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Lyric Opera
Principal Artist Auditions
Lyric Opera Kc
Famous Opera Lyrics
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Lyric Opera Of The North
Auditions are by appointment only (through management or individual-arranged). For more information contact Sarah Zsohar at [email protected]. If you are going to be in the Kansas City area and would like to inquire about auditioning, please send your resumé and request to Sarah Zsohar at [email protected].
Additional Auditions
Children's Chorus Auditions
Support the Lyric. When you donate to Lyric Opera, you help us bring world-class opera to Kansas City and broaden our reach into the community through our many education programs. Text KCOPERA to (855) 735-2437 to donate now! Lyric Opera of Kansas City is a 501(c)(3) organization with Tax ID number. Connecticut Lyric Opera is pleased to announce that the National Endowment for the Artworks has awarded a grant in the amount of $24,000 for “To support the presentation and tour of The Emperor of Atlantis (Der Kaiser von Atlantis) by Composer Viktor Ullmann. Contact Us Please send all payments or contributions to our secure lockbox:Boston Lyric OperaDepartment 1660P.O. Box 986500Boston, MA Boston Lyric Opera Administrative Office133 Federal Street, Suite 800Boston, MA 02110Phone: 617.542.4912Fax: 617.542.4913Directions to the BLO Administrative OfficeBLO's administrative office is located on the eighth floor of 133 Federal Street and can. Lyric Opera of the North is a Professional Company Member of Opera America. Thank you to our Corporate Sponsors for their support Operating support is made possible in part by the voters of Minnesota through a grant from the Arrowhead Regional Arts Council, thanks to a legislative appropriation from the arts and cultural heritage fund.
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Auditions for Lyric Opera main stage production Children’s Choruses are held on a per need basis. Audition information will be listed below if a Children’s Chorus is needed for a production.
Supernumerary Information
Help the show go on! Armida opera. Volunteer to be a supernumerary (super) in a Lyric Opera of Kansas City production. For more information about becoming a super or to request that your name be placed on a contact list for open opportunities, contact Sarah Zsohar at [email protected].
Orchestra Information
Members of The Kansas City Symphony comprise the orchestra used for performances by the Lyric Opera of Kansas City. For audition information, please call the symphony’s administrative offices at (816) 471-1100 or visit kcsymphony.org.
New Visions Spring 2021 Season
It’s springtime in Kansas City, and we are celebrating by announcing our New Visions 2021 Spring season! Our popular outdoor Soundscapes in the City programming returns with performances at Powell Gardens in Missouri and Meadowbrook Park in Prairie Village, Kansas. Then, play ball with us on May 7th for the opening of Baseball: A Musical Love Letter. Join us as we reflect on American society and culture through the lens of our favorite pastime, baseball.
GIVE THE GIFT OF OPERA!
LOOKING FOR THE PERFECT GIFT? A LYRIC OPERA GIFT CERTIFICATE IS THE GIFT THAT KEEPS ON GIVING!
Gift certificates are currently not available for purchase on our website, so please call Ticketing & Patron Services at (816) 471-7344. A gift certificate can be emailed directly to you or to the recipient!
Lyric Opera gift certificates are only redeemable towards single ticket, digital content and subscription purchases made through the Lyric Opera of Kansas City website, box office counter or phone line. Giuseppe verdi rigoletto. They are not available for use towards tickets sold through the Kauffman Center.
Past Seasons and Performances
2019-2020
Mainstage Season:
The Abduction from the Seraglio, September 21 – 29, 2019
La bohème, November 9 – 17, 2019
Lucia di Lammermoor, March 7 – 15, 2020
The Shining, April 25 – May 3, 2020
Explorations Series:
“…When there are nine,” January 18, 2020
Cabaret: In the Mood for Love, February 1, 2020
2018-2019
Mainstage Season:
West Side Story, September 22 – September 30, 2018
Madama Butterfly, November 3 – November 11, 2018
Cosí fan tutte, March 16-24, 2019
The Pearl Fishers, April 27 – May 5, 2019
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Explorations Series:
High Fidelity Opera, November 17, 2018
Cabaret: Mack the Knife is the Man I Love, February 9, 2019
Penelope, March 30-31, 2019
2017-2018
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Main Stage Season:
Eugene Onegin, September 30 – October 8, 2017
Everest, November 11 – 19, 2017
Rigoletto, March 3 – 11, 2018
The Barber of Seville,April 28; May 2, 4, and 6, 2018
Explorations Series:
Meet the Resident Artists, September 24, 2017
Arias and Barcarolles | The Bernstein Songbook, October 14, 2017
As One, January 27-28, 2018
American Voices, March 24, 2018
2016-2017
Main Stage Season:
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Hansel and Gretel, September 17 – 25, 2016
The Marriage of Figaro, November 5 – 13, 2016
Dead Man Walking, March 4 – 12, 2017
The Pirates of Penzance, April 22 – 30, 2017
Lyric Opera Of The North
Explorations Series:
Meet the Resident Artists, September 11, 2016
Schubert | Beatles, October 1, 2016
The Juliet Letters, January 28 and 29, 2017
American Voices, March 19, 2017
Update
In the face of this uncertain and unpredictable public health epidemic, we determined it was in the best interest of our patrons, our artists, staff, volunteers, and musicians to postpone the rest of the 2020-2021 season until we can best determine that they are safe for all concerned. The postponed performances include The (R)evolution of Steve Jobs scheduled for Feb. 27 – Mar. 7, 2021, and Carmen scheduled for Apr. 24 – May 2, 2021.
