Spoleto Festival Orchestra

Biography

The Spoleto Festival Orchestra traces its origins to the highly successful Italian opera composer Gian Carlo Menotti (b. Cadegliano, Italy, July 7, 1911). The composer of several operas with unusually direct and clear expression and great dramatic (some say melodramatic) power, Menotti had gained unprecedented success when, rather than be content with a handful of performances at a regular opera house, he took the chance of mounting and promoting Read more them in the manner of Broadway musicals. He booked his English-language operas The Medium, The Saint of Bleeker Street, and The Consul into individual theaters and each became a box-office hit, and his Amahl and the Night Visitors was the first opera directly written for television (NBC network, December 24b, 1951).

In 1958 he founded The Festival of Two Worlds in the small and poor town of Spoleto, Italy, with the intention of presenting American music and musicians. Two Worlds became a success and one of the best-known of the many European music festivals, with Menotti as its director and often staging the operas himself. In 1993 Menotti passed the directorship of the Festival to his adopted son, Francis Menotti.

In 1977 he sought an American counterpart for the performance of music including opera, ballet, orchestral, choral, chamber, jazz, and theater performances in a city possessing the old-world charm and plentiful churches, theaters, and other performance venues. He found it in the old port city of Charleston, SC, and began the series that became known as the Spoleto Festival USA. It has also become a major summer event in the U.S.'s cultural calendar, with a wide variety of literary and visual arts. Charleston enlarged the concept by founding a companion festival, Piccolo Spoleto, of similar length.

However, there is no link between the two Spoleto Festivals and Menotti has not participated in the American version for several years. In fact, he has publicly urged the Major and Council of Spoleto to lodge a protest over Charleston's appropriation of the Italian town's name.

A Spoleto Festival Orchestra is formed every year for the Charleston event. Its members are recruited among the finest orchestral instrumental students in American conservatories and music schools, who must pass an in-person audition after being recommended. Spoleto Festival Orchestra members have gone on to positions in ensembles such as the Cleveland Orchestra, the New York Philharmonic, and the Metropolitan Opera Orchestra. Spoleto Festival USA holds an annual charity auction every year to raise funds for the cost of the orchestra. Read less

There are 10 Spoleto Festival Orchestra recordings available.

