1936 Palestine OPERA RECITAL POSTER Russian LIPKOWSKA Traviata ISRAEL Pagliacci

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Seller: judaica-bookstore ✉️ (2,803) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285616474284 1936 Palestine OPERA RECITAL POSTER Russian LIPKOWSKA Traviata ISRAEL Pagliacci. Lydia Yakolevna Lipkowska (Russian: Лидия Яковлевна Липковская. Ukrainian: Лідія Яківна Липковська; 10 May 1882 – 22 March 1958) was a Russian operatic soprano of Ukrainian origin. Biography[edit] Lydia Lipkowska, from Music News, 1921 Lipkowska in drawings by Marguerite Martyn, with a photo, 1910 Lydia was born in Babyn, where is a village museum dedicated to her, in the family of a rural teacher.   DESCRIPTION : Up for auc tion is an original EXTREMELY RARE Vintage OPERA vocal RECITAL / CONCERT POSTER of the world  acclaimed RUSSIAN OPERATIC SOPRANO , Somewhat neglected inspite her enormous talent and past glory - LYDIA LIPKOWSKA ( Also LIPKOVSKA )   .  The OPERA CONCERT / RECITAL took place in 1936 at the Y.M.C.A concert hall in JERUSALEM - ERETZ ISRAEL ( Palestine ) . The REPERTOIRE included 1st and 2nd ACTS of VERDI's LA TRAVIATA and the PROLOGUE and 1st ACT of LEONCAVALLO's PAGLIACCI. LIPKOWSKA was accompanied by a group of the most popular ERETZ ISRAEL OPERA SINGERS : HARMELACH , MINDLIN , ARENSTEIN and PETSHAFT , M.LEVITH accompanied at the PIANO.   Around  28 x 38 "    ( Not accurate ) . English.  Good condition for age . Folded . Regular printing paper . A few old tears were mended on the verso with  transparent tape.( Pls look at scan for accurate AS IS  images )  Will be sent inside a protective rigid package .    AUTHENTICITY : This is an ORIGINAL 1936 OPERA vocal RECITAL /CONCERT POSTER , NOT a reproduction or a reprint  , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.

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Lydia Yakolevna Lipkowska (Russian: Лидия Яковлевна Липковская. Ukrainian: Лідія Яківна Липковська; 10 May 1882 – 22 March 1958) was a Russian operatic soprano of Ukrainian origin. Biography[edit] Lydia Lipkowska, from Music News, 1921 Lipkowska in drawings by Marguerite Martyn, with a photo, 1910 Lydia was born in Babyn, where is a village museum dedicated to her, in the family of a rural teacher. Lydia had three sisters, four brothers. Her aunt was Maria Zankovetska, a famous Ukrainian actress. She received education in the Mariinsky Women's Gymnasium in Kamyanets-Podilskyi. Together with other students, she sang in the church choir, she had her own solo parties, drawing attention with a magic voice that ran under the dome of the cathedral. Residents of Kamyanets called the girl "Singing Bird". After Kamyanets-Podiskyi Lipkowska was trained at the Saint Petersburg Conservatory. She is said to have studied with Natalia Iretskaya, a pupil of the well-known Pauline Viardot. She was committed to the Mariinsky Theatre from 1906—1908 and again from 1911–1913. She was a member of the Metropolitan Opera in New York City from 1909[1] until 1911. Lipkowska's debut with the Metropolitan was as Violetta in La Traviata on November 18, 1909, with Caruso as Alfredo.[2] She sang as a guest artist at the Boston Opera Company in 1909 and the Chicago Grand Opera Company in 1910. While in Boston, Lipkowska was honored by The Lenox Hotel, which put on its menu the "cup Lydia" and the "Souffle a la Lipkowska". She petioned a judge for an injunction against the hotel, claiming that the menu items were "injuring her reputation and holding her up to ridicule."[3] In 1911 she made her debut at the Royal Opera House in London as Mimì in Giacomo Puccini's La bohème. In 1912, Lipkowska charged New York gangster Sam Schepps with usury over his refusal to return two diamonds worth $80,000 that she'd pawned to him. Lipkowska said that she'd borrowed $12,000 from Schepps, had left the diamonds with him as security, and that he sought $5000 in interest before he would return the jewels.[4] In 1914 she sang in the world premiere of Amilcare Ponchielli's I Mori di Valenza at the Opéra de Monte-Carlo. Lipkowska escaped from the Soviet Union with her then husband Pierre Bodin in 1920, arriving in New York on the Adriatic of the White Star Line on February 8.[5] In September 1920, Lipkowska sang Gilda in Rigoletto with the San Carlo Opera Company in Manhattan.[6] After retiring from the stage she lived in Romania where she was active as a voice teacher. One of her students was the soprano Virginia Zeani. She died in Beirut at the age of 75. For part of her life she was married to baritone Georges Baklanoff. References[edit] 1.     ^ "Metropolitan Plans Great Opera Season". New York Times: 9. 13 September 1909. 2.     ^ "Traviata at Metropolitan: Mme. Lipkowska Makes Debut as Violetta – Caruso as Alfredo". New York Times: 11. 19 November 1909. 3.     ^ "Declines a Hotel's Homage". New York Times: 3. 16 February 1910. 4.     ^ "Lipkowska Accuses Broker of Usury". New York Times: 18. 23 October 1921. 5.     ^ "Saved From 'Reds,' Singer Here a Bride". New York Times: 3. 9 February 1920. ^ "'Rigoletto' at Manhattan". New York Times: 24. 22 September 1920.  ****  Lipkowska, Lydia (1882–1958) Russian soprano whose career took her to many of the world's great stages. Born Lydia Marschner on June 6, 1882, in Babino, Bessarabia, Russia; died in Beirut, Lebanon, on March 22, 1958; married Georgi Baklanoff. After studying at the St. Petersburg Conservatory, Lydia Lipkowska made her debut at that city's Imperial Opera in 1908. An excellent actress who was graced with a pure, communicative voice, she became a favorite with audiences of the day. By 1909, she was singing in Paris, and appeared that same year in the United States at New York's Metropolitan Opera as well as in Boston. She made her Covent Garden debut in 1911 and in the fateful year of 1914 appeared in Monte Carlo in the first performances of Ponchielli's I Mori di Valenza. Within the span of those three years, Lipkowska made 29 recordings, many of which remain highly rated by modern critics of vocal artistry. After the Bolshevik Revolution, she emigrated in 1919 to France and resumed her career with Russian emigré opera troupes throughout Western Europe. In 1928–1929, she made an emotionally difficult return tour of the Soviet Union, after which she lived, and taught singing, in Rumania. Virginia Zeani was among her students. In 1945, Lipkowska returned to France, then settled some years later in Lebanon, living and teaching in Beirut, where she died on March 22, 1958. Her large repertory included Lakmé, Lucia, and the role of Marfa in Rimsky-Korsakov's The Tsar's Bride, as well as Tchaikovsky's Tatiana and Iolanta. **** Lydia Lipkowska (1882–1958) was a Russian operatic soprano of Ukrainian origin. Lydia was born in Babyn, where is a village museum dedicated to her, in the family of a rural teacher. Lydia had three sisters, four brothers. Her aunt was a famous Ukrainian actress Maria Zankovetska. She received education in the Mariinsky Women's Gymnasium in Kamyanets-Podilskyi. Together with other students, she sang in the church choir, she had her own solo parties, drawing attention with a magic voice that ran under the dome of the cathedral. Residents of Kamyanets called the girl "Singing Bird". After Kamyanets-Podiskyi Lipkowska was