Workshop Intervento di P....
Michele CarafaOpera: Le nozze di Lammermoor, Dramma in two acts, first performance 12 december 1829 Thé'atre-Italien, Paris.Libretto: Luigi BalocchiQuintetto: D'un orribile tempestaIl Cancelliere (Lord Ashton): Ashley ThorburnLucia: Susan McCullochEdgardo: Ian ThompsonCaleb: Jonathan VieraMisia: Theresa GobleOrchestra: Philharmonia orchestraConductor: David ParryCarafa's Le nozze di Lammermoor is, like Donizetti's Lucia di Lammermoor, based on Scott's novel The Bride of Lammermoor but differs in some points; in Le nozze there are three comical characters: Caleb, Misia and Bucklaw. The opera also ends with the interrupted wedding, Donizetti's second/first act finale.The opera lasted about four hours and got a lukewarm reception and was only seen three times before it disappeared from the stage.The Act I quintet, 'D'un orribile tempesta', takes place as Losr Ashton('Il Cancelliere') and Lucia take shelter from a violent storm at Wolf's Crag. Edgardo's aged servants, Caleb Balderstone and his Wife Misia, are reluctant to recieve them, since they know that there are no provisions in the impoverished house with which to entertain them; and Edgardo himself, when he enters, is beside himself with anger to recognise in Lord Ashton the political enemy who has dispossessed him of his ancestral estates. We nay also note Lucia's sense of horror and foreboding as she enters Wolf's Crag: it is, as it were, a premonition of the tragedy to come.The construction, as in so many of Rossinis ensembles, is in three parts: an introductory section, in which in typical manner the principal characters have their successive entries, is followed by a central andante maestoso; after which a short tempo di mezzo leads into a final stretta. All three sections, in their different ways, present features of interest. The introduction is noteworthy for its differentiation of the characters. Lucias terrors being particularly vividly drawn. The forward movement never halts, but the music itself changes with each new entry, eloquently delineating both the character and the mood of each new singer. The central andante maestoso is Rossinian or at least typical of the day in the ways it begins almost as a canon for Edgardo and Lucia with the entry of the other characters, set lyrical lines for Lucia and Edgardo against parlante lines for Lord Ashton and Caleb. The most extended and important section of the quintet, it maintains an excellent sense of balance and proportion, the contrast between the lyrical lines and the parlante lines being both aurally beautifull and rhythmically compelling. The stretta is the most clearly Rossinian section of all: no one could mistake the inspirational source of its repeated crescendo.From start to finish this whole quintet is well-made, tailored music. Let us not dismiss it, therefore, as a mere copy. It serves as a suitable item with which to say farewell to the Rossinian era of Italian opera. And even as we recognise and acknowledge that it is Rossinian imitation, let us enjoy it for its own intrinsic beauty and its very real compositional merits. Michele Carafa -...
Michele CarafaOpera: Le nozze di Lammermoor, Dramma in two acts, first performance 12 december 1829 Thé'atre-Italien, Paris.Libretto: Luigi BalocchiQuintetto: D'un orribile tempestaIl Cancelliere (Lord Ashton): Ashley ThorburnLucia: Susan McCullochEdgardo: Ian ThompsonCaleb: Jonathan VieraMisia: Theresa GobleOrchestra: Philharmonia orchestraConductor: David ParryCarafa's Le nozze di Lammermoor is, like Donizetti's Lucia di Lammermoor, based on Scott's novel The Bride of Lammermoor but differs in some points; in Le nozze there are three comical characters: Caleb, Misia and Bucklaw. The opera also ends with the interrupted wedding, Donizetti's second/first act finale.The opera lasted about four hours and got a lukewarm reception and was only seen three times before it disappeared from the stage.The Act I quintet, 'D'un orribile tempesta', takes place as Losr Ashton('Il Cancelliere') and Lucia take shelter from a violent storm at Wolf's Crag. Edgardo's aged servants, Caleb Balderstone and his Wife Misia, are reluctant to recieve them, since they know that there are no provisions in the impoverished house with which to entertain them; and Edgardo himself, when he enters, is beside himself with anger to recognise in Lord Ashton the political enemy who has dispossessed him of his ancestral estates. We nay also note Lucia's sense of horror and foreboding as she enters Wolf's Crag: it is, as it were, a premonition of the tragedy to come.The construction, as in so many of Rossinis ensembles, is in three parts: an introductory section, in which in typical manner the principal characters have their successive entries, is followed by a central andante maestoso; after which a short tempo di mezzo leads into a final stretta. All three sections, in their different ways, present features of interest. The introduction is noteworthy for its differentiation of the characters. Lucias terrors being particularly vividly drawn. The forward movement never halts, but the music itself changes with each new entry, eloquently delineating both the character and the mood of each new singer. The central andante maestoso is Rossinian or at least typical of the day in the ways it begins almost as a canon for Edgardo and Lucia with the entry of the other characters, set lyrical lines for Lucia and Edgardo against parlante lines for Lord Ashton and Caleb. The most extended and important section of the quintet, it maintains an excellent sense of balance and proportion, the contrast between the lyrical lines and the parlante lines being both aurally beautifull and rhythmically compelling. The stretta is the most clearly Rossinian section of all: no one could mistake the inspirational source of its repeated crescendo.From start to finish this whole quintet is well-made, tailored music. Let us not dismiss it, therefore, as a mere copy. It serves as a suitable item with which to say farewell to the Rossinian era of Italian opera. And even as we recognise and acknowledge that it is Rossinian imitation, let us enjoy it for its own intrinsic beauty and its very real compositional merits. Michele Carafa -...
