La Gioconda (opera) - Wikipedia

La Gioconda (opera) - Wikipedia
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Dramma lirico in four acts by Amilcare Ponchielli
La Gioconda
Opera
by
Amilcare Ponchielli
Cover of the original 1876 libretto
Librettist
Arrigo Boito
Language
Italian
Based on
Angelo, Tyrant of Padua
by
Victor Hugo
Premiere
8 April 1876
1876-04-08
Teatro alla Scala
, Milan
La Gioconda
is an
opera
in four acts by
Amilcare Ponchielli
set to an Italian
libretto
by
Arrigo Boito
(as Tobia Gorrio), based on
Angelo, Tyrant of Padua
, a 1835 play in prose by
Victor Hugo
(the same source
Gaetano Rossi
had used for his libretto for
Mercadante
's
Il giuramento
in 1837).
First performed in 1876,
La Gioconda
was a major success for Ponchielli, as well as the most successful new Italian opera between Verdi's
Aida
(1871) and
Otello
(1887). It is also a famous example of the Italian genre of
Grande opera
, the equivalent of French
Grand-Opéra
Ponchielli revised the work three times; the fourth and final version was first performed in 1879 in Genoa before reaching Milan in 1880 where its reputation as the definitive version was established. There are several complete recordings of the opera, and it is regularly performed, especially in Italy. It is one of only a few operas that features a principal role for each of the six major voice types.
The opera also includes the famous ballet
Dance of the Hours
, often performed separately or in parody.
Composition and performance history
edit
La Gioconda
is part of the standard opera repertoire in Italy and is regularly staged at opera houses in that nation.
Given the large number of personnel and elaborate sets the opera requires, the work is one of the more expensive operas to produce, and as a result, the opera is more frequently performed at opera houses with larger budgets like the
Teatro alla Scala
in Milan and the
Metropolitan Opera
in New York City.
The expense of producing the opera has made it less frequently staged outside of Italy, but it is still part of the
Western canon
of opera literature on the international stage.
Initial stagings and revisions in Italy
edit
Cast of the fourth version premiere at the Politeama Genovese, 1879. Left to right: Francesco Marconi, Flora Mariani De Angelis, Gialdino Gialdini, Edouard De Reszke, Gustavo Moriami, Maddalena Mariani Masi, Giuditta Celega. Amilcare Ponchielli seated center.
La Gioconda
was commissioned in 1874 by Giulio Ricordi of the music publishing firm
Casa Ricordi
Ricordi selected
Arrigo Boito
to write the libretto for the opera; although he used an anagram of his own name, 'Tobia Gorrio'.
Boito modeled his construction after the grand opera style of French dramatist
Eugène Scribe
; employing a historical framework with a wide array of characters that could provide a visual spectacle on stage and opportunities for contrast. In the French grand opera tradition the work contains a central ballet and massed choral scenes.
La Gioconda
was first performed at the Teatro alla Scala, Milan, on 8 April 1876 with Italian soprano
Maddalena Mariani Masi
in the title role and Spanish tenor
Julián Gayarre
as Enzo.
The work was positively received at its premiere with Milan's leading music critic,
Filippo Filippi
of the magazine
La perseveranza
, declaring that, apart from
Giuseppe Verdi
, only Ponchielli could produce an opera of such importance among Italy's then living composers.
Ponchielli's wife, soprano
Teresina Brambilla
, also performed the role of La Gioconda in later performances of the opera at La Scala in 1876, and became a famous interpreter of the role.
After the premiere, Ponchielli continued to modify the work several times for succeeding productions. For the opera's first staging in Venice at the
Teatro Rossini
on 18 October 1876 numerous changes were made; including the addition of the 'Furlana' in Act 1; a new cabaletta (‘O grido di quest’anima’) for the duet between Enzo and Barnaba; a
preghiera
for Laura in Act 2; and a new aria for Alvise in Act 3 which was later discarded in subsequent stagings but whose lyrics were repurposed in part in later revisions within Iago's Credo.
The opera was modified again for its first staging in Rome at the
Teatro Apollo
on 23 January 1877.
For this production Ponchielli wrote a new finale to Act 1 which replaced a reprise of the 'Furlana', and replaced the naval battle at the end of Act 2 with a duet for Enzo and Gioconda .
