Elena Abbado
Academy Scientist at the Austrian Academy of Sciences, Vienna.
Research areas: Musicology, History of Music, Music Iconography, Source studies, Source edition. Actual Research project: "Johann Joseph Fux Werke".
https://www.oeaw.ac.at/acdh/musikwissenschaft/mitarbeiterinnen-mitarbeiter/elena-abbado
Research areas: Musicology, History of Music, Music Iconography, Source studies, Source edition. Actual Research project: "Johann Joseph Fux Werke".
https://www.oeaw.ac.at/acdh/musikwissenschaft/mitarbeiterinnen-mitarbeiter/elena-abbado
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Thanks to the recent discovery of new documents about the staging and reception of Vincer se stesso è la maggior vittoria, especially the manuscript diary of the soprano castrato Stefano Frilli (1664 c.-1744) who performed the leading role of Rodrigo, it is now possible to reconstruct the backstage and a more complete and detailed overview of the opera’s reception. Here the diary of Frilli is presented for the first time in relation to Handel, copied, translated and contextualized. The article will also provide new documents concerning the identity of the hitherto unknown impresario who organised the entire season, in which Frilli sang the main roles in every opera, and his peculiar relationship with the Florentine public.
"Nuove Musiche" Inchiesta n. 1: Le opinioni e i suggerimenti dei compositori italiani su "“Come dovrebbe essere una rivista di musica contemporanea oggi”.
The recent La Scala production of "Fin de partie" op. 42 (2018) is only the last act in a long process of creative incubation that led the Hungarian composer to his operatic debut at the exceptional age of ninety-two, creating great expectations in the musical world after almost a decade of waiting. The relationship with orchestral writing and extended forms has always been extremely conflictual, coming to fruition for the first time in the crucial collaboration willed by Abbado in the 1990s and prophesied by their mutual friend Luigi Nono, who died prematurely.
Starting from the interview with the composer con- ducted by Angela Ida De Benedictis and Veniero Rizzardi in 2002 at Abbado’s request, and only recently published (2018), my contribution aims to chronologically reconstruct the stages of their artistic collaboration, drawing on numerous unpublished interviews with direct witnesses and with Kurtág himself. A particular in-depth study will be dedicated to the genesis of "Grabstein für Stephan" op. 15 (1993) in its orchestral version and to that of "Stele" op. 33 (1994), composed and dedicated to the Berliner Philharmoniker and to Abbado. The role played by the conductor in the evolution of Kurtág’s writing and career was fundamental, creating the conditions for him to finally compose large-scale works: an aspect that still needs to be explored today, thanks to a careful analysis of the modus operandi put into practice ad hoc by Abbado to foster the Hungarian composer’s creative process.
During those years the singer - in the service of the Prince between 1702 and 1707 - began a very accurate private diary, still unpublished and never studied in depth. Thanks to this document, we can now reconstruct a cross-section of the first two years of musical and spectacular activity of one of the most impromptu European courts of the early Eighteenth century, that of the “traitor” of the Austrian front Maximilian II Emanuel, passed to the French faction of Louis XIV. The musical production of the Brussels court, in particular the sacred one, was affected by the political influence and geographic proximity of the French allies, but at the same time, in those years the musical production was particularly mixed in practice because of the presence of two types of musicians: those who arrived in autumn 1704 with the Prince from the court of Munich, and those already stationed in Brussels and paid directly by the Spanish Crown. This mixture of tastes, combined with political contingency, created day by day a ritual adapted to the will of the Governor.
The paper presents for the first time the study and analysis of the diary of Frilli, which proves useful not only for the enrichment of historical-political facts, but also for the reconstruction of the spectacular life of the Spanish Flanders court, observed from the privileged point of view of an exceptional foreign chronicler, always looking for comparisons of style and taste between Italy and beyond the Alps.
