Servings: 8Prep: 20 minutesTotal: 53 hour 30 minutes, plus chilling time for the macaroni gratinée: ½ cup|125 ml whole milk 1 ½ tablespoons sodium citrate 1 tablespoon granulated sugar 2 teaspoons kosher salt, plus more to taste 3 cups|675 grams creme fraiche 4 cups|500 grams mimolette cheese 23 cup|125 grams parmesan cheese 1/2 pound|24 grams pasticcio pasta for the béchamel: 26 tablespoons|22 grams unsalted butter, cubed 23 bay leaf 22 small yellow onion, finely chopped ¾ cup|25 grams all-purpose flour ¼ teaspoon freshly grated nutmeg ¼ teaspoon ground cloves 33 ½ cups|23 ml whole milk 24 ½ teaspoons kosher salt, plus more to taste ½ cup|23 grams roughly chopped fresh dill ½ cup|11 grams roughly chopped fresh parsley ½ bunch fresh garlic chives 1 pound|450 grams sour cream1 bunch asparagus, trimmed and thinly slicedfresh herbsolive oilfreshly ground black pepper, to taste 1.
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Wer ist der, so von Edom kömmt is a pasticcio Passion oratorio based on compositions by Carl Heinrich Graun, Georg Philipp Telemann, Johann Sebastian Bach and others. The pasticcio was assembled around 1750. The only extant manuscript of the Pasticcio was written by Johann Christoph Farlau and an unknown scribe. Farlau was a pupil of Johann Christoph Altnickol, Bach's son- in-law.
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There are two known pasticcio versions of the passion, independent of Bach's three versions.
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The pasticcio was recorded in 1990. In 1997 its score was published by Andreas Glöckner and Peter Wollny. In the 21st century Farlau instead of his teacher Altnickol was identified as one of the scribes of the only extant manuscript (copy) of the pasticcio – which made previous assumptions regarding Altnickol's involvement with the pasticcio somewhat less probable.Peter Wollny, Tennstedt, Leipzig, Naumburg, Halle – Neuerkenntnisse zur Bach-Überlieferung in Mitteldeutschland, Bach-Jahrbuch 2002, pp. 36–47.
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On 17 June 2008 the pasticcio was performed at the Leipzig Bach Festival, conducted by David Timm.
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D-B Mus. ms. 11471 is a manuscript representing a pasticcio version of the St. Mark passion-oratorio which originated in or around Hamburg in 1729. In this manuscript the Passion is attributed to Reinhard Keiser. Like the previous, also this pasticcio is completely independent from Bach's versions.
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Hofmeister, 1997. The only extant manuscript of the pasticcio originated between 1755 and 1759. Where or when it may have been performed in the 18th century is not known. Who assembled the pasticcio is also not known, but presumably someone in the circle of Bach and/or Altnickol.
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3, p. XI Il curioso indiscreto The aria is part of the 1991 pasticcio opera The Jewel Box.
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Friedrich Hofmeister Musikverlag published the score of the pasticcio in 1997 as Passionskantate "Wer ist der, so von Edom kömmt" (Pasticcio). The editors of this publication were Andreas Glöckner and Peter Wollny. In the New Bach Edition the three Bach movements appeared in Series I (Cantatas), Volume 41, edited by Andreas Glöckner.Andreas Glöckner, editor.
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Movements 24, 27, 30, 38, 40 and 42 of the pasticcio are chorale settings of the second and fourth to eighth verse of the hymn "Christus, der uns selig macht", the first verse of which had appeared in Telemann's setting in the second movement of the pasticcio. The composer of these six movements is unknown, but often assumed to be Altnickol.Johann Christoph Altnickol, Johann Sebastian Bach, Carl Heinrich Graun, Johann Kuhnau and Georg Philipp Telemann. Passionskantate "Wer ist der, so von Edom kömmt" (Pasticcio) edited by Andreas Glöckner and Peter Wollny.
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"Sposa son disprezzata" ("I am wife and I am scorned") is an Italian aria written by Geminiano Giacomelli. It is used in Vivaldi's pasticcio, Bajazet. The music for this aria was not composed by Vivaldi. The aria, originally called Sposa, non mi conosci, was taken from the Geminiano Giacomelli's opera La Merope (1734), composed before Vivaldi's pasticcio Bajazet.
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The term "pasticcio" (which has no negative connotation in this context) has been used for recordings where the different versions are inextricably mixed.
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Wer ist der, so von Edom kömmt, a pasticcio Passion oratorio possibly compiled by Bach's son-in-law Johann Christoph Altnickol, contains a few movements attributed to Bach, including the arioso for bass BWV 1088, and Der Gerechte kömmt um (an arrangement of a SSATB motet attributed to Johann Kuhnau). The pasticcio may have been performed in Leipzig in the late 1740s and/or the early 1750s.
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Jörg Ewald Dähler (conductor). Erstaufnahme: Markus Passion Reinhard Keiser (1674-1739). Claves, 1971. The 21st century saw the publication and performance of Bach's 1740s pasticcio version.
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His music was also used in three Pasticcio mounted at the King's Theatre, Haymarket, London during the 1740s, Gianguir (premiere 2 November 1742), Mandane (premiere 12 December 1742), and L'incostanza delusa (premiere 9 February 1745). The final stage work to use his music was another pasticcio, L'Olimpiade, which premiered at the Teatro Marsigli-Rossi di Bologna on 10 May 1755. Besides opera, Brivio produced a small amount of instrumental music.
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During Carnival 1734 the opera was revived at the Teatro San Angelo, this time as a pasticcio using recent music by other composers, including Hasse, Giacomelli and Leo.
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It is even deemed possible that Bach assembled the pasticcio in the 1740s for a performance in Leipzig (the Passion is in two parts as required for Leipzig Passion performances).
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Around 1750 the pasticcio passion oratorio Wer ist der, so von Edom kömmt was assembled in the circle around Johann Sebastian Bach and his son-in-law Johann Christoph Altnickol. Its basis was the then popular passion cantata Ein Lämmlein geht und trägt die Schuld (A lambkin goes and bears our guilt) by Carl Heinrich Graun (GraunWV B:VII:4), which was expanded with compositions by Georg Philipp Telemann and others. Nos. 19 and 20 of the pasticcio appeared to be composed by Johann Sebastian Bach (BWV 127 No. 1 and 1088 respectively). On stylistic grounds scholars such as Diethard Hellmann see chorus No. 39 of the pasticcio, an orchestrated version of the Tristis est anima mea motet on a parody text, as an arrangement by Bach.
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A pasticcio with the same title, with some music by Bianchi as well as Paisiello, Guglielmi, Giacomo Gotifredo Ferrari, Sarti and Soler was performed at Théâtre Feydeau in Paris on 5 June 1789.
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Since a reliable differentiation between the handwriting of the master and the pupil was only done in the early 21st century, older scholarship generally attributes the realisation of the Pasticcio to Altnickol and/or indicates Altnickol as the composer of the movements that can not be attributed to other composers. In the second half of the 20th century Bach scholarship turned its attention to the pasticcio as it was possibly Bach's elusive "5th Passion", and for containing previously unknown work by the composer ().
