Bomarzo (opera)
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| Title: | Bomarzo |
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Hell's jaws in the Sacro Bosco near Bomarzo |
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| Shape: | Opera in two acts |
| Original language: | Spanish |
| Music: | Alberto Ginastera |
| Libretto : | Manuel Mujica Láinez |
| Literary source: | Manuel Mujica Láinez: Bomarzo |
| Premiere: | May 19, 1967 |
| Place of premiere: | Lisner Auditorium in Washington, DC |
| Playing time: | approx. 2 ¼ hours |
| Place and time of the action: | Bomarzo (Viterbo), Florence and Rome, mid-16th century |
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Bomarzo is an opera in two acts and fifteen pictures (Op. 34) by Alberto Ginastera (music) with a libretto by Manuel Mujica Láinez based on his own novel of the same name from 1962. It was performed on May 19, 1967 in the Lisner Auditorium in Washington, DC Premiered.
action
Pier Francesco Orsini , the physically challenged Duke of Bomarzo, was prophesied of immortality. For this purpose, his astrologer Silvio de Narni prepared a magic drink for him, which Pier Francesco drinks at the beginning of the opera. But his nephew Nicolás poisoned the potion in revenge. As Pier Francesco lies dying, he relives the humiliations and dreams of his life in the form of flashbacks and hallucinations. Even as a child he was despised and mocked by his brothers and father Gian Corrado Orsini as a cripple. When he was a young man, his father sent him the courtesan Pantasilea - knowing full well that he would fail sexually. Gian Corrado is wounded in the war and dies a little later. His eldest son Girolamo falls from a cliff, so that Pier Francesco inherits the ducal dignity. He marries the beautiful Julia Farnese, whom his grandmother Diana had pointed out. But this relationship also remains unsatisfied, and Julia cheats on him with his younger brother Maerbale. Pier Francesco then has Maerbale murdered by his loyal slave Abul - the reason for the revenge of Maerbale's son Nicolás.
first act
1st picture. "The Potion"
With the curtains closed, a shepherd boy sings to the melody Lamento di Tristano from the 14th century, only accompanied by the harp, saying that he never wants to trade with the duke who is plagued by his sins.
Part of the castle park of Bomarzo, shrouded in fog, with bars, trees and rocks; in the background the entrance to the "Hell's Throat"
On the right, the Duke of Bomarzo, Pier Francesco Orsini, descends a winding staircase with his nephew Nicolás Orsini and the astrologer Silvio de Narni. The latter holds a glowing goblet in his hand. Pier Francesco is reminded of his childhood by the song of the shepherd boy. He feels disappointed in his life so far. Silvio points out to him that the horoscope predicted a unique fate and eternal life for him. But to do this he had to take the drink he had brought with him. Pier Francesco drinks, but then collapses from cramps. The voice of his grandmother Diana Orsini calls out that the potion was poisoned: Pier Francesco has been betrayed and must die. When the shepherd boy becomes visible in the fog, Pier Francesco tries in vain to approach him. The child runs away. The curtain partially lowers, highlighting the entrance to the cave, which bears an inscription: "Leave behind all thoughts that enter you". Pier Francesco begins to hallucinate.
2nd picture. "Pier Francesco's Childhood"
Room in the castle of Bomarzo with access to a secret chamber on the second floor on the right
In the room, lit by four candelabra, there is a sofa and several open chests. Clothes and jewelry are messed up on the floor and on the furniture. Pier Francesco's brothers Girolamo and Maerbale, as children, play with the costumes. Little Pier Francesco looks at you from a corner. The two brothers want to blame him if anyone should complain about the mess. They pester him, make fun of his hump and dress him up first as a fool, then as a woman. In the game Maerbale, as cardinal, wed the future Duke Girolamo to Pier Francesco. Girolamo stumbles and grabs a pendant lying between the jewelery, which he brutally attaches to Pier Francesco's ear. Her father Gian Corrado appears, insults Pier Francesco as a disgrace for the family and puts him in the secret chamber as a punishment, where he sees a skeleton to his horror. In his imagination this one begins to dance and chase him.