trained at the Saint Petersburg Conservatory. She is said to have studied with Natalia Iretskaya, a pupil of the well-known Pauline Viardot. She was committed to the Mariinsky Theatre from 1906—1908 and again from 1911–1913. She was a member of the Metropolitan Opera in New York City from 1909 until 1911. Lipkowska's debut with the Metropolitan was as Violetta in La Traviata on November 18, 1909, with Caruso as Alfredo. She sang as a guest artist at the Boston Opera Company in 1909 and the Chicago Grand Opera Company in 1910. While in Boston, Lipkowska was honored by The Lenox Hotel, which put on its menu the "cup Lydia" and the "Souffle a la Lipkowska". She petioned a judge for an injunction against the hotel, claiming that the menu items were "injuring her reputation and holding her up to ridicule." In 1911 she made her debut at the Royal Opera House in London as Mimì in Giacomo Puccini's La bohème. *** Lydia Lipkowska (en russe : Лидия Яковлевна Липковская, Lidia Yakovlevna Lipkovskaya, en roumain : Lidia Lipkovski, en ukrainien : Лідія Яківна Липковська, Lidiya Yakivna Lipkovskaya), née le 10 mai 1884 à Babin, Oblast de Tchernivtsi et morte le 22 mars 1958 à Beyrouth est une chanteuse d'opéra et de lieder (soprano colorature) et professeure de chant. Sa voix peut être écoutée sur l'album d'anthologie The Record of Singing Volume II (1914-1925) - Les chants russes et révolutionnaires.   Sommaire ·       1Biographie o   1.1Jeunesse et formation o   1.2Débuts o   1.3Carrière §  1.3.1Théâtre Mariinsky et Théâtre Bolchoï §  1.3.2Paris, Londres §  1.3.3Metropolitan Opera §  1.3.4Saint-Pétersbourg et tournées internationales. o   1.4Émigration ·       2Répertoire ·       3Enregistrements ·       4Références et notes ·       5Liens externes Biographie[modifier | modifier le code] Jeunesse et formation[modifier | modifier le code] Lydia Lipkowska est née à Babin, dans le comté de Khotyn, gouvernement de Bessarabie, dans l'Empire russenote 1, elle a trois sœurs et quatre frères. Son père Yakov Ivanovitch Lipkovsky est passionné de musique, il joue du violon et organise une chorale d'enfants. Elle commence à chanter à l'âge de cinq ans. Dès l'âge de 12 ans, elle chante dans la chorale de l'église, à partir de 14 ans, elle participe à des concerts de charité. Elle va dans une école primaire rurale. Puis elle entre au lycée de jeunes filles Mariinskaya à Kamianets-Podilsky. À l'âge de 17 ans, alors qu'elle étude en dernière année de lycée, elle épouse un étudiant de la faculté des langues orientales de l'université d'État de Saint-Pétersbourg, Christopher Marşner. Le couple part pour Saint-Pétersbourg, où leur fille d'Ariane est née. Deux ans plus tard, Lipkowska quitte son mari, qui s’oppose à son désir d’apprendre à chanter. Débuts[modifier | modifier le code] En 1903, Lydia Marchner devient étudiante au Conservatoire de Saint-Pétersbourg dans la classe vocale de Natalia Iretskaya où elle étudie gratuitement. La deuxième année, elle fait ses débuts sous son nom de jeune fille dans l’opéra privé de Nikolay Figner, le 4 janvier 1904. Lipkovskaya remplace une chanteuse malade et interprète brillamment le rôle de Gilda dans Rigoletto sans répétition. Beaucoup de journaux décrivent le succès, ils notent l'excellente coloratura, les moyens d'expression, la musicalité et le goût noble de la jeune chanteuse1. Sa professeure Iretskaya rend hommage au chant de l'élève, mais pour ses débuts à la scène non autorisés , elle est renvoyée. Après un certain temps, Lipkovskaya est autorisée à retourner au conservatoire. Une deuxième fois, elle désobéit à l'enseignante et, à l'invitation de Nikolaï Rimski-Korsakov, chante sur une scène privée le rôle éponyme de son opéra Snégourotchka (La Demoiselle des neiges). Carrière[modifier | modifier le code] Théâtre Mariinsky et Théâtre Bolchoï[modifier | modifier le code] Elle est engagée au Théâtre Mariinsky de 1906 à 19082. Sa carrière professionnelle commence sur la scène du théâtre Mariinsky , où elle est reçue le 1er mai 1906 après avoir été diplômée du conservatoire. Son premier rôle est Gilda dans Rigoletto. Puis elle reprend le répertoire de Yevgeniya Mravina (en) récemment partie de Mariinsky : Olympia des Contes d'Hoffman, Zerlina de Don Juan, Rosina du Barbier de Séville. Selon un rapport du directeur des théâtres impériaux Vladimir Teliakovski, elle est tenue de prendre des cours de chant de son ancienne professeure Natalia Iretskaya et de comédie d'Andrei Petrovsky. Un an plus tard, le théâtre envoie Lipkowska auprès du chef d'orchestre de la Scala de Milan, Vittorio Maria Vanzo [(d) ], pour l'étude de la technique du chant italien. Lydia Lipkowska maîtrise sa voix à la perfection, ce qui lui permet de jouer brillamment les rôles les plus difficiles. Elle concurrence facilement le violon et la flûte. Même dans le registre le plus élevé, elle couvre trois octaves, sa voix ne perd pas sa douceur et sa mélodie. Le public exigeant du théâtre impérial ne bronche pas et Lipkowska est rapidement considérée comme l'une des meilleures coloratura3. En septembre 1907, elle se produit pour la première fois avec Fédor Chaliapine dans Lakmé de Delibes. Le 17 novembre 1907, son partenaire dans le même opéra est Leonid Sobinov. Nikolay Figner l'invite à interpréter le rôle de Juliette de Roméo et Juliette lors de ses adieux le 28 décembre 1907. Des applaudissements et des bouquets de accompagnent le spectacle. Toute la noblesse de Saint-Pétersbourg et les artistes bohémes sont présents, ses parents du chanteur sont invités. En janvier 1908, elle se produit pour la première fois sur la scène du théâtre Bolchoï dans Rigoletto et Lakmé. Le public de Moscou la salue cordialement, mais les critiques réagissent avec retenue4. Après son retour à Saint-Pétersbourg, elle joue le rôle de Valencienne dans l'opérette de Franz Lehár, La Veuve joyeuse au théâtre Mariinsky, le 2 février 1908. Paris, Londres[modifier | modifier le code] Elle reçoit une invitation pour participer aux tournées des Ballets russes, dirigés par Serge de Diaghilev, à Paris, en 19095, où son partenaire de scène Fédor Chaliapine fait ses preuves. Lydia Lipkowska chante sur la scène du Théâtre du Châtelet dans Rouslan et Ludmila et dans la première à Paris de La Pskovitaine, le 27 mai 6,7. Elle chante à l'Opéra-Comique, Lakmé le 23 juin 1909 et La Traviata, le 25 juin. Cela lui vaut une série d'ovations enthousiastes : « La voix de Mme Lydia Lipkowska est égale et pure, elle égrène des notes qui semblent émaner d'un violon. On sent dans l'émission des sons une technique sûre et complète en même temps qu'un charme naïf et natif oui feraient douter que tout cela ne soit appris si on ne savait quelle force de volonté, quelle somme de travail il faut à une chanteuse pour qu'elle puisse obtenir une place dans le firmament artistique si clairsemé et si recherché » — Jean Delion, Comoedia8. « La voix de la Lipkowska est d'une vaste étendue et passe du soprano grave au soprano léger avec une facilité vraiment surprenante, une science d'une rare perfection et une intelligence tout à fait hors de pair. La belle cantatrice russe n'est Russe que de nationalité. Son art est universel. Il appartient donc à toutes les écoles, mais surtout et particulièrement à celle qui crée les grandes chanteuses » — Ferdinand Depierre, Le Gaulois9. Elle