FESTA DELLA MUSICA 18-19 maggio 2019
TRANSILVANIA Musica, danza e poesia dall’Ungheria
Domenica 19 maggio
ore 12
Zsuzsanna Rozsnyói (Università di Bologna): "I fiori selvatici": i canti popolari ungheresi.
Domenico Staiti (Università di Bologna): La musica dei rom.
Elena Abbado: Béla Bartók etnomusicologo
ore 16 (Oratorio, primo piano) POESIA
Annabell Piroska Koch recita poesie ungheresi:
Radnóti Miklós (1909-1944): Nem tudhatom (1941)
Ady Endre (1877-1919): A föl-földobott kő
con interludi musicali di Valeria Montanari pianoforte
Jozsef Bengraf: Danza ungherese (1786)
Anonimo: Danza ungherese (1791)
Anonimo, Due danze ungheresi (da Originelle ungarrische Nationaltanze, 1800)
ore 17 Il Ballo Ongaro
Marco Ferrari duda, fluier, kaval, taragatò Fabio Tricomi viella, violino, defi, davul, doromb
BÉLA BARTÓK Három Csíkmegyei Népdal / Tre canti popolari ungheresi da Csík / Three Folksongs from the Csík District (1907, BB 45a, Sz 35)
(fluier e pianoforte)
Nota cantionis de illo digno viro Capistrano. Kvala (Ms. Kòr 801, XV sec.)
Joc Batà (danza del bastone). Hora din Kaval. Tradizionali. Ms. Bèla Bartok XX sec. Ballo Ongaro (Ms. Janòs Kajoni, XVII sec.)
Patientia. Aria ad Mensam (Ms. Uhrovska Zbierka Piesnì à Tankòk, 1730) Pastourelle (Ms. Hessen, XVI sec.)
Versus Alleluyatico. Faux Bourdon. Monodia liturgica da Aquileia La Gasquona (Ms. Uppsala XVI sec.)
Hora din Cimpoi (Tradizionale Ungherese-Rumeno)
Aksak din Kaval (Tradizionale Ungh. Rumeno)
XV sec.
Kolinda. Tradizionale. (Bèla Bartòk, XIX sec.)
Ata Bari. Ongaresca Tradizionale. (Primo libro de' Balli, Venezia, 1578)
ore 18 FERENC LISZT: Magyar rapszódiák, e canti popolare ungheresi Rhapsodie ungheresi I (1847, S.244) di Franz Liszt (1811-1886)
VIII Christian De Luca
XI Matilde Bianchi
Canti popolare ungheresi per canto solo, e flauto
Fanny Fogel canto, Judit Hantos flauto
From Gyergyó. Három Csíkmegyei Népdal / Tre canti popolari ungheresi dal distretto Csík / Three Hungarian Folksongs from the Csík District (1907, BB 45a, Sz 35) 1. The Peacock 2. At the Jánoshida fairground 3. White Lily
(flauto dolce)
Liszt, Rhapsodie ungheresi II
XII Alessandro Artese
XV Marcia-Rákóczy, Wim Van Moerbeke
ore 19 L’influsso della gipsy music sulla musica classica Elicia Silverstein violino, Filippo Pantieri pianoforte
MAURICE RAVEL (1875-1937), Tzigane (1924) [commissionata dalla violinista GRIGORAȘ DINICU (1889-1949),
FRANZ LISZT, Csàrdas Macabre (1885, S. 224)
GRIGORAȘ DINICU – JASCHA HEIFETZ, Hora Staccato (1906/1932)
PABLO DE SARASATE (1844-1908), Aires Bohemios / Zigeunerweisen / Gipsy Airs op. 20 (1878)
ore 21 Musiche e danze degli tzigani ungheresi
Budapest Gipsy Band.