http://www.videoandria.comIeri 14 marzo, in occasione del sessantesimo anniversario della Costituzione Italiana e della Dichiarazione Universale dei Diritti dell'Uomo, si è svolto presso la Sala Consiliare del Palazzo di Città, alle ore 19,00, la presentazione del libro PRESENTAZIONE DEL...
Justin Carafa, Victorian Motocross Champion riding hard Justin Carafa...
Michele CarafaOpera: Gabriella di Vergi, Azione tragica in two acts, first performance 3 july 1816, Teatro del Fondo, Naples.Libretto: Andrea Leone TottolaFinale: Ah! fermate...Raoul!...Fayel!Gabriella: Yvonne KennyFayel: Philip DoghanServants of Fayel: Geoffrey Mitchell ChoirOrchestra: Philharmonia OrchestraConductor: David ParryOne of Rossini's best friends throughout life.The first Gabriella: Isabella ColbranThe first Fayel: Andrea NozzariGabriella, so the story tells us, had earlier loved Raoul di Couci, but when he was believed killed in battle, her father forced her to marry Fayel, Conte Vermand. Raoul, who has really been imprisoned by Fayel, makes his escape and reappears. He and Gabriella find that they are still deeply in love, but Gabriella, her duties lying elsewhere, is in the very act of telling him that they must never see each other again when they are surprised by her husband. The two men fight a duel, and Raoul is slain. In the last scene Gabriella, imprisoned in an underground dungeon, is visited by Fayel, who presents her with a covered urn. Lifting the cloth, she discovers that it contains the heart of Raoul. In the horror, she falls into convulsions and expires.The orchestral prelude which introduces this scene is in itself a revelation, possibly the most affecting and passionate writing. There are anticipations, in the minor harmonies and unexpected progressions of the opening chords, and in the initial motif itself, of the Donizetti of Lucrezia Borgia; even, in a remarkable passage for unison cellos, of Verdi. No longer is there any temptation to qualify this as 'early' Romanticism: this is Romanticism in full flood, carrying its audience forward on a swelling tide of emotional sympathy. It is extraordinary that such date from as early as 1816: in 1830 -- in 1840 -- it would still have been startling, still worthy of remark.With sure dramatic instinct, Carafa has Gabriella enter before the prelude is over, so that there is no break between prelude and accompanied recitative. The prelude thus becomes the accompaniment to her dream, and the change to recitative comes, appropriately, as she wakes up. By a further master-stroke, her recitative leads not into the principal aria of the scene, but into a short preliminary canzone with clarinet. It is sparse, initially unadorned, simple and moving. One is prompted to think forward five months to Desdemona's prayer, 'Deh calma, o ciel', written in the same 6/8 rhythm. Surely Rossini, who openly admitted his readiness to assimilate and improve upon the beast ideas of his contemporaries, must have had Carafa's canzone in mind as he composed his own? The placing of the two songs is different -- Gabriella sings hers at the beginning of her scene, Desdemona hers at the end -- but otherwise each, in dramatic terms, works in identical fashion, engaging the audience's sympathies through direct and simple expression.The succeeding accompanied recitative is as fine as one is likely to find at this period -- fully thought out in all its numerous changes of mood and movement, frequently approaching arioso, it follows the sense of the word at every point.Upon Fayel's entry we change again, this time to a much simpler style of recitative, more appropriate to dialogue. In its bare chordal accompaniment it is close to old recitative secco, even through now the chords are played orchestrally. Michele Carafa -...
Carafa: festeggiamenti 2007 in onore di SS Maria Assunta con la musica tradizionale della paranza cercola carafa...
L'ISISS ISISS "Carafa" di...
Una trouppe di RAI 3 all'Istituto Il Settimanale...
Some Footy Dario Carafa
video associazione...
