45 research outputs found
Le musiche di scena di Louis Pister per La Tosca di Sardou: edizione critica della partitura
No full textThe PhD dissertation of Erin M. Brooks, now Assistant Professor of Music History at the Crane School of Music (State University of New York at Potsdam), investigates the relationship between Sarah Bernhardt, the first performer of Floria in La Tosca, and the music of her time, including incidental music. Within this text, a relevant discovery of the author is mentioned, namely a manuscript of the stage music composed by a certain Louis Pister for Sardou’s pièce, preserved today at the National Library of Australia. The aim of this contribution is to propose a critical edition of the music composed by Pister, an essential document for the analysis of Sardou’s play. Moreover, we will try to reconstruct, through the inspection of contemporary periodicals, the reception of La Tosca and the biographical profile of the forgotten composer of incidental music.La tesi di dottorato di Erin M. Brooks, oggi Assistant Professor di Storia della musica presso la Crane School of Music della State University of New York at Potsdam, indaga il rapporto tra Sarah Bernhardt, prima interprete del ruolo di Floria in La Tosca, e la musica del suo tempo, compresa quella scritta appositamente per il teatro. All’interno di questo testo viene citata una rilevante scoperta dell’autrice, ossia un manoscritto delle musiche di scena composte da un certo Louis Pister per la pièce di Sardou, conservate oggi presso la National Library of Australia. Scopo di questo contributo è quello di proporre un’edizione critica delle musiche di scena composte da Pister, documento imprescindibile per l’analisi dell’opera di Sardou. Inoltre, si tenterà di ricostruire, attraverso lo spoglio dei periodici contemporanei, la ricezione del dramma La Tosca e il profilo biografico dello sconosciuto compositore della musica incidentale
Stefano Ercolino e Massimo Fusillo, «Empatia negativa. Il punto di vista del male», Bompiani, 2022: Recensione del volume e intervista agli autori
No full textRecensione del volume «Empatia negativa. Il punto di vista del male» (Bompiani, 2022) e intervista con gli autori Stefano Ercolino e Massimo Fusillo.Review of the volume «Empatia negativa. Il punto di vista del male» (Bompiani, 2022) and interview with authors Stefano Ercolino and Massimo Fusillo
La violenza di genere nel melodramma: il caso del libretto dello Stiffelio e del successivo Aroldo
No full textVerdi’s opera Stiffelio premiered in 1850. Due to the censorship pressure, Verdi rewrote his work and created Aroldo. The plot of both operas is built on a conflict between the protestant pastor Stiffelio (then Aroldo) and his wife Lina (then Mina). The discovery of the affair between Lina and Raffaele (then Godvino), which is antecedent to the narration, marks the beginning of the conflict in the couple. Lina’s adultery with Raffaele leads the narration to a strong dualism, opposing the male characters – who blame the sinner – to Lina, the only female figure, who constantly tries to explain her position trying to get her husband’s forgiveness. The aim of this paper is to look into gender-based violence in the libretto, in order to understand Piave’s position towards a plot that concerns gender oppression. Moreover, this paper might also suggest a different interpretation of the forgiveness motif, which marks both operas’ finales, by a different understanding of Lina’s adultery
L’OPERETTA-VAUDEVILLE AL TEATRO MILANESE DI CLETTO ARRIGHI: STUDIO DEI CASI DELL’ORFEE IN VIORON E DI ON MILANES IN MAR, CON UNA PROPOSTA DI EDIZIONE CRITICA
No full textTra drammaturgia e linguistica: analisi di "…tra la Carne e il Cielo" e intervista alla librettista Maddalena Mazzocut-Mis
No full text...tra la Carne e il Cielo is an opera by Azio Corghi set to a libretto by Maddalena Mazzocut-Mis. The inspiration of the opera is the essay Studi sullo stile di Bach by Pier Paolo Pasolini, a critical analysis to Bach’s violin sonatas. Mazzocut-Mis re-uses Pasolini’s words in the libretto, while the music is a variation on Bach’s sonatas by Corghi. The aim of this paper is the analysis of the language of Pasolini and the dramaturgical use of his words in the opera focusing on the passage from essay to libretto....tra la Carne e il Cielo is an opera by Azio Corghi set to a libretto by Maddalena Mazzocut-Mis. The inspiration of the opera is the essay Studi sullo stile di Bach by Pier Paolo Pasolini, a critical analysis to Bach’s violin sonatas. Mazzocut-Mis re-uses Pasolini’s words in the libretto, while the music is a variation on Bach’s sonatas by Corghi. The aim of this paper is the analysis of the language of Pasolini and the dramaturgical use of his words in the opera focusing on the passage from essay to libretto
Clinical assessment of nasal decongestion test by VAS in adolescents.
