The Music Room of Gabriele D’Annunzio in New York City

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Flanigan at 60, A Gala Celebration!

Music and Mentoring House, Inc is a mentoring and residency program that works with students in all artistic disciplines and at all levels in their development in a safe, affordable and creative living environment.

Founded on 2010 by acclaimed American soprano, Lauren Flanigan, Music and Mentoring House is a residency program that works with students in all artistic disciplines and at all levels in their development in a safe, affordable and creative living environment.

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Dr. Mary Rorro, The “Violin Doc,” An Exclusive Interview

An interview by Tiziano Thomas Dossena
She was nicknamed “The Violin Doc” in a book by Lisa Wong entitled “Scales to Scalpels, Doctors Who Practice the Healing Arts of Music and Medicine;”  a talented professional viola player and a respected psychiatrist who uses her music to heal veterans, Dr. Mary Rorro is so much more and we are proud to present an exclusive interview with this bright star of the medical field who is finding many ways to help her patients.


L‘IDEA: You are a psychiatrist working with veterans with post-traumatic stress disorder and blending music and poetry into your practice. It seems that music has always been a major factor in your life. Could you tell us when did you start to use music as a healing tool? {Talk about your Music major, awards but also about the middle school and following years too, please)
Dr. Mary Rorro: When I was six and a half years old, my mother showed me her little violin that she used to play as a child.  I cherished that violin and toted it around in its diminutive case.  My mother, my talented brother Michael and I used to play together to Suzuki records, and listened to Italian arias and Neapolitan songs with my grandparents. The first time I witnessed the power of music was as my grandfather was dying in his hospital bed.  I played Toselli’s Serenade for him, a favorite song he frequently requested.  His last words were “More music.” As a candy striper in high school, my mother encouraged me to entertain the ill patients under my charge.  She witnessed as I played for a depressed cancer patient who had not spoken for months, who suddenly began to sing along with my violin to Christmas carols, bringing the nurses to tears.  That inspiring moment influenced me to combine my desire to be a physician and blend music into my profession. We recognized the healing power of music to those suffering that day. My mother was so proud. I wanted to make her happy by sharing music with others, who needed it in the most essential way.
I majored in music and minored in biology at Bryn Mawr College and received the first Performing Arts Prize ever awarded at the college.  Bryn Mawr encouraged leadership opportunities for women and service to others.  I organized two benefit concerts for St. Christopher’s Hospital for children with AIDS, as President and first violist of the Bryn Mawr–Haverford College Symphony.  I developed a program in medical school and psychiatry residency called “Musical Rounds: The Next Best Thing to Grand Rounds,” and “From Soup to Notes,” to perform for people in soup kitchens.

L‘IDEA: Besides your practice, you also created a program of volunteers with a similar goal, “A Few Good Notes.” Could you tell us about it?
Dr. Mary Rorro: Given the enthusiastic response from my previous musical experiences, I wanted to introduce music into the lives of the veterans at my clinic and the New Jersey VA Healthcare System. I started a program called “A Few Good Notes,” in which I play viola for the patients in the group therapy sessions and individually in my office.  Some of my patients used to play instruments, and hearing me encouraged them to resume their musical instruments and join me in the program.  One of my patients brought his Dixieland band in to entertain nursing home patients with me in the Lyons VA.  The quiet room was instantly transformed with the sound of patients singing along to the upbeat rhythms.  Another patient, after hearing me play Amazing Grace in the office, was inspired to pick up his guitar again and also start reading the Bible, after he contemplated the words in the song.
I initiated a program at the VA that provides free guitar lessons for veterans, which enables them to experience the joy of music first hand.  We have volunteer guitar instructors who give generously of their time and it allows for engagement with other veterans in the Guitar Instruction Group (GIG.)  The clinic is now filled with the strumming sounds of vets on their instruments, and the waiting list for lessons is a long one.
Every year, we carol in Lyons and East Orange hospitals and recruit other employees to share their time and talents with veterans.  The program has been expanded nationally in the VA.  Some patients and employees who are part of our Healing Arts committee bring their guitars and other instruments, and sing along to my viola.
Music draws out stories from the patients, including one Vietnam vet who remembered his platoon sang Silent Night on a hill in Vietnam, causing a cease fire for that time on Christmas Eve.  Music evokes powerful emotions and enables the therapists and me to process them with the patients in group therapy settings.
The program has been featured on WQXR, the former classical music station of the New York Times, WNYC radio, the Dr. Oz website, the International Society for Traumatic Stress Studies and AOL’s Homepage for Heroes.  I was featured as “The Violin Doc,” in the book “Scales for Scalpels: Doctors Who Practice the Healing Arts of Music and Medicine,” by Lisa Wong, M.D.