3rd picture. "The Horoscope"
Private apartments of the young Pier Francesco; in the background a terrace
Pier Francesco and Silvio stand as young men at a table full of books. Silvio explains to Pier Francesco the horoscope in which his immortality is predicted. Pier Francesco believes that his father wishes his doom and will not let him live. Thereupon Silvio conjures demons that are supposed to fulfill his wishes. Pier Francesco cries out in horror. At the same time plaintive cries from peacocks can be heard from the garden - a bad omen for Pier Francesco. Diana appears on the terrace and reports that a messenger had come from Florence, which was besieged by his father: the duke was badly wounded. Pier Francesco believes that after his death his brother Girolamo will inherit the ducal dignity. Silvio doubts that. The two of them go out onto the terrace to look for the Duke.
4th picture. "Pantasilea"
Bedroom of the courtesan Pantasilea in Florence with a magnificent bed, large closet and many mirrors
Gian Corrado sent his son a courtesan to humiliate him. While she waits for Pier Francesco, she sings a song of praise to Florence, to which she accompanies herself on the lute. She is repeatedly disturbed by the screams of the peacocks. When Pier Francesco, adorned with a valuable collar, arrives with his black slave Abul, she is secretly shocked by his hump. Pier Francesco reluctantly sends Abul out. The beauty of the courtesan forms a stark contrast to the deformed figure of Pier Francesco, which he himself sees in the mirrors to his horror. Pantasilea asks him to forget this: "Break the mirror that you carry within you." In return for the collar, he should choose something from her own treasures. He opens the closet, which contains various aphrodisiacs, including skulls, bones, embalmed toads, and indefinable tinctures. Horrified, he calls for his servant, who pulls him out of the room. Pantasilea laughs.
5th picture. "On the Tiber" / "The death of Girolamos"
In the morning; rural area in Bomarzo; on the left the Tiber, partially hidden behind a rock
Diana Orsini talks to her grandson about the duke's serious injury, from which he is unlikely to recover. Pier Francesco continues to assume that his brother Girolamo will succeed him and get him out of the way himself. Diana reminds him in the prophecy: The "great bear of the Orsini" will protect him. Girolamo appears half-naked on the rock and overhears them. You only notice him when he bursts out laughing roughly. Diana sends her ladies-in-waiting away. Girolamo claims that the bear's protection is for himself, the strong warrior. But then he slips, falls off the rock and breaks his neck. When Pier Francesco tries to help him, his grandmother holds him back: “Come with me, Duke. Come, Duke of Bomarzo forever. "
6th picture. "Pier Francesco Orsini, Duke of Bomarzo"
Main hall of the castle with trophies and ancestral paintings; a large door on the left
Pier Francesco is ceremonially declared Duke of Bomarzo in front of the assembled courtiers. Bells ring and Cardinal Orsini blesses the duke who kneels before him. Diana then leads her grandson to the beautiful young Julia Farnese. To Pier Francesco's displeasure, his brother Maerbale takes her by the hand and leads her out onto the terrace at the head of the parade. Pier Francesco is only left with the company of his slave Abul. A masked person approaches, apparently to pay homage to him. But under his cloak a faceless figure appears in the clothes of his deceased father. Startled, he tells his grandmother about the apparition. She assures him that there are no ghosts in Bomarzo. He should rather try to get Julia Farnese, whose uncle will soon be elected Pope. But Pier Francesco doesn't think she can ever love him.
7th picture. "The festival in Bomarzo"
Terrace next to the hall; on the side the rough walls of the old castle; Fountain in the background; Lamps between the trees
Next to the entrance gate, which is crowned with the Orsini coat of arms, Pier Francesco ponders his fate. Meanwhile, Maerbale and Julia withdraw. The courtiers dance a “passamezzo”. Pier Francesco's dream of becoming master of Bomarzo has now come true. He compares his enigmatic life with the secrets of the as yet uncut stones (the later "Grotteschi") in the garden. The scene darkens and, like in a dream, he sees himself dancing a “Gagliarda” with Julia, Pantasilea and Abul. Then the three take turns trying to take possession of him. It's getting lighter again. Various pairs of masked dancers appear. The women withdraw after a while, but the men take off their costumes and identify themselves as idealized counterparts of Pier Francesco, who surround him and push him onto the terrace.
