Adaneth

Composer: Gaetano Donizetti Librettist: Salvatore Cammarano, after Sir Walter Scott's 'The Bride of Lammermoor' Premiere: 26 Septemberr 1835, Naples (Teatro San Carlo di Napoli) Language: Italian Translation: Italian and English subtitles (Click on CC to switch on subtitles) Lucia di Lammermoor Synopsis: https://www.opera-arias.com/donizetti/lucia-di-lammermoor/synopsis/ Lucia di Lammermoor is a dramma tragico (tragic opera) in three acts by Italian composer Gaetano Donizetti. Salvadore Cammarano wrote the Italian-language libretto loosely based upon Sir Walter Scott's 1819 historical novel The Bride of Lammermoor. The story concerns the emotionally fragile Lucy Ashton (Lucia) who is caught in a feud between her own family and that of the Ravenswoods. The setting is the Lammermuir Hills of Scotland (Lammermoor) in the 17th century. Cast & Crew: Miss Lucia - Renata Scotto Sir Edgardo Di Ravenswood - Carlo Bergonzi Lord Enrico Ashton - Mario Zanasi Lord Arturo Bucklaw - Angelo Marchiandi Raimondo Bidebent - Plinio Clabassi Alisa - Mirella Fiorentini Normanno - Giuseppe Baratti The NHK (Nippon Hoso Kyokai) Symphony Orchestra Conductor - Bruno Bartoletti Tokyo Philharmonic Chorus Chorus Master - Yoichiro Fukunaga Momoko Tani Ballet Troupe Choreographer - Goro Arima Sankikai Theatrical Company Stage Director - Bruno Nofri Scenery - Enzo Deho Costume Design - Marcello D'Ellena Recorded Live, September 1967, Tokyo Bunka Kaikan La Scala Tour in Japan 1967. Donizetti wrote Lucia di Lammermoor in 1835, when he was reaching the peak of his reputation as an opera composer. Gioachino Rossini had recently retired and Vincenzo Bellini had died shortly before the premiere of Lucia leaving Donizetti as "the sole reigning genius of Italian opera". Not only were conditions ripe for Donizetti's success as a composer, but there was also a widespread interest in the history and culture of Scotland. The perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued 19th century readers and audiences. After World War II, a number of sopranos were instrumental in giving new life to the opera, including Maria Callas (with performances from 1954 at La Scala and Berlin in 1955 under Herbert von Karajan) and Dame Joan Sutherland (with 1959 and 1960 performances at the Royal Opera House Covent Garden). An aria from the opera, "Il dolce suono", is featured in the film The Fifth Element.

Lecture 24: Ovid's influence in later European culture—including, very prominently, the works of Shakespeare—is profound and well worth tracing. Even today, classical mythology in general remains a force in high culture and pop culture alike. The whole genre of science fiction, for example, is a testament to the power of both ancient myths and the enduring mythic impulse.

Lecture 23: Ovid's Metamorphoses is our main or only source for many famous classical myths. Who was Ovid? What was the nature of the Roman context in which he composed his very literary, ironic retelling of these myths? Can we ever hope to recover the "original" stories that lie behind Ovid's versions? Lecture 24: https://rumble.com/v4qb2xk-classical-mythology-from-ovid-to-the-stars-lecture-24.html

Lecture 22: Why did the Romans "borrow" so much of their art, literature, and myth from Greece? How and why did the Romans take over—and modify—the legend of the Trojan War? How does this reflect on the native Roman foundation myth of the brothers Romulus and Remus? Lecture 23: https://rumble.com/v4qaydz-classical-mythology-gods-are-useful-lecture-23.html

Lecture 21: Among the female figures in Greek myth who break out of women's usual roles are the Amazons, a race of female warriors said to have fought such heroes as Achilles, Theseus, and Heracles. The lecture also examines another foreign woman, Medea, who is most famous for her marriage to Jason. Finally, we will discuss the possible genesis of these figures in male anxieties about the role of women. Lecture 22: https://rumble.com/v4qauif-classical-mythology-roman-founders-roman-fables-lecture-22.html

Lecture 20: The myth of Oedipus—and especially the version presented in Sophocles's unforgettable plays—has struck profound chords in 20th-century thought. Freud's interpretation is the most famous, and Lévi-Strauss's structuralist reading has also been influential. How do they appear in the light of classics scholarship? And what do classics scholars make of Oedipus's terrible tale? Lecture 21: https://rumble.com/v4qa6ew-classical-mythology-monstrous-females-and-female-monsters-lecture-21.html