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Biography

The Spoleto Festival Orchestra traces its origins to the highly successful Italian opera composer Gian Carlo Menotti (b. Cadegliano, Italy, July 7, 1911). The composer of several operas with unusually direct and clear expression and great dramatic (some say melodramatic) power, Menotti had gained unprecedented success when, rather than be content with a handful of performances at a regular opera house, he took the chance of mounting and promoting Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Act I Scene 1: Introduction - Rosa Mystica (Assunta, Chorus, A Young Man)
Act I Scene 1: Well ... I'm tired of waiting! (Maria Corona, Assunta, Carmela, Chorus, A Young Woman)
Act I Scene 1: The vision has begun (Don Marco, Chorus)
Act I Scene 1: Ah, sweet Jesus, spare me this agony (Annina, Chorus)
Act I Scene 1: Look! The stigmata (Chorus)
Act I Scene 1: Stop it! (Michele, Carmela, Chorus, Don Marco)
Act I Scene 1: Ah, poor Michele, it is not I your rival (Don Marco)
Act I Scene 1: Interlude
Act I Scene 2: Canta ninna, canta nanna al mio bambino (Assunta, Carmela, An Old Woman, Renata, Annina, Man's Voice, Woman's Voice, Concettina)
Act I Scene 2: Annina, I've something to confess to you (Carmela, Annina, Assunta)
Act I Scene 2: Annina, Annina! (Maria Corona, Assunta, Carmela, Annina, Son of Maria Corona)
Act I Scene 2: Michele, Michele! (Annina, Michele)
Act I Scene 2: Sister, I shall hide you and take you away (Michele, Annina)
Act I Scene 2: Veglia su di noi, Santo del Sangue (Chorus, Annina, Michele)
Act III Scene 2: Oh, my Love, at last the hour has come (Annina, Carmela)
Act III Scene 2: Maria, Salvatore! (Assunta, Maria Corona, Salvatore, Don Marco, 1 Tenor, 1 Bass, Carmela)
Act III Scene 2: Gloria tibi Domine in saeculum et in saeculum saeculi (Chorus, Don Marco, Annina)
Act III Scene 2: Annina, Annina! (Michele, Salvatore, Don Marco, Maria Corona, Carmela, Assunta, Chorus)
I. Allegro moderato
II. Adagio
III. Allegro vivace
I. Improperia
II. La citta celeste
III. Gli angeli militanti
I. Introduction
II. Barcarolle
III. Street Fight
IV. Cortege
V. Sebastian's Dance
VI. Dance of the Wounded Courtesan
VII. Pavane
Overture
Scene 1: The radiance of the sky in spring ... (Prince Andrey)
Scene 1: I won't, I can't sleep (Natasha)
Scene 1: O God, my God! What a shame to sleep! (Natasha)
Scene 2
Scene 2: Chorus! Let the chorus begin! (Host)
Scene 2: Look, the colonel's dancing the mazurka (Peronskaya, Akhrosimova, Helene, Anatoly, Count Rostov)
Scene 2: Will no one choose me as a partner? (Natasha)
Scene 2: When I was at Otradnoye in May (Prince Andrey)
Scene 3: The young Prince's fiancee (Old Footman)
Scene 3: Ah, Madam, young lady ... (Prince Nikolay Bolkonsky)
Scene 4: The charming, delightful Natasha (Helene)
Scene 4: She's wonderful and so beautiful (Natasha)
Scene 5: At 10 o'clock in the evening, she'll be waiting (Anatoly)
Scene 5: Balaga! (Dolokhov)
Scene 6: Oh, my dear Miss Natasha, all is lost, it seems (Dunyasha)
Scene 6: A fine young lady you are! (Akhrosimova)
Scene 6: I've sought to avoid her (Pierre)
Scene 7: Picture the scene, Countess (Metivier)
Epigraph: The forces of 2 and 10 European nations (Chorus)
Scene 8: Come on lads! That's the way! (Volunteers, Tikhon)
Scene 8: Denisov, her first fiancee (Prince Andrey)
Scene 8: It's the master, look at him! (Fyodor)
Scene 8: Hurrah! Hurrah! (Chorus of Soldiers)
Scene 8: There is no people greater than ours (Kutuzov)
Scene 9: The wine is uncorked; we must drink it (Napoleon)
Scene 10: And so, gentlemen, the question is ... (Benigsen)
Scene 10: The enemy bears down on us with fire and steel (Soldier)
Scene 10: When, oh when was this dreadful business decided? (Kutuzov)
Scene 11: Moscow's deserted! (Ramballe)
Scene 11: I must do the deed, or die (Pierre)
Scene 11: Where did you get such a good going-over, lads? (Jacqueau)
Scene 11: Davout, the cruel Davout, the emperor Napoleon's hatchet man! (Pierre)
Scene 11: Nothing matters now, nothing (Pierre)
Scene 11: What a dreadful scene! (Napoleon)
Scene 12: It's stretching higher and further (Prince Andrey)
Scene 12: Has fate really brought us together so strangely today ... (Prince Andrey)
Scene 13: We've burnt our bridges ... (Ramballe)
Scene 13: Hey! Hey! Hey! (Voice Off-Stage)
Scene 13: Dolokhov said that Helene had passed away (Pierre)
Scene 13: The Commander-in-chief is coming! (Adjutant)
Scene 13: The enemy has been put to rout (Kutuzov)
Act I Scene 1: Tu reviendras et voudras m'enfermer dans tes bras (Voice on record, John, Magda, Mother)
Act I Scene 1: Quick, John! The Police! (Mother, Magda, Police Agent)
Act I Scene 1: Don't move yet (Magda, Mother, John)
Act I Scene 1: Now, O lips, say goodbye (Magda, Mother, John)
Act I Scene 2: Interlude
Act I Scene 2: Next. Yes ... What can I do for you? (Secretary, Mr Kofner)
Act I Scene 2: Next. Next! (Secretary, Magda, Foreign Woman, Mr Kofner)
Act I Scene 2: Next. Hello. Oh! It's you! (Secretary, Magda)
Act I Scene 2: I beg your pardon, Madam (Magician, Vera Boronel, Magda, Foreign Woman, Mr Kofner)
Act II Scene 1: Tu reviendras et voudras m'enfermer dans tes bras (Voice on record, Mother, Magda)
Act II Scene 1: I shall find for you shells and stars (Mother)
Act II Scene 1: John, John, why did you bring me ... (Magda, John, Mother)
Act II Scene 1: It is the signal! (Magda, Mother, Police Agent, Assan)
Act II Scene 1: Mother, why are you so still, Mother! (Magda, Mother)
Act II Scene 1: Interlude


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