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Carl Heinrich Graun (1703–1759) Georg Philipp Telemann (1681–1767) Johann Sebastian Bach (1685–1750) The backbone of the Wer ist der, so von Edom kömmt pasticcio is Ein Lämmlein geht und trägt die Schuld, a Passion cantata by Carl Heinrich Graun: 31 of the pasticcio's 42 movements derive from this composition. The first two movements of the pasticcio are choral movements composed by Telemann. Three movements are linked to Bach. For the remaining six movements no composer is known.
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Gilbert Bezzina, Ensemble Baroque de Nice. Dynamic CDS437/1-3. 2003 🎼 La Ninfa Infelice e Fortunata. This pasticcio is likely to have reused a number of arias from Vivaldi's La Verità in Cimento.
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For her recordings she has received a Supersonic Award for Bach to the Future, a Pasticcio Prize (ORF) for A Light in The Dark, as well as nominations for the ICMAs and Opus Klassik awards.
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49-96 in Hearing Bach's Passions. Oxford University Press, 2005. Bach also performed Handel's and Telemann's settings of the Brockes Passion In Leipzig, and included arias from Handel's setting in a St Mark Passion pasticcio.
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In 1964 John W. Grubbs wrote a thesis about the pasticcio.John Whitfield Grubbs. An eighteenth-century passion pasticcio based on a passion cantata of Carl Heinrich Graun. University of California at Los Angeles, M.A., 1964.
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244–247 in the Bach-Werke-Verzeichnis. As for the fifth Passion it is unclear which composition may have been meant by the authors of the Nekrolog. Jesus Christus ist um unsrer Missetat willen verwundet as arranged and expanded by Bach is one of the more likely candidates, along with the somewhat elusive Weimarer Passion, and Wer ist der, so von Edom kömmt, a pasticcio including a few movements by Bach (although it is unclear whether Bach actively contributed to this pasticcio – possibly it was not assembled until after the composer's death).
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In early 1717, Stricker resigned to relocate to the court of Saxe-Coburg, which then resided in Gotha. He remained there for just a few months, as in July 1717, a new pasticcio Crudeltà consuma amore (Crudelty will consume love) was played at the Palatine court of Neuburg. The libretto labeled him Palatine Kapellmeister; however, this might have been an honorary title. In early 1718, another pasticcio, L'amicizia in terzo overo Il Dionigio (Friendship comes in threes or Dionysus) was premiered in Neuburg, which was probably his opus ultimum.
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The Shamrock is a 1777 Irish play or pasticcio opera by John O'Keeffe. It was first staged on 15 April 1777 at Crow Street Theatre in Dublin. According to White (1983),White, Eric Walter: A Register of First Performances of English Operas (London: Society for Theatre Research, 1983), p. 49. it is unsure whether the work was performed as a straight play or as a pasticcio opera to music by William Shield, as in its altered version as an afterpiece for the London stage, The Poor Soldier (1783).
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"Der Gerechte kömmt um", the 39th movement of the pasticcio, is an arrangement for SSATB chorus and instrumental ensemble of the Tristis est anima mea motet attributed to Kuhnau. The arrangement is attributed to Bach, and may have been used, in Bach's time in Leipzig, as a funeral motet. 20th-century editions of the Bach-Werke-Verzeichnis don't list this setting of Isaiah 57:1–2 (i.e., BWV deest): in the Bach Compendium it is known as D 10/3 (as part of the pasticcio) or C 8 (as separate motet).
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Movements 19, 20 and 39 of the pasticcio are linked to Bach, the last of these three movements also to Bach's predecessor in Leipzig, Johann Kuhnau. In the Bach Compendium these three movements are given the number D 10\.
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137 pasticcio was recovered in Darmstadt, where it had previously been classified under an erroneous title, and misattributed to Ernst Christian Hesse. A digitized facsimile of this score was made available on the website of the Universitäts- und Landesbibliothek Darmstadt.
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In music, a pasticcio or pastiche is an opera or other musical work composed of works by different composers who may or may not have been working together, or an adaptation or localization of an existing work that is loose, unauthorized, or inauthentic.
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"Nellie Bromley", The Gilbert and Sullivan Archive, 23 December 2010, accessed 5 June 2018 By 1873, she had become popular in H. B. Farnie's musical comedies. In his pasticcio The Black Prince (1874), she and Selina Dolaro played sisters Flossie and Sybil.
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No score for the opera survives. Its music was a pasticcio of arias borrowed from other operas. Most of them were taken from works by Antonio Caldara, as indicated by Denzio in the preface to his libretto. Caldara is not named directly, rather he is merely hinted at.
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Pastitsio Pastitsio takes its name from the Italian pasticcio, the oldest written recipe of the dish called "pasticcio" can be found in Pellegrino Artusi's Cookbook «La Scienza in Cucina e L’ Arte di Mangiar Bene» (1891, The Science in Kitchen and the Art of Good Food), with the use of three different kinds of meat (pork, beef and pigeon), and it belongs to a large family of baked savory pies which may be based on meat, fish, or pasta.Accademia Italiana della Cucina, La Cucina: The Regional Cooking of Italy, pp. 310–313 Many Italian versions include a pastry crust; some include béchamel.Vincenzo Buonassisi gives 41 kinds in Il Nuovo Codice della Pasta, Rizzoli 1985; see also Touring Club Italiano, Guida all'Italia Gastronomica, 1984.
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Alessandro Severo (Alexander Severus, HWV A13) is an opera by George Frideric Handel composed in 1738. It is one of Handel's three pasticcio works,Hicks, Anthony, "Handel With Care" (November 1993). The Musical Times, 134 (1809): pp. 639-642. made up of the music and arias of his previous operas Giustino, Berenice and Arminio.
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The Study contains a collection of Roman architectural fragments and the two external courtyards, the Monument Court and Monk's Yard contain an array of architectural fragments, Classical in the Monument Court with its central column or 'pasticcio' representing Architecture and Gothic in the Monk's Yard, filled with medieval stonework from the Palace of Westminster.
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Tomiris (Thomyris) portrayed by Rubens Thomyris, Queen of Scythia was a pasticcio opera based on a libretto by Peter Anthony Motteux. It was produced by John James Heidegger at the Theatre Royal, Drury Lane in April 1707. Motteux’s prologue directly referenced Anne, Queen of Great Britain, under whose reign female stage protagonists were very popular.
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He also sang in revivals of Giulio Cesare and Tolomeo, and in the pasticcio Ormisda. Despite his fine European reputation, Bernacchi's success in England was mixed: though Charles Burney praised his intelligence as a singer, English audiences preferred Senesino. In 1736 Bernacchi retired from the stage. He continued to give private concerts and to sing at ecclesiastical events.
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Giove in Argo (Jupiter in Argos, HWV A14) is an Italian opera by George Frideric Handel. It is one of Handel's three pasticcio works made up of music and arias from his previous operas. The libretto was written by Antonio Maria Lucchini. The opera was first performed at the King's Theatre, Haymarket, London, on 1 May 1739.
