"for the company was a television recording of Puccini's ""Tosca"" filmed in 1968 at the Adelaide Festival. This starred Tito Gobbi as Scarpia alongside two Australian singers, soprano Marie Collier in the title role, and tenor Donald Smith as Cavaradossi, with the Argentinian born, Italian conductor Carlo Felice Cillario conducting. This was the commencement of a long and fruitful association between the Australian Opera and Maestro Cillario until his retirement in 2003. Some of his first rehearsals in the country involved conducting the Elizabethan Sydney Orchestra and the Australian Opera Chorus, both newly formed and on permanent contracts. While not"
"is closely modelled on Bernhardt's personality, while her lover Cavaradossi, of Roman descent, is born in Paris. Illica and Giuseppe Giacosa, the playwright who joined the project to polish the verses, needed not only to cut back the play drastically, but to make the characters' motivations and actions suitable for Italian opera. Giacosa and Puccini repeatedly clashed over the condensation, with Giacosa feeling that Puccini did not really want to complete the project. The first draft libretto that Illica produced for Puccini resurfaced in 2000 after being lost for many years. It contains considerable differences from the final libretto, relatively"
"him down by duping Floria Tosca, Cavaradossi's mistress, into thinking that her lover is cheating on her. The woman, trailed by Scarpia, heads for Cavaradossi's house, hoping to catch him in the act, but finds him instead in Angelotti's company. Realizing she's been deceived, Tosca tries her best to save her lover, but it is too late. Scarpia reaches the house and surprises Angelotti, who commits suicide rather than being taken in. Scarpia then arrests the painter for high treason, a capital offense. Lusting after Tosca, the baron blackmails her: he will have the painter freed if she yields to"
"strong ties with Diderot and d'Alembert, and his mother was a grand-niece of the French philosopher Helvétius. Cavaradossi studied art in Paris with Jacques-Louis David and lived in David's atelier during the French Revolution. When he visited Rome in 1800 to settle his father's estate, he met and fell in love with the celebrated opera singer Floria Tosca, and decided to prolong his stay. He soon gained a reputation as a free-thinker and Bonapartist. Even his mustache was suspect. Tosca's confessor told her it marked him as a revolutionary. To deflect these suspicions, he offered to do a painting in"
"recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the ""hidden harmony"" (""Recondita armonia"") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving. Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place. Tosca enters and suspiciously asks"
"on a trip to Italy falls in love with the opera star, La Zambinella, who serves as the model for his most perfect statue. When he learns that Zambinella is a castrato, he tries to kill Zambinella and is himself killed instead. Zambinella - A star of the Roman opera and the object of Sarrasine’s affection. Sarrasine is convinced that La Zambinella is the ideal woman. La Zambinella is in fact a castrato. Bouchardon - Sculptor who taught Sarrasine as a student and took him in as his own pupil. ""Sarrasine"" is marked by oppositions. The story opens with a"
"personal traits. The name of the capricious woman of the title, Ciprigna, is a double word play on ""La Ciprigna"" (an Italian epithet for Venus) and the word ""inciprignire"" meaning ""to become angry and embittered"", while her hapless husband's name, Bonario, evokes goodness. The name of Bonario's confidante and major domo, Fiuta, alludes to ""fiutare"" meaning ""to flatter"". The names of the opera's young lovers, Valerio, Isabella, and Lelio, are the standard ones for such characters in ""commedia dell'arte"" plays. Captain Sbaraglia is likewise a ""commedia dell'arte"" character whose name derives from ""sbaraglio"" meaning ""disorder or confusion"". The success of"
"Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: ""Non la sospiri, la nostra casetta"" (""Do you not long for our little cottage""). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: ""Qual'occhio al"
"Marquise Attavanti, had visited the day before to leave him supplies and women's clothes to disguise himself, including a fan to hide his face. Cavaradossi recalls seeing a beautiful blond woman in the church the previous day and tells how she inspired his painting. Tosca arrives and Angelotti quickly returns to his hiding place. Tosca, who is dark-haired, becomes jealous when she sees Cavaradossi's painting of a blonde woman, but he reassures her of his love. After she departs, Cavaradossi and Angelotti quickly leave for Cavaradossi's country villa. Baron Scarpia and his police enter the church searching for Angelotti. Scarpia"