chante aussi Manon à l'Opéra-Comique en 1909. Massenet assiste à la représentation, après le spectacle, il tient à apporter lui-même ses félicitations. Au cours de la même année, Massenet retouche pour elle tout le rôle de Thaïs10. Elle chante le rôle de Susanne lors de la première à Covent Garden du Il segreto di Susanna d'Ermanno Wolf-Ferrari en 1909. Metropolitan Opera[modifier | modifier le code] Elle est membre du Metropolitan Opera de New York à partir de 190911 jusqu'en 1911. Lipkowska débute au Met dans le rôle de Violetta dans La traviata, le 18 novembre 1909, avec Caruso dans le rôle d'Alfredo12. Elle chante comme artiste invitée par la Boston Opera Company (en) en 1909, et la Chicago Grand Opera Company (en) en 1910. A  Boston, Lipkowska est honorée par The Lenox Hotel (en), qui a mis sur son menu la coupe Lydia et le soufflé aux fraises à La Lipkowska. Elle demande à un juge de prononcer une injonction à l'encontre de cette hôtel, affirmant que les éléments du menu blessant sa réputation et la ridiculisaient.13,14. Elle participe à une assemblée féministe en 1910 et harangue les personnes présentes, en trois langues différentes, en faveur du suffrage universel et déclare qu’elle aime mieux parler en public, dans les réunions populaires, pour les revendications des droits de la femme, que tous les applaudissements d’une salle enthousiasmée15. En 1912, Lipkowska accuse le gangster de New York, Sam Schepps (en) de refuser de rendre deux diamants d’une valeur de 80 000 dollars qu’elle lui avait laissé en gage. Elle a emprunté 12 000 $ à Schepps en laissant ses diamants en gage et qu’il voulait 5 000 $ d’intérêt avant de rendre les bijoux16. Saint-Pétersbourg et tournées internationales.[modifier | modifier le code] Elle est engagée à nouveau au Théâtre Mariinsky de 1911 à 1913. Elle tourne avec succès dans de nombreuses villes : Moscou, Kiev, Odessa, Berlin, Vienne, Budapest, En 1911, elle fait ses débuts à la Royal Opera House à Londres en tant que Mimi, dans La Bohème de Puccini qu'elle chante aussi à l'Opéra-Comique le 16 mai 1911. En 1913, elle chante Rigoletto à Monte-Carlo ; A Paris au Théâtre des Champs-Élysées, Lucia di Lammermoor et Le Barbier de Séville en avril-mai ; à L'Opéra Hamlet en avril avec Georges Baklanoff17 ; Rigoletto, en juin, remarquée pour son contre-mi naturel18. En octobre 1913, elle chante sur la scène de la La maison du peuple de Nicolas II de Saint-Pétersbourg note 2. Le 12 novembre de la même année, elle donne un concert de charité en faveur de l’orphelinat. En février 1914, à Monte-Carlo, Lipkowska participe à l'opéra de Rameau, Les Fêtes d'Hébé, mis en scène par Raoul Gunsbourg après un hiatus de deux cents ans. Lipkowska est soliste du théâtre du Conservatoire de Saint-Pétersbourg de 1914 à 1915, le 20 septembre 1914, avec l'autorisation du Ministère de la cour impériale, elle organise une représentation au bénéfice des soldats blessés. Émigration[modifier | modifier le code] Lydia Lipkowska, illustration de Music News, 1921 En 1919, elle quitte Saint Pétersbourg pour Odessa où elle reste jusqu'en avril, de là, elle s'enfuit avec sa sœur Aldenna vers Constantinople avec l'aide du lieutenant de cavalerie Pierre Bodin de l'Armée française d'Orient, avec qui elle se marie en septembre 1919 à Paris19. Lydia Lipkowska chante à l'Opéra de Paris, Rigoletto, le 4 août 1919, Faust, Roméo et Juliette le 10 octobre et le rôle d’Ophélie d'Hamlet le 27 octobre20 et Il barbiere di Siviglia en italien au Théâtre-Lyrique à Paris, le 14 novembre 191921. Elle vit d'abord en France avec l'aide du mécène Alexandre Mantashev, Serge de Diaghilev l'invite de nouveau à prendre part aux représentations des Ballets russes. En septembre 1920, Lipkowska chante Gilda dans Rigoletto avec le San Carlo Opera Company (en) à Manhattan22. Puis en 1920 à Chișinău, elle enseigne dans des conservatoires privés ; En 1924-1927, à Bucarest où elle chante aussi à l'opéra. Dans les années 1920-1930, elle se produit dans des pays d'Europe et d'Amérique. Elle chante La Veuve joyeuse en 1921 à Broadway23. Une tournée à Harbin en 1922 est un triomphe. A Paris en 1927, elle chante le rôle de Marfa de La Fiancée du tsar au Théâtre des Champs-Élysées24 et Lakmé à l'Opéra-comique le 26 mai. De novembre 1927 à mai 1929, elle fait des tournées de concerts et d'opéras en URSS, elle chante dans 160 concerts. En 1933-1936, elle se produit à Bucarest, Berlin, Paris. Le 12 décembre 1936, elle donne un concert en Palestine. Après la tournée parisienne, elle passe l'été dans son pays d'origine et décide d'y revenir. En 1936, est organisé son concert d'adieu dans le théâtre de Chisinau. Elle déménage à Bucarest. En 1937, elle revient à Chisinau , où elle habite jusqu'en 1940. Au cours de cette période, de 1931 à 1940, elle enseigne le chant au conservatoire privé « Unirea » et au conservatoire municipal ; En 1940-1941, dans le tout nouveau Conservatoire d'État de Moldavie à Chișinău. Parmi les étudiants de Lipkowska , l'artiste moldave Tamara Ceban [(d) ], le chanteur et compositeur Alexei Stârcea, la soliste du théâtre Pouchkine Anna Daskal, la prima donna de l'opéra de Bucarest Lidia Babici [(d) ] et la soprano Virginia Zeani. L'actrice quitte la scène en 1941 après avoir joué à Odessa. Pendant l'occupation roumaine pendant la Seconde Guerre mondiale, elle s'installe à Bucarest en 1943. À partir de 1948, elle enseigne au conservatoire de Timișoara. En 1950, elle s'installe à Paris pour se rapprocher de sa fille. Le 19 mai 1951 en France, il y a un concert avec la participation de Lipkowska, le ténor Jean Filion, le pianiste John Pennink et Irina Ivtchenko, le pianiste K. Liška. En 1952, elle enseigne à Paris, En 1953, Lipkowska est invitée au poste de directrice du Conservatoire de Beyrouth, où vit sa sœur à l’époque. Lipkovskaya ne peut bientôt plus travailler à cause de sa santé et passe les dernières années de sa vie dans le besoin et l’oubli. Elle meurt à Beyrouth à l'âge de 75 ans, le 22 mars 1958. Elle est enterrée dans un cimetière orthodoxe dans le quartier de Hamra, à Beyrouth-Ouest (Liban) Pendant une partie de sa vie, elle a été mariée au baryton Georges Baklanoff. Répertoire[modifier | modifier le code] Opéra ·       Mimi - " La Bohème " de Puccini , ·       Elema - "I Mori di Valenza" de Ponchielli , ·       Ophélie - " Hamlet " de Thomas , ·       Zerlina - " Don Giovanni " de Mozart , ·       Norina - " Don Pasquale " de Donizetti , ·       Tatiana - " Eugene Onegin " de Tchaïkovski , ·       Leila - " Les Pêcheurs de perles" de Bizet , ·       Mikaela - " Carmen " de Bizet, ·       Lakme - " Lakmé " de Delibes , ·       Adina - " L'elisir d'amore " de Donizetti, ·       Lucia - " Lucia di Lammermoor " de Donizetti, ·       Rachel - " Mademoiselle Fifi" de César Cui , ·       Pannochka - " Nuit de mai " de Rimski-Korsakov , ·       Manon - " Manon " de Massenet , ·       Eurydice - " Orpheus et Eurydice " de Gluck , ·       Nedda - " Pagliacci " de Leoncavallo , ·       Hebe - " Les Fêtes d'Hébé " de Rameau , opéra-ballet, ·       Olga - "La Pskovitaine " de Rimsky-Korsakov, ·       Gilda - " Rigoletto " Verdi , son premier rôle sur la scène privée et au théâtre Mariinsky, ·       Juliette - " Roméo et Juliette " de Gounod , ·       Lyudmila - " Rouslan et Ludmila " de Glinka , ·       Volkhov - " Sadko" de Rimsky-Korsakov, ·       Rosina - "Le Barbier de Séville " de Rossini , ·       Suzanne - " Il segreto di Susanna "de Wolf-Ferrari , ·       Princess Swan - "Le Conte du tsar Saltan" de Rimski-Korsakov, ·       Olympia - "Les Contes d'Hoffmann " d'Offenbach , ·       La Demoiselle des neiges de Rimski-Korsakov. ·       Amina - " La sonnambula " de Bellini , ·       Thais - " Thaïs " de Massenet, ·       Margarita - " Faust " de Gounod, ·       Marfa - " La Fiancée du tsar " de Rimsky-Korsakov. Opérette ·       Valentine - " Veuve joyeuse " Lehar **** Remembering Lydia Lipkowska June 5, 2018 by Website committee On the morning of May 11, 2018,  representatives from the Ukranian Embassy and the famous opera singer Victoria Loukianetz came to pray and lay a wreath at the tomb of the prominent opera singer Lydia Lipkowska. Ms. Lipkowska was of Ukranian origin. She passed away in 1958.  