The fourth and final version of the opera premiered in Genoa on 27 November 1879 without much fanfare.
However, this version later achieved critical acclaim and the status as the definitive version of the opera when it was staged at La Scala in Milan the following year on 28 March 1880.
For this version, Ponchielli re-composed Alvise's aria, "Si! Morir ella de'!", and replaced the original
stretta
in the finale of Act 3 with an orchestral peroration of the principal theme of the preceding
pezzo concertato
. This construction was novel at the time, and later influenced other opera composers like Ponchielli's pupil
Giacomo Puccini
International performances in Europe and South America
edit
After premiering the work in 1876,
La Scala
has performed
La Gioconda
several times in its history; most notably a revival staged by
Nicola Alexandrovich Benois
with a cast starring
Maria Callas
and
Giuseppe di Stefano
in the 1950s.
Callas had tackled the role of La Gioconda previously; singing the role for her professional opera debut at the
Arena di Verona
on August 2, 1947.
Benois's production remained in La Scala's repertoire through 1997; although with different performers.
La Scala was also responsible for the first complete recording of the opera made in 1931 with
Giannina Arangi-Lombardi
in the title role.
In 2022 La Scala premiered a new staging of the opera by director Davide Livermore with a cast led by sopranos
Saioa Hernández
and
Irina Churilova
who alternated in the title role.
The United Kingdom premiere of
La Gioconda
was given at the
Royal Opera House
Covent Garden
on 31 May 1883 with American soprano Maria Durand (b. 1846) in the title role.
The Spanish premiere of the opera was given in Barcelona in 1886. This was followed by performances in 1887 in Brussels, Vienna, and Warsaw.
The celebrated tenor
Enrico Caruso
had the first major critical success of his career in the role of Enzo when he performed the part at the
Teatro Massimo
in Palermo in 1897.
The Italian soprano
Tina Poli Randaccio
was a lauded performer in the role of La Gioconda during the first half of 20th century on the international stage. She first performed the role in Europe at the
Teatro Massimo Vittorio Emanuele
in Palermo in 1907; after having already sung La Gioconda on a South American tour in 1904-1905 at the
Theatro Municipal (São Paulo)
and the
Theatro Municipal (Rio de Janeiro)
. She went on to portray the role at several other theatres, including
La Fenice
(1908), the
Teatro Real
(1910), the
Teatro Regio di Parma
(1911), the
Teatro Carlo Felice
(1911), the
Costanzi Theatre in Rome
(1915), the
Municipal Theatre of Santiago
(1915), the
Teatro Colón
in Buenos Aires (1915), the
Teatro di San Carlo
in Naples (1915), the
Teatro Dal Verme
in Milan (1917), the
Gran Teatro de La Habana
in Cuba (1918), the
Teatro Comunale di Bologna
(1919), the
Teatro Comunale Modena
(1927), the
Teatro Lirico
in Milan (1929), and the
Teatro Politeama Garibaldi
in Palermo (1931) among others. She also performed the role of La Gioconda for radio broadcasts of the opera with orchestras in Rome and Turin in 1931.
In 1909 the opera was staged at the Teatro dell'Opera in Rome with an excellent cast composed by Angelo Masini Pieralli, Giannina Russ, Luisa Garibaldi and Titta Ruffo.
In 2017 the opera was staged for the first time in the Czech Republic at the
National Theatre Brno
Janáček Theatre
with
Csilla Boross
in the title role.
In 2022
Joseph Calleja
portrayed Enzo and Amanda Echalaz portrayed La Gioconda at the
Grange Park Opera
10
Performances in the United States
edit
The opera had its American premiere at the
Metropolitan Opera
(the "Met") during the first season of that opera company on 20 December 1883 with Swedish soprano
Christine Nilsson
in the title role, Italian tenor
Roberto Stagno
as Enzo, French soprano
Emmy Fursch-Madi
as Laura, and Italian contralto
Sofia Scalchi
as La Cieca.
11
The same cast was employed for further performances of the opera in
Chicago
and
Saint Louis
in 1884.
12
The next staging of the opera in New York took place a decade later at the
Grand Opera House
in 1893 with American soprano
Selma Kronold
in the title role.
13
The opera was staged on
Broadway
at the
American Theatre
by the Castle Square Opera Company in 1899 with
Yvonne de Tréville
in the title role.