Sándor Budai violino, Péter Horváth viola, Tamás Kökény jr. contrabbasso, Tamás Kökény cimbalo, László Berzsenyi e Virginia Balogh ballerini
ungherese Jelly d'Arányi e a lei dedicata]
Hora mărțișorului
sárdás Macabre (1885, S.224)
JOHANNES BRAHMS Anonimo popolare Canzone ungherese Anonimo tradizionale Anonimo
Vittorio Monti 1868-1922
J. BRAHMS FRANZ LEHÁR 1870-1948
Ballo ungherese [Béla Bartok] (cimbalom solo) GRIGORAȘ DINICU 1889-1949
Danza ungherese V
Czardas ungherese (con la coppia dei ballerini) Nem tudom az életemet
Czardas ungherese
Variazioni sopra Üveges tánc
Czardas (1904)
Danza ungherese VI
Romanza Vilja dal da A víg özvegy (operetta La vedova allegra, 1905)
Serata al Székelys canzone zingara A pacsirta /Ciocarlia / The Lark
Canzoni gitane ungheresi con ballerini
In recent years, the modern edition of Orlandini’s opera Nerone in the version of his contemporary German composer Johann Mattheson (ed. by R. Strohm, 2012) has contributed to reignite the attention on his remarkable artistic value and the need to investigate deeper the gure and work of this Italian composer.
However, if Orlandini’s fame originated mainly from his operas, very few pieces of information are known about another relevant aspect of his music production today considered lost: the oratorios. is genre was indeed particularly crucial in Orlandini’s artistic path since the very beginning of his carrier with "Il martirio di San Sebastiano "(1694) and throughout his whole life until his death in 1760. Most of his oratorios and oratorio-pastiches were written to be performed in Florence, the city where he carried on his career also as Maestro di cappella and, brie y, as Impresario. is paper aims to present a recollection and analysis of new sources and data of Orlandini’s oratorio production, proposing an alternative insight into the composer’s figure and work through the lens of this alternative genre.
vanni del violone”, fu compositore di cantate da camera, serenate, oratori, opere e sti-
mato suonatore di violone a servizio di due dei maggiori cardinali romani dell’epoca: Be-
nedetto Pamphilj e Pietro Ottoboni. Impiegato occasionalmente come strumentista per
le conversazioni e accademie di altri principi mecenati o ambasciatori stranieri, fi gura
spesso nelle liste di musici sotto la battuta di Arcangelo Corelli o impiegato in cappelle
e chiese nazionali romane, come san Giovanni dei fi orentini o san Luigi dei francesi.
Studi recenti lo hanno riportato all’attenzione degli specialisti; l’edizione critica di al-
cune sue cantate, realizzata dalla SEdM a cura di Chiara Pelliccia, è ora la base per una
conoscenza più ampia, che ha un suo primo risultato con l’esecuzione di quattro cantate
nell’ambito del Roma Festival Barocco, e la prossima uscita di una registrazione in cd, di
cui sono protagonisti Francesca Boncompagni e i musicisti dell’Accademia Ottoboni. La
mattinata di studi si propone come momento di incontro tra studiosi, musicologi e mu-
sicisti, e al tempo stesso come introduzione alle cantate che verranno eseguite la sera
stessa in concerto a San Luigi dei Francesi. Nelle relazioni verranno individuati alcuni
signifi cativi aspetti delle ricerche più recenti: a partire dalle cantate da camera saranno
indagati vari momenti dell’attività di Lulier, delle sue composizioni e della circolazione
delle sue musiche, nel contesto del mecenatismo romano dell’ultima parte del Seicento.
Thanks to the recent discovery of new documents about the staging and reception of Vincer se stesso è la maggior vittoria, especially the manuscript diary of the soprano castrato Stefano Frilli (1664 c.-1744) who performed the leading role of Rodrigo, it is now possible to reconstruct the backstage and a more complete and detailed overview of the opera’s reception. Here the diary of Frilli is presented for the first time in relation to Handel, copied, translated and contextualized. The article will also provide new documents concerning the identity of the hitherto unknown impresario who organised the entire season, in which Frilli sang the main roles in every opera, and his peculiar relationship with the Florentine public.