Princeton Memorial ceremony at Monument Hall (Click on the picture to view a video on YouTube of Dr. Mary Rorro’s program for the veterans)

L‘IDEA: You clearly had a call for music and became a professional violist. When and how did the call for medicine, and in particular psychiatry, come about? 
Dr. Mary Rorro: When I was 4 years old, I was riding in the car with my mother, and she asked what I wanted to be when I grew up.  I quickly responded, “A doctor, because I want to help people.”  My parents always encouraged me in my dream, from which I never wavered.  I was influenced by many members of my family, who were role models. I spent time in my father’s busy primary care practice, and observed grateful patients leaving his office.  He went on house calls early in the morning for people who he knew couldn’t afford to pay, but was dedicated to helping them.  My Aunt, Mary A. Rorro, M.D. was one of the trailblazing women physicians of her area.  Her “Uncle Doc” graduated from Hahnemann Medical School and encouraged her to go there from a young age.  Supreme Court Justice Samuel Alito’s father, Samuel Alito Sr., was her teacher in high school and he awarded her with the science medal.  He knew she wanted to be a doctor and told her, “Never be discouraged from your dream.” She still has the report card envelope where he wrote other encouraging words about her future, since she valued them so much.  She graduated from Hahnemann in 1958, and married my Uncle Al.  He and my Uncle John also served the community as physicians. My Aunt Celeste received her Doctorate in Education and was Director of Teacher Certification and Academic Credentials in New Jersey.
I became interested in psychiatry after a rotation at UMDNJ-SOM medical school at a New Jersey state hospital.  Psychiatry seemed like a perfect way to blend narratives, creativity, and the arts into the medical profession.  I entered a Harvard Medical School program for psychiatry residency and began working with veterans in the VA system as well as other mental health institutes in Boston, including McLean Hospital, Cambridge Hospital.  Following residency, I completed a psychiatry Fellowship in Addiction Medicine at Massachusetts General Hospital.  The years of tests and training, long nights on call, sleeping on scratchy sheets, were all worth it when someone says, “You changed my life.”  I consider that to be a complement to my parents, because without their constant love and support, I would not be able to help my patients and hear those words.

L‘IDEA: Your poetry is very poignant and inspirational, bringing images of war and tortured souls. Do you write only about veterans’ experiences?
Dr. Mary Rorro: Veterans’ stories of trauma, grief, and loss inspired me to write poetry meant to help patients, and to honor them.  Some poems reflect themes of posttraumatic stress disorder (PTSD), including intrusive memories, nightmares and flashbacks.  Others relate to more specific trauma incidents and themes of moral injury and survivor guilt.  The patients’ often poignant, sometimes frightening narratives were compelling.  Poetry became a venue in which I could attempt to first process and then articulate the overwhelming emotions they experience.  I began to share my poetry, in hopes of helping them connect and progress in treatment.  The poems opened a new dialogue on aspects of their stories which they might not have touched upon during the standard medication management visit.
I also write other poetry and haiku based on nature and spiritual themes, and compose songs and song lyrics.

Click here to read one of her poems, Tunnel Rats

L‘IDEA: You have received innumerable awards both for your charitable and your professional work. Notwithstanding that they are all relevant and well deserved, is there one in particular that has meant more to you and why?
Dr. Mary Rorro: There are a few that are especially meaningful.  An award that had special meaning was from the American Foundation of Savoy Orders, a royal order in Italy.  They bestowed the Saints Maurice and Lazarus Bronze medal for charitable works at St. Patrick’s Cathedral in New York City.  It was incredibly exciting to walk up the steps of the main altar to receive the beautiful bronze medal and proclamation of Vittorio Emanuele.  Performing at the Centennial Celebration mass of the Holy Rosary church in Washington D.C. with Supreme Court Justices Samuel A. Alito, Jr. and Antonin Scalia, and Nancy Pelosi, in attendance, was also a peak experience. It was an honor to be inducted into the Italian American National Hall of Fame, in the same year with Supreme Court Justice Samuel A. Alito, Jr.
The Planetree organization’s Patient-Centered Excellence and Innovation Award (received by one of 10 individuals or programs internationally) for my “A Few Good Notes” program in Chicago, was significant for recognizing the importance of helping veterans through the arts.

