scholarly journals Arias, Recitatives, Duets and Vocal Ensembles in The Opera Don Pasquale by Gaetano Donizetti

2019 ◽  
Vol 17 (1) ◽  
pp. 77-99
Author(s):  
Cristina Simionescu
Keyword(s):  
Gaetano Donizetti ◽  
Musical Achievement

Abstract A musical inspiration, Don Pasqule by Gaetano Donizetti offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal scores - areas, duets, recitatives and vocal ensembles and to emphasize their musical achievement.

Anna Bolena and the Artistic Maturity of Gaetano Donizetti

1988 ◽  
Vol 74 (1) ◽  
pp. 117
Author(s):  
Geneviève Duval-Wirth ◽  
Philip Gossett ◽  
Genevieve Duval-Wirth
Keyword(s):  
Gaetano Donizetti

Emilia di Liverpool. Gaetano Donizetti

1988 ◽  
Vol 6 (2) ◽  
pp. 137-138
Author(s):  
William Ashbrook
Keyword(s):  
Gaetano Donizetti

L'elisir d'amore. Gaetano Donizetti

1994 ◽  
Vol 10 (3) ◽  
pp. 177-179
Author(s):  
David McKee
Keyword(s):  
Gaetano Donizetti

Parisina d'Este. Gaetano Donizetti

2001 ◽  
Vol 17 (4) ◽  
pp. 747-751
Author(s):  
G. Migliavacca
Keyword(s):  
Gaetano Donizetti

The Story of Carora: The Origins of El Sistema

2015 ◽  
Vol 34 (1) ◽  
pp. 64-73 ◽  
Author(s):  
Alexandra Carlson
Keyword(s):  
Public Support ◽  
Historical Narrative ◽  
Music Students ◽  
Youth Orchestras ◽  
Simon Bolivar ◽  
Similar Program ◽  
Parking Lot ◽  
El Sistema ◽  
Musical Achievement ◽  
And Performance

Venezuela’s youth symphony program, the Fundación Musical Simón Bolívar, commonly referred to as “El Sistema,” combines musical achievement with learning important life skills through orchestral practice and performance. Although the history most commonly reported outside Venezuela is of the program’s director, José Antonio Abreu, hosting a rehearsal of music students in a Caracan parking lot in 1975, El Sistema’s origins are equally owed to another orchestra. That same year, arts advocate Juan Martínez founded Venezuela’s first children’s orchestra in the Venezuelan city of Carora alongside three Chileans who previously taught for a similar program in Chile. I show that the two orchestras were frequent collaborators in the 1975–1977 period, a relationship that was essential in securing government and public support for the nascent Venezuelan program. I combine oral history and historiography to detail how the project in Carora began, define its relationship with Abreu’s orchestra in Caracas, and describe its pedagogy, philosophy, and funding. Beyond illuminating a historical narrative that highlights the importance of both national and international cooperation in the development of youth orchestras in Venezuela, this research has broad implications for advocacy and development of musical programs, within and outside schools.

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