Ms. Lipkowska had a long successful career as an opera singer.  In Europe, she sang at “La Scala”, “Covent Garden”, Lydia Lipkowska “Grand Opera” and “Opera Comique”.  In the US she sang at the “Metropolitan Opera House”. After finishing her singing career,  Ms. Lipkowska taught singing in Paris and in Bucharest.  From 1952 and onwards she worked as a professor at the Academie Libanaise Des Beaux-Arts (ALBA).  When she passed away,  she was laid to rest in our cemetery. To commemorate the 60th  year of her passing away, the embassy of Ukraine organized a concert at Saint Joseph Church.   The concert featured the Lebanese Philharmonic Orchestra and Victoria Loukianetz. **** La traviata (The Fallen Woman)[1][2] is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La Dame aux camélias (1852), a play adapted from the 1848 novel by Alexandre Dumas fils. The opera was originally titled Violetta, after the main character. It was first performed on 6 March 1853 at La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer's and librettist's original wishes were carried out and "realistic" productions were staged.[3] La traviata has become immensely popular and is among the most frequently performed of all operas.[4] Contents 1 Composition history 1.1 Verdi sees The Lady of the Camellias play 1.2 Composing for Venice 2 Performance history 2.1 19th century 2.2 20th century and beyond 3 Roles 4 Synopsis 4.1 Act 1 4.2 Act 2 4.3 Act 3 5 Instrumentation 6 Music 7 Recordings 8 Film versions 9 Music based on the opera 10 References 10.1 Notes 10.2 Cited sources 10.3 Other sources 11 External links Composition history[edit] Verdi around 1850 For Verdi, the years 1851 to 1853 were filled with operatic activity. First, he had agreed with the librettist Salvadore Cammarano on a subject for what would become Il trovatore, but work on this opera could not proceed while the composer was writing Rigoletto, which premiered in Venice in March 1851. In addition, personal affairs in his home town limited his activities that spring, but after Rigoletto's success in Venice, an additional commission was offered by Brenna, the secretary of La Fenice. After Verdi's return from Paris a contract was signed in May 1852, with performances scheduled for March 1853, although no subject was chosen at that time.[citation needed] Verdi sees The Lady of the Camellias play[edit] Verdi and Giuseppina Strepponi had visited Paris from late 1851 and into March 1852. In February the couple attended a performance of Alexander Dumas fils's The Lady of the Camellias. As a result of this, Verdi biographer Mary Jane Phillips-Matz reports, the composer immediately began to compose music for what would later become La traviata.[5] However, Julian Budden notes that Verdi had probably read the Dumas novel some time before, and, after seeing the play and returning to Italy, "he was already setting up an ideal operatic cast for it in his mind,"[6] shown by his dealings with La Fenice. On their return to Italy, the composer had immediately set to work on Trovatore for the January 1853 premiere in Rome, but at the same time seemed to have ideas for the music for Traviata in mind.[citation needed] Composing for Venice[edit] Francesco Maria Piave, librettist of the opera Francesco Maria Piave was engaged to write the new libretto and the two men tried to come up with a suitable subject, but the composer complained that his librettist "had not yet offered him an 'original' or 'provocative' idea". Writing to Piave, he added that "I don't want any of those everyday subjects that one can find by the hundreds."[7] But at the same time, the composer expressed concern about censorship in Venice, something with which he was very familiar after his dealings with the censors concerning Rigoletto. As the months dragged on into October, it was agreed that Piave would come to Sant'Agata and work with the composer. One subject was chosen, Piave set to work, and then Verdi threw in another idea, which may have been La traviata. However, within a short time, a synopsis was dispatched to Venice under the title of Amore e morte (Love and Death).[8] However, as Budden reveals, Verdi writes to his friend De Sanctis telling him that "for Venice I'm doing La Dame aux camélias which will probably be called La traviata. A subject for our own age."[9] Although still bogged down at Sant'Agata, Piave was sanguine: "Everything will turn out fine, and we'll have a new masterpiece from this true wizard of modern harmonies".[10] When back at Sant'Agata in late January 1853 Verdi was reminded that his contract called for him to be in Venice within a week or two and for the premiere to be held on the "first Saturday in March 1853".[11] However, it soon became clear that a modern-dress staging of the new opera was impossible—the requirement was that it should be set in the 17th century "in the era of Richelieu"—and reports from the opening of the season confirmed the limitations of the chosen soprano, the 38-year-old Fanny Salvini-Donatelli for taking the role of Violetta. Verdi was distraught, for he held on to the notion that the opera could be staged in modern dress—as Stiffelio had been done—Piave was sent back to Sant'Agata to no avail: he could not persuade the composer to back down on his insistence that another soprano be secured, yet the 15 January deadline for securing one had come and gone. Verdi was filled with premonitions of disaster upon his arrival in Venice on 21 February for rehearsals and he made his unhappiness clear to the singers.[10] Performance history[edit] Poster for the world premiere 19th century[edit] The audience jeered at times during the premiere, directing some of their scorn at the casting of soprano Fanny Salvini-Donatelli in the lead role of Violetta. Though she was an acclaimed singer, they considered her to be too old (at 38) and overweight to credibly play a young woman dying of consumption. (Verdi had previously attempted to persuade the manager of La Fenice to re-cast the role with a younger woman, but with no success.) Nevertheless, the first act was met with applause and cheering at the end; but in the second act, the audience began to turn against the performance, especially after the singing of the baritone Felice Varesi and the tenor Lodovico Graziani. The next day, Verdi wrote to his friend Emanuele Muzio in what has now become perhaps his most famous letter: "La traviata last night a failure. Was the fault mine or the singers'? Time will tell."