Subscribers for our 2020-2021 season will receive a credit to their Lyric Opera accounts for the value of their tickets for postponed performances. These credits can be applied to subscriptions to our 2021-2022 season and will be noted on renewal information when distributed. If you would prefer to discuss other options, please email [email protected] or call us. Our ticketing staff is available to help 9:00 am – 5:00 pm Monday – Thursday.
On July 7, 2020, we announced the cancellation of our Fall 2020 productions including La Traviata scheduled for Sept. 26-Oct 4, 2020 and The Gershwins’ Porgy and Bess scheduled for Nov. 7-15, 2020. Subscribers who did not request a refund or donated the value of their tickets by September 10, 2020 have received a credit to their Lyric Opera account.
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Vocally Adriana Lecouvreur has numerous challenges for the soprano from dramatic singing to declamation to lyrical passages. It is the ultimate test for a diva and Netrebko was up for the challenge. While Netrebko started off with several intonation issues in her first aria “Io son l’umile ancella,” that quickly receded as she floated into her higher register and sustained gorgeous pianissimi. Adriana Lecouvreur plot summary, character breakdowns, context and analysis, and performance video clips. Vocally Adriana Lecouvreur has numerous challenges for the soprano from dramatic singing to declamation to lyrical passages. It is the ultimate test for a diva and Netrebko was up for the challenge. While Netrebko started off with several intonation issues in her first aria “Io son l’umile ancella,” that quickly receded as she floated.
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Scenes with Adriana Lecouvreur in Adriana Lecouvreur. 1 Del sultano amuratti Popularity:. Opera: Adriana Lecouvreur Composer: Cilea Act: 1.03 Type: recitative Voice: S B T Language: Italian. Drupal ckeditor image. Title Adriana Lecouvreur. Italian Contributor Names Benvenuti, Tomaso - 1838-1906 (composer).
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A gem of the verismo repertoire, Cilea’s Adriana Lecouvreur has only appeared a handful of times on the Met stage. When it has, however, it has often showcased some of opera’s greatest divas in the commanding title role, including Renata Tebaldi, Montserrat Caballé, and Renata Scotto. During the 2018–19 season, superstar soprano Anna Netrebko joined the ranks of these incomparable artists, starring opposite mezzo-soprano Anita Rachvelishvili, as the fearsome Princess of Bouillon, and tenor Piotr Beczała, as her ardent lover, Maurizio. In this performance, recorded as part of the Met’s Live in HD series, Gianandrea Noseda conducts Sir David McVicar’s new staging, which teems with lurid backstage intrigue and political maneuvering.
Full Synopsis
Performance Info
Adriana Lecouvreur Met
Performance Date
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Jan 12, 2019
Sketch for teams. Composer
Francesco Cilèa
Librettist
Arturo Colautti
Run Time
Adriana Lecouvreur 2011
Songbook list. 2 HRS 22 MIN
Metropolitan Opera Orchestra, Chorus, and Ballet
Italian master composer Giuseppe Verdi, born in 1813, was extremely popular for the beautiful tunes and the psychological depth of the characters in his operas. A wonderful example of Romantic-era music, Verdi’s Rigoletto had a firm grasp of realism and drama which explored the. Rigoletto, opera in three acts by Italian composer Giuseppe Verdi (Italian libretto by Francesco Maria Piave) that premiered at La Fenice opera house in Venice on March 11, 1851. Gilda rigoletto.
Cast & Creative
Gianandrea Noseda
Anna Netrebko
Anita Rachvelishvili
Piotr Beczała
Ambrogio Maestri
Jan 12, 2019
Francesco Cilèa
Arturo Colautti
2 HRS 22 MIN
Gianandrea Noseda
Anna Netrebko
Anita Rachvelishvili
Piotr Beczała
Ambrogio Maestri
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Lifehacker Lastpass
You’ve got to appreciate some of the irony in that title. Lifehacker is part of the Gawker group of websites. Some hackers got into their system and downloaded their database and source code. They also ran some scripts agains the database and were able to find nearly 200,000 people who were using passwords that weren’t very strong.
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LastPass hacked: Time to change the last password you'll ever need to remember LastPass data has been compromised. Although there's no need to panic. LastPass Universal Linux Installer. The Universal Linux installer installs browser extensions for Firefox, Chrome, and Opera. LastPass for Firefox (i386 and x64) LastPass browser extension for Mozilla Firefox. This will also work on other Mozilla based browsers such as SeaMonkey, Mozilla, etc.