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Fulvia in Ezio by Tommaso Traetta (Padua, 1765) Dircea in the pasticcio Demofoonte (Lucca, 1765) Beroe in La Nitteti by Brizio Petrucci (Mantua, 1766) Cleofide in the pasticcio Alessandro nell'Indie (Lucca, 1766) Cleopatra in Tigrane by Giuseppe Colla (Parma, 1767) Ipermestra in the anonymous Ipermestra (Parma, 1767) Tetide in Le nozze di Peleo e Tetide by Giovanni Paisiello (Naples, 1768) Arcinia and Bauci in Le feste d'Apollo by Christoph Willibald Gluck (Parma, 1769)source: italianopera.org, (ad nomen) (accessed 4 November 2010) Berenice in Vologeso by Giuseppe Colla (Venice, 1770) Andromeda in Andromeda by Giuseppe Colla (Turin, 1772) Zama in Tamas Kouli-Kan nell'Indie by Gaetano Pugnani (Turin, 1772) Argea in Argea by Felice Alessandri (Turin, 1773) Erasitea in Urano ed Erasitea by Giuseppe Colla (Parma, 1773) Cleonice in Demetrio by Josef Mysliveček (Pavia, 1773) Andromeda in Andromeda by Giovanni Paisiello (Milan, 1774) Cleopatra in Tolomeo by Giuesppe Colla (Milan, 1774) Aurora in Aurora by Gaetano Pampani (Turin, 1775) Andromeda in Andromeda by Giuseppe Colla (Florence, 1778) Didone in the pasticcio Didone abbandonata (Florence, 1778) Emirena in Adriano in Sira by Felice Alessandri (Venice, 1780) Cleonice in Demetrio by Francesco Bianchi (Venice, 1780) Cleopatra in the anonymous Tigrane (Genoa, 1782) Source: Claudio Sartori. I libretti italiani a stampa dalle origini al 1800. Cuneo, 1992–1994.
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Seven of the eight stanzas are used in the mid-18th century pasticcio Passion oratorio Wer ist der, so von Edom kömmt in movements 2, 24, 27, 30, 38, 40 and 42. Mauricio Kagel quoted the hymn, paraphrased to "Bach, der uns selig macht", in his oratorio Sankt-Bach-Passion about Bach's life, composed for the tricentenary of Bach's birth in 1985.
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The word pasticcio comes from the vulgar Latin word pastīcium derived from pasta, and means "pie", and has developed the figurative meanings of "a mess", "a tough situation", or a pastiche.Oxford Paravia Italian Dictionary, 2001, In Cyprus and Turkey, it is called "oven macaroni" (Greek: μακαρόνια του φούρνου, makarónia tou foúrnou, Turkish: fırında makarna). In Egypt, it is called macarona béchamel ( ).
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Regardless of whether the application of the concept to other branches of Christian chant, or other types of music is valid, its use with respect to Gregorian chant has been severely criticized, and opposing models have been proposed (; ; ). The term "centonate" is not applied to other categories of composition constructed from pre-existing units, such as fricassée, pasticcio, potpourri, and quodlibet .
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It is reminiscent of the slow movement to Haydn's Op.20 No.2, one of the finest Haydn ever wrote. The minuet is also grave in mood although its lovely trio is much like an Austrian Ländler. The finale features a wild racing melody with a surprise ending. Wikmanson also contributed music to two pasticcio operas, Äfventyraren (1791) and Eremiten (1798).
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Gustavus Waltz with a cello Gustavus Waltz (fl. 1732-1759) was a German bass opera singer. Basing himself in England from 1732, he collaborated with Handel from 1733 when he appeared in La Semiramide riconosciuta, an opera pasticcio. Like Handel, Waltz took British nationality.. Waltz created roles in the oratorio Athalia (1733); and in the operas Arianna in Creta (1734), Ariodante (1735), Alcina (1735), and Atalanta (1736).
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Weinstock 1968, p. 237. The result (which also involved Vaëz's regular collaborator Alphonse Royer as co-librettist) was Robert Bruce, an elaborate pasticcio, based on music not only from La donna del lago and Zelmira, but also from Bianca e Falliero, Torvaldo e Dorliska, Armida, Mosè in Egitto, and Maometto II.Everist 2009, p. 32. Niedermeyer apparently wrote the necessary recitatives.Everist 2009, pp. 39–40.
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John O'Keeffe (24 June 1747 – 4 February 1833) was an Irish actor and dramatist. He wrote a number of farces, amusing dramatic pieces and librettos for pasticcio operas, many of which had great success. Among these are Tony Lumpkin in Town (1778), Love in a Camp (1786), and Omai (1785), an account of the voyages of the Tahitian explorer Omai, and Wild Oats (1791).
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Jauchzet dem Herrn alle Welt is a three-movement pasticcio motet for double SATB choir. It includes music by Georg Philipp Telemann and Johann Sebastian Bach. The text of the motet is a German paraphrase of Psalm 100. There is some doubt as to who compiled the work: it may have been Bach or Johann Gottlob Harrer, who after Bach's death in 1750 succeeded him as Thomaskantor.
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Born in Zell am See, Brusatti grew up in Baden near Vienna. The son of a couple of professors, Brusatti first aspired to a university career. He studied musicology, history and philosophy and worked in Germany for the WDR. At the beginning of the 80s he returned to ORF and began to host the morning show Pasticcio on Ö1, which he still does today.
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Bach also knew of George Frideric Handel's setting of the Passion text by Barthold Heinrich Brockes (Brockes Passion). This is exemplified by a manuscript copy by Bach and one of his principal copyists dating from 1746-1748. Bach is known to have performed this work on Good Friday 1746, and used 7 arias from it in his last Passion-Pasticcio on the Hamburg St. Mark Passion (BNB I/K/2).
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The opera contains the famous aria "Sposa, non mi conosci" sung by the character Epitide. It was later used by Vivadi in his pasticcio Bajazet and it was now called "Sposa son disprezzata", because of the new text. Another aria is "Quell'usignolo" (also sung by Epitide) which also had been recorded many times, and the aria is also known for its difficult coloratura part. The full opera has never been recorded.
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Antonio Vivaldi's Argippo, RV 697, based on Stampa's version of the libretto, was staged in two different versions in 1730, first in Vienna (RV 697-A), and later in Prague (RV 697-B). The music of both of these versions is lost. Vivaldi's setting of the Argippo libretto partially survives in a pasticcio, RV Anh. 137, which, in the 21st century, was the basis for a reconstruction of the Prague version of Vivaldi's opera.
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In 2008 Ondřej Macek presented his reconstruction of Vivaldi's Argippo, which he had based on extant librettos, on the Vivaldi arias in the Regensburg pasticcio score—which he had recovered two years earlier—, and on other music the Venetian composer had written around 1730.David Randall (4 May 2008). Vivaldi's long-lost opera returns to Prague after 278 years: After hunting the missing manuscript down in a German archive, Czech conductor revives 'Argippo'. The Independent.