8th picture. "The Portrait of Lorenzo Lotto"
Pier Francesco's study as in the third picture; on one side his portrait by Lorenzo Lotto, on the other a large mirror hung with a canvas
After returning home from the battle against Charles V in Picardy, the Duke enters the room in leather clothing, followed by Abul. Pier Francesco admires his idealized portrait of Lorenzo Lotto with the perfect features. He is satisfied with himself, confesses his affection to Abul and ponders the mystery of love. Denied fame on the battlefield, he believes his own fame lies elsewhere - hidden among the rocks in Bomarzo. He pulls the canvas from the mirror and is shocked by the monstrosity of his true appearance. A choir reminds him of the prediction of his immortality. His image in the mirror is transformed into a devil figure with the features of what will later become hell's vengeance. Pier Francesco smashes the mirror with his helmet.
Second act
9th picture. "Julia Farnese"
Hall in the Palace of Galeazzo Farnese in Rome; on the right a staircase to a balcony
From the balcony, Pier Francesco jealously watches Julia and Maerbale, who, accompanied by a hurdy-gurdy, sing a madrigal about courtly love. He goes down the stairs unnoticed. One of the maids hands Maerbale a glass of red wine that Julia offers. Pier Francesco snatches it from him to give it to her himself. He spills the wine on Julia's dress. Startled by this further bad omen he cries out.
10th picture. "The bridal chamber"
Room in the castle of Bomarzo
Julia and Pier Francesco got married. The bridal procession led by Cardinal Orsini, which also includes Diana, Silvio and Maerbale, leads the couple into the bridal chamber. After the guests have withdrawn, Julia is undressed by her maid. She sings the madrigal from the previous scene again. Pier Francesco tells her to forget the unfortunate song. Instead, she should look at the Roman tapestries, in which the lilies and roses of their coats of arms unite. Suddenly he thinks he sees a demon with a death mask in it, hits the carpet with his fists and chases the servants out of the room. Julia falls on her knees, shaken.
11th picture. "The dream"
Same bedroom, but a little further in the distance; wrapped in surreal light
While Julia sleeps on the bed, the Duke ponders the curse of his life. Despite the marriage, he is unable to own Julia. He sits down next to her on the bed and falls into delusions in which the future stone monsters of his garden appear. Disembodied images of Julia and himself move towards the forest, which is populated by naked ocher, blue and yellow men and women - as in Bomarzo's Etruscan paintings. The characters begin an erotic dance in which the characters of Julia, Vicino and Maerbale also participate, until the first two fall to the ground and the dream scene disappears. Pier Francesco is painfully reminded of his childhood experience with the skeleton.
12th picture. "The Minotaur"
Gallery in Bomarzo with busts of Roman emperors, which are arranged in a semicircle and disappear like an avenue back into the darkness
In the center of the semicircle there is a marble statue of the Minotaur with a destroyed face like in the Vatican Museum. The Duke comes out of the background along the row of statues and stops next to the Minotaur, whom he greets as a brother. Both are misshapen, and Vicino feels in the midst of his ancestors like this one between the foreign emperors. Suddenly a young half-naked couple, who had made love there, appear behind the Minotaur and run away. Pier Francesco hugs and kisses the statue.
Villanella
Voices from the background tell Pier Francesco to look at the stones in the moonlight if he would like to find out more about them.
13th picture. "Maerbale"
Garden of the castle of Bomarzo; Night; on one side a tower with the balcony leading from Juliet's bedroom to an outside staircase
Pier Francesco suspects Julia of cheating on him with his brother. In order to obtain clarification, he lures Maerbale with Silvio's help into Julia's room, where he overhears their conversation. Maerbale's son Nicolás also observes the event unnoticed. In fact, Maerbale and Julia kiss. Pier Francesco angrily orders his slave Abul to stab Maerbale. Julia and Nicolás notice him, however. Maerbale flees, pursued by Abul. Pier Francesco forcibly hugs his wife.