L‘IDEA: Your father was a doctor and your mother is an icon of the Italian American community in New Jersey. How did this influence you in your personal life and your professional choices?
Dr. Mary Rorro: My late father, Dr. Louis Rorro, was a physician who was committed to helping patients in the community.  My mother, Dr. Gilda Rorro, was an educator and administrator in the Department of Education, and worked in civil rights.  She traveled to Haiti on numerous occasions to establish school exchange program with schools in Haiti and New Jersey.  In the past 20 years, she worked tirelessly to serve Italian Americans in the community as Honorary Vice Consul work and as Chair of the New Jersey Italian Heritage Commission. She was knighted by the President of Italy for development of her curriculum to put Italian heritage into all schools in New Jersey.  My parents instilled an appreciation of Italian language and culture, and we feel fortunate to have cherished family and friends in Italy. My wonderful husband Joseph also shares my love of Italian culture and music; we met at an Italian social club when I was a psychiatric resident in Boston.
My parents’ productivity and engagement in their careers motivated me toward my profession and I was proud of what they accomplished.  I was raised without limitations of what a girl or woman could achieve.  No matter how busy my patients were, they were always actively engaged in my development, taking me to music lessons, concerts, and trips to Europe, to broaden my education.  They were tremendous mentors, who influenced my life and left a legacy of serving others, which I strive to continue.  Their high school graduation gift was my viola, and one that truly keeps on giving.  I am forever indebted to my parents for guiding me in my goal to becoming a doctor and grateful they helped make my dream a reality.  They gave of themselves with genuine commitment to community, and to me.  My parents’ love and devotion enabled me to be fulfilled as a physician and musician, and aspire to help some many others, to live by their example.

Dr. Mary Rorro plays the viola for the mother Gilda in the occasion of her memoir’s presentation to the public

L‘IDEA: Are there any new projects in the near future?
Dr. Mary Rorro: I consider serving our veterans a patriotic mission. They have taught me so much about sacrifice and resilience. Blending music and poetry into my practice is a privilege and serves as a rewarding and creative means of deepening the doctor–patient bond. I have witnessed the powerful effects the arts can hold for patients and hope to distribute my collection of vignettes and poems to more veterans.  I plan to continue expanding the “A Few Good Notes” program so more patients become involved in music and the arts, as an invaluable tool to employ in their journey toward healing.

Veterans listening to Dr. Mary Rorro’s music (Click on the picture to view a video on YouTube)

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Magic can happen anywhere, even in the Amazon

DANIEL CATÁN

An opera star goes down the Amazon on a magical quest.

Inspired by the writings of the great Gabriel García Márquez (One Hundred Years of Solitude), Daniel Catán’s Florencia en el Amazonas is one of the most lyrical and melodious new operas of the past 30 years, embraced by critics and audiences everywhere it has played. This story of a Brazilian soprano’s emotionally fraught journey back to her homeland offers a brilliant display of magical realism—and pushes the operatic form to new limits of imagination. To portray a great artist, FGO has engaged a great artist—Ana María Martínez, acclaimed as one of the most beloved Butterflys in recent Metropolitan Opera history.

CASTING
Florencia Ana María Martínez [Apr 28, May 1, 4, 5]
Sandra López [Apr 29]
Riolobo Steven LaBrie* [ALL]
Rosalba Cecilia Violetta López* [ALL]
Arcadio Andrew Bidlack [ALL]
Paula Mariya Kaganskaya [ALL]
Alvaro William Lee Bryan [ALL]
Capitán Rafael Porto [ALL]
Conductor Ramón Tebar
Director Jose Maria Condemi
Production Opera Colorado
Set Designer Phillip Lienau
Lighting Designer Kenneth Yunker
Costume Designer Elizabeth Poindexter*
Projection Designer Aaron Rhyne*
Chorus Master Katherine Kozak
* = FGO debut