[12] Coincidentally, as Philips-Matz points out, an Italian translation of the play La Dame aux camélias was being presented just a short distance from La Fenice.[10] Felice Varesi, the first Germont père (Litho: Josef Kriehuber) Lodovico Graziani c. 1845, the first Alfredo While there were demands for productions from impresarios in various Italian cities, Verdi was loath to allow them unless he could be sure of the strength of the singers, and in spite of their pleas, the composer refused. As Budden notes, it came to be Venice "that made an honest woman of Violetta"[13] when Verdi allowed a performance at the Teatro San Benedetto. Some revisions took place between 1853 and May 1854, mostly affecting acts 2 and 3, but the opera was performed again on 6 May 1854 and was a great success, largely due to Maria Spezia-Aldighieri's portrayal of Violetta. "Then [referring to the La Fenice performances] it was a fiasco; now it has created a furore. Draw your own conclusions!" reported Piave (who had overseen the production in Verdi's absence).[14] The opera (in the revised version) was first performed in Madrid on 1 February 1855 with Maria Spezia-Aldighieri at Teatro Real, in Vienna on 4 May 1855 in Italian and in Barcelona on 25 October at Gran Teatre del Liceu. It was first performed in England on 24 May 1856 in Italian at Her Majesty's Theatre in London,[15] where it was considered morally questionable, and "the heads of the Church did their best to put an injunction upon performance; the Queen refrained from visiting the theatre during the performances, though the music, words and all, were not unheard at the palace".[16] It was first performed in the United States by the Max Maretzek Italian Opera Company on 3 December 1856 in Italian at the Academy of Music in New York.[17] George Templeton Strong noted in his diary: "People say the plot's immoral, but I don't see that it's so much worse than many others, not to speak of Don Giovanni, which as put on the stage is little but rampant lechery",[18] while the Evening Post critic wrote: "Those who have quietly sat through the glaring improprieties of Don Giovanni will hardly blush or frown at anything in La traviata."[19] The opera was first performed in France on 6 December 1856 in Italian by the Théâtre-Italien at the Salle Ventadour in Paris,[15] and on 27 October 1864 in French as Violetta (an adaptation by Édouard Duprez, older brother of the tenor Gilbert Duprez) at the Théâtre Lyrique on the Place du Châtelet with Christina Nilsson in the title role.[20] The French adaptation of the libretto was published in 1865.[21] 20th century and beyond[edit] Today, the opera has become immensely popular and is a staple of the standard operatic repertoire.[22] Roles[edit] Fanny Salvini-Donatelli, the first Violetta Role Voice type Premiere cast, 6 March 1853[23] (Conductor: Gaetano Mares) Violetta Valéry, a courtesan soprano Fanny Salvini-Donatelli Alfredo Germont, a young bourgeois from a provincial family tenor Lodovico Graziani Giorgio Germont, Alfredo's father baritone Felice Varesi Flora Bervoix, Violetta's friend mezzo-soprano Speranza Giuseppini Annina, Violetta's maid soprano Carlotta Berini Gastone de Letorières, Alfredo's friend tenor Angelo Zuliani Barone Douphol, Violetta's lover, a rival of Alfredo baritone Francesco Dragone Marchese d'Obigny bass Arnaldo Silvestri Dottore Grenvil bass Andrea Bellini Giuseppe, Violetta's servant tenor G. Borsato Flora's servant bass G. Tona Commissioner bass Antonio Mazzini Synopsis[edit] Prelude to act 1 MENU 0:00 New York Philharmonic, Arturo Toscanini, 1929 Problems playing this file? See media help. Place: Paris and its vicinity.[24] Time: Beginning of the 19th century Act 1[edit] The salon in Violetta's house Scene 1: Party (attrib. Carl d'Unker) Violetta Valéry, a famed courtesan, throws a lavish party at her Paris salon to celebrate her recovery from an illness. Gastone, a viscount, has brought with him a friend, Alfredo Germont, a young bourgeois from a provincial family who has long adored Violetta from afar. While walking to the salon, Gastone tells Violetta that Alfredo loves her, and that while she was ill, he came to her house every day. Alfredo joins them, admitting the truth of Gastone's remarks. Baron Douphol, Violetta's current lover, waits nearby to escort her to the salon; once there, the Baron is asked to give a toast, but refuses, and the crowd turns to Alfredo, who agrees to sing a brindisi – a drinking song (Alfredo, Violetta, chorus: Libiamo ne' lieti calici – "Let's drink from the joyful cups"). From the next room, the sound of the orchestra is heard and the guests move there to dance. After a series of severe coughs and almost fainting, Violetta begins to feel dizzy and asks her guests to go ahead and to leave her to rest until she recovers. While the guests dance in the next room, Violetta looks at her pale face in her mirror. Alfredo enters and expresses his concern for her fragile health, later declaring his love for her (Alfredo, Violetta: Un dì, felice, eterea – "One day, happy and ethereal"). At first, she rejects him because his love means nothing to her, but there is something about Alfredo that touches her heart. He is about to leave when she gives him a flower, telling him to return it when it has wilted, which will be the very next day. "È strano! ... Ah, fors'è lui" MENU 0:00 Act 1 finale, sung by Lucrezia Bori in 1910 for Edison Records Problems playing this file? See media help. After the guests leave, Violetta wonders if Alfredo could actually be the one in her life (Violetta: È strano! ... Ah, fors' è lui – "Ah, perhaps he is the one"). But she concludes that she needs freedom to live her life (Violetta, Alfredo: Sempre libera – "Always free"). From off stage, Alfredo's voice is heard singing about love as he walks down the street. Act 2[edit] Scene 1: Violetta's country house outside Paris Three months later, Alfredo and Violetta are living together in a peaceful country house outside Paris. Violetta has fallen in love with Alfredo and she has completely abandoned her former life. Alfredo sings of their happy life together (Alfredo: De' miei bollenti spiriti / Il giovanile ardore – "The youthful ardor of my ebullient spirits"). Annina, the maid, arrives from Paris, and, when questioned by Alfredo, tells him that she went there to sell the horses, carriages and everything owned by Violetta to support their country lifestyle. Alfredo is shocked to learn this and leaves for Paris immediately to settle matters himself. Violetta returns home and receives an invitation from her friend, Flora, to a party in Paris that evening. Alfredo's father, Giorgio Germont, is announced and demands that she break off her relationship with his son for the sake of his family, since he reveals that Violetta's relationship with Alfredo has threatened his daughter's engagement (Giorgio: Pura siccome un angelo, Iddio mi diè una figlia – "Pure as an angel, God gave me a daughter") because of Violetta's reputation. Meanwhile, he reluctantly becomes impressed by Violetta's nobility, something which he did not expect from a courtesan. She responds that she cannot end the relationship because she loves him so much, but