No full textNasal airflow, as measured by rhinomanometry, is frequently impaired in allergic rhinitis (AR). The decongestion test evaluates whether the application of an intranasal vasoconstrictor drug increases nasal airflow. The aim of this study was to verify the suitability of the use of the visual analogue scales (VAS) as a surrogate for rhinomanometry in the decongestion test assessment in adolescents with atopic rhinitis.
The results show that the use of VAS appears as clinically relevant, in that it allows, with a fair reliability, to perform the decongestion test in the absence of rhinomanometry
Increased risk of otitis media with effusion in allergic children presenting with adenoiditis
No full textOtitis media with effusion (OME) is a common disorder in childhood. The aim of the study was to assess the association of atopy and endoscopic features with the presence of OME. The results of this study showed that allergic rhinitis and adenoiditis are significant risk factors to OME development and that the risk becomes higher when these two conditions are concomitantly present
Fare satira su Wagner parodiando Offenbach: l’Orfee in vioron di Cletto Arrighi
No full textL’operetta-parodia Orfee in vioron di Cletto Arrighi, pur prendendo le mosse dall’Orphée aux Enfers di Jacques Offenbach, non si limita a reinterpretare l’originale francese, ma diventa un veicolo di satira contro la cosiddetta musica dell’avvenire, in particolare quella wagneriana. Attraverso un’analisi delle fonti giornalistiche dell’epoca e dei manoscritti autografi del libretto, questo contributo tenta di ricostruire il contesto di produzione dell’opera e la sua ricezione, evidenziando i motivi del suo clamoroso insuccesso. Il pubblico e la critica accolsero infatti negativamente lo spettacolo, sottolineandone la mancanza di originalità e la scarsa qualità dell’esecuzione musicale. Il lavoro di Arrighi, in ogni caso, si inserisce in una tradizione più ampia di teatro satirico milanese, che sfrutta riferimenti alla cultura popolare e al dibattito estetico-musicale dell’epoca. L’analisi della struttura drammaturgica e musicale dell’Orfee in vioron rivela il complesso rapporto tra tradizione operettistica francese e cultura musicale italiana, ponendo interrogativi sulla ricezione della musica tedesca in Italia. L’insuccesso dell’opera non impedisce, tuttavia, di riconoscerne il valore come documento storico e specchio delle tensioni artistiche del tempo.The operetta-parodia Orfee in vioron by Cletto Arrighi, while drawing inspiration from Jacques Offenbach’s Orphée aux Enfers, does not merely reinterpret the French original but becomes a vehicle for satire against the so-called musica dell’avvenire, particularly Wagnerian music. Through an analysis of contemporary newspaper sources and the autograph manuscripts of the libretto, this study aims to reconstruct the production context of the work and its reception, highlighting the reasons for its resounding failure. Both the audience and critics reacted negatively to the performance, emphasizing its lack of originality and the poor quality of its musical execution. Nevertheless, Arrighi’s work fits into a broader tradition of Milanese satirical theater, which draws on references to popular culture and the aesthetic-musical debate of the time. The analysis of the dramaturgical and musical structure of Orfee in vioron reveals the complex relationship between the French operetta tradition and Italian musical culture, raising questions about the reception of German music in Italy. Despite the opera’s failure, its value as a historical document and a reflection of the artistic tensions of the time remains undeniable
Nasal obstruction is the key symptom in hay fever patients.
No full textAllergic rhinitis is characterized by a Th2-dependent inflammation. Nasal obstruction largely depends on allergic inflammation.The aim of this study was to evaluate the possible role of the symptom nasal obstruction in assessing patients with hay fever.Fifty patients (mean age, 23.7 +/- 4.9 years) with hay fever were evaluated both during and outside pollen season. All of them had moderate-severe grade of nasal obstruction. Total symptom score (TSS), rhinomanometry, nasal lavage, nasal scraping, spirometry, and methacholine bronchial challenge were performed in all subjects.During the pollen season, patients with severe nasal obstruction showed significantly higher values of TSS, IL-4, IL-5, IL-8, nasal eosinophils and neutrophils, and significantly lower values of nasal airflow, IFNgamma, FEV1, FVC, and FEF 25-75 in comparison with patients with moderate nasal obstruction. Twenty (83\%) patients with severe nasal obstruction showed bronchial hyperreactivity (BHR), whereas only 6 (25\%) patients with moderate nasal obstruction had BHR. Outside the pollen season overlapping results were observed.This study provides evidence about the key role played by nasal obstruction in assessing patients with allergic rhinitis