SYNOPSIS

The El Dorado, a steamboat sailing down the Amazon from Leticia, Colombia, to Manaus in the early 1900s

Act I

On the riverbank, Riolobo, a mystical character who can assume many forms, excitedly announces that the El Dorado is bound for the opera house in Manaus. There, the legendary opera diva Florencia Grimaldi, who has not set foot in her native South America for twenty years, will give a concert to reopen the theater. From among the crowds lining the riverbank and selling their local wares, we glimpse the ship’s passengers coming aboard: a young journalist, Rosalba, who is working on a biography of Florencia Grimaldi; Paula and Alvaro, a middle-aged couple journeying to hear Grimaldi in hopes of rekindling their marriage; and the diva herself, traveling incognito.

As the ship pulls away from the busy port, Florencia reflects on the emptiness of her life and her desire to rediscover herself and her long-lost lover, Cristóbal, a butterfly hunter in search of the rare Emerald Muse. Rosalba’s notebook is rescued from the river by the ship Capitán’s nephew, Arcadio, and they exchange confidences about their longings and desires. Alvaro and Paula attempt to dine on deck, but misunderstandings about the exotic menu lead only to bitter exchanges.

Florencia, awakened by the sounds of the jungle, learns from the Capitán that the butterfly hunter has disappeared into the jungle without a trace. Later, a tempestuous game of cards contrasts the growing affection between Rosalba and Arcadio and the escalating tension between Paula and Alvaro. A violent storm quickly develops, and the ship is carried helplessly in the rushing currents in a downpour of pink rain. Alvaro saves the boat from being crushed by tree trunks but is knocked overboard. With the Capitán unconscious, Riolobo appears in the guise of a river-spirit and implores the mercy of the gods of the river. Arcadio ably takes the helm but is unable to stop the forces of nature as the ship runs aground.

Act II

In the quiet after the storm, Florencia wonders whether she is alive or dead. Arcadio and Rosalba rejoice to find they have survived the storm, but, frightened by the intensity of their feelings for each other, vow not to fall in love and risk disillusionment. Paula laments the loss of Alvaro, recognizing that the wall between them was pride—not a lack of love. Riolobo once again calls upon the mystical and transformative powers of the Amazon. Suddenly Alvaro is returned to the boat, explaining that Paula’s voice called him back from the brink of death. On behalf of all the passengers, Florencia thanks him for saving their lives, and they resume their journey to Manaus.

Rosalba finds her ruined notebook, which contained all her notes for the biography of Florencia. Rosalba is distraught by the loss of two years’ work, but Florencia tells her she has lost nothing irreplaceable. The two women begin to argue about the source of Grimaldi’s talents, and when Florencia passionately declares that the diva’s gift sprang from her love for a man, Rosalba suddenly realizes the woman standing before her is the opera singer herself.

With both pairs of lovers reconciled to their need for each other, the ship is about to reach Manaus when it is discovered that no one may disembark because of a cholera epidemic. In despair at being unable to fulfill her search Florencia’s spirit drifts toward Cristóbal in a mystical reunion.

—Courtesy of Houston Grand Opera

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“1900: Looking Back, Looking Forward” has great success

Once again, the partnership between Maestro Michael Recchiuti at the piano and the astoundingly beautiful soprano Elizabeth Blancke-Biggs brought a magnificent concert to the world. I say to the world because besides being performed at the National Opera Center of America in NYC, it was live streaming on Facebook and at the site lasirenaproductions.com.

The choice of songs and arias was well balanced among Italian composers as Donaudy (of whom Ms. Blancke-Biggs also recorded a CD), Puccini and Pizzetti, followed by an interval, and German and Austrian composers, such as Schomberg, Mark, and Strauss.

The soprano proved yet again that her preparation, experience and angelic voice can light up a room while completely capturing the attention of the audience; I would say she keeps them mesmerized, simple as that. The pianist, evidently, contributed with his flawless performance.

We simply need more of this concerts that allow, through live streaming, the opportunity of being present through the internet to people who otherwise would be denied such an occasion.

The lucky ones who were physically present at the event had also the privilege to meet the two performers after the show and that is certainly a plus, being that they are amicable and a pleasure to have a conversation with.