"Nuove Musiche" Inchiesta n. 1: Le opinioni e i suggerimenti dei compositori italiani su "“Come dovrebbe essere una rivista di musica contemporanea oggi”.
The recent La Scala production of "Fin de partie" op. 42 (2018) is only the last act in a long process of creative incubation that led the Hungarian composer to his operatic debut at the exceptional age of ninety-two, creating great expectations in the musical world after almost a decade of waiting. The relationship with orchestral writing and extended forms has always been extremely conflictual, coming to fruition for the first time in the crucial collaboration willed by Abbado in the 1990s and prophesied by their mutual friend Luigi Nono, who died prematurely.
Starting from the interview with the composer con- ducted by Angela Ida De Benedictis and Veniero Rizzardi in 2002 at Abbado’s request, and only recently published (2018), my contribution aims to chronologically reconstruct the stages of their artistic collaboration, drawing on numerous unpublished interviews with direct witnesses and with Kurtág himself. A particular in-depth study will be dedicated to the genesis of "Grabstein für Stephan" op. 15 (1993) in its orchestral version and to that of "Stele" op. 33 (1994), composed and dedicated to the Berliner Philharmoniker and to Abbado. The role played by the conductor in the evolution of Kurtág’s writing and career was fundamental, creating the conditions for him to finally compose large-scale works: an aspect that still needs to be explored today, thanks to a careful analysis of the modus operandi put into practice ad hoc by Abbado to foster the Hungarian composer’s creative process.
During those years the singer - in the service of the Prince between 1702 and 1707 - began a very accurate private diary, still unpublished and never studied in depth. Thanks to this document, we can now reconstruct a cross-section of the first two years of musical and spectacular activity of one of the most impromptu European courts of the early Eighteenth century, that of the “traitor” of the Austrian front Maximilian II Emanuel, passed to the French faction of Louis XIV. The musical production of the Brussels court, in particular the sacred one, was affected by the political influence and geographic proximity of the French allies, but at the same time, in those years the musical production was particularly mixed in practice because of the presence of two types of musicians: those who arrived in autumn 1704 with the Prince from the court of Munich, and those already stationed in Brussels and paid directly by the Spanish Crown. This mixture of tastes, combined with political contingency, created day by day a ritual adapted to the will of the Governor.
The paper presents for the first time the study and analysis of the diary of Frilli, which proves useful not only for the enrichment of historical-political facts, but also for the reconstruction of the spectacular life of the Spanish Flanders court, observed from the privileged point of view of an exceptional foreign chronicler, always looking for comparisons of style and taste between Italy and beyond the Alps.
FESTA DELLA MUSICA 18-19 maggio 2019
TRANSILVANIA Musica, danza e poesia dall’Ungheria
Domenica 19 maggio
ore 12
Zsuzsanna Rozsnyói (Università di Bologna): "I fiori selvatici": i canti popolari ungheresi.
Domenico Staiti (Università di Bologna): La musica dei rom.
Elena Abbado: Béla Bartók etnomusicologo
ore 16 (Oratorio, primo piano) POESIA
Annabell Piroska Koch recita poesie ungheresi:
Radnóti Miklós (1909-1944): Nem tudhatom (1941)
Ady Endre (1877-1919): A föl-földobott kő
con interludi musicali di Valeria Montanari pianoforte
Jozsef Bengraf: Danza ungherese (1786)
Anonimo: Danza ungherese (1791)
Anonimo, Due danze ungheresi (da Originelle ungarrische Nationaltanze, 1800)
ore 17 Il Ballo Ongaro
Marco Ferrari duda, fluier, kaval, taragatò Fabio Tricomi viella, violino, defi, davul, doromb
BÉLA BARTÓK Három Csíkmegyei Népdal / Tre canti popolari ungheresi da Csík / Three Folksongs from the Csík District (1907, BB 45a, Sz 35)
(fluier e pianoforte)
Nota cantionis de illo digno viro Capistrano. Kvala (Ms. Kòr 801, XV sec.)