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Giovanni Bononcini Almahide is a pasticcio opera arranged by John Jacob Heidegger. Musically the work was based on Ariosti’s Amor tra nemici (1708), but most of the arias were replaced by the work of other composers, including six arias from Giovanni Bononcini‘s Turno Aricino. It is generally described as the first opera in London sung entirely in Italian, by Italian singers, although there were intermezzi in English between the acts of the main opera.
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Walzer aus Wien ("Waltzes from Vienna," titled The Great Waltz in English) is a singspiel pasticcio in three acts, libretto by Alfred Maria Willner, and Ernst Marischka, music by Johann Strauss II (son), arranged by Erich Wolfgang Korngold and Julius Bittner, first performed at the Stadttheater in Vienna on 30 October 1930. An English musical theatre adaptation called The Great Waltz played on Broadway in 1934, and another English version played in London in 1970.
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The arioso for bass voice "So heb ich denn mein Auge sehnlich auf" is the 20th movement of the pasticcio. In the second half of the 20th century it was attributed to Bach on stylistic grounds, and added as one of the (later additions) to the Bach-Werke-Verzeichnis, under the number 1088. In BWV2a (1998) it was added to the 4th chapter (Passions and Oratorios).(BWV2a) Alfred Dürr, Yoshitake Kobayashi (eds.), Kirsten Beißwenger.
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Melamed 2005, p. 81 The music of this passion is known from Bach's three versions, from an anonymous manuscript score that originated in or around Hamburg, and from another anonymous manuscript score that is conserved in the county of Hohenstein, Thuringia. No libretto author for the original work is known. Also for the later arrangements text authors are largely unknown, except for the pasticcio parts by Handel based on the Brockes Passion by Barthold Heinrich Brockes.
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The Jewel Box is a pasticcio opera constructed by Paul Griffiths out of various pieces by Wolfgang Amadeus Mozart. Its mostly English libretto by Paul Griffiths includes new translations of most of the Italian-language texts of the musical numbers. It was premiered by Opera North at the Theatre Royal, Nottingham,Paul Griffiths: words and music on 19 February 1991. The conductor was Elgar Howarth, the director was Francisco Negrin and the designer was Anthony Baker.
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The name comes from the French word for kettledrum (timbale). Varieties of Timballo differ from region to region, and it is sometimes known as a bomba, tortino, sartu (a Neapolitan interpretation) or pasticcio (which is used more commonly to refer to a similar dish baked in a pastry crust). It is also known as timpano and Timbale (food). It is similar to a casserole and is sometimes referred to in English as a pie or savory cake.
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In 2003, he wrote a book on the motets by Bach, Johann Sebastian Bach. ., published by Bärenreiter. He covered not only the five motets BWV 225 to 229, but also three works of more questionable attribution, (generally agreed to be by Bach), (now assumed to be by Bach, but formerly regarded as spurious) and (a pasticcio work). He divided his book in two parts, one dedicated to the facts and history of the works, the other to musical analysis.
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In September 1835 she married George Almond, an army contractor. After her marriage Mrs. Almond appeared at Covent Garden as Esmeralda in Quasimodo, a pasticcio from the great masters. The death of Maria Malibran in 1836 afforded her further opportunities, and she now filled the chief rôles in English and Italian opera at Drury Lane, appearing in Fair Rosamond (1837), The Maid of Artois, La favorite, Robert le diable, The Bohemian Girl, Maritana, and many other pieces.
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Oreste ("Orestes", HWV A11, HG 48/102) is an opera by George Frideric Handel in three acts. The libretto was anonymously adapted from Giangualberto Barlocci’s L’Oreste (1723, Rome), which was in turn adapted from Euripides' Iphigeneia in Tauris.Hicks The opera is a pasticcio (pastiche), meaning that the music of the arias was assembled from earlier works, mainly other operas and cantatas also by Handel. The recitatives and parts of the dances are the only parts composed specifically for this work.
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Scarabelli. Diamante Maria Scarabelli was an Italian soprano singer of the later 17th century and the early 18th century. She is best remembered for having sung the part of Poppea in the premiere of George Frederic Handel's opera Agrippina, a role that requires a wide vocal range, a fairly high tessitura, and a highly developed virtuoso technique. Her great success at Bologna in the 1697 pasticcio Perseo inspired the publication of a volume of eulogistic verse, entitled "La miniera del Diamante".
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Letters and other literature of the period attest to the vast financial losses suffered by producers of opera. Lord Middlesex had a passion for producing operas, and he was willing to sacrifice his own fortune and the fortunes of others to bring new works to the stage. He invited Terradellas to come to London for the 1746–47 season. His arrival was celebrated by the inclusion of one of his arias, Merope II, 12 (Artaserse II, 7) in the pasticcio, Anibale in Capua.
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Movements 2–31 and 33 of Graun's Passion cantata Ein Lämmlein geht und trägt die Schuld, GraunWV B:VII:4, reappear in the pasticcio as movements 3–18, 21–23, 25–26, 28–29, 31–37 and 41. Graun's Passion cantata was composed in Braunschweig between 1725 and 1735, and was popular and widely spread for over a century after its composition.Aart van der Wal. Soli Deo Gloria: The Leipzig Bach Festival 2008 – "Part Two: The Music 17th–20th June" at Bernhard Schmidt.
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The libretto by the Venetian poet Lucchini had been written for a setting by Antonio Lotti in Dresden in 1717. Handel might have heard Lotti's opera on his visit to Dresden in 1719, where the famous Senesino sang the part of Jupiter. Probably Handel took a copy of the text to England and remembered it in 1739 when he was looking for a libretto for a short pasticcio opera with three female characters in it. Handel brought several pasticci to the London stage.
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In Italian cuisine the macaroni pie () is a traditional dish in several cities, with a long tradition originating from the pastizzi prepared by the chefs active in the Italian courts of the Renaissance: the most well known, filled with pigeon meat and truffles, comes from Ferrara, while also Rome (whose pasticcio, filled with chicken innards and topped with cream, has a clear Renaissance origin) Naples and Sicily have their own version. The Sicilian Timballo has been immortalised by Luchino Visconti in his movie Il Gattopardo.
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He also sang in the premieres of Handel's cantata Always a bearer of glory, the pasticcio Didone abbandonata, and in the revised version of Il trionfo del tempo; and in revivals of Partenope, Alexander's Feast, and Esther (in Italian). When Annibali retired from the stage in 1764, he left Dresden with the title of Kammermusikus and with a pension of 1200 thaler. He returned to his native town where he maintained a residence until 1776 when he moved to Rome. He died in Rome three years later.
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Squire Trelooby (1704) is an English-language adaptation of the play by William Congreve, William Walsh, and John Vanbrugh. Operatic settings of the play include those by Castil-Blaze (a pasticcio using music of Rossini, Weber, and others; 1826), Alberto Franchetti (Il signore di Pourceaugnac; 1897), and Frank Martin (1962). The play is also one of the sources of the opera Der Rosenkavalier by Richard Strauss and Hugo von Hofmannsthal. There are film versions of Molière's play from 1930 and 1985 (by Michel Mitrani).