Giorgio pleads with her for the sake of his family. With growing remorse, she finally agrees (Violetta, Giorgio: Dite alla giovine, sì bella e pura, – "Tell the young girl, so beautiful and pure,") and says goodbye to Giorgio. In a gesture of gratitude for her kindness and sacrifice, Giorgio kisses her forehead before leaving her weeping alone. Violetta gives a note to Annina to send to Flora accepting the party invitation and, as she is writing a farewell letter to Alfredo, he enters. She can barely control her sadness and tears; she tells him repeatedly of her unconditional love (Violetta: Amami, Alfredo, amami quant'io t'amo – "Love me, Alfredo, love me as I love you"). Before rushing out and setting off for Paris, she hands the farewell letter to her servant to give to Alfredo. Soon, the servant brings the letter to Alfredo and, as soon as he has read it, Giorgio returns and attempts to comfort his son, reminding him of his family in Provence (Giorgio: Di Provenza il mar, il suol chi dal cor ti cancellò? – "Who erased the sea, the land of Provence from your heart?"). Alfredo suspects that the Baron is behind his separation with Violetta, and the party invitation, which he finds on the desk, strengthens his suspicions. He decides to confront Violetta at the party. Giorgio tries to stop Alfredo, but he rushes out. Scene 2: Party at Flora's house Act 2, scene 2 from Fife Opera's 2004 production At the party, the Marquis tells Flora that Violetta and Alfredo have separated, much to the amazement of everyone who had previously seen the happy couple. She calls for the entertainers to perform for the guests (Chorus: Noi siamo zingarelle venute da lontano – "We are gypsy girls who have come from afar"; Di Madride noi siam mattadori – "We are matadors from Madrid"). Gastone and his friends join the matadors and sing (Gastone, chorus, dancers: È Piquillo un bel gagliardo Biscaglino mattador – "Piquillo is a bold and handsome matador from Biscay"). Violetta arrives with Baron Douphol. They see Alfredo at the gambling table. When he sees them, Alfredo loudly proclaims that he will take Violetta home with him. Feeling annoyed, the Baron goes to the gambling table and joins him in a game. As they bet, Alfredo wins some large sums until Flora announces that supper is ready. Alfredo leaves with handfuls of money. As everyone is leaving the room, Violetta has asked Alfredo to see her. Fearing that the Baron's anger will lead him to challenge Alfredo to a duel, she gently asks Alfredo to leave. Alfredo misunderstands her apprehension and demands that she admit that she loves the Baron. In grief, she makes that admission and, furiously, Alfredo calls the guests to witness what he has to say (Questa donna conoscete? – "You know this woman?"). He humiliates and denounces Violetta in front of the guests and then throws his winnings at her feet in payment for her services. She faints onto the floor. The guests reprimand Alfredo: Di donne ignobile insultatore, di qua allontanati, ne desti orror! ("Ignoble insulter of women, go away from here, you fill us with horror!"). In search of his son, Giorgio enters the hall and, knowing the real significance of the scene, denounces his son's behavior (Giorgio, Alfredo, Violetta, chorus: Di sprezzo degno sè stesso rende chi pur nell'ira la donna offende. – "A man, who even in anger, offends a woman renders himself deserving of contempt."). Flora and the ladies attempt to persuade Violetta to leave the dining room, but Violetta turns to Alfredo: Alfredo, Alfredo, di questo core non puoi comprendere tutto l'amore... – "Alfredo, Alfredo, you can't understand all the love in this heart...". Act 3[edit] Violetta's bedroom Cover of a circa 1855 vocal score with an engraving by Leopoldo Ratti Dr. Grenvil tells Annina that Violetta will not live long since her tuberculosis has worsened. Alone in her room, Violetta reads a letter from Alfredo's father telling her that the Baron was only wounded in his duel with Alfredo. He has informed Alfredo of the sacrifice she has made for him and his sister; and he is sending his son to see her as quickly as possible to ask for her forgiveness. But Violetta senses it is too late (Violetta: Addio, del passato bei sogni ridenti – "Farewell, lovely, happy dreams of the past"). Annina rushes in the room to tell Violetta of Alfredo's arrival. The lovers are reunited and Alfredo suggests that they leave Paris (Alfredo, Violetta: Parigi, o cara, noi lasceremo – "We will leave Paris, O beloved"). But it is too late: she knows her time is up (Alfredo, Violetta: Gran Dio!...morir sì giovane – "Great God!...to die so young"). Alfredo's father enters with the doctor, regretting what he has done. After singing a duet with Alfredo, Violetta suddenly revives, exclaiming that the pain and discomfort have left her. A moment later, she dies in Alfredo's arms. Instrumentation[edit] The opera uses an orchestra with the following instrumentation: 2 flutes (fl. 2 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, cimbasso, timpani, cymbals, bass drum, triangle, strings. Banda: 2 piccolos, A-flat piccolo clarinet, E-flat clarinet, 2 B-flat clarinets, 2 horns, flugelhorn, 3 trumpets, 2 trombones, tambourine, bass drum, castanets, harp, 2 double bass.[25] Music[edit] The prelude to the opera begins with very soft, very high strings depicting the frail heroine, followed by the main love theme of the opera, which is then played on lower strings while the higher instruments decorate the melody.[26] This delicate atmosphere is altered on curtain rise by lively dance tunes in the orchestra. After the famous "Brindisi", an offstage band plays a series of waltzes (waltz rhythms pervade the first act of the opera, creating a Parisian atmosphere).[26] The concluding part of Violetta's solo scene that ends the first act is full of vocal decoration and feverish ornamentation as she swears to stay free ("Sempre libera"). These coloratura effects are not required for the character after the first act.[26] The lengthy and crucial duet between the elder Germont and Violetta in act 2 is multi-sectioned with the music following the changing dramatic situation.[26] La traviata is the only one of Verdi's many operas to be set entirely indoors. Unlike Il trovatore, which was composed simultaneously, La traviata is an intimate piece, full of tender lyricism. The character of Violetta dominates the work and her music changes as she develops through the drama, from the hectic, almost hysterical coloratura of the first act, to the more dramatic passages of the second, and the spiritual quality of her music as she departs life in act 3.[26] Recordings[edit] Main article: La traviata discography Film versions[edit] There is a film version of the opera from 1967, with Anna Moffo as Violetta, Franco Bonisolli as Alfredo, Gino Bechi as Giorgio Germont, and the chorus and orchestra of the Teatro dell'Opera di Roma, conducted by Giuseppe Patanè. The film is directed by Mario Lanfranchi. It is available on DVD.[27] Franco Zeffirelli directed La Traviata in 1983, with Teresa Stratas as Violetta, Plácido Domingo as Alfredo, and Cornell MacNeil as Giorgio Germont.[28] The 2012 documentary film Becoming Traviata chronicles at length rehearsals for a production of La traviata directed by Jean-François Sivadier [fr] at the Aix-en-Provence Festival featuring Natalie Dessay and Charles Castronovo.