Joc Batà (danza del bastone). Hora din Kaval. Tradizionali. Ms. Bèla Bartok XX sec. Ballo Ongaro (Ms. Janòs Kajoni, XVII sec.)
Patientia. Aria ad Mensam (Ms. Uhrovska Zbierka Piesnì à Tankòk, 1730) Pastourelle (Ms. Hessen, XVI sec.)
Versus Alleluyatico. Faux Bourdon. Monodia liturgica da Aquileia La Gasquona (Ms. Uppsala XVI sec.)
Hora din Cimpoi (Tradizionale Ungherese-Rumeno)
Aksak din Kaval (Tradizionale Ungh. Rumeno)
XV sec.
Kolinda. Tradizionale. (Bèla Bartòk, XIX sec.)
Ata Bari. Ongaresca Tradizionale. (Primo libro de' Balli, Venezia, 1578)
ore 18 FERENC LISZT: Magyar rapszódiák, e canti popolare ungheresi Rhapsodie ungheresi I (1847, S.244) di Franz Liszt (1811-1886)
VIII Christian De Luca
XI Matilde Bianchi
Canti popolare ungheresi per canto solo, e flauto
Fanny Fogel canto, Judit Hantos flauto
From Gyergyó. Három Csíkmegyei Népdal / Tre canti popolari ungheresi dal distretto Csík / Three Hungarian Folksongs from the Csík District (1907, BB 45a, Sz 35) 1. The Peacock 2. At the Jánoshida fairground 3. White Lily
(flauto dolce)
Liszt, Rhapsodie ungheresi II
XII Alessandro Artese
XV Marcia-Rákóczy, Wim Van Moerbeke
ore 19 L’influsso della gipsy music sulla musica classica Elicia Silverstein violino, Filippo Pantieri pianoforte
MAURICE RAVEL (1875-1937), Tzigane (1924) [commissionata dalla violinista GRIGORAȘ DINICU (1889-1949),
FRANZ LISZT, Csàrdas Macabre (1885, S. 224)
GRIGORAȘ DINICU – JASCHA HEIFETZ, Hora Staccato (1906/1932)
PABLO DE SARASATE (1844-1908), Aires Bohemios / Zigeunerweisen / Gipsy Airs op. 20 (1878)
ore 21 Musiche e danze degli tzigani ungheresi
Budapest Gipsy Band.
Sándor Budai violino, Péter Horváth viola, Tamás Kökény jr. contrabbasso, Tamás Kökény cimbalo, László Berzsenyi e Virginia Balogh ballerini
ungherese Jelly d'Arányi e a lei dedicata]
Hora mărțișorului
sárdás Macabre (1885, S.224)
JOHANNES BRAHMS Anonimo popolare Canzone ungherese Anonimo tradizionale Anonimo
Vittorio Monti 1868-1922
J. BRAHMS FRANZ LEHÁR 1870-1948
Ballo ungherese [Béla Bartok] (cimbalom solo) GRIGORAȘ DINICU 1889-1949
Danza ungherese V
Czardas ungherese (con la coppia dei ballerini) Nem tudom az életemet
Czardas ungherese
Variazioni sopra Üveges tánc
Czardas (1904)
Danza ungherese VI
Romanza Vilja dal da A víg özvegy (operetta La vedova allegra, 1905)
Serata al Székelys canzone zingara A pacsirta /Ciocarlia / The Lark
Canzoni gitane ungheresi con ballerini
In recent years, the modern edition of Orlandini’s opera Nerone in the version of his contemporary German composer Johann Mattheson (ed. by R. Strohm, 2012) has contributed to reignite the attention on his remarkable artistic value and the need to investigate deeper the gure and work of this Italian composer.
