with this particular journey in which a good summer morning I decided to embark:
Gaudenzio, a character in "Il Signor Bruschino "makes its entrance in the opera theater, claiming that the big world all seek his fortune. My quest has been to try to get the supporters a little closer to the music of Swan of Pesaro. If the "big world" of which you are a part, experiences that approach, this work would not have been in vain and I have managed to find my "fortune" particular.
Greetings to everyone!
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