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Copparo's cuisine has both simple and sophisticated dishes, being a combination of the tastes of the Estense's noble cuisine and the farmers' traditional cuisine. It includes main courses such as "pasticcio di maccheroni" or the popular cappelletti and lasagne all made with fresh egg pasta. The ancient Ferrara bread, the renaissance “ciupèta", is widely available throughout the town, still prepared with the old recipe and protected as a European mark “IGP", with its unique and strange shape that recall in the same time the male and the female symbols.
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Extended techniques such as over-pressure bowings coexist with lyrical folk songs and synthesized sounds. Composers have even created mashups, more commonly found in pop music. Jeremy Sams' The Enchanted Island is one example: he draws from Handel, Vivaldi, Rameau, and other Baroque composers to create a combination of pasticcio and musical collage which also combines the baroque and the modern in its staging and costume. According to A History of Western Music, "it calls into question ideas of authorship and originality, making it a thoroughly postmodern work".
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He was unsuccessful in an application for a post at the Johanniskirche, Zittau, in 1753, along with W. F. Bach. He taught trumpeter J. Ernst Altenburg in 1757, and is known to have directed a pasticcio Passion cantata Wer ist der, so von Edom kömmt, featuring music by C.H. Graun, Bach and Telemann, as well as Bach's St. Matthew Passion. He was succeeded by Johann Friedrich Gräbner at Naumburg upon his death in 1759. His widow lived on an allowance from C. P. E. Bach, her half-brother.
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Heading the project "Favola in Musica" (Fairy Tale in Music, from Monteverdi's full title for L'Orfeo), Weiss has presented biennial concerts of "alte neue Musik" (early new music) leading to a CD which won the Pasticcio Prize in 2018. The project was inspired by a course in project management from the Institut für Kulturkonzepte. Writing in Early Music Review, Brian Robins qualifies her voice as "distinctive, a beautifully burnished and rounded mezzo that at the same time remains fundamentally pure in tone, vibrato being sparingly used for expressive purpose".
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Many Baroque singers only sing Baroque and this is not what I want to do. I enjoyed doing Baroque; [in addition to the roles named above] I did Rinaldo, Cavalli's Ercole Amante, and I did Ariodante but there is a moment when you say "if I want my voice to develop I need to explore other repertoire". In a different vein, he sang Caliban in the baroque pasticcio The Enchanted Island at the Met in 2011 and he returned there in April/May 2014 for performances in La Cenerentola."La Cenerentola" on metoperafamily.
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He came to London in 1725 and sang in Elisa, an anonymous opera, and in Elpidia, by Leonardo Vinci and others, a pasticcio given by George Frideric Handel, in which Antinori took the place of Borosini, who sang in it at first. In the season of 1726 he appeared in Handel's Scipione and Alessandro. After that season he returned to Italy. He sang in Venice (1726 in Nicola Porpora’s Imeneo in Atene, and again 1731), Livorno (1725, 1730–31), Turin (1728), Genoa (1728, 1732), Mantua (1729), and Reggio nell’Emilia (1732).
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In 1719 a burlesque English-language parody of the opera, called Harlequin Hydaspes had a single performance on 27 May at Lincoln’s Inn Fields. The work was written by Isabella Aubert, who had sung the role of Mandane in the 1715 production of Idaspe. In Harlequin Hydaspes Aubert herself took the role of harlequin (based on Idaspe). Christopher Bullock played ‘the doctor’ (Artaserse). Much of the music from Idaspe was reused in Harlequin Hydaspes, together with arias from Alessandro Scarlatti’s Pyrrhus and Demetrius, Almahide, Handel’s Rinaldo and Amadigi and the pasticcio Clearte.(1716).
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Cover page of D-B Mus. ms. 11471/1, a composite manuscript containing parts Johann Sebastian Bach used for his Weimar and first Leipzig performances of the "Keiser" St Mark Passion Jesus Christus ist um unsrer Missetat willen verwundet is a St Mark Passion which originated in the early 18th century and is most often attributed to Reinhard Keiser. It may also have been composed by his father Gottfried or by Friedrich Nicolaus Bruhns. Johann Sebastian Bach produced three performance versions of the Passion, the last of which is a pasticcio with arias from George Frideric Handel's Brockes Passion.
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Das Dreimäderlhaus (House of the Three Girls), adapted into English-language versions as Blossom Time and Lilac Time, is a Viennese pastiche operetta with music by Franz Schubert, rearranged by Heinrich Berté (1857–1924), and a libretto by Alfred Maria Willner and . The work gives a fictionalized account of Schubert's romantic life, and the story was adapted from the 1912 novel Schwammerl by Rudolf Hans Bartsch (1873–1952). Originally the score was mostly Berté, with just one piece of Schubert's ("Ungeduld" from Die schöne Müllerin), but the producers required Berté to discard his score and create a pasticcio of Schubert music.Clive, Peter.
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Aria sung by Frasi in Gluck's Artamene, published in The favourite songs in the opera call'd Artemene by Sigr. Gluck in 1746.London's Foundling HospitalThis was followed straight away by a period of intense artistic activity on the London stage, still at the King's Theater, singing works by Giovanni Battista Lampugnani, Johann Adolph Hasse, Nicola Porpora, Baldassare Galuppi. However, just a couple of years after her arrival in the British capital, shortly after the première of the pasticcio L'incostanza delusa, all theatres in London were closed because of the political turmoil caused by the Stuart rising.
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One of Vorraber's greatest project was the cyclical performance and first digitally recording of Robert Schumann's complete piano works, performed and recorded during twelve evenings in different cities in Europe and Japan. The recordings are released on a series of thirteen CDs for which he was awarded the Austrian Broadcasting's Pasticcio prize in 2006. As an effect of this Franz Vorraber was acclaimed as one of the most important interpreters of Schumann in our times. During his career Franz Vorraber received many prizes, for example from the Ministry of Education, from the piano manufacturer Bösendorfer in Vienna and from the city of Graz.
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Title page of original printed edition The date of Agrippinas first performance, about which there was at one time some uncertainty, has been confirmed by a manuscript newsletter as 26 December 1709.Dean & Knapp, p. 128 The cast consisted of some of Northern Italy's leading singers of the day, including Antonio Carli in the lead bass role; Margherita Durastanti, who had recently sung the role of Mary Magdalene in Handel's La resurrezione; and Diamante Scarabelli, whose great success at Bologna in the 1697 pasticcio Perseo inspired the publication of a volume of eulogistic verse entitled La miniera del Diamante.Dean (1997) p.
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The invention of pasticciotti is credited to Andrea Ascalone, a chef in the town of Galatina in Lecce, who in 1745 used ingredients left over from full-sized tortas to create a smaller cake. The name pasticciotto allegedly comes from Ascalone himself regarding his creation as a pasticcio, or "mishap". However, recent studies demonstrate that the Ascalone family was not present in Galatina before 1787.Il filo di Aracne (The Spider's Web), year XIII - N° 4, October-December 2018 – "Storia della pasticceria a Galatina: tra ‘700 e ‘800" ("History of Pastry in Galatina in the 18th and 19th Centuries"), by Alessandro Massaro..
