VR Illust OPERA Poster BARBER of SEVILLE La SCALA 1970 Start Price USD 65.00 Current Price USD 65.00 Time Left - Bid Count 0 Buy It Now Price USD 79.00 Reserve Price - Start Time Monday, June 30, 2008 End Time Thursday, July 10, 2008 Location Poster BARBER of SEVILLE La SCALA 1970 See more about 'VR Illust OPERA Poster BARBER of SEVILLE La SCALA 1970' Description Dear customer / Friend.    Kindly note that there are NUMEROUS similar OPERA related items , POSTERS , SIGNED MUSICAL PROGRAMMES , AUTOGRAPHS of CONDUCTORS and INSTRUMENTALISTS , CONCERTS POSTERS etc.  These items don't appear when you perform a regular SEARCH but you'll be able to watch ALL of them should you use the LINK to my STORE. Please do !! Thanks. MEIR50.   PLEASE READ THIS short GUIDE for EASY and USEFUL search on my STORE :   1. Please REFINE your search by using a main CODE like for example " MICHELANGELI " or "CONCERT" or " PROGRAMME " or " POSTER " in the small window at the top left corner of the store PAGE . Pls DO NOT mark "TITLE & DESCRIPTION" but ONLY "TITLE " then you'll receive EXACTLY what you are looking for.   2. My STORE is REFRESHENED and RENEWED on a WEEKLY basis with many new items added. Therefore it is HIGHLY RECOMMENDED to keep watching it on a regular basis. By choosing the "NEWLY LISTED" option , You'll be able to see only the NEW recent listings.   THANK YOU  !!   Here for sale is an ORIGINAL advertising ILLUSTRATED POSTER of the OPERA " THE BARBER OF SEVILLE"  ( Il BARBIERE di SIVIGLIA ) by Gioacchino Antonio ROSSINI .  Perfomed by the singers of LA SCALA ( Teatro Alla Scala ) in MILANO , The CONDUCTOR was ALBERTO ZEDDA . Zedda and the La Scala singers were GUEST ARTISTS of the ISRAEL PHILHARMONIC ORCHESTRA ( Founded by Bronislaw Huberman ) in its 1969/70 CONCERTS SEASON.  The CONCERT took place in TEL AVIV - ISRAEL in February 1970. Please look at the scanned POSTER for the DETAILS .  The poster is impressively designed with image of the Barber of Seville. It was ORIGINALLY and ESPECIALLY designed  for this UNIQUE performance . ******** The POSTER is 100% guaranteed ORIGINAL and AUTHENTIC. ******* Flat . Measures about 19" x 25" . Written in ENGLISH and HEBREW. Excellent PRISTINE condition. Perfectly preserved. No folds ,stains or teas whatsoever. Will be shipped rolled inside a protective rigid sealed tube. Buyer to pay international shipp ( $15 for uninsured registered airmail ).  Payment can be made by USD personal check , International money order or Wire transfer. Paypal is acceptable too with additional  5 %.   MORE about ALBERTO ZEDDA : ALBERTO ZEDDA : Nasce a Milano dove compie gli studi umanistici e musicali. Nel 1957 vince il Concorso internazionale della Rai per direttori d'orchestra. Questa affermazione gli apre le porte delle più importanti istituzioni italiane: Scala, Santa Cecilia, Maggio Musicale Fiorentino, Orchestre Rai di Roma, Torino, Milano, Napoli, ecc. e anche straniere: Germania, Stati Uniti, Israele, Francia, Spagna, Russia e molte altre. Parallelamente sviluppa una ininterrotta attività operistica: Scala, San Carlo, La Fenice, Massimo, Covent Garden, Mavrinski, Opera di Vienna, San Francisco, Los Angeles, Parigi, Berlino, Monaco, Amburgo, Amsterdam, Praga, Varsavia, Madrid, Barcellona, Lisbona. Da sempre dedica parte del suo tempo all'attività musicologia, curando edizioni critiche di opere, oratori e cantate, con particolare riferimento alla produzione della prima metà dell'Ottocento. Il suo ultimo lavoro in questo campo è stato la realizzazione de "L'incoronazione di Poppea" di Claudio Monteverdi, da lui diretta alla Scala. E' stato direttore del repertorio italiano alla Neue Deutsche Oper di Berlino e alla New York City Opera; membro del Comitato Editoriale della Fondazione Rossini di Pesaro dalla sua creazione; direttore musicale del Festival della Valle d'Itria di Martina Franca; consulente artistico del Rossini Opera Festival di Pesaro, direttore artistico dei Teatri Carlo Felice di Genova e La Scala di Milano; direttore dell'Accademia Rossiniana di Pesaro e direttore artistico del Festival del Barocco Musicale di Fano. Recentemente è stato nominato direttore artistico del Rossini Opera Festival di Pesaro. Ha insegnato Storia della Musica all'Università di Urbino e Filologia Musicale Applicata all'Accademia di Osimo. Ha inciso numerosi dischi di musica sinfonica, da camera e operistica. ****  Alberto Zedda - Alberto Zedda was born in Milan, where he completed his humanistic and musical studies. In 1957 he won the RAI International Competition for conductors, which allowed him to conduct symphonic music with the most important Italian orchestras (La Scala, Santa Cecilia, Maggio Musicale Fiorentino, Rai Orchestras of Rome, Turin, Milan and Naples) and in major foreign theaters (Germany, United States, Israel, France, Spain, Russia, etc.). His activity in opera productions is also vast: (La Scala, San Carlo, La Fenice, Teatro Massimo, London Covent Garden, Mavrinski, Vienna, Hamburg, Berlin, Prague, San Francisco, Los Angeles, Paris, Munich, Amsterdam, Warsaw, Madrid, Barcelona, Lisbon, etc.). Musicological activity plays an important role in his career. He has completed critical editions of operas, oratorios and cantatas, especially from the first half of the 19th century. His latest work in this field is "L'incoronazione di Poppea" by Claudio Monteverdi, which he has conducted at La Scala. He has been director of the Italian repertoire at the Neue Deutsche Opera of Berlin and at the New York City Opera; a member of the Editorial Board of the Rossini Foundation of Pesaro; Musical Director of the Festival della Valle d'Itria in Martina Franca and artistic consultant for the Rossini Opera Festival in Pesaro and artistic director of the Carlo Felice Theater in Genova and La Scala in Milan; director