Lecture 18: The myth of the House of Atreus is a harrowing, multigenerational narrative of cannibalism, murder, incest, and revenge. It revolves around a hereditary curse that both causes and is caused by the actions of several members of the same family, including Agamemnon, the Greek commander in the war against Troy. Lecture 19: https://rumble.com/v4pwkyq-classical-mythology-blood-vengeance-justice-and-the-furies-lecture-19.html

Lecture 19: The House of Atreus fired the imagination of the great Athenian dramatist Aeschylus, whose Oresteia reshaped the traditional story into brilliant theater. Tragedy to the Athenians was no mere entertainment, but a collective experience highly ritualized in form and vital in function. What are the issues and emotions that Aeschylus explored in his trilogy? Do they bear implications for our understanding of the myth itself? Lecture 20: https://rumble.com/v4pwqy3-classical-mythology-the-tragedies-of-king-oedipus-lecture-20.html

Lecture 17: So many authors drew upon the Trojan War that it became the most famous episode in all of classical myth. What drove the Achaeans on their expedition against "windy Ilion"? What settled the destinies of all involved? Was it fate? The gods? Human action? Why did the Greeks see the Trojan War as marking the divide between the Age of Heroes and the rest of human history? Lecture 18: https://rumble.com/v4pwd4e-classical-mythology-the-terrible-house-of-atreus-lecture-18.html

Lecture 16: This lecture examines the larger-than-life deeds of Heracles, the greatest of all Greek heroes—and the one with the most contradictions. His own tendency toward excess led to the need for his famous Twelve Labors. These in turn took him farther and farther away from the center of the known world. Is he a figure for Greek culture itself? Lecture 17: https://rumble.com/v4pvk76-classical-mythology-the-trojan-war-lecture-17.html

Composer: Vincenzo Bellini Librettist: Felice Romani Premiere: 26 December 1831, Milan (La Scala) Language: Italian Subtitles: Italian, English (Click on CC to choose the subtitles) Norma is a tragedia lirica or opera in two acts by Vincenzo Bellini with libretto by Felice Romani after Norma, ossia L'infanticidio (Norma, or The Infanticide) by Alexandre Soumet. Norma is an example of the supreme height of the bel canto tradition. Cast & Characters: Norma - Montserrat Caballé Adalgisa - Josephine Veasey Pollione - Jon Vickers Oroveso - Agostino Ferrin Clotilde - Marisa Zotti Flavio - Gino Sinimberghi Teatro Regio di Torino Orchestra & Chorus Conductor: Giuseppe Patanè Director: Pierre Jourdan Theatre Antique d'Orange July 20th, 1974 The title role—"one of the most taxing and wide-ranging parts in the entire repertory"—is one of the most difficult in the soprano repertoire. The German soprano Lilli Lehmann once remarked that the singing of all three Brünnhilde roles of Wagner's opera cycle Der Ring des Nibelungen in one evening would be less stressful than the singing of one Norma. The Premiere cast in the main roles were; Giuditta Pasta, for whom the role of Norma was created, Domenico Donzelli as Pollione, Giulia Grisi as Adalgisa, and Vincenzo Negrini as Oroveso. Among the well known singers of Norma of the first half of the 20th century was Rosa Ponselle who played the role in New York and London. During the later 20th century, with the bel canto revival, the most prolific Norma was the Greek-American soprano Maria Callas, who gave 89 stage performances (several of which exist on live recordings as well as two on studio versions made in 1954 and 1960). Notable exponents of the title role during the 60'-70's were Leyla Gencer, Joan Sutherland, and Montserrat Caballé. SYNOPSIS: Place: Gaul Time: c. 100-50 BC (Roman occupation) ACT I: Gaul during the Roman occupation. Pollione, the Roman consul, has abandoned Norma, the Druid high priestess (by whom he has two sons) in favour of Adalgisa, an acolyte. Norma is unaware of Pollione's infidelity. Despite ominous dreams, Pollione decides to take Adalgisa back to Rome and marry her. Norma is shattered to discover that Adalgisa's lover is none other than Pollione, while Adalgisa is horrified to learn that Pollione is intending to abandon Norma. ACT II: Norma wrestles with her conscience as she contemplates the murder of her children. She manages to restrain herself and decides to entrust them to Adalgisa's care. Adalgisa renounces Pollione to Norma and, swearing never to love him again, promises to persuade him to return to the mother of his children. When Norma learns of Adalgisa's failure to achieve this goal, she incites the Gauls to war against the Romans: all that is needed is a sacrifice. Pollione is captured breaking into the virgin's temple and is sentenced to death, but he still refuses to disown Adalgisa. Norma, driven to despair, orders the funeral pyre to be lit - she will take Pollione's place as the sacrifice. Her selflessness forces Pollione to reconsider and he realizes that he does in fact love Norma after all. But it is too late: after consigning her children to her father's care, she mounts the pyre, where she is joined in death by Pollione.