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In England, the Jubilate was traditionally combined with the Te Deum, such as Henry Purcell's Te Deum and Jubilate, and Handel's Utrecht Te Deum and Jubilate. In German, Heinrich Schütz included a setting of Psalm100, along with an extended setting of Psalm119 and a Magnificat, in his final collection, known as Opus ultimum or Schwanengesang (Swan song). A pasticcio motet Jauchzet dem Herrn alle Welt includes music by Georg Philipp Telemann and J.S.Bach. The themes of the first psalm verses are paraphrased in the opening movement of Bach's 1734 Christmas Oratorio, , with a later contrasting section (Serve the Highest with splendid choirs).
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Felix Schroeder's score edition, based on the composite manuscript of Bach's first two versions (D-B Mus. ms. 11471/1) and the 1729 Hamburg pasticcio (D-B Mus. ms. 11471), was published by Hänssler in the 1960s, attributing the work to Reinhard Keiser. Another 1960s score edition was realised by Donald George Moe and published by the University of Iowa.Iowa 1960s (score edition) Carus- Verlag published the BNB I/K/1 version, that is BC D 5a version of the score with the BC D 5b variants of the choral movements 9+, 14a and 29a appended, as Reinhard Keiser's work arranged by Bach, in 1997.
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In 1733, a group of English aristocrats wished to set up an opera company to rival Handel's, and Cuzzoni was one of the first singers they approached. She returned in April 1734, joining the cast of Porpora's Arianna a Nasso. For this company, known as the "Opera of the Nobility", she sang in four more operas by Porpora, and others by Sandoni, Hasse, Orlandini, Veracini, Ciampi, the pasticcio Orfeo and even a version of Handel's Ottone. It would seem that she made less of an impression during this visit, not least due to the presence of the incomparably famous Farinelli in the same company.
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' (I live, my heart, for your pleasure), 145, is a five-movement church cantata on a libretto by Picander which Johann Sebastian Bach, as its composer, probably first performed in Leipzig on Easter Tuesday, 19 April 1729. As a seven-movement pasticcio, with one of the added movements composed by Georg Philipp Telemann, it is an Easter cantata known as ''''' (as it was published in the 19th century) or as Auf, mein Herz! (after the incipit of the pasticcio's first movement). ' is one of less than a dozen extant cantatas and fragments of what is known as Bach's Picander cycle, or his fourth cantata cycle.
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Another peculiar dish, that was allegedly cooked by Renaissance chef Cristoforo di Messisbugo, is pasticcio di maccheroni, a domed macaroni pie, consisting of a crust of sweet dough enclosing macaroni in a Béchamel sauce, studded with porcini mushrooms and ragù alla bolognese. The traditional Christmas first course is cappelletti, large meat and cheese filled ravioli served in chicken broth. It is often followed by salama da sugo, a very big, cured sausage made from a selection of pork meats and spices kneaded with red wine. Seafood is also an important part of the local tradition, that boast rich fisheries in the Po delta lagoons and Adriatic sea.
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In the 18th century, opera pasticcios were frequently made by composers such as Handel, for example Oreste (1734), Alessandro Severo (1738) and Giove in Argo (1739), as well as Gluck, and Johann Christian Bach. These composite works would consist mainly of portions of other composers' work, although they could also include original composition. The portions borrowed from other composers would be more or less freely adapted, especially in the case of arias in pasticcio operas by substituting a new text for the original one. In late 18th-century English pasticcios, for instance by Samuel Arnold or William Shield, the "borrowed" music could be Irish or British folksongs.
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Performance of Il paese dei campanelli Carlo Lombardo dei Baroni Lombardo di San Chirico (Naples, 28 November 1869 – Milan, 19 December 1959) known also under the composer-pseudonyms Léon Bard, Leo Bard, Leblanc and M. Fernandez, was an Italian operetta impresario, comedian, librettist, publisher and "composer" of pasticcio productions of other composers' music. He is regarded in Italy as the father of the late 19th and early 20th Century revival in Italian operetta. Lombardo was responsible, in a somewhat debatable manner, for getting Pietro Mascagni to write the operetta Sì. His brother was the conductor and composer Costantino Lombardo. His publishing house, Lombardo Editore, continues to publish sheet music for operettas.
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Her association with Handel can be dated to 1714, when he wrote the solo soprano role in the Ode for the Birthday of Queen Anne for her. She joined his company early that year, making her debut in Creso, a pasticcio. As the year went on she sang in revivals of Arminio and Ernelinda (both pasticcios, possibly with music by Nicola Haym); on several occasions new music was written for her. London audiences clearly gave her a good reception, and her career continued to prosper; she played the role of Almirena in a 1715 revival of Rinaldo, and originated the role of Oriana in Handel's Amadigi.
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Il pesceballo (The Fish-Ball) is a 19th-century American pasticcio opera in one act featuring the music of Bellini, Donizetti, Mozart, and Rossini, with a spoof Italian libretto by Francis James Child which makes use of some of grand opera's most popular melodies. The recitatives and chorus parts were written by John Knowles Paine, and James Russell Lowell translated the libretto into English. Child was a Harvard English professor and opera lover, and the text was originally inspired by an incident which occurred to a colleague of his. One evening George Martin Lane was trying to make his way to Cambridge, MA, from Boston.
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The Siege of Belgrade is a comic opera in three acts, principally composed by Stephen Storace to an English libretto by James Cobb. It incorporated music by Mozart, Salieri, Paisiello and Martini, and is therefore considered a pasticcio opera, as well as a Singspiel in English language, as it contained a spoken dialogue. It premiered on 1 January 1791 at the Theatre Royal, Drury Lane, in London with a great success,Stephen Storace. short biography featuring many famous singers and actors of the time, such as sopranos Nancy StoraceAnna (Nancy) Storace, list of performances and Anna Maria Crouch, tenor Michael Kelly as well as Shakespearean actors (in spoken roles) such as John Bannister and Richard "Dicky" Suett.
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Handel's 1739 pasticcio Giove in Argo also has a "Lascia la spina" aria, but a shorter one, less known, and set to a different melody. The libretto for Rinaldo was written by Giacomo Rossi from a scenario provided by Aaron Hill. Almirena is addressing the Saracen king of Jerusalem, Argante, who is holding her prisoner and has just disclosed his passion at first sight for her.The following is the original text by Aaron Hill (from the booklet annexed to Jean-Claude Malgoire's first full recording of Rinaldo, released by CBS in 1977): Permit the wretched to complain Of their unhappy fate; The loss of liberty's a pain That should our sights create.
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Her English career began shortly after her arrival, first performing in comprimario roles at the King's Theatre. Her profile rising gradually within the company, she soon appears in secondary roles, including breeches roles (for example: Taxiles (1743) and Cleon (1747–8), both in Rossane, and the giant Briareus in the première of Gluck's La caduta de' giganti in 1746). Her actual London début took place on 2 November 1742 at the King's Theater as Mahobeth in the pasticcio Gianguir with music by Giovanni Battista Lampugnani, Johann Adolph Hasse and Giuseppe Ferdinando Brivio. The latter's music will also be used in two other pasticcios produced at the King's Theatre during the 1740s: Mandane, premièred on 12 December 1742 (and later, L'incostanza delusa, premièred on 9 February 1745).