I had an account on Lifehacker from years ago. Since I didn’t consider it a huge security issue I used a simple five letter, single word password. Since it was easy to break this password, my username, password and email address was part of the roughly 200,000 released in decrypted form on the web.
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In the past five years I’ve taken a bit of a different approach to creating passwords. Whenever possible, I try to create a unique random password for each website I need a login for. That way if something happens like what happened with LifeHacker, the hackers will only have access to the site they hacked–something they probably have already in order to get the passwords in the first place.
How passwords are stored
If you want to understand how to create a secure password, it is worth taking some time to understand how passwords are stored on modern web applications.
Had I used a longer password that wasn’t a word in some language, the hackers probably wouldn’t have been able to get my password. LifeHacker stored their passwords as a hash (basically a type of one way encryption). When you login, LifeHacker’s servers took your password, ran it through the hash function and then compared it to what they had previously stored. If the values match, then you can login. If not, then you don’t have the right password. As you can see this meant that LifeHacker didn’t have to keep a copy of each users password on their server. However, you can get dictionaries of common words mapped to their hash value. This is how the hackers were able to get my password–they simply looked for a hash.
Here is an example. First lets create a hash of a common password “qwerty”. We do this using the following command at the OS X command line:
The hash is that long string of numbers and letters. This is what gets stored instead of your password on the server.
Lifehacker Lastpass Login
How to break hashes
The hash process isn’t reversible. There isn’t an easy way to take a86850deb2742ec3cb41518e26aa2d89 and “decode” it. However, “qwerty” if a fairly common password. If one were to take a dictionary of common words and run them through the hash process they could create a database of all the hash values for common passwords. “qwerty” is a common password–common enough that someone probably has it listed with its hash value on the internet. So if we do a google search for:
We are going to find a number of results–most are showing that a86850deb2742ec3cb41518e26aa2d89 is the md5 hash for the word “qwerty”. This is how the hackers were able to break my password–even though all they had was the hashed value.
Safe passwords
Hopefully that explains why using a password that can be found in a dictionary is a bad idea. So how do you create passwords that can’t be broken in this way? You need to use a password that the hackers aren’t going to be able to find in a list of common words. Also the longer the password, the safer you are.
So a password like:
gorilla
is bad, but a password like:
dkfje&KPiOudkfje(*(3!
is good. While that last password is secure, there is one little problem. Can you spot it? Right. It is nearly impossible to remember. A simple solution is to use a password that combines a number of words. Here are some good passwords:
TheGorillaAteSoup.OhMy!
mydoghas1flea!
bob.can’t.run.8.miles.
Picking a pattern is another good method. These passwords look random until you try to type them. You basically remember the pattern on your keyboard.
a’s;dlfkgjh
%TGBnhy6
zxcvxcvbcvbnvbnmbnm,nm,.m,./
Use different passwords
Even if you use a secure password, you don’t want to use the same one on every site. Tthere are other ways for hackers to get your password. Some times hackers will install keystroke loggers on public computers in order to capture passwords people are using. If you have a secure password, but use the same one on all of your logins, you might login to check your facebook messages at a library and later find that someone has been assessing your banking. I have logins for over 400 websites. There are some techniques I can use to remember a different password for each site, but it simply doesn’t scale to 400 logins.
Thats where software like 1Password, LastPass, or RoboForm comes in handy.
1Password
I have been using 1Password for several years. 1Password lets you create a random password whenever you need it and it keeps track of your username and login for each website. When you return to a site, 1Password logs back in for you. You have a password on 1Password that gives you access to all of your other passwords.
Lifehacker Lastpass Update
The passwords generated by 1Password are long and random. You can edit the settings to try to make the passwords easier to pronounce if you are trying to remember them or let it make them completely random and very long.
1Password is very nice, but it works as an application with a handful of plugins for different browsers. This works pretty well, but you really need an ubiquitous tool if you want to be able to keep all of your passwords secure. Otherwise you end up using simpler passwords on things you need to access often and from different locations. Often these are the very things you want most to protect.
What frustrated me with 1Password is that I couldn’t use it on my Blackberry or my Linux computer. As long as I stayed on my mac it was fine, but if I tried to use another machine things got a bit more tricky.
LastPass
This week I’ve started looking at LastPass. While 1Password is an application with some plugins, LastPass seems to be entirely plugin based and they have a great deal of cross platform compatibility. The interface doesn’t seem quit as polished as 1Password, but this is probably because they are making it run on a bunch of different platforms. Also LastPass offers synching between different devices so everything stays up to date. Any decryption is done on your local machine so your passwords are only stored encrypted in the cloud.
One interesting feature of LastPass is their security audit that will show you how secure your passwords are overall. You can even have it show you all logins that share a password so you can easily identify the places where you need to bolster your security. Another feature that looks useful is the ability to share your password with others.