"In 1979, Alberto Zedda edited Rossini's original composition of the opera for publication by the Fondazione Rossini. In 2013, the Bronx Opera of New York City performed an English-language version of ""La gazza ladra"". The overture has been featured in ""A Clockwork Orange"" (1971) and ""Immortal Beloved"" (1995). At the house of Fabrizio Vingradito and his wife Lucia there is joy for the imminent return of their son Giannetto from the war. One of the servants, Ninetta, is in love with Giannetto and all want the two to marry, except Lucia, who blames Ninetta for the recent loss of a"
"the 1943 film version, she is Mme. Biancarolli who has been drugged by the Phantom and murdered along with her maid when she tries to force him to take off his prop mask. In Andrew Lloyd Webber's production, Carlotta (last name Giudicelli) is from Italy and is one of the major singing parts. The opera company's prima donna, she despises Christine Daaé and sees the younger woman as a threat to her job and Phantom´s courtesan, when Christine achieves prominence due to the Phantom's dirty tricks. Carlotta and tenor Ubaldo Piangi are lovers; she often turns to him for consolation"
"times with costumes by Giorgio Armani. ""Tosca, Amore Disperato"" continues to be performed in Italy and was broadcast on RAI television in June 2010. The number of characters is sharply reduced in the opera, and the work shortened to three acts, leaving out much of the political motivations of the protagonists. In the opera, Angelotti and Cavaradossi already know each other. In the play, they had never met before, thus allowing considerable scope to explain their histories and backgrounds to each other. The roles of Tosca's maid and Cavaradossi's two servants were eliminated as were most of the characters in"
"Mitridate Eupatore Il Mitridate Eupatore (""Mithridates Eupator"") is an opera seria in five acts by the Italian composer Alessandro Scarlatti with a libretto by Girolamo Frigimelica Roberti. It was first performed at the Teatro San Giovanni Grisostomo, Venice on 5 January, 1707. A failure at its premiere, ""Mitridate Eupatore"" is now considered one of the finest of Scarlatti's operas. In the ancient kingdom of Pontus, Farnace has seized the throne, killing the king and marrying his wife, Stratonica. The murdered king's daughter, Laodice, has been married to the ruined nobleman, Nicomede, now reduced to working as a cowherd, while her"
"come to his apartment, anticipating that two of his goals will soon be fulfilled at once. His agent, Spoletta, arrives to report that Angelotti remains at large, but Cavaradossi has been arrested for questioning. He is brought in, and an interrogation ensues. As the painter steadfastly denies knowing anything about Angelotti's escape, Tosca's voice is heard singing a celebratory cantata elsewhere in the Palace. She enters the apartment in time to see Cavaradossi being escorted to an antechamber. All he has time to say is that she mustn't tell them anything. Scarpia then claims she can save her lover from"
"Tigrane's parentage is finally discovered and Tomiri is reunited with her son. She pardons Meroe and allows her to marry Tigrane while the queen herself chooses Policare as her husband. Sources Tigrane (Scarlatti) Tigrane, o vero L'egual impegno d'amore e di fede (""Tigranes or The Equal Ties of Love and Faith"") is an opera seria in three acts by the Italian composer Alessandro Scarlatti with a libretto by Domenico Lalli (loosely based on the ""Histories"" of Herodotus). It was first performed at the Teatro San Bartolomeo, Naples on 16 February 1715. It is regarded as one of Scarlatti's finest operas."
"kill him, thinking that he is responsible for his daughter's death. Nicklausse saves his friend from the old man's vengeance. This act is very loosely based on """" (""A New Year's Eve Adventure""). Venice. The act opens with the barcarolle """" – ""Beautiful night, oh night of love"". Hoffmann falls in love with the courtesan Giulietta and thinks she returns his affections ("""" – ""Friends, tender and dreamy love""). Giulietta is not in love with Hoffmann but only seducing him under the orders of Captain Dapertutto, who has promised to give her a diamond if she steals Hoffmann's reflection from"
"Montreal, Tel Aviv, Verona, Santiago and Perth. Her role as the hero in Handel's ""Arminio"" was her first baroque role, and she continues to expand her repertoire, which currently includes 28 roles, 20 of which are pants roles (a woman—often a mezzo-soprano—playing a male character). Prior career highlights have included: Brussels (La Monnaie) and Paris (Champs-Elysées) for Hasse’s ""Marc’Antonio e Cleopatra"", led by long-time mentor, conductor René Jacobs; the recently rediscovered Alessandro Scarlatti oratorio ""La Santissima Trinità"" in Paris, Palermo and Lyon, which marked her first collaboration with Fabio Biondi and his Europa Galante; Gluck’s ""Orfeo ed Euridice"" at the"