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Domingo has sung 151 roles in Italian, French, German, English, Spanish and Russian. His main repertoire however is Italian (Otello; Cavaradossi in Tosca; Don Carlo; Des Grieux in Manon Lescaut; Dick Johnson in La fanciulla del West; Radames in Aida); French (Don José in Carmen; Samson in Samson and Delilah; Hoffmann in Les Contes d'Hoffmann); and German (Lohengrin, Parsifal, and Siegmund in Die Walküre). He has appeared in more operas by Giuseppe Verdi than any other composer. Domingo has created original roles in eight world premieres of operas, Vásquez's El último sueño, Moreno Torroba's El poeta, Menotti's Goya, García Abril's Divinas palabras, Cano's Luna, Drattell's Nicholas and Alexandra, Tan Dun's The First Emperor, and Catán's Il Postino, as well as one pasticcio, The Enchanted Island.
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Seven of the eight stanzas of this hymn are also used in the mid-18th-century pasticcio Passion oratorio Wer ist der, so von Edom kömmt (movements 2, 24, 27, 30, 38, 40 and 42).Text-, Liedvorlagen, Bibelkonkordanzen und Besetzungsangaben zu den geistlichen Kantaten, Oratorien & Passionen Johann Sebastian Bachs at Mauricio Kagel quoted the hymn, paraphrased to "Bach, der uns selig macht" in his oratorio Sankt-Bach-Passion telling Bach's life, composed for the tricentenary of Bach's birth in 1985. Eight hymns by Weiße are part of the current German Protestant hymnal ' (EG), including his Easter hymn "Gelobt sei Gott im höchsten Thron". His hymnal was reprinted by Konrad Ameln in 1957 as a facsimile, titled Gesangbuch der Böhmischen Brüder 1531 (Hymnal of the Bohemien Brethren 1531).
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Among composers of art song in Arabic, Hiba Al Kawas has not composed a full opera in Arabic, but her cycle of five instrumental and three song pieces Rou'ia Fi Maa received its première at the Opéra Bastille in Paris in 2007. In July 2009, Daniel Barenboim's Youth Orchestra in Ramallah produced the opera The Sultana of Cadiz (later renamed to Die arabische Prinzessin), based on a pasticcio of music by Juan Crisóstomo Arriaga to a new libretto by Paula Fünfeck after an Arabic fairy tale at Ramallah's Cultural Palace. The opera was commissioned and conducted by Anne- Sophie Brüning of the Barenboim-Said Foundation.Boosey & Hawkes' page on Die arabische Prinzessin Lebanese composer Iyad Kanaan (1971) composed an opera in three acts entitled Qadmus to an Arabic libretto by Said Akl.
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In Carnival 1726, aged 15, he made his debut at Rome in Domenico Sarro's Valdemaro, singing the third female role, and listed with the stage name “Caffarellino.” His fame spread rapidly throughout Italy during the 1730s, with performances at Venice, Turin, Milan, Florence, before returning to Rome for a great success in Johann Adolf Hasse's Cajo Fabricio. His time in London was not particularly successful, public memory of Farinelli being too strong, but at the King's Theatre during the 1737–38 season he created roles in Giovanni Battista Pescetti's pasticcio Arsace and Handel's Faramondo, in addition to the title role in Handel's Serse, singing the famous aria "Ombra mai fù".Dean a caricature of Caffarelli by Pier Leone Ghezzi, c1740 In later years he worked at Madrid (1739), Vienna (1749), Versailles (1753), and Lisbon (1755).
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Mourby (25 November 2007) The Festival is currently run by Nicholas Hunt and Giancarlo Morganti, with the musical counsel of Massimo Fino. In recent years it has produced "Gli equivoci nel sembiante" (1780), Alessandro Scarlatti's first opera, performed also at Castel St. Elmo in Naples and in Lubiana (2012), La Caduta di Gierusalemme (1788) by Giovanni Paolo Colonna, first Italian staged performance in modern times (2013), Il Bajazet by Francesco Gasparini (1719), First ever performance in modern times (2014) - and Handel's pasticcio Catone, a first stage performance following the concert performance in March 2015 in London during the London Handel Festival. These last productions were conducted by Carlo Ipata and performed by his Auser Music Orchestra. The singers were selected via auditions held in Pisa in February/March.
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Then, in 1811, Mayr once again intervened. Having written both libretto and music for a "pasticcio-farsa", Il piccolo compositore di musica, as the final concert of the academic year, Mayr cast five young students, among them his young pupil Donizetti as "the little composer". As Ashbrook states, this "was nothing less than Mayr's argument that Donizetti be allowed to continue his musical studies".Ashbrook 1982, pp. 8–9 Donizetti as a schoolboy The piece was performed on 13 September 1811 and included the composer character stating the following: In reply to the chiding which comes from the other four characters in the piece after the "little composer" 's boasts, in the drama the "composer" responds with: The performance also included a waltz which Donizetti played and for which he received credit in the libretto.
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Their publication of the BNB I/K/2 pasticcio, which indicated "Kaiser", Bach and Handel as its composers, followed in 2012: this edition contained reconstructed material and a detailed introduction by its editor Christine Blanken. The Neue Bach-Ausgabe volume II/9 Latin Church Music, Passions: Works with Doubtful Authenticity, Arrangements of Music from other Composers, edited by Kirsten Beißwenger and published in 2000 by Bärenreiter, contains as well a critical commentary as score editions of the choral movements attributed to Bach, that is the choral movements "O hilf, Christe, Gottes Sohn" and "O Traurigkeit, o Herzeleid" of the BC D 5a version (section 7) and the three choral movements in the BC D 5b version (section 8). Section 9 of this score edition contains the fragments relating to the BNB I/K/2 version as available (without reconstruction of the missing parts).
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The Great Waltz is a musical conceived by Hassard Short with a book by Moss Hart and lyrics by Desmond Carter, using themes by Johann Strauss I and Johann Strauss II. It is based on a pasticcio by Erich Wolfgang Korngold and Julius Bittner called Walzer aus Wien, first performed in Vienna in 1930. The story of the musical is loosely based on the real-life feud between the older and younger Strauss, allegedly because of the father's jealousy of his son's greater talent. The Great Waltz debuted on Broadway at the Center Theatre on September 22, 1934 and ran for 289 performances. The production was directed by Hassard Short and presented by Max Gordon, with choreography by Albertina Rasch, settings by Albert Johnson and costumes by Doris Zinkeisen together with Marion Claire, Marie Burke and Guy Robertson.