of the Rossini Academy of Pesaro and artistic director of Festival of Baroque Musical in Fano. He has recently been nominated artistic director of the Rossini Opera Festival in Pesaro. He has taught History of Music at the University of Urbino and applied musicology at the Accademia of Osimo. He has recorded several albums of symphonic music, chamber music and opera. ******* MORE about the OPERA : The libretto of this comic masterpiece is founded on Beaumarchais’ comedy of the same name. It was prepared by the poet Sterbini, who lived in the same house with Rossini while the work was in progress. Briefly, the story is as follows: The ardent Count Almaviva has fallen in love with Rosina, the pretty ward of Doctor Bartolo, who wants to marry her himself. So far, Almaviva is known to her only under the assumed name of Lindoro. After a serenade and an exchange of letters, he disguises himself as a tipsy dragoon, and manages to get into Bartolo’s house by aid of the factotum Figaro. But his stratagem is foiled by the entrance of the guard, who arrest the would-be wooer and carry him to gaol. In the second Act he appears as Deputy for Basilio, the singing-master, said to be sick. In order, however, to gain the suspicious Bartolo’s confidence, he produces one Rosina’s letters to himself, declaring that it was given him by a mistress of Almaviva. Bartolo thinks he will inflame Rosina’s jealousy by telling the scandal to Rosina, whose disappointment nearly frustrates Almaviva’s deep-laid schemes. Happily, Almaviva secures an interview with Rosina, convinces her of his constancy, and induces her to elope before Bartolo discovers the trick that has been played upon him. The music of this immortal work is too well known to required detailed analysis. It exhibits the composer in his gayest and most exhilarating mood, and sparkles with wit and fancy. Amongst his most familiar numbers are the Count’s serenade, Figaro’s celebrated description of his various duties, Basilio’s plotting aria, Rosina’s chamber aria, the ingenious dragoon finale of first Act, and the music-lesson. The delicate trio, "Zitti Zitti," is a much-appreciated number; but the melody of this is taken, note for note, from Simon’s air in Haydn’s "Seasons." The overture, as now played, was not originally composed for the opera, but had done varied service in other directions. Rossini wrote "The Barber" to the commission of the manager of the Argentina Theatre, at Rome, where it was first produced in February 1816. According to contract, it had to be finished by a very near date, and for thirteen days poet and composer had scarcely time to eat, while they slept -- on a sofa -- only when they could no longer keep their eyes open. Rossini did not even stop to shave, and when some wit remarked on the strange fact the that "The Barber" should cause him to let his beard grow, he replied that to get shaved meant going out, and if he went out he would not return so soon as he ought. The statement, frequently made, that the entire opera was written in thirteen days is doubtfully correct, but the time was certainly within a month. Rossini declared that he received just £60 from the Argentina for the work. That sum did not compensate him, he said, for the agony he endured at the premiere. The "agony" was probably not acute, for Rossini took such things very philosophically. But assuredly there was cause for agony. It so happened that Paisiello, a living composer in good local repute, had made an opera on the same subject thirty-six years before; and his admirers would not forgive the young Rossini for presuming to do better, or even differently. It was said that Paisiello looked confidently forward to Rossini’s failure, and was even prepared to help towards it himself. At any rate, the audience came primed for a row.  Circumstances were on their side. First, and apart from their allegience to Paisiello, they were used in the way of buffo music to the style in which the pathetic often mingles with and sometimes effaces the comic. Then, to make matters worse, Rossini wore a coat the texture and colour of which displeased them -- a kind of vicuna. Again, when Almaviva enter to sing his serenade to Rosina, all the strings on his guitar snapped. A few minutes later, the like mishap befell Figaro’s instrument; and instead of tripping sedately on to the stage, Basilio made his entrance head foremost. Picking himself up, he made the mistake of wiping the blood flowing from his nose with his gown.  As if this were not enough, the finely built concerted piece which closes the first Act was just beginning when a cat appeared on the stage. Chased in one direction by Figaro, in another by Bartolo, in a third by Basilio, the animal, in a wild endeavour to escape, ran into the skirt of Rosina’s dress. In a word, the cat and not the music received the attention of the audience, who laughed uproariously. Then the storm broke; but instead of bowing his head to it, Rossini rose from the piano at which composers then presided, and not only applauded his interpreters, but with a gesture asked the audience to do the same! The whole thing ended in hissing and hooting. But Rossini remained perfectly calm. He went home to bed, and, when the principal singers called in half-an-hour, he was fast asleep. At the second performance, "The Barber" was comparatively well received. Being then actually heard, it was naturally admired. After a few representations it began to excite enthusiasm, and in a little over a week it was being received nightly with "frantic applause." By-and-by it not only took the musical world by storm, but it has kept the stage to the present day, though its appearances are few and far between.   Check out my other items!          Be sure to add me to your favorites list! Place a Bid!