14
Soprano
Lillian Nordica
performed the title role with
Oscar Hammerstein I
's
Manhattan Opera Company
in 1907.
15
The Met mounted the opera for the second time twenty-one years after its first staging in 1904 with Nilsson reprising the title role,
Enrico Caruso
as Enzo,
Arturo Vigna
conducting, and the French baritone
Eugène Dufriche
serving both as the production's director and in the supporting role of the singer.
16
This production remained in the annual repertoire of the Met through the 1914–1915 season in which Caruso was still performing the role of Enzo, but with
Emmy Destinn
in the title role.
17
The Met returned to the opera a third time in 1924 with a new production using choreography by
Rosina Galli
, sets by the Milanese designer Antonio Rovescalli, and a staging by director
Désiré Defrère
. The premiere cast of this new staging included
Florence Easton
as Gioconda and
Beniamino Gigli
as Enzo.
18
However,
Rosa Ponselle
later assumed the role of Gioconda later in 1924.
19
This production remained part of the Met's regularly programmed repertoire through 1940 with a rotating cast of performers.
20
After a five-year absence from the Met, the Defrère staging of
La Gioconda
was once again seen in 1945, this time with
Stella Roman
in the title part and
Richard Tucker
making his first appearance at the Met in the role of Enzo.
20
A 1946 live performance at the Metropolitan Opera House starring
Zinka Milanov
as Gioconda,
Risë Stevens
as Laura, Tucker as Enzo, and
Margaret Harshaw
as La Cieca was recorded for
radio broadcast
and later released on disc.
The Defrère staging of the opera continued to be performed at the Met with some frequency until it was replaced with a new production in 1966 that was staged by
Margarete Wallmann
with sets and costumes by
Beni Montresor
21
The Met took this production on a United States tour in 1967 with
Renata Tebaldi
in the title role,
Franco Corelli
as Enzo,
Rosalind Elias
as Laura, and
Fausto Cleva
conducting.
22
The Wallmann and Montresor production remained in the Met's repertory for 17 years and was last presented by the company in the 1982–1983 season with
Plácido Domingo
as Enzo and
Eva Marton
in the title role.
23
After 1983,
La Gioconda
has been mounted with less frequency on the Met stage with performances of the work consisting of a 1990 production with
Ghena Dimitrova
24
a 2006 production with
Violeta Urmana
25
and most recently a 2008 production with
Deborah Voigt
as the title heroines respectively.
26
Additionally, the
Opera Orchestra of New York
has presented concert versions of the opera several times; including a 1986 concert starring Ghena Dimitrova as Gioconda;
27
and a 2004 concert starring
Aprile Millo
in the title role and
Marcello Giordani
as Enzo.
28
Outside of New York,
La Gioconda
was performed for the grand opening of the
Boston Opera House
on November 8, 1909, with
Lillian Nordica
in the title role,
Florencio Constantino
as Enzo, and
Louise Homer
as La Cieca.
29
The
San Francisco Opera
(SFO) staged the work for the first time in 1947 with Stella Roman and
Regina Resnik
alternating in the title role.
30
The SFO subsequently staged the opera in 1967 with
Leyla Gencer
as Gioconda and
Grace Bumbry
as Laura,
31
and in 1979 the SFO staged the opera a third time with an all-star cast including
Renata Scotto
as Gioconda and
Luciano Pavarotti
as Enzo; a production which was filmed for national television broadcast on
PBS
and which aired internationally through satellite technology at a time when that was rare.
32
Subsequently the SFO has staged
La Gioconda
in 1983 with
Montserrat Caballé
33
and in 1988 with
Eva Marton
34
In 1913 the
Chicago Grand Opera Company
staged the work with
Carolina White
in the title role.