Un cortometraggio prodotto dalla Incom nel 1941, con la regia di regia di Edmondo Cancellieri. Si tratta di un documentario che ripercorre le principali tappe della storia della musica dalle origini al '900, offrendo parallelismi con la storia dell'arte e dell'architettura e, soprattutto, adeguati accompagnamenti musicali ora di tipo sacro, ora di genere classico, ora di carattere moderno.

Un cortometraggio del 1949 prodotto da Opus Film, con la regia di Viviana Pasqualini. Il documentario illustra la collezione di dipinti d'arte sacra agli Uffizi dal Medioevo al Rinascimento e al Manierismo.

Un cortometraggio del 1936 prodotto dall'Istituto Nazionale Luce, con la regia di Ganni Vernuccio.

Un cortometraggio prodotto dall'Istituto Nazionale Luce nel 1943. Regia di : Piero Paolucci e Giovanni Portalupi. Direttore del coro : Pettinella, Riccardo Pianista : Cesare Boerio Pianista : Concetta Abbate Casa Verdi è una casa di riposo per cantanti e musicisti che abbiano compiuto 65 anni di età, fondata da Giuseppe Verdi il 16 dicembre 1899 e situata a Milano in piazza Buonarroti al civico 29. La Casa è di proprietà della Casa di Riposo per Musicisti - Fondazione Giuseppe Verdi alla quale il Maestro ne fece dono prima della morte. "L’ammissione degli ospiti è deliberata dal Consiglio, avuto riguardo all’età, ai bisogni e ai meriti artistici". La struttura venne eretta in stile neogotico dall'architetto Camillo Boito, fratello del celebre musicista Arrigo, amico del Maestro Verdi. Nella cripta annessa alla Casa riposano lo stesso Verdi e la seconda moglie Giuseppina Strepponi. Dal 1998 la Fondazione, per realizzare l'integrazione tra musicisti di diverse generazioni, ha provveduto a estendere la sua ospitalità, oltre che ai musicisti più anziani, anche ai giovani studenti di musica che siano meritevoli e bisognosi e che frequentino scuole di musica riconosciute nella città di Milano. La Casa è visitabile, con ingresso libero e gratuito, grazie alla collaborazione dei volontari per Il Patrimonio Culturale del Touring Club Italiano. Alcune delle sequenze: Le guglie del Duomo di Milano si vedono a malapena nella nebbia in una cripta di questa casa di riposo è sepolto Giuseppe Verdi il direttore Riccardo Pettinella dirige il coro che intona le note di Va' pensiero... la tomba del musicista con una corona di fiori fiction: due ospiti della casa di riposo ritornano dopo aver passato la serata a teatro stanza da letto: ritratto di una giovane cantante lirica costumi dell'opera Ballo in maschera appesi nella stanza facciata della casa di riposo che si riflette sul bagnato il pianista Cesare Boerio suona nel salone bellissimo, entra pian piano una donna, si tratta della pianista Concetta Abbate un gruppo di musicisti commenta l'opera Manon Lescau, e l'interpretazione di Beniamino Gigli entrando nel salone della casa

Un cortometraggio prodotto dall'Istituto Nazionale Luce nel 1935 sul compositore italiano Vincenzo Bellini. Alcune delle sequenze: un ritratto ad olio di Vincenzo Bellini le immagini scorrono sulle case e le costruzioni in sasso del centro antico di Catania interno della casa dove nacque e abitò Bellini l'Etna innevato un bellissimo antico palazzo di Catania (Sangiuliano? Biscari?) veduta di Napoli con il Vesuvio sullo sfondo un disegno ritrae il colto di Maddalena Fumaroli, amata dal Bellini veduta di Napoli una via di Napoli nubi in cielo mentre il sonoro trasmette un canto di Bellini, dedicato a Maddalena Fumaroli una stampa d'epoca ritrae un edificio di Milano l'ingresso di un palazzo milanese interni sontuosi del palazzo inquadrature della mobilia, degli affreschi, degli stucchi e di altri particolari decorativi soprattutto settecenteschi dettagli di dipinti ad olio un disegno d'epoca riproduce l'interno del teatro alla Scala spartiti musicali di opere composte da Bellini serie di disegni e incisioni d'epoca che raffigurano personaggi contemporanei di Bellini pianista esegue un brano tratto dall'opera: "La straniera" vedute e scorci di Villa Turina il ritratto a matita di una giovane la locandina dell'opera: "La straniera", rappresentato al teatro alla Scala gli spartiti e i libretti dell'opera la pianista esegue altri brani tratti dalle opere di Bellini gli spartiti e i libretti de "La sonnambula" la locandina dell'opera: "La Norma" rappresentata al teatro alla Scala lo spartito musicale autografo di Bellini un dipinto ritrae una giovane donna rare immagini di repertorio dell' Ottocento che mostrano uomini e donne su un trenino a vapore che salutano un disegno ritrae l'amico di Bellini che lo ospitò a Parigi un disegno d'epoca ritrae il teatro dell'opera di Parigi la pianista esegue un brano dell'opera: "I Puritani" la tomba di Bellini