"d'amore"" took place at the Teatro della Canobbiana, Milan, on 12 May 1832. Today, the opera is part of the standard repertory. Nemorino, a poor peasant, is in love with Adina, a beautiful landowner, who torments him with her indifference. When Nemorino hears Adina reading to her workers the story of Tristan and Isolde, he is convinced that a magic potion will help him to gain Adina's love. The self-important Sergeant Belcore appears with his regiment and immediately sets about courting Adina in front of everyone. Nemorino becomes anxious (although, Adina meanwhile secretly derides Belcore's complacency) and, alone with Adina,"
"people of Altura mourn for her. Archibaldo has secretly poisoned Fiora's lips, so that her lover will die. Avito kisses Fiora's lips. As he dies from the poison, Avito reveals to Manfredo that he was Fiora's lover, and that Archibaldo has laid the poison. Stricken with grief at the loss of the woman he loved, Manfredo also kisses Fiora's lips. Finally, Archibaldo enters to see if his trap has caught Fiora's lover, and despairs as he hears the voice of his dying son. The music of the opera is lush and complex. Similar to works such as Debussy's ""Pelleas et"
"Amor d'un'ombra e gelosia d'un'aura Amor d'un'ombra e gelosia d'un'aura (""The Love of a Shade and the Jealousy of an Aura""), also known as Narciso (""Narcissus""), is an opera in three acts composed by Domenico Scarlatti to a libretto by Carlo Sigismondo Capece. It premiered in Rome in January 1714 at the private theatre of Maria Casimira of Poland who had commissioned the work. The libretto is based on two fables from Ovid's ""Metamorphoses"": Echo and Narcissus (Book III) and Cephalus and Procris (Book VII). Queen Maria Casimira had taken up residence in Rome in 1699 following the death of"
"entry, accompanied by his sprightly buffo theme, lifts the mood, as does the generally light-hearted colloquy with Cavaradossi which follows after the latter's entrance. This leads to the first of the ""Grand Tunes"", Cavaradossi's ""Recondita armonia"" with its sustained high B flat, accompanied by the sacristan's grumbling counter-melody. The domination, in that aria, of themes which will be repeated in the love duet make it clear that though the painting may incorporate the Marchesa's features, Tosca is the ultimate inspiration of his work. Cavaradossi's dialogue with Angelotti is interrupted by Tosca's arrival, signalled by her motif which incorporates, in Newman's"
"as his niece, Nisa. The opera begins ten years after her rescue. Duke Bertrando is due to visit the mines. Isabella, who is still in love with her husband, finally reveals her true identity to Tarabotto who promises to help her. The duke arrives with Ormondo and Batone. The duke is still in love with his wife even though he believes the rumours that she had been unfaithful to him. Batone catches sight of ""Nisa"" and realises she is Isabella in disguise. He plots with Ormondo to abduct her that night, but Tarabotto overhears their plan. Before they can kidnap"
"the dish covers over his face. Cavaradossi, instead, is executed by a phalanx of photographers. The show premiered at London's Royalty Theatre in January 1890 and ran for 45 performances, with the critic Cecil Howard pronouncing it one of Burnand's finest efforts. Burnand had previously parodied Sardou's ""Féodora"" as ""Stage-Doora"" (1883) and ""Théodora"" as ""The O'Dora"" (1885), both of which ran at Toole's Theatre in London. In 2004, Lucio Dalla composed an Italian musical, ""Tosca, Amore Disperato"" (""Tosca, Desperate Love""), based largely on the structure of Puccini's opera, but with elements from Sardou's play. The setting was updated to modern"
"the Italian Renaissance, Morgan has been primarily featured in relation to the cycle of epic poems of Orlando (based on Roland of the historical Charlemagne). In Matteo Maria Boiardo's late-15th century ""Orlando Innamorato"", fata Morgana (initially as lady Fortune) is beautiful but wicked fairy enchantress, a sister of King Arthur and a pupil of Merlin. Morgana lives in her paradise-like garden in a crystal cavern under a lake, plotting to eventually destroy the entire world. There, she abducts her favourites until she is thwarted by Orlando who defeats, chases and captures Morgana, destroying her underwater prison and letting her keep"
"at an end. This is enough for the police to consider him guilty, and they haul him away to be shot. Scarpia, now alone with Tosca, proposes a bargain: if she gives herself to him, Cavaradossi will be freed. She is revolted, and repeatedly rejects his advances, but she hears the drums outside announcing an execution. As Scarpia awaits her decision, she prays, asking why God has abandoned her in her hour of need: ""Vissi d'arte"" (""I lived for art""). She tries to offer money, but Scarpia isn't interested in that kind of bribe: he wants Tosca herself. Spoletta returns"