35
Emmy Destinn
performed the title role in
La Gioconda
for the opening of the 1915 opera season at the
Chicago Auditorium
36
The
Chicago Civic Opera
opened its 1924-1925 season with a production of
La Gioconda
starring
Rosa Raisa
as the ballad singer under the baton of
Giorgio Polacco
37
The
Lyric Opera of Chicago
staged
La Gioconda
for the first time in 1957 with
Eileen Farrell
in the title role. Subsequent performances in Chicago included a 1966 production with
Elena Souliotis
; a 1986 production with Ghena Dimitrova; and a 1998 production with
Jane Eaglen
. In 1974 the opera was staged by the
New Jersey State Opera
with
Grace Bumbry
in the title role with performances given at
Newark Symphony Hall
and the
Trenton War Memorial
38
Roles
edit
Role
Voice type
Premiere cast, 8 April 1876
39
(Conductor:
Franco Faccio
Fourth version, 27 November 1879, Politeama Genovese (Conductor: Gialdino Gialdini)
Gioconda,
a singer
soprano
Maddalena Mariani Masi
Maddalena Mariani Masi
Laura Adorno,
a Genoese lady
mezzo-soprano
Marietta Biancolini Rodriguez
Flora Mariani De Angelis
La Cieca,
Gioconda's mother
contralto
Eufemia Barlani Dini
Giuditta Celega
Enzo Grimaldo,
a Genoese prince, disguised as a Dalmatian seaman
tenor
Julián Gayarre
Francesco Marconi
Barnaba,
spy of the Inquisition
baritone
Gottardo Aldighieri
Gustavo Moriami
Alvise Badoero,
one of the leaders of the Inquisition, Laura's husband
bass
Ormondo Maini
it
Édouard De Reszke
Zuàne,
a boatman competing in the regatta
bass
Giovanni Battista Cornago
Giacomo Origo
Isèpo,
a scribe
tenor
Amedeo Grazzi
Emanuele Dall'Aglio
A singer
bass
Giovanni Battista Cornago
Giacomo Origo
A pilot
bass
Giovanni Battista Cornago
Giovanni Battista Panari
Chorus: Workers, senators, priests, nobles, sailors, children
Synopsis
edit
The opera's title translates as
The Happy Woman
, but is usually given in English as
The Ballad Singer
. However, as this fails to convey the irony inherent in the original, the Italian is usually used. Each act of
La Gioconda
has a title.
Place:
Venice
Time: 17th century
The story revolves around a woman, Gioconda, who so loves her mother that when Laura, her rival in love for the heart of Enzo, saves her mother's life, Gioconda puts aside her own romantic love to repay her. The villain Barnaba tries to seduce Gioconda, but she prefers death.
Act 1
The Lion's Mouth
edit
The courtyard of the Doge's Palace
During Carnival celebrations before
Lent
, while everyone else is preoccupied with a
regatta
, Barnaba, a state
spy
lustfully
watches La Gioconda as she leads her
blind
mother, La Cieca, across the Square. When his amorous advances are firmly rejected, he exacts his revenge by denouncing the old lady as a witch whose evil powers influenced the outcome of the
gondola
race. It is only the intervention of a young sea captain that keeps the angry mob at bay.
Calm is restored at the approach of Alvise Badoero, a member of the Venetian
Inquisition
, and his wife, Laura. Laura places La Cieca under her personal protection, and in gratitude the old woman presents her with her most treasured possession, a
rosary
. The sharp-eyed Barnaba notices furtive behaviour between Laura and the sea captain indicating a secret relationship. Recalling that Laura was engaged to the now banished
nobleman
Enzo Grimaldo before her
forced marriage
to Alvise, Barnaba realises that the sea captain is Enzo in disguise.
Barnaba confronts Enzo, who admits his purpose in returning to
Venice
is to take Laura and begin a new life elsewhere. Barnaba knows that Gioconda is also
infatuated
with Enzo and he sees an opportunity to improve his chances with her by assisting Enzo with his plan of elopement.
When Enzo has gone, Barnaba dictates a letter to be sent to Alvise, revealing his wife's infidelity and the lovers' plan of escape. He is unaware that he has been overheard by Gioconda. The act ends with Barnaba dropping the letter into the Lion's Mouth, where all secret information for the Inquisition is posted, while Gioconda
laments
Enzo's perceived treachery, and the crowd returns to its festivities.
Act 2
The Rosary
edit
The deck of Enzo's ship
Gioconda's Act II costume (from the original 1876 production) by
Alfredo Edel
Enzo waits for Barnaba to row Laura out from the city to his vessel. Their joyful reunion is overshadowed by Laura's fears as she does not trust Barnaba. Gradually Enzo is able to reassure her, and he leaves her on deck while he goes to prepare for their departure.