Lecture 14: This lecture focuses on the Athenian Theseus, who saved the youth of his city by penetrating the Labyrinth and killing the monstrous Minotaur who dwelt at its center. His story is an excellent type of those myths in which the hero must face and overcome dangers and difficulties in pursuit of a worthy goal. Lecture 15: https://rumble.com/v4pg34r-classical-mythology-from-myth-to-history-and-back-again-lecture-15.html

Lecture 13: How do humans fit into the creation accounts of Hesiod and Ovid? The former's Works and Days depicts a deterioration of humanity over time, while the latter paints a picture very different in tone and content. Do the heroes in these stories reflect a memory of the Mycenaean Age? Lecture 14: https://rumble.com/v4pg0ie-classical-mythology-theseus-and-the-test-and-quest-myth-lecture-14.html

Lecture 12: Stepping back from Greek myth itself, you will examine the similarities between Mesopotamian myth and Hesiod's Theogony with a view to cross-cultural influences. Next you trace the influence of the two great prehistoric cultures of Greece itself, the Minoans and the Mycenaeans. Finally, you learn about the theory that there was a prehistoric "Great Goddess." Lecture 13: https://rumble.com/v4pfvnu-classical-mythology-humans-heroes-half-gods-lecture-13.html

Lecture 15: The encounter of Theseus with the Minotaur raises fascinating theoretical and interpretative issues. This strange story of a man-eating half-bull imprisoned in a maze is open to interpretation from a number of viewpoints, including those of psychology, ritual, and history. Lecture 16: https://rumble.com/v4pvfc6-classical-mythology-the-greatest-hero-of-all-lecture-16.html

Composer: Umberto Giordano Librettist: Luigi Illica Premiere: 28 March 1896, Milan (La Scala) Language: Italian Subtitles: Italian, English, French, Spanish German(Click on CC to choose the subtitles) Andrea Chenier Synopsis: https://www.opera-arias.com/giordano/andrea-chenier/synopsis/ Andrea Chénier is a verismo opera in four acts by Umberto Giordano, set to an Italian libretto by Luigi Illica, and first performed on 28 March 1896 at La Scala, Milan. The story is based loosely on the life of the French poet André Chénier (1762–1794), who was executed during the French Revolution. The character Carlo Gérard is partly based on Jean-Lambert Tallien, a leading figure in the Revolution. It remains popular with audiences, though less frequently performed than in the first half of the 20th century. The NHK (Nippon Hoso Kyokai) Symphony Orchestra NHK Italian Opera Chorus & Fujiwara Opera Chorus & Tokyo Choirs Conductor: Franco Capuana Live Performance, October 1, 1961 Tokyo Bunka Kaikan Cast & Characters: Andrea Chénier - Mario Del Monaco Maddalena di Coigny - Renata Tebaldi Carlo Gérard - Aldo Protti Bersi - Anna di Stasio The Countess of Coigny / Madelon - Amalia Pini Majordomo / Roucher / Dumas - Silvano Pagliuca L'incredibile - Antonio Pirino Fleville / Mathieu - Arturo La Porta Fouquier-Tinville / Schmidt - Giorgio Onesti The work was first performed at the Teatro alla Scala, Milan, on 28 March 1896 with Evelina Carrera, Giuseppe Borgatti (who replaced Alfonso Garulli at the eleventh hour) and Mario Sammarco in the leading parts of soprano, tenor and baritone respectively. Rodolfo Ferrari conducted. Giuseppe Borgatti's triumph in the title role at the first performance immediately propelled him to the front rank of Italian opera singers. He went on to become Italy's greatest Wagnerian tenor, rather than a verismo-opera specialist. Other notable first performances include those in New York City at the Academy of Music on 13 November 1896; in Hamburg on 3 February 1897 under the baton of Gustav Mahler; and in London's Camden Theatre on 16 April 1903 (sung in English). Apart from Borgatti, famous Chéniers in the period between the opera's premiere and the outbreak of World War II included Francesco Tamagno (who studied the work with Giordano), Bernardo de Muro, Giovanni Zenatello, Giovanni Martinelli, Aureliano Pertile, Francesco Merli, Beniamino Gigli, Giacomo Lauri-Volpi and Antonio Cortis. Enrico Caruso also gave a few performances as Chénier in London in 1907. All of these tenors with the exception of Borgatti have left 78-rpm recordings of one or more of the part's showpiece solos. Post-war, Franco Corelli, Richard Tucker and Mario Del Monaco were the most famous interpreters of the title role during the 1950s and 1960s, while Plácido Domingo became its foremost interpreter among the next generation of tenors, although Domingo's contemporary Luciano Pavarotti also sang and recorded the work.