My compliments go to the duo for their wonderful performance.

The concert may be viewed by clicking the picture below.

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International singing contest Saint Gianna Beretta Molla

All the finalists admitted to the Concert of May 13th 2018 will receive a Diploma of Honor.

Prizes awarded:

– First Prize: Euro 1500

– Second Prize: Euro 750

– Third Prize: Euro 350

Prize for the Best performance of a religious or sacred song: Euro 350

The following roles (compensated) in the opera Rigoletto by Giuseppe Verdi will be offered and assigned at the Contest

Rigoletto (baritone)

Gilda (soprano)

Duca di Mantova (tenore)

Sparafucile (basso)

Il Conte di Monterone (basso/baritone).

To download the complete rules of the contest, please click below:

 https://www.associazionegiuseppeverdi.com/concorso/concorso-2018/

第三届“意大利圣戛纳国际声乐比赛”由意大利威尔第文化协会主办,意大利梅杰罗政府协办。“圣戛纳国际声乐比赛“由意大利威尔第文化协会主席马龙·邦凡蒂先生于2016年创立,旨通过比赛的方式,遴选出专业优秀、有潜力的歌剧人才,推动歌剧艺术的发展。

一、参赛对象

本次大赛面向全球歌剧专业演唱者,18周岁以上,无年龄上限,无国籍限制。

二、报名注意事项

1.参赛项目:歌剧、宗教歌曲

2.报名资料准备

a.国籍身份证明(复印件或电子版)

b.个人简历(意大利语或英语),简历中联系方式需包括电话号码、电子邮件。

c.报名歌剧项目需自选三首歌剧咏叹调,其中一首必须选自大赛规定曲目,也可另外准备一首宗教歌曲,亦可有机会参加宗教歌曲项目的角逐。

若只报名宗教歌曲项目,则准备一首宗教歌曲即可。

所有作品列表均需注明:曲作者、歌曲名称、选自哪部作品。

d.报名缴费凭证(原件或电子版)

3.报名方式

a.网络报名:大赛官网报名表格:

https://www.associazionegiuseppeverdi.com/registrazione-concorso-eng/

b.邮件报名:意大利威尔第文化协会邮箱:giuseppeverdi.org@gmail.com

C.信件报名: 威尔第文化协会地址:via Monte Rosa nr. 58, 20010 Mesero (Mi)

★ 请优先选择网络报名,按照报名页面要求,直接填写报名表格即可。邮件及信件报名,需将报名资料发送至以上地址。

4.报名费用

歌剧:70欧。

只报名宗教歌曲:35欧。

5.报名费用请汇至如下账户:

Associazione “Giuseppe Verdi” di Mesero c/o BancaProssima,filiale di Milano,

IBAN: IT52N0335901600100000139264, BIC: BCITITMX;

报名后由于个人原因不能参加比赛,责任自负,已交付的报名费用,将不予退还。

6.报名截止日期:即日起至201853日。

三、比赛注意事项

1.比赛时间及地点:

本次大赛将于2018510-13日在梅杰罗政府议会厅举行。

2.比赛流程

a.预赛:2018510-11

角逐歌剧奖项的选手自行选择一段歌剧选段进行演唱。参加宗教歌曲选拔的选手将在此环节演唱一首宗教歌曲,如成功通过预赛,将直接晋级决赛。

b.半决赛:2018512

歌剧选手演唱由大赛评委会选出的两首歌剧作品。

c.决赛:2018513

进入决赛的选手将和意大利交响乐队完成决赛,决赛曲目将由评委组决定,决赛音乐会将对公众开放。

大赛决赛选手规定曲目单,各声部决赛备选曲目

SOPRANO(女高音)

1) V.Bellini: “Oh quante volte..” da Capuleti e Montecchi

2) V.Bellini: “Casta Diva” da Norma

3) G.Bizet: “Je dis que rien ne m’épouvante” da Carmen

4) G.Donizetti: “Quel guardo il cavaliere… So anch’io la virtù magica” da Don Pasquale

5) P.Mascagni: “Voi lo sapete, o mamma” da Cavalleria Rusticana

6) W.A.Mozart: “E Susanna non vien…Dove sono i bei momenti” da Le nozze di Figaro