However, if Orlandini’s fame originated mainly from his operas, very few pieces of information are known about another relevant aspect of his music production today considered lost: the oratorios. is genre was indeed particularly crucial in Orlandini’s artistic path since the very beginning of his carrier with "Il martirio di San Sebastiano "(1694) and throughout his whole life until his death in 1760. Most of his oratorios and oratorio-pastiches were written to be performed in Florence, the city where he carried on his career also as Maestro di cappella and, brie y, as Impresario. is paper aims to present a recollection and analysis of new sources and data of Orlandini’s oratorio production, proposing an alternative insight into the composer’s figure and work through the lens of this alternative genre.
vanni del violone”, fu compositore di cantate da camera, serenate, oratori, opere e sti-
mato suonatore di violone a servizio di due dei maggiori cardinali romani dell’epoca: Be-
nedetto Pamphilj e Pietro Ottoboni. Impiegato occasionalmente come strumentista per
le conversazioni e accademie di altri principi mecenati o ambasciatori stranieri, fi gura
spesso nelle liste di musici sotto la battuta di Arcangelo Corelli o impiegato in cappelle
e chiese nazionali romane, come san Giovanni dei fi orentini o san Luigi dei francesi.
Studi recenti lo hanno riportato all’attenzione degli specialisti; l’edizione critica di al-
cune sue cantate, realizzata dalla SEdM a cura di Chiara Pelliccia, è ora la base per una
conoscenza più ampia, che ha un suo primo risultato con l’esecuzione di quattro cantate
nell’ambito del Roma Festival Barocco, e la prossima uscita di una registrazione in cd, di
cui sono protagonisti Francesca Boncompagni e i musicisti dell’Accademia Ottoboni. La
mattinata di studi si propone come momento di incontro tra studiosi, musicologi e mu-
sicisti, e al tempo stesso come introduzione alle cantate che verranno eseguite la sera
stessa in concerto a San Luigi dei Francesi. Nelle relazioni verranno individuati alcuni
signifi cativi aspetti delle ricerche più recenti: a partire dalle cantate da camera saranno
indagati vari momenti dell’attività di Lulier, delle sue composizioni e della circolazione
delle sue musiche, nel contesto del mecenatismo romano dell’ultima parte del Seicento.
In the case of the oratorio, a real competition was engaged between institutions based on the quality of music and the execution and magnificence of the apparatus of the sacred dramatic production, in particular by the Congregation of the Oratory of San Filippo Neri. This widespread success, later in the XVIII century, entered also the word of the academies and theatres, transforming the oratorio production from a popular and free public entrance to a bourgeois and paying audience, allowing Florence to become one of the first Italian cities hosting the oratorio production in theatres.
Starting from the “case studies” dedicated to the Florentine oratorio by Italian Musicologists Domenico Alaleona and Guido Pasquetti at the beginning of the XX century, and later developed by John Walter Hill, the present paper aims at giving new light to this phenomena in its entirety.
Thanks to a doctoral research carried out in the Florentine archives, many new documents were brought to light, bringing attention to the musical production of unknown religious confraternities and religious orders, such as the Confraternity of Gesù Salvadore and the Servi di Maria (Servants of Mary).
Sulla base di materiale d’archivio inedito, il saggio ricostruisce la figura di fatto sconosciuta di Margherita Balletti (Milano, 1680 ca.-Londra?, post 1738), moglie di Giovanni Bononcini ed esponente di un’importante famiglia di comici dell’Arte in azione nelle principali piazze dell’Italia settentrionale e presso le corti dell’Europa centrale già dalla metà del XVII secolo. Margherita non si dedicò al teatro, ma coltivò la pittura. Seguì il marito a Vienna, a Roma, a Londra e a Parigi, ma il matrimonio naufragò nei debiti e negli scandali.