A 1975 Film-ballet of the Mosfilm based on the famous production by Yuri Grigorovich to the music of Aram Khachaturian. The work follows the exploits of Spartacus, the leader of the slave uprising against the Romans known as the Third Servile War, although the ballet's storyline takes considerable liberties with the historical record. Khachaturian composed Spartacus in 1954, and was awarded a Lenin Prize for the composition that same year. It was first staged in Leningrad on 27 December 1956, as choreographed by Leonid Yakobson, for the Kirov Theatre of Opera and Ballet (Mariinsky Theatre), where it stayed in repertory for many years, but only with qualified success since Yakobson abandoned conventional pointe in his choreography. Yakobson restaged his version for the Bolshoi in 1962 and it was part of the Bolshoi's 1962 tour to New York. The ballet received its first staging at the Bolshoi Theatre, Moscow in 1958, choreographed by Igor Moiseyev; however it was the 1968 production, choreographed by Yury Grigorovich, which achieved the greatest acclaim for the ballet. The revolutionary choreography of Yuri Grigorovich, as well as the performers of the main male roles, Vladimir Vasiliev and Maris Liepa, made this ballet immortal. Spartacus remains one of Khachaturian's best known works and is prominent within the repertoires of the Bolshoi Theatre and other ballet companies in Russia and the former Soviet Union. Cast & Characters: Vladimir Vasiliev as Spartacus, captive king of Thrace Maris Liepa as Crassus, Roman consul Natalia Bessmertnova as Phrygia, wife of Spartacus Nina Timofeev as Aegina, concubine to Crassus Choreography: Yuri Grigorovich Libretto: Yuri Grigorovich, Vadim Derbenёv Film Directors: Yuri Grigorovich, Vadim Derbenёv Bolshoi Theatre Corps de Ballet Bolshoi Theatre Orchestra Conductor: Algis Žiūraitis ACT I: The Roman consul Crassus returns to Rome from his latest conquests in a triumphal procession. Among his captives are the Thracian king Spartacus and his wife Phrygia. Spartacus laments his captivity and bids a bitter farewell to Phrygia, who is taken off to join Crassus's harem of concubines. To entertain Crassus and his entourage, Spartacus is sent into the gladiatorial ring and is forced to kill a close friend. Horrified at his deed, Spartacus incites his fellow captives to rebellion. ACT II: The escaped captives celebrate their freedom. Meanwhile, Crassus entertains the Roman patricians with lavish entertainment. Spartacus and the other escaped captives disrupt the orgy and rescue the slave women, including Phrygia. Aegina insists that Crassus pursue the slave army immediately. The lovers celebrate their escape to the "Adagio of Spartacus and Phrygia". ACT III: Aegina discovers Spartacus's camp and observes the lovers emerging from their tent the next morning. Aegina sends word to Crassus, who sends his army in pursuit. Internecine struggles break out among Spartacus's forces. Finally, Crassus's forces discover Spartacus and impale him upon their spears. Spartacus's closest followers recover his body and carry it off while Phrygia mourns her loss.

Episode 10 (Season Finale): June 1647 - The Fletchers return to Arnescote as the new owners but life is not as they expected. Cousin Susan gets shocking news from Colonel Marsh. Edward has a plan to get Tom out of the Tower.

Episode 9: September 1645 - Sir Martin's funeral brings with it more family and political discord. Colonel Marsh is holding Arnescote's inhabitants hostage and the future of the castle is looking grim. Episode 10: https://rumble.com/v4oo79n-by-the-sword-divided-tv-series-1983-not-peace-but-a-sword-s01-e10.html

Episode 8: September 1645 - Arnescote is surrounded and is under siege by the Roundheads. Sam Saltmarsh brings shame on his family by being a turncoat and Susan Protheroe is re-acquainted with Colonel Marsh. Episode 9: https://rumble.com/v4oo1cw-by-the-sword-divided-tv-series-1983-ashes-to-ashes-s06-e09.html