14th picture. "The Alchemy"
Silvio's room in the basement of the castle with ovens, bellows, retorts, stills, lizard skeletons and the horoscope
Pier Francesco and Silvio are surrounded by fantastically dressed statues of magicians and alchemists of the past. The astrologer is in the process of mixing the potion for him, through which the duke will attain the foretold immortality. Pier Francesco has now had the park's monster figures completed, which for him symbolize the various agonizing episodes of his life. Silvio conjures up the old magicians. They wake up and dance around them in the semi-darkness. Nicolás, who entered unnoticed and hid between the statues, poisoned the potion to avenge the murder of his father. The voices of the alchemists warn Pier Francesco that he has challenged the highest powers without having any weapon other than his love for Bomarzo. They ravage the room.
15th picture. "The garden of the monsters"
Scene as in the first picture of the first act; the jaws of hell in the distance on the left; Fog in the moonlight
After the hallucinations the Duke is seen dying in the Sacro Bosco . Diana once again points to betrayal - the cause of his death. Pier Francesco dies on the steps to Hell's Throat. The shepherd boy returns hesitantly, kneels before him and kisses his face before the opera ends with a repetition of his singing from the opening scene. The fog spreads and silence dominates the scene.
layout
The fifteen scenes are arranged in a circle. The end of the flashback scenes leads back to the initial situation of the first scene, with the shepherd's song forming a musical bracket. The individual images are separated from each other by orchestral interludes. Every single scene is built in a stringent dramaturgical way and consists of the parts exposure , crisis and dissolution.
The central themes of the opera are physical fear and imperishability / immortality. The latter is symbolized by the "Grotteschi" in Vicino's garden and stands in stark contrast to his agonies and fears. In the middle scenes, further opposing motifs are dealt with: the figures of Pantasilea, Julia Farnese and Abul stand for the different expressions of love, the shepherd boy and Julia for innocence, the painting Lorenzo Lotto for beauty. Pier Francesco himself forms the counterpart with his experiences of rejection, guilt and physical deformation. He only found the immortality he was looking for when he identified his own shortcomings with the permanent grotesque stone figures. In the 14th interlude (after scene 14, “Elegy on the death of Pier Francesco”), these also become the “aesthetic solution to his divided existence”.
The choir sings invisibly from the orchestra pit. It is used in a very differentiated way and uses techniques such as hissing, humming, screaming or choral speaking. In the prologue, the whispering of the stone statues is evoked by isolated consonants. Often the choir circles a main tone in quarter tones.
In Bomarzo, Ginastera used various historical forms such as sets of variations, early baroque dances or madrigal-like choirs. The dances are reminiscent of Igor Stravinsky and the jazz echoes of Leonard Bernstein's West Side Story . The “misty” beginning of the opera is reminiscent of the prelude to Wagner's Rheingold .
The music is mainly based on twelve-tone rows . Further elements are microton rows, aleatorics and cluster formation . The most important row contains all the intervals (the same "all-interval row" had already been used by Karl-Birger Blomdahl in 1958 for his space opera Aniara ). As a chromatic cluster, it represents the unchanging timelessness of the stones. The circular arrangement of the scenes is also reflected in the use of this cluster. So the opera begins and ends with the cluster on the root note C, while it is based on G at the beginning of the second act. This fifth spacing ( tonic / dominant ) is used again between the shepherd's song (I.1, center on A) and Julias Madrigal (II.9, center on E). Despite the application of the principles of twelve-tone technique , Ginastera (like Alban Berg before him ) does not renounce the coherent features of tonal music .
Further series are derived from the basic series of "immortality". The two most important of these represent "dream" and "death". The erotic ballet in the 7th picture consists exclusively of material derived from the "Dream" series. At the beginning of this scene there is a “ Passamezzo ” made up of parts from four variants of the series. Vicino's monologue begins with the first hexachord in the series. The climax of the scene is a “ Gagliarda ” for violoncello and harpsichord and an orchestral “Mascherata” with a quote from Dies irae , which culminates in a unison -ortissimo on the note G - the exact center of the opera. Vicino's recurring dream of immortality is represented throughout the opera by a motif composed of the first two tetrachords of the “Dream” series, which Ginastera uses almost like a leitmotif .