7) W.A.Mozart: “Giunse alfin il momento… Deh, vieni non tardar” da Le nozze di Figaro

8) W.A.Mozart: “Der Hölle Rache” da Die Zauberflöte

9) J.Offenbach: “Les oiseaux dans la charmille” da Les contes d’Hoffmann

10) G.Puccini: “Sì, mi chiamano Mimì” da La Bohème

11) G.Puccini: “Quando men vo” da La Bohème

12) G.Puccini: “Donde lieta uscì” da La Bohème

13) G.Puccini: “O mio babbino caro” da Gianni Schicchi

14) G.Puccini: “Un bel dì vedremo” da Madama Butterfly

15) G.Puccini: “Vissi d’arte” da Tosca

16) G.Verdi: “Ben io t’invenni… Anch’io dischiuso un giorno… Salgo già…” da Nabucco

17) G.Verdi: “Ave Maria” da Otello

18) G.Verdi: “Caro nome” da Rigoletto

19) G.Verdi: “Ah! Forse lui… Sempre libera degg’io” da La Traviata

20) G.Verdi: “Addio del passato” da La Traviata

21) G.Verdi: “Come d’aurato sogno…Tacea la notte placida…Di tale amor che dirsi” da Il Trovatore

 

MEZZOSOPRANO/CONTRALTO(女中音)

1) G.Bizet: “Habanera” da Carmen

2) G.Bizet: “Seguidilla” da Carmen

3) F.Cilea: “Acerba voluttà” da Adriana Lecouvreur

4) G.Donizetti: “O mio Fernando… Scritto in cielo il mio furor…” da La Favorita

5) P.Mascagni: “Voi lo sapete, o mamma” da Cavalleria Rusticana

6) W.A.Mozart: “Smanie implacabili” da Così fan tutte

7) W.A.Mozart: “E’ amore un ladroncello” da Così fan tutte

8) W.A.Mozart: “Voi che sapete” da Le Nozze di Figaro

9) G.Rossini: “Una voce poco fa” da Il Barbiere di Siviglia

10) C.Saint-Saens: “Mon coeur” da Samson et Dalila

11) G.Verdi: “Oh, dischiuso è il firmamento” da Nabucco

12) G.Verdi: “Stride la vampa” da Il Trovatore

13) G.Verdi: “Condotta ell’era in ceppi” da Il Trovatore

14) G.Verdi: “O Don fatale” da Don Carlo

 

TENORE(男高音)

1) G.Bizet: “Air de fleur” da Carmen

2) G.Donizetti: “Una furtiva lagrima” da Elisir d’amore

3) G.Donizetti:“Povero Ernesto…Cercherò lontana terra…Se tu sei ben mio felice” da Don Pasquale

4) R.Leoncavallo: “Vesti la giubba” da I Pagliacci

5) G.Puccini: “Che gelida manina” da La Bohème

6) G.Puccini: “Recondita armonia” da Tosca

7) G.Puccini: “E lucean le stelle” da Tosca

8) G.Puccini: “Addio, fiorito asil” da Madama Butterfly

9) G.Puccini: “Nessun dorma” da Turandot

10) G.Rossini: “Ecco ridente in cielo” da Il Barbiere di Siviglia

11) G.Verdi: “Celeste Aida” da Aida

12) G.Verdi: “Ella mi fu rapita!… Parmi veder le lagrime” da Rigoletto

13) G.Verdi: “La donna è mobile” da Rigoletto

14) G.Verdi: “Lunge da lei… De’ miei bollenti spiriti” da Traviata

15) G.Verdi: “Ah! Si, ben mio” da Il Trovatore

 

BARITONO(男中音)

1) V.Bellini: “Ah, per sempre io ti perdei” da I Puritani

2) G.Donizetti: “Come Paride vezzoso” da Elisir d’amore

3) W.A.Mozart: “Se vuol ballare” da Le Nozze di Figaro

4) W.A.Mozart: “Non più andrai, farfallone amoroso” da Le Nozze di Figaro

5) W.A.Mozart: “Hai già vinta la causa… Vedrò, mentr’io sospiro” da Le Nozze di Figaro

6) W.A.Mozart: “Tutto è disposto… Aprite un po’ quegli occhi” da Le Nozze di Figaro