LastPass is free for its basic version which will do all that most people need. You can pay $1 per month for extra features like Blackberry support.
Conclusion
Take the time to think about your password strategy. Mistakes are going to happen and you want to make sure you are in the safest position possible if your password for a site somehow gets discovered like mine did.
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https://loadingseeker540.tumblr.com/post/652975265423687680/giuseppe-verdi-rigoletto. We keep receiving tons of questions of readers who are going to buy Lastpass Lifehacker, eg:
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Before deciding to buy any Lastpass Lifehacker, make sure you research and read carefully the buying guide somewhere else from trusted sources. We will not repeat it here to save your time. Songbook list.
Lifehacker Lastpass
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Hamlet Opera
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TL;DR: Hamlet sees his dead dad's ghost, pretends to go crazy with revenge, actually goes crazy with revenge (debatable), and everyone dies. The ghost of the King of Denmark tells his son Hamlet to avenge his murder by killing the new king, Hamlet's uncle. Hamlet feigns madness, contemplates life and death, and seeks revenge. Shakespeare and Opera: Opera seria and opera buffa It is tantalizing, with regard to Shakespearean dramaturgy, to note that opera was born in Florence in 1600—about the time that Hamlet first voiced Shakespeare’s views on acting. From a general summary to chapter summaries to explanations of famous quotes, the SparkNotes The Dumb Waiter Study Guide has everything you need to ace quizzes, tests, and essays.
Hamlet Opera House
Hamlet Opera Summary
Hamlet Opera Arias
Shakespeare's Hamlet was the inspiration for two works by Pyotr Ilyich Tchaikovsky: the overture-fantasia Hamlet, Op. 67, and incidental music for the play, Op. 67a. Songbook list.
Overture-Fantasia, Op. 67(edit)
Tchaikovsky wrote the Hamlet overture-fantasia, Op. 67, between June and 19 October 1888, overlapping the scoring of his Fifth Symphony.
Hamlet Opera House
The idea of a Hamlet overture had first occurred to Tchaikovsky in 1876, as outlined in his plans in a letter to his brother Modest. At that time, he conceived it in three parts:
1. Elsinore and Hamlet, up to the appearance of his father's ghost
2. Polonius (scherzando) and Ophelia (adagio), and
3. Hamlet after the appearance of the ghost. His death and Fortinbras.
However, by 1888 he had altered these notions. The actor Lucien Guitry asked him to write some incidental music for a production of Shakespeare's play, to which Tchaikovsky agreed. The planned performance was cancelled, but Tchaikovsky decided to finish what he had started, in the form of a concert overture. There is no musical enactment of the events of the play, or even a presentation of the key characters. The work adopts the same scheme he used in his other Shakespeare pieces, the fantasy-overture Romeo and Juliet (1869, revised 1870 and 1880) and the symphonic fantasy The Tempest (1873), in using certain characteristics or emotional situations within the play. The essence of the work is the brooding atmosphere depicting Elsinore, but there is an obvious love theme, and a plaintive melody on the oboe can be seen to represent Ophelia.
What makes 'Hamlet' unique from other works of Tchaikovsky fantasy is the lack of a structural development. Giuseppe verdi rigoletto. The standard form of this music has an exposition, a development, and concludes with a recapitulation. Tchaikovsky did not clearly emphasize a development section in 'Hamlet.' There is no section that fulfills the duties of a development, causing 'Hamlet' to be a unique piece that is of linear, not symmetrical, structure.
The Hamlet overture-fantasia was dedicated to Edvard Grieg, whom Tchaikovsky had met in Leipzig in early 1888 on the same occasion that he met Johannes Brahms. He described Grieg as 'an extraordinarily charming man'.
The Symphony No. 5 was premiered on 17 November 1888, and the Hamlet overture-fantasia had its first performance a week later, on 24 November. Both performances were in Saint Petersburg, and Tchaikovsky conducted both of them. While Hamlet was not a great success, it still received a better initial reception than the symphony did, but it has subsequently assumed a lower profile in Tchaikovsky's works.
Excerpts from the score were used in the 2005 ballet Anna Karenina, choreographed by Boris Eifman.
Incidental music, Op. 67a(edit)
Lucien Guitry again asked Tchaikovsky to write incidental music for Hamlet. This time, it was for a benefit production on 21 February 1891 at the Mikhaylovsky Theatre in Saint Petersburg, and it was to be Guitry's farewell performance. Tchaikovsky started work on the incidental music on 13 January, but found it difficult. He was exhausted from completing The Queen of Spades, which had premiered to a triumph in December 1890. Also that month, his patroness Nadezhda von Meck had severed her connection with him. He was also suffering an affliction of the right hand. For these reasons he had cancelled his conducting engagements in Mainz, Budapest and Frankfurt, and retired for rest and recuperation to Frolovskoye.