[29] Music based on the opera[edit] Donato Lovreglio (1841–1907), an Italian flautist and composer, wrote the "Concert Fantasy on themes from Verdi's La traviata", Op. 45, for clarinet and orchestra (published Ricordi, 1865); in it, Lovreglio used the overture and several arias from the opera.[30][31] The Spanish composer Julián Arcas (1832–1882) wrote a "Fantasía sobre motivos de La traviata".[32] The arrangement opens with a paraphrase of the opera's prelude. The rest of the work consists of arrangements of Violetta's three arias, each featuring special techniques of the guitar. "Addio, del passato bei sogni ridenti" features a brief tremolo passage; "Ah fors'è lui" is in harmonics; and the closing arrangement of "Sempre libera" features fast scales that suggest a new genre of "coloratura guitar". **** Pagliacci (Italian pronunciation: [paʎˈʎattʃi]; literal translation, "Clowns")[a] is an Italian opera in a prologue and two acts, with music and libretto by Ruggero Leoncavallo. It is the composer's only opera that is still widely performed.[1] Opera companies have frequently staged Pagliacci with Cavalleria rusticana by Pietro Mascagni, a double bill known colloquially as "Cav and Pag". Pagliacci premiered at the Teatro Dal Verme in Milan on 21 May 1892, conducted by Arturo Toscanini, with Adelina Stehle as Nedda, Fiorello Giraud as Canio, Victor Maurel as Tonio, and Mario Ancona as Silvio. Nellie Melba played Nedda in London in 1893, soon after the Italian premiere, and it was given in New York on 15 June 1893, with Agostino Montegriffo as Canio. Contents 1 Composition history 2 Performance history 3 Roles 4 Synopsis 4.1 Prologue 4.2 Act 1 4.3 Act 2 5 Assignment of the final line 6 Orchestration 7 Recordings and other media 8 Notes 9 References 10 Bibliography 11 Further reading 12 External links Composition history[edit] Around 1890, when Pietro Mascagni's Cavalleria rusticana premiered, Leoncavallo was a little-known composer. After seeing Mascagni's success, he decided to write an opera in response: one act composed in the verismo style. Leoncavallo wrote that he based the story of Pagliacci on an incident from his childhood:[2] a murder in 1865, the victim of which was a Leoncavallo family servant, Gaetano Scavello. The murderer was Gaetano D'Alessandro, whose brother Luigi was his accomplice. The incident resulted from a series of perceived romantic entanglements involving Scavello, Luigi D'Alessandro, and a village girl with whom both men were infatuated.[3] Leoncavallo's father, a judge, was the presiding magistrate over the criminal investigation.[4] Upon learning of the plot of Leoncavallo's libretto in an 1894 French translation, the French author Catulle Mendès thought it resembled his 1887 play La Femme de Tabarin, with its play-within-the-play and the clown murdering his wife. Mendès sued Leoncavallo for plagiarism. The composer pleaded ignorance of Mendès's play.[2] Later there were counter-accusations that Mendès's play resembled Don Manuel Tamayo y Baus's Un Drama Nuevo (1867). Mendès dropped his lawsuit. However, the scholar Matteo Sansone has suggested that, as Leoncavallo was a notable student of French culture, and lived in Paris from 1882 to 1888, he had ample opportunity to be exposed to new French art and musical works. These would potentially have included Mendès's play, another version of La femme de Tabarin by Paul Ferrier, and Tabarin, an opera composed by Émile Pessard that was based on Ferrier's play. Sansone has elaborated on the many parallels among the Mendès, Ferrier, and Pessard versions of the Tabarin story and Pagliacci, noting that Leoncavallo deliberately minimised any sort of connection between his opera and these earlier French works.[5] Leoncavallo originally titled his story Il pagliaccio (The Clown). The baritone Victor Maurel, who was cast as the first Tonio, requested that Leoncavallo change the title from the singular Il pagliaccio to the plural Pagliacci, to broaden dramatic interest from Canio alone to include Tonio (his own role).[6] Performance history[edit] Pagliacci received mixed critical reviews upon its world premiere, but was instantly successful with the public[7] and has remained so ever since. The UK premiere of Pagliacci took place at the Royal Opera House, Covent Garden, in London on 19 May 1893. The US premiere followed a month later at the Grand Opera House in New York on 15 June, with American tenor Agostino Montegriffo as Canio.[8] The Metropolitan Opera first staged the work on 11 December as a double-bill with Orfeo ed Euridice, with Nellie Melba in the role of Nedda.[9] The Met again staged Pagliacci as a double-bill, this time followed by Cavalleria rusticana on 22 December 1893.[10][11] The two operas have since been frequently performed as a double-bill, a pairing referred to in the operatic world colloquially as "Cav and Pag". Pagliacci was produced alone in Washington National Opera's November 1997 production by Franco Zeffirelli.[12] The re-organised New York City Opera presented Pagliacci in 2016 on a double bill with Rachmaninoff's Aleko.[13] Roles[edit] French baritone Victor Maurel, creator of the role of Tonio Role Role in Commedia dell'arte Voice type Premiere cast, 21 May 1892 (Conductor: Arturo Toscanini ) Canio, head of the troupe Pagliaccio (Pierrot), Colombina's husband tenor Fiorello Giraud Nedda, Canio's wife, in love with Silvio Colombina, Pagliaccio's wife, in love with Arlecchino soprano Adelina Stehle Tonio, the fool Taddeo, Colombina's servant baritone Victor Maurel Beppe (Peppe[b]), actor Arlecchino, Colombina's lover tenor Francesco Daddi [it] Silvio, Nedda's lover baritone Mario Ancona Chorus of villagers Synopsis[edit] Place: Calabria, near Montalto, on the Feast of the Assumption Time: between 1865 and 1870 Prologue[edit] During the overture, the curtain rises. From behind a second curtain, Tonio, dressed as his commedia character Taddeo, addresses the audience ("Si può?... Si può?... Signore! Signori! ... Un nido di memorie"). He reminds the audience that actors have feelings too, and that the show is about real people. Act 1[edit] At three o'clock in the afternoon, the commedia troupe enters the village to the cheering of the villagers. Canio describes the night's performance: the troubles of Pagliaccio. He says the play will begin at ventitré ore, an agricultural method of time-keeping that means the play will begin an hour before sunset.