7) W.A.Mozart: “Madamina, il catalogo è questo” da Don Giovanni

8) G.Rossini: “Largo al Factotum” da Il Barbiere di Siviglia

9) G.Verdi: “Pietà, rispetto, amore” da Macbeth

10) G.Verdi: “Dio di Giuda!” da Nabucco

11) G.Verdi: “Cortigiani, vil razza dannata” da Rigoletto

12) G.Verdi: “Di Provenza il mar, il suol” da La Traviata

13) G.Verdi: “Il balen del suo sorriso” da Il Trovatore

14) G.Verdi: “Per me giunto… Io morrò” da Don Carlo

 

BASSO(男低音)

1) V.Bellini: “Vi ravviso, o luoghi ameni… Tu non sai…” da La Sonnambula

2) G.Donizetti: “Udite, o rustici” da Elisir d’amore

3) W.A.Mozart: “Se vuol ballare” da Le Nozze di Figaro

4) W.A.Mozart: “Non più andrai Farfallone amoroso” da Le Nozze di Figaro

5) W.A.Mozart: “Tutto è disposto… Aprite un po’ quegl’occhi” da Le Nozze di Figaro

6) W.A.Mozart: “Madamina, il catalogo è questo” da Don Giovanni

7) W.A.Mozart: “O Isis und Osiris” da Die Zauberfloete

8) G.Puccini: “Vecchia zimarra” da La Bohème

9) G.Rossini: “A un Dottor della mia sorte” da Il Barbiere di Siviglia

10) G.Rossini: “La calunnia” da Il Barbiere di Siviglia

11) G.Verdi: “Come dal ciel precipita” da Macbeth

12) G.Verdi: “Il lacerato spirito” da Simon Boccanegra

13) G.Verdi: “Ella giammai m’amò” da Don Carlo

14) G.Verdi: “Vieni, o Levita… Tu sul labbro dei veggenti” da Nabucco

3.比赛信息发布

参加预赛的选手名单将于2018510日上午,在梅杰罗政府公共信息栏发布,也可于201859日访问威尔第官方网https://www.associazionegiuseppeverdi.com大赛专栏中相关信息。进入决赛的选手名单将于2018513日产生。比赛相关信息,亦可关注本次国际声乐大赛官方微信平台:威尔第文化艺术交流中心。

4.奖项设置

在决赛音乐会中将颁布本次大赛的奖项:

歌剧奖项:第一名1500欧,第二名750欧,第三名350欧。
宗教歌曲最佳演唱奖:350欧。

大赛特别奖:所有进入决赛的选手,均有机会参演2018年由威尔第文化协会制作的歌剧《弄臣》《波西米亚人》角色竞选。

角色如下:

  • 弄臣(Rigoletto男中音
  • 吉尔达(Gilda,弄臣之女,女高音
  • 曼托瓦公爵(Il Duca di Mantova男高音
  • 斯巴拉夫奇勒(Sparafucile,职业杀手,男低音
  • 玛达蕾娜(Maddalena,杀手之妹,女中音
  • 乔凡娜(Giovanna,吉尔达的媬姆,女中音)
  • 蒙特罗内伯爵(Il Conte di Monterone,男中音)
  • 西布兰诺伯爵(Il conte di Ceprano,男低音)
  • 西布兰诺伯爵夫人(La contessa di Ceprano,女中音)
  • 马歇奥·包尔沙(Matteo Borsa,公国朝臣,男高音)
  • 马鲁洛(Marullo,公国朝臣,男中音)
  • 鲁道夫(Rodolfo,男高音)
  • 咪咪(Mimi ,女高音)
  • 马尔切洛(Marcello 男中音)
  • 穆塞塔(Musetta 女高音)
  • 舒奥纳(Schaunard 男中音)
  • 柯林(Colline 男低音)
  • 班努瓦(Benoît 男低音)
  • 阿尔契多罗(Alcindoro 男低音)
  • 玩具 (|Parpignol男高音)
  • 海关官长(Sergente dei doganieri 男低音)

 

大赛评委将从决赛选手中选出四名,参加意大利萨鲁诺歌友会2018/2019 音乐节的演出,由威尔第文化协会赞助。

大赛评委将从决赛选手中选出一名,参加意大利普契尼音乐学院2018年夏季音乐会,由普契尼音乐学院赞助。

 