For the overture, he used the earlier stand-alone Hamlet overture-fantasia Op. 67, but in a shortened form. In the 16 other numbers, as well as writing some new music, he also used material from the incidental music to The Snow Maiden, Op. 12 (1873), from the alla tedesca movement of the Third Symphony (1875), and from the Elegy for Ivan Samarin (1884). The writing was finished by 3 February. Tchaikovsky travelled from Moscow to attend the performance in Saint Petersburg. He enjoyed the performance for the acting, but he never thought much of the music he had produced, and refused permission for it to be used in a later production in Warsaw.
Sources(edit)
Hamlet Opera Summary
Alexander Poznansky, Tchaikovsky: The Quest for the Inner Man, pp. 485, 492, 494, 523, 525
John Warrack, Tchaikovsky pp. 214, 217-218, 244.
Groves’ Dictionary of Music and Musicians, 5th ed.
Hamlet Opera Arias
External links(edit)
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Hamlet_(Tchaikovsky)&oldid=1003158240'
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Drupal Ckeditor
CKEditor for Drupal – Enterprise. This section contains information about the paid, Enterprise version of the CKEditor for Drupal component.This version includes a CKFinder license as well as access to the support channel that is run directly by the original CKEditor development team. This section contains documentation for the CKEditor for Drupal component (Enterprise version) to. The CKEditor integration in Drupal 8 is available out of the box along with the APIs, which can be used to integrate custom/contributed CKEditor plugins into Drupal. In this post, we will be exploring all such possibilities in-depth and learning them practically.
Ckeditor Plugins
The annotation @CKEditorPlugin tells Drupal there is a plugin for CKEditor to load. For the id, use the name of the plugin as defined in the plugin.js file that came with the btbutton download. Now we add several methods to our BtButton class. First method will return false since it is not part of the internal CKEditor.
CKEditor is a powerful editing tool that makes content creation in Drupal far more flexible and enjoyable. CKEditor also integrates with modules to improve.
At Velir, we take the content authoring experience seriously. That's why we updated and released a module for Drupal 9 called Wordcount. The module integrates a plugin for CKEditor that shows you how many words, paragraphs, or characters you have entered in the editor. It also offers additional options like setting character input limits or counting HTML or spaces as characters.
Wordcount is a handy tool for content authors who create teasers or promotional items. It can help them keep their text to a certain length with a policy they can enforce for all authors. The module can also be simply used as a guideline to inform content authors how much text they've put into editor fields.
Integrating Wordcount with Drupal
The majority of CKEditor plugins only need to provide three things to Drupal: where the CKEditor Javascript plugin is located on the file system, the button(s) to display on the CKEditor toolbar, and any configuration to pass to the Javascript plugin when it is being initialized.
Giuseppe verdi rigoletto. The Wordcount plugin has an array of options to configure, so you need to expose these options in Drupal.
You need to extend the core CKEditorPluginBase class and implement a few methods from the interface:
getFile
getConfig
getButtons
settingsForm
Songbook list. You also need to annotate your class definition with the @CKEditorPlugin annotation tag so it's discovered and recognized as an editor plugin.
For readability's sake, some code from this procedure was redacted. You can view the full code here.
Drupal Ckeditor Configuration
Drupal Ckeditor Module
Configuring the Editor Instance
With the code place, Drupal will register the plugin and expose the options form you set with settingsForm above when you configure an instance of CKEditor in a text format. The form below is generated from the code in the example:
Now you can configure this with different settings for each text format using CKEditor. That way on a site, you can enforce the rules above for content authors and help them stick to content guidelines.
When enabled, the tracker will now appear at the bottom of the CKEditor instance pane for authors:
In addition, you can 'lock' the editor when the input limit is reached. This will prevent a content author from adding additional text to the editor until the input criteria are satisfied.
Drupal Ckeditor
Get Wordcount for Drupal 8 or 9
You can download the module for Drupal 8 or 9 and start using it today.
Read more of our thoughts on Acquia and Drupal or get in touch to see how we can help you optimize your Drupal content authoring experience.
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Songbook List
Share your videos with friends, family, and the world. Find album reviews, stream songs, credits and award information for 100 Hits: American Songbook - Various Artists on AllMusic - 2009. Search the world's most comprehensive index of full-text books.
American Songbook List
Songbook List Korg Pa 1000
What is this songbook?
Discover the lastest mySongBook tabs for electric and acoustic guitars, basses, keyboards, drums, vocals and more. Share your videos with friends, family, and the world.
This is a curated collection of songs I like to play on acoustic guitar or piano,with useful performance notes, generally written with a mediocre-at-best malevoice in mind.
Where do I get it? Giuseppe verdi rigoletto.
The html version is almost definitely what you want. The “split” html version breaks each page into a separate HTML file, useful if the massive HTML file is making your phone sad. The html version,styled for mobile devices (some weird layout issues, but it’s the best I can do).
I’m stuck in 2008 and I really want a PDF.
The pdf version (paginated for printing) A pdf versionstyled for kindle (some weird layout issues, but it’s the best I can do)
I’m indecisive and that’s too many songs to pick from.