[c] As Nedda steps down from the cart, Tonio offers his hand, but Canio pushes him aside and helps her down himself. The villagers suggest drinking at the tavern. Canio and Beppe accept, but Tonio stays behind. The villagers tease Canio that Tonio is planning an affair with Nedda. Canio warns everyone that while he may act the foolish husband in the play, in real life he will not tolerate other men making advances to Nedda. Shocked, a villager asks if Canio really suspects her. He says no, and sweetly kisses her on the forehead. As the church bells ring vespers, he and Beppe leave for the tavern, leaving Nedda alone. Nedda is frightened by Canio's vehemence ("Qual fiamma avea nel guardo"), but the birdsong comforts her ("Stridono lassù"). Tonio returns and confesses his love for her, but she laughs. Enraged, Tonio grabs Nedda, but she takes a whip, strikes him and drives him off. Silvio, who is Nedda's lover, comes from the tavern, where he has left Canio and Beppe drinking. He asks Nedda to elope with him after the performance and, though she is afraid, she agrees. Tonio, who has been eavesdropping, leaves to inform Canio so that he might catch Silvio and Nedda together. Canio and Tonio return and, as Silvio escapes, Nedda calls after him, "I will always be yours!" "Vesti la giubba" MENU 0:00 Performed by Enrico Caruso, recorded on March 17, 1907 "No! Pagliaccio non son!" MENU 0:00 Performed by Enrico Caruso Problems playing these files? See media help. Enrico Caruso as Canio in Pagliacci, one of his signature roles Canio chases Silvio, but does not catch him and does not see his face. He demands that Nedda tell him the name of her lover, but she refuses. He threatens her with a knife, but Beppe disarms him. Beppe insists that they prepare for the performance. Tonio tells Canio that her lover will give himself away at the play. A heartbroken Canio is left alone to put on his costume and prepare to laugh ("Vesti la giubba" – "Put on the costume"). Act 2[edit] As the crowd arrives, Nedda, costumed as Colombina, collects their money. She whispers a warning to Silvio, and the crowd cheers as the play begins. Colombina's husband Pagliaccio has gone away until morning, and Taddeo is at the market. She anxiously awaits her lover Arlecchino, who comes to serenade her ("O Colombina") from beneath her window. Taddeo returns and confesses his love, but she mocks him. She lets Arlecchino in through the window. He boxes Taddeo's ears and kicks him out of the room, and the audience laughs. Arlecchino and Colombina dine, and he gives her a sleeping potion to use later. When Pagliaccio returns, Colombina will drug him and elope with Arlecchino. Taddeo bursts in, warning that Pagliaccio is suspicious of his wife and is about to return. As Arlecchino escapes through the window, Colombina tells him, "I will always be yours!" As Canio (as Pagliaccio) enters, he hears Nedda (as Colombina) and exclaims "Name of God! Those same words!" He tries to continue the play, but loses control and demands to know her lover's name. Nedda, hoping to keep to the performance, calls Canio by his stage name "Pagliaccio," to remind him of the audience's presence. He answers with his arietta: "No! Pagliaccio non son!" He sings that if his face is pale, it is not from the stage makeup but from the shame she has brought him. The crowd is impressed by his emotional performance and cheers him, without realizing that it is real. Nedda, trying to continue the play, admits that she has been visited by the innocent Arlecchino. Canio, furious and forgetting the play, demands the name of her lover. Nedda swears she will never tell him, and it becomes apparent that they are not acting. Beppe asks Tonio to intervene, but Tonio refrains and prevents Beppe from halting the action. Silvio begins to fight his way toward the stage. Canio, grabbing a knife from the table, stabs Nedda. As she dies, she calls: "Help! Silvio!" Silvio attacks Canio, but Canio kills him as well. The horrified audience then hears the celebrated final line: "La commedia è finita!!" – "The comedy is finished!" Assignment of the final line[edit] In the original manuscript, Tonio sang the opera's final line, "La Commedia è finita!", paralleling the prologue, also sung by Tonio. The appropriation of this final line by Canio dates back to 1895. John Wright has analysed the dramaturgy of the opera in the context of assignment of the final line, and concluded that the original assignment of the final line to Tonio is the most consistent and appropriate assignment. Wright says that Tonio shows more deliberate control in his manipulation of the other characters in order to obtain his revenge upon Nedda, after she has rejected him, and is more aware of the demarcation between life and art. By contrast, Canio is unaware of the behind-the-scenes manipulations and surrenders control of his perception of the difference between life and art as the opera proceeds.[16] In the present day, the assignment of the final line to Canio has continued to be standard. Several exceptions, where Tonio delivers the final line, include: The December 1959 production at the Royal Opera House, Covent Garden, directed by Franco Zeffirelli[17] A 1968 RAI-TV production directed by Herbert von Karajan[16] The HMV recording conducted by Riccardo Muti (EMI CMS7 63650-2)[18] The Philips recording conducted by Muti (Philips 0289 434 1312), in conjunction with live performances in Philadelphia in February 1992[19] The 1998 English-language recording on Chandos (CHAN 3003)[d] The 2007 Teatro Real production directed by Giancarlo del Monaco, in which Tonio's prologue is inserted into the double-bill before the overture to Cavalerria Rusticana, the finale of which segues directly into the first act of Pagliacci (Opus Arte OA0983D)[20] The 2008 Seattle Opera production[21] The 2010 Opera Grand Rapids production[22] The 2014 San Diego Opera production[23] Orchestration[edit] The orchestra consists of 2 flutes, 1 piccolo, 2 oboes, 1 cor anglais, 2 clarinets, 1 bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, 1 tuba, 2 harps, timpani, tubular bells, percussion (triangle, cymbals, bass drum, glockenspiel) and strings. Additionally, there is an onstage violin, oboe, trumpet, and bass drum.[24] Also included in the final pages of the score is a part in the percussion section marked "T.T." (not assigned in the instrumentation page at the beginning.) Performers have taken this to be a tam-tam (partly because Mascagni used one, although to much greater effect, on the final moments of Cavalleria rusticana). It is given three strokes right after the announcement that "The comedy is over".[25] Recordings and other media[edit] Main article: Pagliacci discography In 1907, Pagliacci became the first opera to be recorded in its entirety, with the Puerto Rican tenor Antonio Paoli as Canio and under Leoncavallo's personal supervision. In 1931, it became the first complete opera to be filmed with sound, in a now-obscure version starring the tenor Fernando Bertini as Canio, in his only film, with the San Carlo Opera Company. Franco Zeffirelli directed his 1981 La Scala production with Plácido Domingo and Teresa Stratas for a 1982 television airing,[26] which has since been released on DVD. The movie's soundtrack received a Grammy nomination for Best Opera Recording. Pagliacci was also recorded in English in 1997, and released commercially in 1998, for the Chandos "Opera in English" label with Dennis O'Neill as Canio, Alan Opie as Tonio, and Rosa Mannion as Nedda.[27] ebay 4960

  • Condition: Good condition for age . Folded . Regular printing paper . A few old tears were mended on the verso with transparent tape.( Pls look at scan for accurate AS IS images )
  • Size: Around 28 x 38 " ( Not accurate )
  • Country/Region of Manufacture: Israel
  • Original/Reproduction: Original
  • Industry: Music
  • Genre: Classical, Opera & Ballet

PicClick Insights - 1936 Palestine OPERA RECITAL POSTER Russian LIPKOWSKA Traviata ISRAEL Pagliacci PicClick Exclusive

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