5.比赛相关规则

a.预赛缺席者将视为自动弃权,除非有正当的缺席理由,并在预赛结束前出席。

b.当评审团意见一致时,评委团有权中断参赛者的演唱。

c.所有进入决赛的选手均能获得荣誉证书。

d.决赛中参赛选手与钢琴伴奏同台,评审团和观众同列坐席,但观众不参与大赛评分与投票。

e.如果大赛评委会成员中有参赛选手的老师,禁止为选手提供任何书面或口头的建议。

f.大赛评审团享有对大赛奖项分配毫无争议的决定权。如遇特殊情况,评审团将有权保留一等奖。

四、比赛相关服务

1.威尔第文化协会提供从Magenta火车站至梅杰罗比赛地点的付费接送服务。

2.选手参赛期间产生的路费、食宿费等,由参赛者自理。酒店住宿及餐饮信息咨询:

大赛秘书处Filippo Torre ,Maria Chiara Brandolini

电话338-3544352 3488109263

微信联系 :zhengnan1123

协会邮箱:giuseppeverdi.org@gmail.com

大赛官网:https://www.associazionegiuseppeverdi.com

3.大赛指定钢琴伴奏 Damiano CeruttiSofia Park,秘书处将为选手提供免费的钢琴伴奏。如有参赛选手也可以自带钢琴伴奏,请事先沟通.

五、大赛评委会成员

  • 大赛评委会主席

Mauro Bonfanti ——著名男中音,圣戛纳国际声乐比赛创始人,声乐教育家,威尔第文化协会主席。

  • 大赛艺术总监:

Nan Zheng Bonfanti ——威尔第文化协会副主席,意大利知名古典音乐经理人,普契尼音乐学院声乐教授。

  • 大赛评委会成员

Roberto Moretti 马其顿歌剧芭蕾舞剧院负责人。  

Giuseppe Oldani 意大利知名古典音乐经理人。 

Alberto Paloscia 著名音乐学家、歌剧导演,意大利里窝那歌剧院艺术总监。

Anna Maria Pizzoli 女高音,米兰威尔第音乐学院声乐系教授 

Aldo Ruggiano ——著名钢琴家、合唱团指挥。

Adelisa Tabiadon:女高音,皮亚琴察“尼科里尼音乐学院”、米兰阿巴多音乐学校声乐教授。

六、法律声明

1.意大利威尔第文化协会拥有本次声乐比赛全程录影、录像、视频、音频、CD-DVD、互联网、广播与电视播放等相关资料的全媒体所有版权。

2.根据D. lgs. 2013630日,第196条的个人隐私保护条例,选手报名申请表中的信息将仅供威尔第文化协会宣传使用。根据上述立法法令,数据的所有者有权对其知悉、更新、修改,或者不同意使用。参赛者请知悉本次大赛中相关个人资料的使用权,且所有大赛宣传将不对参赛选手产生任何报酬。本条声明适用于比赛相关的所有环节。

3.比赛期间,请选手注意人身及财产安全,所有选手遭受自然灾害或意外,大赛组委会将不负任何责任。

4.如有必要,协会艺术总监与大赛评委会有权修改当前的比赛规则。

5.一旦发生争议,将由米兰法院处理,并比赛简章将以意大利原文为参考。

2016圣戛纳国际声乐比赛获奖名单

歌剧奖:

一等奖: Elizaveta Martirosyan – 女高音(意大利)

二等奖:Liudmila Lokaichuk – 女高音(俄罗斯)

三等奖:Hun Kim – 男高音(韩国)

宗教歌曲奖:Anna kufta – 女高音(波兰)

荣誉奖:Eleonora Boaretto – 女高音(意大利)

Giuseppina Salemme – 女中音(意大利)

2017圣戛纳国际声乐比赛获奖名单

歌剧奖

NO.1 中国女高音Huang Jingyao

NO.2 韩国女高音Eunkyoung Kim

NO.3 智利女高音Diaz Roxana

宗教歌曲奖

意大利女中音Ilaria Magrini

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1900: LOOKING BACK, LOOKING FORWARD, A recital of Italian, Austrian and German vocal music

 

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