I’ve organized some acoustic jams around themes and have packaged sub-songbooks accordingly; more ideas are welcome. Here are the ones we’ve done so far:
Songs released between 1955 and 1965 Songs released between 1966 and 1975 Songs released between 1976 and 1979
American Songbook List
(See below if you’re wondering why I picked those weird boundaries..)
Songs of the ‘60s
Songs of the ‘70s Songs of the ‘80s Songs of the ‘90s Songs of the 21st century Billy Joel songs Movie and TV themes
Songbook List Korg Pa 1000
My personal “set list” (guitar) My personal “set list” (piano)
Can I change keys?
Yes, the little arrows next to each song title transpose the song.
Can you send me all the mp3s?
Obviously not. However, I can point you to this Spotify playlist:
Spotify Web link Spotify URI
..that I try to keep up to date.
What are the little buttons in the corner of the HTML version?
The “?” button takes you to a random song (great for icebreaking at jams when no one wants to commit to anything). The “home” button takes you back to the table of contents. The “play” button starts the screen scrolling, after which you can use the “>>” and “<<” buttons to scroll faster or slower.
You can also press the space bar to start/stop scrolling, and while scrolling you can use the right and left arrows to scroll faster and slower. Pressing ‘R’ will get you a random song. I’ve found that in the heat of the jam, the keyboard is usually easier to operate than the mouse.
How did you make it?
The songs are all in Chordproformat, with a few extra tags that I’ve added to make it easy to puttogether the songbook. In particular, I use the “preferred_key”tag as an indicator to my parsing stuff that a song should be transposed to aparticular key. I wrote some code (can share on request) to do some reorganization of the text files, to sanity-check for consistency on things like punctuation and capitaliation, and to generate a songbook file with theright keys. I then use the awesome program Songsheet generator toprint html and pdf files. Some more C# code uses pdfclown topost-process the html a bit, generate the mobile and key-specific versions,and open up the pdf file and re-paginate it so that if you printdouble-sided, you won’t have to turn pages in the middle of a song. Then I take it to Kinko’s and pay $5 to have it spiral-bound. (Sidebar: I recently learned that the fact that I still say “Kinko”s” is one of many ways people know I’m old).
The mobile version is a good idea, but the layout is quirky.
I know. If you have suggestions re: css, printing format, better ways totell the html how to paginate, etc., please email me.
The Kindle version is a good idea, but it’s out of date wrt the HTML version.
I know. I only use the HTML version, and the Kindle version requires a bit of manual intervention to print, so I basically only update the Kindle version when someone emails me. Even the non-Kindle PDF is lagged by about a month.
If I notice mistakes, should I tell you?
Why the weird year boundaries for the smaller songbooks? Microsoft teams sketching.
I started organizing casual jam sessions around themes, usually “songs from this era”, where an “era” is around a decade. At first I was going to start with “songs of the ‘50s”, and not only did I not have enough ‘50s songs, but I also found that a more natural style boundary fell at 1955-1965, putting songs I think of as “pre-rock-era oldies” together. Then the next one logically had to be the decade after that, ending at 1975. But then the ‘80s made more coherent sense, so I went back to mod100 boundaries.
SongBook manages your song collections with lyrics and chords.
Tap or click on a chord to see it's definitions
Automatic formatting for current screen size, auto-zoom auto-scroll
Includes comprehensive, extensible chord libraries for guitar, ukulele, mandolin and many more
Transpose songs on the fly or permanently
Define your own playlists/sets for concerts or practising
Based on the popular chordpro format
Full offline capable - no Internet connection required
Available for many platforms: iPhone/iPad, Android Tablets and Phones, Windows PCs, Windows Tablets, and macOS
Cross-platform sync with Dropbox, , Google Drive, or MS OneDrive
Download - Buy It - App Privacy Policy
SongBook is used by many artists and bands around the world. Here are just a few of them:
The B Sides
Bear Claw Bob
Ben E. Brady
Blackjack, BluRox & The Funtones
Bubba and The Boys
Carte Blanche
David Asbill
DeMugPugs
Erica Vulgaris
The Fabulous DOO VAYS
Ginger Ackley
It's Just JR
Jammin' James & the Wing Women
Jazz behind Beech
The Jerome Ukulele Orchestra
Joe Riccardello
The Journeymen Band (Melbourne)
Kevin Patt
Louisiana Scramble Band
Menno Valley Sound
Mesa Regal Ukulele Band
Mike Ellis Variety Band
Mike Terry
Motion
The Nasty Boys
The O’Kaysions/Jimmy Hinnant
Rubia
The Repentant Sinners
The Scouser/Richard Willacy
Simply2
simply.abigail
String Thing
Steve Thomas
Steven Szydel
The Storm Crows
The Vultures
Waterlanders Lelystad-choir
Wayne Shearer Singer-Songwriter
WhiskySmoke
White Angels
Wild'n'Mild
Wood & Steel
Do you use SongBook in your band or as a solo artist and want to appear in the list above? Please let us know.
