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Fibonacci Sequence Scacchi Pacetti Zani 1597
Una regola di scacchi (la mossa del cavallo), una sequenza numerica (Fibonacci) e un violoncello libero nella sua solitudine. Alessandro Maria Muller, Luca Pacetti, Renato Zani, Studio Terzo Suono Roma (consigliabile uso di cuffie stereo) A rule of chess (the horse's move), a numerical sequence (Fibonacci) and a free cello in his solitude. The work comes from two ideas. The first was to imagine the keyboard of a cello as a chessboard on which the so-called 'horse jump' takes place: a game that consists in subsequently occupying all the boxes of the same chessboard by moving a piece of chess, precisely, the horse, with his typical move to 'L'. Excluding the 'empty' notes produced by the nut and those produced under the handle of the cello, the imaginary chessboard includes twenty-eight notes produced by the four strings of the instrument. Starting the 'jump of the horse' game from the high Do#/Reb of the fourth string you can play all twenty-eight notes, one at a time, until you get to the high La#/Sib of the first string. The itinerary found is shown in the final summary scheme. The next logical step was to identify seven groups of four notes each (as are four strings of the cello). In this way the seven tones to which the four notes belong have been identified.: The second idea was to identify a melodic sequence through a known and recognizable matrix. The choice fell on the succession of Fibonacci. It is a sequence of positive integers +••.••(...), etc.): each number is the sum of the two preceding ones and the first two are 1. The succession takes its name from the 13th century Pisan mathematician Leonardo Fibonacci, while he was trying to find a mathematical law that could describe the growth of a population of rabbits. Over time, succession has found many references in chemistry, botany, human anatomy, geometry, art, economics, computer science, systematic games and, of course, music, where many composers have referred to it. The logical step was to combine the Fibonacci sequence with the numerical sequence of the seven notes of a diatonic musical scale: 1-tonica 2-sopratonica 3-caratteristica 5-dominante 8-tonica 13-sopradominante 21-sensibile o sottotonica 34-sopradominante 55-sopradominante 89-dominante 144-sottodominante 233-sopratonica 377-sopradominante 610-tonica 987-sensibile o sottotonica 1597-tonica The succession of Fibonacci applied to the structure of a diatonic scale determines a cyclic sequence: every sixteen notes are repeated. In fact, the next number, 2584, corresponds again to a tonic and the next, 4181, again to a sopratonic. The compositional work was defined as follows: within the seven tonalities identified, an 'original' sequence of sixteen consequential notes developed, linked to the succession of Fibonacci and further reproposed through its retrograde, its inverse and the retrograde of its inverse. Each tone, therefore, has four notes related to the 'jump of the horse', plus four notes connecting to the melody, plus sixty-four notes of the sequence, for a total of seventy-two. The value and height of the notes, chromatic alterations, intervals, metrics, and specific cello technique were the final challenge to give sound body to the whole project.
Vincenzo Bellini Iva Pacetti 1801 1835 1928
Vincenzo Bellini +••.••(...)) Norma Casta diva Iva Pacetti, soprano 1928
Iva Pacetti Bellini Verdi Ponchielli Catalani Leoncavallo Mario Basiola Beniamino Gigli Richard Strauss Dyer 1201 1533 1951
0:00 Casta Diva (Bellini, Norma, Norma) 8:05 Deh non volerli vittime (Bellini, Norma, Norma) 7:53 Ernani involami (Verdi, Ernani, Elvira) 12:01 D'amor sull'ali rosee (Verdi, Il trovatore, Leonora) 15:33 Pace mio dio (Verdi, La forza del destino, Leonora) 19:51 Suicidio (Ponchielli, La Gioconda, La Gioconda) 22:58 Cosi mantieni il patto (Ponchielli, La Gioconda, La Gioconda, with Luigi Montesanto as Barnaba) 27:18 Ebben ne andro lontana (Catalani, La Wally, La Wally) 30:32 La mamma morta (Giordano, Andrea Chenier, Maddalena) 34:29 Qual fiamma avea nel guardo (Leoncavallo, Pagliacci, Nedda) 39:08 Sei la (Leoncavallo, Pagliacci, Nedda, with Mario Basiola as Tonio) 43:40 Pagliaccio mio marito (Leoncavallo, Pagliacci, Nedda, with Beniamino Gigli as Beppe) 47:45 Act III scene 1 (Richard Strauss, Die Frau ohne Schatten, The dyer's wife, with Benvenuto Franci as Barak)
Carlo Guasco Fabio Armiliato Vivaldi Ferraro Gamberini Pacetti Ristori Gandini Molina Teatro Opera Roma Teatro Scala Teatro Sociale 2017
Concorso Internazionale di Canto Lirico “Carlo Guasco” 1° edizione Alessandria, 14 – 15 – 16 luglio 2017 Riservato ad allieve e allievi dei Conservatori, degli Istituti Musicali Pareggiati e dei Licei Musicali italiani, e a cantanti lirici Diplomati in Italia GIURIA Presidente: Fabio Armiliato Danilo Boaretto (Direttore OperaClick) Giovanni Botta (Direttore Artistico concorso “C. Guasco”/Conservatorio A. Vivaldi Alessandria) Vincenzo de Vivo (Direttore Artistico/Opera Ancona Jesi) Cristina Ferrari (Direttore Artistico/Fondazione Teatri di Piacenza) Beatrice Ferraro (ALIOPERA) Lilia Gamberini (Conservatorio A. Vivaldi Alessandria) Eleonora Pacetti (Responsabile Young Artist Program/ Teatro dell’Opera Roma) Riccardo Ristori (Conservatorio A. Vivaldi Alessandria) Vincent Scalera ( Vocal Coach/Accademia Teatro alla Scala Milano) Stefano Scardovi (Stage Door) Giovanni Vegeto (Direttore generale Teatro sociale di Como /ASLICO) COMITATO ORGANIZZATIVO Angela Colombo, Direttore Conservatorio Giovanni Botta, Direttore Artistico del Concorso Giovanni Gioanola, Vicedirettore Conservatorio Simona Gandini e Irene Molina, Ufficio stampa Danilo Danglari, Segreteria Francesca Vitale, Amministrazione
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