La Gioconda has been following Laura with the intention of exacting revenge from her rival. Alvise and his armed men are also in hot pursuit, but as Gioconda is about to stab Laura she sees her mother's rosary hanging round her neck and, realizing that it was Laura who saved her mother, has an instant change of heart. She hurries Laura into her boat so that she can evade her pursuers.
Enzo returns to the deck to find that Laura has fled leaving Gioconda triumphant. Furthermore, Alvise's men are rapidly approaching. Enzo sets fire to the ship rather than let it fall into the hands of his enemies before diving into the lagoon.
Act 3
The Ca' d'Oro (House of Gold)
edit
See also:
Ca' d'Oro
Alvise's palace
Laura has been captured, and her vengeful husband insists she must die by poisoning herself (effectively committing
suicide
and condemning herself to Hell). Once again Gioconda has followed and has found her way into the palace, this time with the intention of saving her rival. Finding Laura alone Gioconda replaces the phial of poison with a powerful drug which creates the appearance of death. The second scene begins with Alvise welcoming his fellow members of the nobility to the palace; Barnaba and Enzo are amongst those present. Lavish entertainment is provided and the act ends with the famous ballet
Dance of the Hours
. The mood of revelry is shattered as a funeral bell begins to toll and the body of Laura is revealed awaiting burial. A distraught Enzo flings off his disguise and is promptly seized by Alvise's men.
Act 4
The Orfano Canal
edit
A crumbling ruin on the island of
Giudecca
In exchange for Enzo's release from prison, La Gioconda has agreed to give herself to Barnaba. When Enzo is brought in, he is initially furious when Gioconda reveals that she has had Laura's body brought from its tomb. He is about to stab her when Laura's voice is heard and Gioconda's part in reuniting the lovers becomes clear. Enzo and Laura make their escape, leaving La Gioconda to face the horrors awaiting her with Barnaba. The gondoliers' voices are heard in the distance telling that there are corpses floating in the city. When Gioconda tries to leave, she is caught by Barnaba. She then pretends to welcome his arrival, but under cover of decking herself in her jewellery, seizes a dagger and stabs herself to death. In frustrated rage Barnaba tries to perpetrate one last act of evil, screaming at the lifeless body "Last night your mother offended me. I drowned her!"
Famous arias and excerpts
edit
"Voce di donna o d'angelo" (La Cieca)
"O monumento" (Barnaba)
"Cielo e mar" (Enzo)
"Stella del Marinar" (Laura)
"E un anatema!... L'amo come il fulgor creato" (duet Gioconda with Laura)
"Si! Morir ella de!" (Alvise)
O madre mia nell'isola fatale
(Gioconda)
Dance of the Hours
"Suicidio!" (Gioconda)
"Ora posso morir... Vo' farmi più gaia" (final duet Gioconda with Barnaba)
The Dance of the Hours
edit
The ballet "
Dance of the Hours
" (Italian:
Danza delle ore
) from Act III of the opera became an international hit in the concert repertoire after it was performed at the
Paris Exhibition of 1878
Budden asserts that although "a mere divertissement at Alvise's palace with no relevance to the action", it is "the only Italian ballet score which will bear transplantation to the concert hall, simply because it alone forms a completely rounded musical statement".
40
It has remained a frequently programmed selection from the opera in orchestral and ballet concerts internationally.
The music was used in the 1940
Walt Disney
animated
film
Fantasia
in a segment consisting of the whole ballet, but performed comically by animals. The dancers of the morning are represented by
Madame Upanova
and her
ostriches
, the daytime by
Hyacinth Hippo
and her
hippopotamus
servants
(for this section the piece is expanded by a modified and reorchestrated repetition of the "morning" music.) The dancers of the evening are represented by
Elephanchine
and her
bubble blowing
elephant
troupe
, and the night by
Ben Ali Gator
and his
troop
of
alligators
. All of the dancers rejoice in the great hall for a grand finale, which is so extravagant that the entire palace collapses at the end.
Another famous parody of
Dance of the Hours
is
Allan Sherman
's song "
Hello Muddah, Hello Fadduh
", describing a miserable time at summer camp. It uses a theme from a moderato section of the Danza delle ore del giorno as its melody. Sherman's song was later referenced in a 1985 television commercial.