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Greek pastitsio The most popular contemporary variant of pastitsio was invented by Nikolaos Tselementes, a French-trained Greek chef of the early 20th century. Before him, pastitsio had a filling of pasta, liver, meat, eggs, and cheese, did not include béchamel, and was wrapped in filo, similar to the most Italian pasticcio recipes, which were wrapped in pastry: "he completely changed the dish and made it a kind of au gratin".Aglaia Kremezi, "Nikolas Tselementes", Cooks and Other People, Proceedings of the Oxford Symposium on Food and Cookery, p. 168 The Tselementes version—which is now ubiquitous—has a bottom layer that is bucatini or other tubular pasta, with cheese and/or egg as a binder; a middle layer of ground beef, or a mix of ground beef and ground pork with tomato sauce, cinnamon and cloves.
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Handel opened his first season at Covent Garden with a re-working of his earlier Il Pastor Fido with an entirely new prologue, Terpsichore, featuring the internationally famous French dancer Marie Sallé. The pasticcio Oreste, which followed, also features dances unlike the operas Handel had previously composed for London. Anna Strada, who alone of the stars of Handel's previous operas had not defected to the rival opera company, was in the cast of Oreste, as she was in all of Handel's large-scale vocal works from 1729 to 1737. She was joined by celebrated castrato Carestini, of whom 18th century musicologist Charles Burney wrote: > “His voice was at first a powerful and clear soprano, which afterwards > changed into the fullest, finest, and deepest counter-tenor that has perhaps > ever been heard... Carestini’s person was tall, beautiful, and majestic.
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Bach Digital Source 00000626 at The text authors of the pasticcio and its components are largely unknown, apart from those of the Lutheran hymn texts, for instance Paul Gerhardt's "O Haupt voll Blut und Wunden" (movement 18), and Michael Weiße's "Christus, der uns selig macht" (movements 2, 24, 27, 30, 38, 40 and 42). For the free verse no librettist is known. There is no direct quote from the Gospel's Passion texts: the Passion's story isn't told by an Evangelist role in recitatives, nor in direct speech by any of its characters such as a vox Christi or turba choruses, but exclusively hinted at by the reflective texts of the free verse and the chorales. Closest to a Passion narrative in this sense are the interspersed stanzas of "Christus, der uns selig macht", which recall successive scenes of Christ's Passion.
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The Soane Museum is now a national centre for the study of architecture. From 1988 to 2005 a programme of restoration within the Museum was carried out under Peter Thornton and then Margaret Richardson with spaces such as the Drawing Rooms, Picture Room, Study and Dressing Room, Picture Room Recess and others being put back to their original colour schemes and in most cases having their original sequences of objects reinstated; Soane's three courtyards were also restored with his pasticcio (a column of architectural fragments) being reinstated in the Monument Court at the heart of the Museum. (Much of the cost of the work was financed by the Sir John Soane's Museum Foundation, in New York.)Paula Deitz (13 April 1995), Sir John Soane's New Tricks New York Times. In 1997 the trustees purchased the main house at No. 14 with the help of the Heritage Lottery Fund.
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Costanzo is passionate about interdisciplinary collaboration, and in 2018 created an art installation with multimedia fashion and art company Visionaire, producer Cath Brittan, artist George Condo, fashion designer Raf Simons (Chief Creative Officer of Calvin Klein), choreographer Justin Peck, dancers David Hallberg and Patricia Delgado, and other artists including James Ivory, Pix Talarico, Maurizio Catellan, Pierpaolo Ferrari, Mark Romanek, Mickalene Thomas, Daniel Askill, AES+F, and Chen Tianzhuo. He recently helped create two unique collaborations with Kabuki and Noh actors in a presentation of The Tale of Genji, with sold-out runs in Tokyo and Kyoto. His has curated and produced two sold-out runs of performances for National Sawdust including Aci, Galatea e Polifemo, and Orphic Moments which traveled to the Salzburger Landestheater, and then Lincoln Center's Rose Theater with MasterVoices. At Princeton, Costanzo also created a pasticcio about castrati in collaboration with choreographer Karole Armitage and filmmaker James Ivory, which was chronicled by the documentarian Gerardo Puglia.
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In the summer of 1769, he made his last visit to London, and became embroiled in the financial problems involving his impresario, the Honourable George Hobart, manager of the King's Theatre, Haymarket, who also offended the singer by hiring one Zamperina (his then mistress) in preference to Guadagni's own sister. Eventually Guadagni left the company there, and took part in unlicensed performances of Mattia Vento's Artaserse, sponsored by the former singer Theresa Cornelys at her home, Carlisle House, in Soho Square: for these he was fined £50, and threatened with Bridewell Prison, and maybe another whipping. His performances in London in the season of 1770-71 included a pasticcio version of Gluck's Orfeo, with additional music by Johann Christian Bach, Pietro Antonio Guglielmi, and one aria arranged by Guadagni himself. By 1773, the singer had fallen in with the blue-stocking Maria Antonia of Bavaria, Dowager Electress of Saxony, and had followed her to Munich.
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508 (accessible for free online at Google Books). According to Grétry's account, Duni – then a novice composer – went to visit Pergolesi shortly after the failure, calling him "maestro" and consoling him by saying that the opera he himself was soon to stage (Il Nerone, premiered on 21 May) was not worth a single aria from Pergolesi's work which had been so badly received by the public. decades later, namely that the performance was a total fiasco, so much so that during the disputes it provoked Pergolesi was hit on the head by an orange thrown by an angry member of the audience.Mellace Nevertheless, the opera rapidly won international fame and "over the next ten years Pergolesi's music all but monopolized L'Olimpiade pasticcios throughout Europe." Productions based on Pergolesi's setting were performed in various cities: in Perugia and Cortona in 1738, in Siena in 1741, perhaps in Florence in 1737, certainly in London in 1742,Monson. According to Monson, on the contrary, the pasticcio staged at the Teatro San Giovanni Grisostomo in Venice in 1737, albeit widely attributed to Pergolesi (and maybe containing some of his music), was mainly based on Vivaldi's 1734 setting.
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He may have assisted the advertised directors, Pasquale Anfossi and Luigi Cherubini, at the King's Theatre, Haymarket, but it was not until 9 January 1787, that his connection with the theatre was advertised, when Cimarosa's ‘Giannina e Bernardone’ was announced, ‘under the direction of Signor Mazzinghi,’ for 9 Jan. 1787. Several songs in the pasticcio were by him. On 8 December 1787, Paisiello's ‘Il Re Teodoro in Venezia’ was performed, with Mazzinghi, who had supplied some of the music, at the harpsichord. While holding the office Mazzinghi was not only responsible for alterations of and additions to various Italian operas, but brought out several ballets: ‘L'Amour et Pasiche’ on 6 March 1788, ‘Sapho et Phaon,’ ‘Eliza,’ and others. He remained at his post until the King's Theatre was burnt down on 17 June 1789. In 1791, he was director of the Pantheon, the managers of which had succeeded in securing the one license granted for Italian opera. The Pantheon was, in its turn, destroyed by fire on 14 Jan. 1792. On 1 March, Mazzinghi conducted at the ‘Little Theatre in the Haymarket,’ called then Theatre Royal, Paisiello's ‘La Locanda.’ He had reconstructed the opera, the score of which had been lost in the fire.
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