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Giuseppe Verdi Rigoletto
Giuseppe Verdi, Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Orchestra Del Teatro Alla Scala, Coro Del Teatro Alla Scala - Rigoletto (2xCD, Album, Mono, RE, RM) EMI Records Ltd. The French theatre director Jean-Pierre Ponnelle oversaw this acclaimed production of Verdi's RIGOLETTO in 1990. Starring one of the world's three most adored tenors, Luciano Pavarotti, this operatic tale of court corruption is moving and heart wrenching, a tragedy as only opera can express.
Rigoletto Synopsis
Giuseppe Verdi Rigoletto Lyrics
Giuseppe Verdi's Rigoletto Story (2005) is a film version of Giuseppe Verdi's 1851 opera Rigoletto (libretto by Francesco Maria Piave). Filmed in Siena in 2002, it was directed by Gianfranco Fozzi and produced by David Guido Pietroni and Maurizio De Santis distributed worldwide by Columbia TriStar Home Entertainment and Sony Pictures Home Entertainment.
Cast(edit)
Rigoletto, the Duke's jester (baritone) – Roberto Servile
Gilda, his daughter (soprano) – Inva Mula
Duke of Mantua (tenor) – Marcelo Álvarez
Sparafucile, an assassin (bass) – Andrea Silvestrelli
Maddalena, his sister (mezzo-soprano) – Svetlana Serdar
Giovanna, Gilda's Nurse (mezzo-soprano) – Paola Leveroni
Count Ceprano (bass) – Boschetti Giulio
Countess Ceprano, his wife (mezzo-soprano) – Emilia Bertoncello
Matteo Borsa, a courtier (tenor) – Giovanni Maini
Count Monterone (baritone) – Cesare Lana
Marullo (baritone) Andrea Cortese
Rigoletto Synopsis
Film details(edit)
Film Company: Roadhouse Movie
Label: Columbia TriStar Home Entertainment, Sony Pictures Home Entertainment
Producers: David Guido Pietroni and Maurizio De Santis
Stage director: Vittorio Sgarbi
Film director: Gianfranco Fozzi
Post Production: Christian Verzino
Costume Designer: Vivienne Westwood
Conductor: Keri-Lynn Wilson
Orchestra: Arturo Toscanini Foundation
Runtime: USA: 126 minutes
Country: Italy
Language: Italian
Sound Mix: Celeste Frigo, Mauro Casazza
Certification: Australia:G / UK:U
Bonus: Exclusive comic book inside 'Rigoletto comix' by Enrico Simonato
External links(edit)
Giuseppe Verdi's Rigoletto Story at IMDb
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Giuseppe_Verdi%27s_Rigoletto_Story&oldid=967820827'
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Dyneley HusseySee All Contributors
Music Critic, The Times, London, 1923–46; The Listener, 1946–60. Author of Verdi; Some Composers of Opera.
Alternative Title: Giuseppe Fortunino Francesco Verdi
Giuseppe Verdi, in full Giuseppe Fortunino Francesco Verdi, (born October 9/10, 1813, Roncole, near Busseto, duchy of Parma (Italy)—died January 27, 1901, Milan, Italy), leading Italian composer of opera in the 19th century, noted for operas such as Rigoletto (1851), Il trovatore (1853), La traviata (1853), Don Carlos (1867), Aida (1871), Otello (1887), and Falstaff (1893) and for his Requiem Mass (1874).
Early years
Verdi’s father, Carlo Giuseppe Verdi, an innkeeper and owner of a small farm, gave his son the best education that could be mustered in a tiny village, near a small town of about 4,000 inhabitants, in the then-impoverished Po Valley. The child must have shown unusual talent, for he was given lessons from his fourth year, a spinet was bought for him, and by age 9 he was standing in for his teacher as organist in the village church. He attended the village school and at 10 the ginnasio (secondary school) in Busseto.
A little later he composed music (now lost) for the town church and the largely amateur orchestra. One of Busseto’s leading citizens, Antonio Barezzi, a merchant and fanatical music enthusiast, became a second father to the young prodigy, taking him into his home, sending him to study in Milan, and in 1836 giving him his daughter Margherita in marriage. Refused by the Milan Conservatory—he was past the admission age and played the piano poorly—Verdi studied privately with Vincenzo Lavigna, an older composer and an associate of La Scala opera house (Teatro alla Scala). Milan was the intellectual and operatic centre of Italy, and in the years 1832–35 Verdi seems to have learned much about literature and politics there as well as counterpoint and the elements of opera. Later, after his great success with Nabucco, he attended literary salons in the city and made lasting friendships with some cultivated aristocrats.
Barezzi’s plan was for Verdi to return to Busseto as music director, but when this post fell open in 1833 a furious political storm developed leading to long delays. Soured by this, Verdi nonetheless took a compromise position and stayed from March 1836 to October 1838, teaching and composing a good deal, though all he published was a set of songs in 1838.