41
Portions of the ballet were also used by
Spike Jones and his City Slickers
in their song parodying the
Indianapolis 500
citation needed
Recordings
edit
Audio
edit
1931:
Giannina Arangi-Lombardi
Alessandro Granda
Gaetano Viviani
Ebe Stignani
Corrado Zambelli
– Coro e Orchestra del Teatro alla Scala,
Lorenzo Molajoli
– (Columbia, Naxos)
1952:
Maria Callas
Gianni Poggi
Paolo Silveri
Fedora Barbieri
Giulio Neri
– Coro e Orchestra della RAI Torino,
Antonino Votto
– (Cetra, Naxos)
1957:
Zinka Milanov
Giuseppe Di Stefano
Leonard Warren
Rosalind Elias
Plinio Clabassi
Belen Amparan
– Coro e Orchestra de l'Accademia di Santa Cecilia,
Fernando Previtali
– (RCA Victor, later Decca/London)
1957:
Anita Cerquetti
Mario Del Monaco
Ettore Bastianini
Giulietta Simionato
Cesare Siepi
– Coro e Orchestra della Maggio Musicale Fiorentino,
Gianandrea Gavazzeni
– (Decca)
1959:
Maria Callas
Pier Miranda Ferraro
Piero Cappuccilli
Fiorenza Cossotto
Ivo Vinco
– Coro e Orchestra del Teatro alla Scala,
Antonino Votto
– (EMI)
1964:
Mary Curtis-Verna
Franco Corelli
, Cesare Bardelli,
Mignon Dunn
Bonaldo Giaiotti
. – Chorus and Orchestra of Philadelphia Lyric Opera,
Anthony Guadango
– (Bel Canto Society)
1967:
Renata Tebaldi
Carlo Bergonzi
Robert Merrill
Marilyn Horne
Nicola Ghiuselev
– Coro e Orchestra dell'Accademia di Santa Cecilia,
Lamberto Gardelli
– (Decca)
1980:
Montserrat Caballé
Luciano Pavarotti
Sherrill Milnes
Agnes Baltsa
Nicolai Ghiaurov
– London Opera Chorus, National Philharmonic Orchestra,
Bruno Bartoletti
– (Decca)
1986:
Éva Marton
Giorgio Lamberti
Samuel Ramey
Livia Buday-Batky
Anne Gjevang
Sherrill Milnes
– Hungaroton Opera Chorus, Hungarian State Orchestra
Giuseppe Patanè
– (Hungaroton)
2001:
Violeta Urmana
Plácido Domingo
, Lado Ataneli, Luciana d'Intino,
Roberto Scandiuzzi
, Elisabetta Fiorillo –
Müncher Rundfunkorchester
& Chorus
Marcello Viotti
– (EMI)
2005:
Andrea Gruber
Marco Berti
Alberto Mastromarino
Carlo Colombara
Ildikó Komlósi
Elisabetta Fiorillo
– Orchestra, Coro e Corpo di ballo dell'Arena di Verona,
Donato Renzetti
Dynamic
Source:
42
Film or video
edit
1979:
Kirk Browning
directed a television film with
Renata Scotto
(La Gioconda) – for which Scotto won an Emmy,
Luciano Pavarotti
(Enzo Grimaldo),
Stefania Toczyska
(Laura Adorno),
Margarita Lilowa
(La Cieca),
Norman Mittelmann
(Barnaba), and
Ferruccio Furlanetto
(Alvise Badoero).
1986:
Ádám Fischer
conducts
Vienna State Opera
Orchestra, with
Éva Marton
(La Gioconda),
Plácido Domingo
(Enzo Grimaldo), Ludmila Semtschuk (Laura Adorno),
Kurt Rydl
(Alvise Badoero), Margarita Lilova (La Cieca) and
Matteo Manuguerra
(Barnaba).
Arthaus
DVD and blu-ray.
1988: Television film made in
Barcelona
at the
Liceu
, with
Grace Bumbry
(La Gioconda),
Fiorenza Cossotto
(Laura Adorno),
Viorica Cortez
(La Cieca),
Ermanno Mauro
(Enzo Grimaldo),
Ivo Vinco
(Alvise Badoero), Matteo Manuguerra (Barnaba).
2005: Daniele Callegari conducts Orquestra Sinfonica i Cor del Gran
Teatre del Liceu
, with
Deborah Voigt
(La Gioconda),
Richard Margison
(Enzo Grimaldo), Elizabeth Fiorillo (Laura Adorno),
Carlo Colombara
(Alvise Badoero),
Ewa Podleś
(La Cieca) and Carlo Guelfi (Barnaba);
Pier Luigi Pizzi
(director and set/costume designer). Co-production with
Arena di Verona
. TDK DVD.