Michele Carafa Opera: Gabriella di Vergi, Azione tragica in two acts, first performance 3 july 1816, Teatro del Fondo, Naples.Libretto: Andrea Leone Tottola Finale: Ah! fermate...Raoul!...Fayel! Gabriella: Yvonne Kenny Fayel: Philip Doghan Servants of Fayel: Geoffrey Mitchell Choir Orchestra: Philharmonia OrchestraConductor: David ParryOne of Rossini's best friends throughout life. The first Gabriella: Isabella ColbranThe first Fayel: Andrea NozzariGabriella, so the story tells us, had earlier loved Raoul di Couci, but when he was believed killed in battle, her father forced her to marry Fayel, Conte Vermand. Raoul, who has really been imprisoned by Fayel, makes his escape and reappears. He and Gabriella find that they are still deeply in love, but Gabriella, her duties lying elsewhere, is in the very act of telling him that they must never see each other again when they are surprised by her husband. The two men fight a duel, and Raoul is slain. In the last scene Gabriella, imprisoned in an underground dungeon, is visited by Fayel, who presents her with a covered urn. Lifting the cloth, she discovers that it contains the heart of Raoul. In the horror, she falls into convulsions and expires.Not until Fayel embarks upon his final revelation of Raoul's death do we return to fully accompanied recitative, in a passage designed to lead into Gabriella's principal aria, 'Se alfin sull'innocente.This aria, again with clarinet obbligato, is unusual in form. The words, it will be noted, fall into three quatrains, and musically there are three corresponding sections. The first, 'Se alfin sull'innocente', is a truly virtuoso example of florid declamation, built over orchestral chords, the timing left very much to the discretion and dramatic sense of the performer. With the second, 'Sappi, che ti detesto', the regular onward movement of the aria gets under way, the accompaniment fuller, and the vocal line, forceful and dramatic throughout, becoming increasingly florid, the pyrotechnics calling for both power and facility. But quite the longest and most remarkable section of all is the third, 'Ombra che a me ritorno', which by contrast is gently and appealingly melodic, revealing Carafa's gift for spontaneous, memorable melody at its very best. The use of the chorus is especially remarkable. After Gabriella has enunciated the melody it is taken up by the orchestra, with the chorus marking time beneath.Nor does the interest of the scene end here. At Gabriella's 'Tu!...che...terribil mostro', there is another fine passage, agitated and hesitant, tense and breathless, building the whole scene towords its effective if musically more predictable conclusion. But impressive though these several parts may be, it is when the scene is viewed in its totality that its importance is most fully appreciated. Carafa, to quote Florimo, 'conceived it in all its grandiosity', and there is indeed a sense of scale, of architectural shape and overall growth. The importance of this scene, the writer's opinion, can hardly be exaggerated: worthy to rank beside Desdemona's scene at the benning of the last act of Otello, it is one of the essential and long-lost cornerstones in our proper understanding of Italian romantic opera. Michele Carafa -...
Riesi Mc Donalds Mazzarino Istituto Carlo...
www.sfiziedelizie.com Strepitoso spettacolo pirotecnico eseguito a Villa Carafa come chiusura festa di Matrimonio. Sfizi e Delizie...
Servizio televisivo trasmesso da BluTV in occasione della Conferenza Stampa per la presentazione del PRogetto Integrato Carafa - Colobraro, 19-06-2008 Conferenza Stampa...
Alberto Orlandi, Piera Dabizzi, Carolina Gamini, Chiara Ciofini, Paolo Simoncini, Riccardo Bono. Siamo nel 1677 e Gregorio Carafa detto il Calabrese, valoroso Capitano di Ventura, si è recato a Belmonte in cerca di un antico e ricco tesoro, starà a voi aiutaro nella ricerca.Organizzati in equipaggi dovrete infatti tentare di trovare il tesoro battendo sul tempo le squadre avversarie, una vera e propria sfida tra i Capitani, Bucanieri e Corsari più famosi ed agguerriti della storia. Caccia al Tesoro...
Dall'Europa a Carafa Europa Italia...
Matrimonio di Ivan e Concetta. VILLA CARAFA
QUESTO è IL VIDEO ALL'INTERNO DELL'ASSOCIAZIONE DI VIA CARAFA - CERCOLA ASSOCIAZIONE...
po eso to cojios entrevista...
Parte 2 Storia del mulino del principe Carafa di Castel San Lorenzo raccontata dal mugnaio Sig. Antonio Pesce, il racconto è stato indispensabile per la ricostruzione del mulino sito sul Fiume Calore Parte 2 Storia...
Carafa segna il 4° gol del casoli nella partita contro il penne...campionato di eccellenza abruzzese '07 '08 Casoli-Penne 4-1...
inaug associazione carafa
2-7 Carafa - Genesi 2-7
foto di alcune funzioni dell'associazionedi via carafa cerola --napoli- associazione...
po eso carafa ermanos...
video madonna dell'arco associazione carafa
Via cafara alias abbasc a teglia Via Carafa
GENESI - CARAFA 4-1 GENESI - CARAFA 4-1
GENESI - CARAFA 4-1 GENESI - CARAFA 4-1
in associazione carafa
1-3 Carafa - Genesi 2-7
GENESI - CARAFA 4-1 GENESI - CARAFA 4-1
2-3 Carafa - Genesi 2-7
inaugurazione associazione carafa
GENESI - CARAFA 4-1 GENESI - CARAFA 4-1

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