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Needless to say, he had his eye on greater things. The music that he had written during these years must have impressed the right people, for after some difficulty he succeeded in getting an opera, Oberto, conte di San Bonifacio, produced at La Scala in March 1839. Ordinary as the piece may seem today, it succeeded well enough to travel to Genoa and Turin and to gain him a commission for three more operas at Italy’s leading theatre. His rising career was deflected by tragedy: in 1840 his young wife died, following the deaths of two infant children. In addition to this personal grief, Verdi saw his next opera, Un giorno di regno (King for a Day), a comedy, hissed off the stage. This compounded trauma led to a severe depression and either caused or fixed the dour, fatalistic, sometimes harsh aspects of Verdi’s character.
Early career
Verdi overcame his despair by composing Nabucodonoser (composed 1841, first performed 1842; known as Nabucco), based on the biblical Nebuchadnezzar (Nebuchadrezzar II), though the well-known story he told later about snapping out of his lethargy only when the libretto fell open at the chorus “Va, pensiero”—by that time one of his most beloved works—is no longer credited. (The older Verdi embroidered on various aspects of his early life, exaggerating the lowliness of his origins, for example.) Nabucco succeeded as sensationally as Un giorno had failed abjectly, and Verdi at age 28 became the new hero of Italian music. The work sped across Italy and the whole world of opera; within a decade it had reached as far as St. Petersburg and Buenos Aires, Argentina. While its musical style is primitive by the composer’s later standards, Nabucco’s raw energy has kept it alive a century and a half later.
Giuseppe Verdi Rigoletto Lyrics
There followed a period (1843–49) during which Verdi drove himself like a galley slave, as he himself put it, and to the detriment of his health, to produce nearly two operas a year. His aim was to make enough money for early retirement as a gentleman farmer at Sant’Agata, close to Roncole, where his forebears had settled. He purchased land there as early as 1844. To “produce” an opera meant, at that time, to negotiate with an impresario, secure and edit (often heavily) a libretto, find or approve the singers, compose the music, supervise rehearsals, conduct the first three performances, deal with publishers, and more—all this while shuttling from one end of Italy to the other in the days before railroads.
Though masterpieces were unlikely to emerge from a schedule like this, Verdi’s next two operas were, amazingly, just as wildly successful: I Lombardi alla prima crociata (1843; The Lombards on the First Crusade) and Ernani (1844). The latter became the only work of the “galley-slave” period to gain a steady place in the opera repertory worldwide. His other operas had varying receptions. A list made in 1844 of possible subjects for librettos shows Verdi’s high-minded concern for literary and dramatic values. It included King Lear, a project he would return to and abandon several times in later years. In the 1840s he drew on Victor Hugo for Ernani, Lord Byron for I due Foscari (1844; The Two Foscari) and Il corsaro (1848; The Corsair), Friedrich von Schiller for Giovanna d’Arco (1845; Joan of Arc), I masnadieri (1847; The Bandits), and Luisa Miller (1849), Voltaire for Alzira (1845), and Zacharias Werner for Attila (1846).
Only with Macbeth (1847), however, was Verdi inspired to fashion an opera that is as gripping as it is original and, in many ways, independent of tradition. Just as the biblical theme had contributed to the grandeur of Nabucco, so the tragic theme of Shakespeare’s drama called forth the best in him. Verdi knew the value of this work and revised it in 1865, excising some of its crudities; but its greatest number, the harrowing sleepwalking scene of Lady Macbeth, could be left just as it was written in 1847.
By that time he was receiving lucrative commissions from abroad—from London (I masnadieri) and Paris (Jérusalem, a thorough revision of I Lombardi, 1847). La battaglia di Legnano (1849; The Battle of Legnano), a tale of love and jealousy set against the Lombard League’s victory over Frederick Barbarossa in 1176 ce, was Verdi’s emphatic response to the Italian unification movement, or Risorgimento, which spilled over into open warfare in 1848, the year of revolutions. Greeted ecstatically at the time, this opera later faded.
It is often said that in the earlier operas, too, choruses and other numbers calling for liberation or revolt were taken metaphorically as revolutionary rallying cries, and evidently this did happen on isolated occasions. However, it was only after unification in 1861, when the conte di Cavour, seeking to involve as many important Italians as possible, persuaded the composer to stand for the Chamber of Deputies—which he attended faithfully but soon resigned from—that Verdi came to be widely celebrated as a national hero. “Va, pensiero,” the song of the enslaved Hebrews in Nabucco, assumed the status of an unofficial national anthem. That the vision of Verdi as “singer of the Risorgimento” owes less to historical fact than to patriotic nostalgia should not be thought to diminish its significance; adapted to words about the downtrodden masses, “Va, pensiero” could still be heard at Italian communist rallies in the 1990s.
Quick Facts
born
October 9, 1813 or October 10, 1813 Le Roncole, Italy
died
January 27, 1901 Milan, Italy
notable works
movement / style
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