2005: Live video recording made at the
Arena di Verona
Donato Renzetti
(conductor) –
Pier Luigi Pizzi
(stage director)
Cast:
Andrea Gruber
, Marco Berti,
Carlo Colombara
, Alberto Mastromarino,
Ildikó Komlósi
, Elisabetta Fiorillo;
Pier Luigi Pizzi
(director and set/costume designer). Co-production with
Teatre del Liceu
Dynamic
DVD Cat.33500
Source:
42
Adaptations in other media
edit
La gioconda
(US title:
The Fighting Prince
): Directed by Giacinto Solito with
Alba Arnova
(La Gioconda),
Paolo Carlini
(Enzo Grimaldi), Virginia Loy (Laura Adorno), Peter Trent (Alvise Badoero),
Vittorio Vaser
(Barnaba), Gino Scotti (Jacopo) and
Giuseppe Campora
Attilio Dottesio
, Ina La Yana and
Vira Silenti
(Italy, 1953, b/w).
See also
edit
Opera portal
List of operas by Ponchielli
References
edit
Roland Craeme (1993).
"La Gioconda"
. In Paul Gruber (ed.).
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W. W. Norton & Company
. pp.
374–
380.
ISBN
978-0-393-03444-8
Julian Budden
(2001). "Gioconda, La".
Grove Music Online
. Oxford Music Online.
Oxford University Press
doi
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ISBN
9781561592630
Elizabeth Forbes
(2008). "Brambilla-Ponchielli, Teresa [Teresina]". In Laura Williams Macy (ed.).
The Grove Book of Opera Singers
Oxford University Press
ISBN
978-0-19-533765-5
Rebecca Schmid (June 8, 2022).
"An Opera That Travels Through Time"
The New York Times
George A. Kourvetaris (2001).
"Callas, Maria (née Maria Kalogeropoulou)"
. In Elliott Robert Barkan (ed.).
Making it in America: A Sourcebook on Eminent Ethnic Americans
ABC-Clio
. p. 56.
ISBN
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Kurt Ganzl (29 September 2017).
Victorian Vocalists
Taylor & Francis
. p. 217.
ISBN
9781351593663
Paul Rodmell (2016).
"Opera In London 1876–1896"
Opera in the British Isles, 1875-1918
Taylor & Francis
. p. 41.
ISBN
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Giorgio Bagnoli (1993). "Enrico Caruso".
The La Scala encyclopedia of the opera
Simon & Schuster
. p. 70.
ISBN
9780671870423
"Česká premiéra a zájezd do Hongkongu. Janáčkovu operu čeká nabitý měsíc"
EuroZprávy.cz
. January 30, 2017.
Mike Hardy (June 15, 2022).
"Grange Park Opera 2022 Review: La Gioconda"
Opera Wire
"AMUSEMENTS; 'LA GIOCONDA'
The New York Times
. December 21, 1883. p. 4.
"OPERA IN CHICAGO.; PATTI AND NILSSON SINGING WITHIN A FEW YARDS OF EACH OTHER"
The New York Times
. January 29, 1884. p. 1.
"PONCHIELLI'S "LA GIOCONDA."; A Large Audience Listens to a Strong Work at the Grand Opera House"
The New York Times
. June 2, 1893. p. 5.
"DRAMATIC AND MUSICAL; Mrs. Fiske as "Frou-Frou" and a New Casino Play. LA GIOCONDA" IN ENGLISH Last of the Wagner Cycles -- Various Changes of Bill -- Music Hall "Turns."
The New York Times
. March 21, 1899. p. 7.
"GALA REOPENING OF OPERA SEASON; The Manhattan Filled to the Doors to Hear Nordica in "La Gioconda."
The New York Times
. November 5, 1907. p. 1.
" LA GIOCONDA" REVIVED AT THE METROPOLITAN; Ponchielli's Masterwork Sung Again After Twenty-one Years"
The New York Times
. November 29, 1904. p. 6.
"LA GIOCONDA" AT OPERA.; Caruso and Mmes. Destinn and Ober in Enjoyable Performance"
The New York Times
. November 26, 1914. p. 13.