In the case of the oratorio, a real competition was engaged between institutions based on the quality of music and the execution and magnificence of the apparatus of the sacred dramatic production, in particular by the Congregation of the Oratory of San Filippo Neri. This widespread success, later in the XVII century, entered also the word of the court, where especially the Grand-Duchess of Tuscany Vittoria della Rovere, her sons Cardinal Francesco Maria de' Medici and Grand-Duke Cosimo III, and - last but not least - her nephew, the musical mecenate Great-Prince Ferdinando de' Medici, showed particular interest in the oratorio production. All of them enjoyed oratorio performances privately or in public, directly contributing to the evolution and success of this genre in Florence.
Starting from the “case studies” dedicated to the Florentine oratorio by Italian Musicologists Domenico Alaleona and Guido Pasquetti at the beginning of the XX century, and later developed by John Walter Hill, the present paper aims at giving light for the first time to the role of the musical oratorio inside the Medici court.
Le ricerche da me svolte nel 2006-2007, inizialmente interessate a sondare la ricezione delle opere giovanili di Rossini nel Granducato di Toscana, dopo i grandi successi de' L'italiana in Algeri e di Cenerentola, si sono concentrate su una delle prime farse: L'occasione fa il ladro del 1812, nella sua prima rappresentazione fiorentina avvenuta nel 1825 in questo teatro. La relazione ha assunto, in seguito, la forma di uno spaccato di vita musicale granducale, ma allo stesso tempo ha costituito il primo studio prettamente musicale sull'attività di questa prestigiosa istituzione teatrale fiorentina.
Le notizie pubblicate sulla messinscena sono minime e, come ho intenzione di dimostrare nel mio intervento, spesso fuorvianti; dovute probabilmente alle lacune nel fondo archivistico e alle innumerevoli vicende che il teatro ha attraversato nella sua travagliata storia.
Dalla sua fondazione, nel 1652, il Cocomero divenne punto di riferimento artistico e culturale cittadino. La successiva costruzione della più capiente Pergola, in prossimità dello stesso, in seguito alla scissione di una parte degli accademici, non impedì che il Cocomero rimanesse per tutto il corso del Sette-Ottocento tra le sale più prestigiose.
Insieme, i due teatri rimasero, per volontà Granducale, i più importanti di Firenze. Dividendosi i generi di spettacolo, furono lasciati alla Pergola opere di “primo livello” mentre, appannaggio del secondo, solo le burlette per musica.
Non fu così per L'occasione fa il ladro, programmata per la stagione di autunno del 1825. Dimostrerò che la messinscena, riportata sia nella Drammaturgia rossiniana sia in altre pubblicazioni, non ebbe mai luogo e che al suo posto fu rappresentata una Cenerentola, inedita alle cronache e a tutti gli effetti opera di “primo livello”.
Verrà presa in considerazione anche la copia della partitura de L'occasione fa il ladro presente a Firenze, in relazione con la mancata rappresentazione e le eventuali ipotesi sul suo utilizzo.
Questo intervento rappresenta solo l'inizio di una serie di aggiornamenti e cambiamenti della drammaturgia rossiniana relativa ai teatri del Granducato di Toscana.
Portogruaro, 7 dicembre 2016
In 1967, Yun was abducted and taken to Seoul on the fabricated charge of spying in the East Berlin Incident. Yun and hundreds of other Korean intellectuals and artists were imprisoned and tortured. Released after increased pressure by international musicians and intellectuals in 1969, he was never politically rehabilitated, however. Soon after, he was naturalized as a German citizen and never returned home. He died of pneumonia in Berlin in 1995.
To this day, Yun symbolizes the ongoing ideological division of the Korean Peninsula and its polarization between the right and left—he is a consummate national artist yet a tragic figure, and branded the absolute leftist traitor by the far right. Simultaneously claimed and silenced by both sides of Korea, the enduring contention around him has heavily overshadowed and isolated his musical legacy.