"a final appeal, to which Sandrina admits she is Violante but claims that she loves him no more. The Count is saddened but agrees to leave her. They begin to part, but falter in a matter of minutes and fall into each other's arms (""Tu mi lasci?""). Arminda returns to Ramiro, and Serpetta gives way to Nardo's suit. Left alone, the Podestà accepts his fate philosophically. Perhaps, he says, he will find another Sandrina (Finale: ""Viva pur la giardiniera""). Another opera by the same name was composed in 1774 by Pasquale Anfossi. The opera's arias include: ""Act 1"" ""Act 2"""
"Imelda de' Lambertazzi Imelda de' Lambertazzi is a ""melodramma tragico"" or tragic opera in two acts by Gaetano Donizetti from a libretto by Andrea Leone Tottola, based on the tragedy ""Imelda"" by Gabriele Sperduti. It received its first performance on 5 September 1830 at the Teatro San Carlo, Naples. The opera was not a great success and performances of it are very rare. A concert performance was given on 10 March 2007 at the Queen Elizabeth Hall in London, conducted by Mark Elder, which was recorded by Opera Rara. Imelda Lambertazzi (of the family supporting the Guelfs) loves Bonifacio, heir"
"minor in the first two acts but much more appreciable in the third, where the description of the Roman dawn that opens the third act is much longer, and Cavaradossi's tragic aria, the eventual ""E lucevan le stelle"", has different words. The 1896 libretto also offers a different ending, in which Tosca does not die but instead goes mad. In the final scene, she cradles her lover's head in her lap and hallucinates that she and her Mario are on a gondola, and that she is asking the gondolier for silence. Sardou refused to consider this change, insisting that as"
"Cattanei, who tries to warn him of the conspiracy against his family. But she is killed by Montesecco, a murderer hired by Pope Sixtus V. Giuliano is killed by the conspirators, but Lorenzo de' Medici escapes with the help of the poet Poliziano. He then wins the support of the people, who lynch the conspirators. A recording of the opera released in 2010 on Deutsche Grammophon featuring Plácido Domingo as Giuliano de' Medici, Carlos Álvarez as Lorenzo de' Medici, Vitaly Kovalkov as Francesco de' Pazzi, Daniela Dessì as Simonetta Cattanei (Simonetta Vespucci née Cattaneo ) and Renata Lamanda as Fioretta"
"her. In addition to Scarlatti's opera, the 1714 Carnival opera season in Rome saw the premieres of Caldara's ""Tito e Berenice"" (also with a libretto by Capece) and Gasparini's ""Lucio Papirio"" (with a libretto by Antonio Salvi). These two were the result of a competition set by Cardinal Pietro Ottoboni, a prominent patron of the arts in Rome. Two rival academies, the Accademia degli Arcadi and the Accademia dei Quirini, were each to sponsor an opera to be performed in the newly renovated Teatro Capranica. Ottoboni would give a generous gift to the academy which had produced the best one."
"Zanni, Moschino"" etc.) are introduced into this 'serious' context. The use of the term ""comedia musicale"" in the printed score might go back to Dante's ""Divine Comedy"" (completed 1320), merely addressing a happy ending story. The opera was first performed at the Palazzo Barberini, Rome on 12 February 1637. The surviving score is a revised version dating from 1639. The impoverished Egisto is in love with the young widow Alvida. She rejects his advances unless he destroys the things dearest to him: a tower he has inherited and his favourite falcon. He does so and Alvida is so impressed by"
"so well deceiv’d at any [other Opera]."" Probably the most famous song from the opera is Ernesto's aria, ""Per la gloria d’adorarvi,"" which remains to this day a popular selection for concert and recital performance. Other notable pieces include ""Dolce sogno, deh le porta"" and ""Volgendo, a me lo sguardo"" for Gualtiero. These three arias were very popular and were reprinted, for example in Richard Neale’s ""A Pocket Companion for Gentlemen and Ladies"" (London, 1724) and in ""The British Musical Miscellany"" (London, 1735). Place: Near Palermo in Sicily. King Gualtiero has married Griselda, a peasant woman and his longtime mistress,"
"hoped to create Cavaradossi; but in the end, Puccini, although greatly impressed by Caruso's voice, decided to entrust the part to the more experienced singer. De Marchi sang Cavaradossi again at London's Royal Opera House, Covent Garden, in 1901. Cavaradossi was also his debut role the following year at the Metropolitan Opera in New York City. During his New York sojourn, he sang the title role in the premiere Met production of Verdi's ""Ernani"", which was mounted in 1903. His other Met roles were Radames, Alfredo, Manrico, Raoul, Rodolfo, Riccardo, Turiddu, Canio, Leandro (in Mancinelli´s Ero e Leandro), and Don"