H. O. O. (November 11, 1924). "
'La Gioconda' Revived at the Metropolitan".
Musical Courier
"ROSA PONSELLE'S NEW ROLE; Wins Great Applause in "La Gioconda" at Nursery Benefit Matinee"
The New York Times
. December 20, 1924. p. 18.
"GIOCONDA' REVIVED AT METROPOLITAN; Last Heard in the 1939-40 Season, Ponchielli Opera Introduces Tucker Here Ah, Pescator" Pleases Miss Roman's Part"
The New York Times
. January 26, 1945. p. 17.
Harold C. Schonberg
(September 23, 1966).
"Opera: A Grandiose Met 'Gioconda'; Production Is Colorful, Long and Lavish Popular Ballet Episode Hampered by Dress"
The New York Times
. p. 42.
Rene Seghers (2008). "Italy Greets the Prodigal Son".
Franco Corelli
Hal Leonard
. pp.
350–
355.
ISBN
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Bernard Holland (September 27, 1982).
"OPERA: PATANE LEADS 'LA GIOCONDA'
The New York Times
Donal Henahan
(January 17, 1990).
"Review/Opera; Popular High-Decibel Delights of 'La Gioconda'
The New York Times
. p. C14.
Bernard Holland
(September 28, 2006).
"Thwarted Love and Mayhem in an Over-the-Top Venice"
The New York Times
Steve Smith (September 25, 2008).
"Rivals in Love and Partners in Wicked Schemes Bring Disorder to Venice"
The New York Times
Donal Henahan
(May 7, 1986).
"OPERA: 'LA GIOCONDA'
The New York Times
Anne Midgette (April 23, 2004).
"A Concert Opera With Moments of Parody"
The New York Times
Opera House History
Archived
August 7, 2008, at the
Wayback Machine
Arthur J. Bloomfield (1961).
The San Francisco Opera, 1923-1961
. Appleton-Century-Crofts. p. 237.
Arthur Bloomfield (1972).
50 Years of the San Francisco Opera
. San Francisco Book Company. p. 250.
Dave Dexter Jr. (April 28, 1979).
"PBS to Air Opera By Satellite Globally"
Billboard
. p. 30.
"Montserrat Caballé sings the title role in Ponchielli's La Gioconda".
California Magazine
: 37. August 1983.
Martin Bernheimer (November 22, 1988).
"OPERA REVIEW : 'La Gioconda': Musical Junk Food in S.F."
Los Angeles Times
"Chicago; Operas and Casts of the Opening Week"
Musical Courier
. November 26, 1913. p. 23.
Louis Jay Gerson, ed. (December 4, 1915).
"Grand Opera in Other Cities: Campanini's Masterful Success in Chicago Opera"
Opera News
"Polacco Conducts in Chicago Civic Opera Premiere"
Musical Digest
(4): 1. November 11, 1924.
John Rockwell (February 12, 1974).
"The Opera: 'La Gioconda'
. p. 41.
Ponchielli, Amilcare; Boito, Arrigo (1910).
La Gioconda
. G. Ricordi & Co.
Budden, Julian. Ponchielli and 'La Gioconda'.
Opera
, April 1993, Vol.44 No.4, p412-415.
Downy Commercial 1985
on
Recordings of
La Gioconda
on operadis-opera-discography.org.uk
Sources
edit
Full libretto of
La Gioconda
on impresario.ch, 2005 (In English) Retrieved 10 July 2011
Lascelles, George
and
Antony Peattie
(Eds.),
The New Kobbe's Opera Book
London: Ebury Press, 1997.
ISBN
0-09-181410-3
Holden, Amanda
(Ed.),
The New Penguin Opera Guide
, New York: Penguin Putnam, 2001.
ISBN
0-14-029312-4
Sadie, Stanley
(Ed.),
The New Grove Book of Operas
, London: Macmillan Publishers Ltd, 1996.
ISBN
0-333-65107-3
External links
edit
"Suicidio!"
on
, performance by
Renata Tebaldi
La Gioconda
: Scores at the
International Music Score Library Project
Profile of
La Gioconda
on OldAndSold.com
, archived 7 June 2012
Amilcare Ponchielli
List of operas
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I Lituani
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I Mori di Valenza
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La Gioconda
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