The eighth picture deals with the turning point in Vicino's life. After his return from the battle, he first looks at his beautiful portrait of Lottos - but then he sees his true face in the mirror, which is transformed into the monster of the devil's revenge. In the subsequent second act, the already mentioned clusters of the basic row function as structure-forming “pillars”. From now on, the "death" series becomes more important. The music of the 12th interlude (“Villanella”), in which the stones symbolize death, is based entirely on this series. In the 14th interlude (see above) the "dream" and the "death" series merge. Immortality includes both dream and death.
orchestra
The orchestral line-up for the opera includes the following instruments:
- Woodwinds : two flutes (2nd also piccolo ), two oboes (2nd also English horn ), two clarinets (2nd also clarinet in Eb and bass clarinet ), two bassoons (2nd also contrabassoon)
- Brass : three horns , three trumpets , three trombones
- four timpani , percussion (three players):
- Xylophone , tubular bells , three crotales , three hanging basins, five bongos, guiro , five cowbells , tambourine , two thin metal plates, small Japanese wind chimes
- Glockenspiel , three triangles , three tamtams , five tomtoms , five temple blocks, tambourine, pellet bells, rattles , medium-sized Japanese wind chimes
- Tubular Bells, eight small suspended cymbals, three deep Chinese gongs, snare drum with snare, snare drum, snare drum , bass drum , five blocks of wood chimes, Tambourine, large Japanese wind, ratchet , hyoshigi
- Harpsichord , piano (also celesta )
- mandolin
- harp
- Strings (1st viola also viola d'amore , 1st cello also viola da gamba , five-string double basses)
Work history
The libretto for the opera is by Manuel Mujica Láinez . He wrote it after his own novel of the same name from 1962, which he had drafted at the scene of the action in the Sacro Bosco , the "Park of the Monsters" Vicino Orsinis near Bomarzo. The idea for the "picture of a tortured hunchbacked person", tormented by his fear of death and the rejection by his fellow human beings, came from the sight of the stone turtle there, "which carries its fate on its back". Because of his physical impairment, Vicino was unable to lead a life as a soldier. He therefore devoted himself entirely to his inclinations for science, alchemy and magic. Originally he wanted to create an Arcadian landscape with the stone figures in his garden. However, when he fell into depression after the death of his wife, he developed the demonic "Grotteschi" instead.
The novel, set between 1512 and 1572, deals with Vicino's fictional inner life in the context of the Renaissance and also utilizes contemporary documents by Benvenuto Cellini (autobiography) or Torquato Tasso as well as Alfred de Musset's drama Lorenzaccio from 1834. The book became a bestseller and won several awards excellent.
In 1964 Láinez created the text for a cantata of the same name by Alberto Ginastera . When Hobart Spalding commissioned him to create a stage version for the Opera Society of Washington in 1965, Láinez created an opera libretto from it. In this version, Láinez processed essential parts of the novel in a series of "circular pictures".
Ginastera composed the opera in 1966 and 1967 as a “psychogram” of Vicino's fears in the form of memories of his humiliations and sexual desires. The result was a “monstrous nightmare” opera, which the composer himself identified with the words “Sex and Violence”.
At the world premiere on May 19, 1967 in the Lisner Auditorium in Washington, DC Julius Rudel conducted the Orchestra and Choir of the Washington Opera Society. The director was Tito Capobianco. Salvador Novoa (Pier Francesco Orsini), Richard Torigi (Silvio de Narni), Michael Devlin (Gian Corrado Orsini), Robert Gregori (Girolamo), Brent Ellis (Maerbale), Joaquin Romaguera (Nicolás Orsini), Isabel Penagos (Julia Farnese) sang ), Joanna Simon (Pantasilea), Claramae Turner (Diana Orsini), Nico Castel (messenger) and David Prather (shepherd boy). A recording was published on CD. The following year, 1968, the opera was performed at the New York City Opera with largely the same performers .
The opera was enthusiastically received at the premiere. The follow-up performance planned in Ginastera's Argentine homeland in Buenos Aires was, however, canceled by the dictatorial regime of Juan Carlos Onganías because of the clear erotic elements (one critic described the opera as "porn in belcanto"). Ginastera responded by banning its works in Argentina. The composer Luigi Nono , who was in Buenos Aires at the time, joined him out of solidarity. Bomarzo could only be performed at the Teatro Colón in 1972 under the direction of Antonio Tauriello . Several participants from the world premiere (Novoa, Turner, Simon, Penagos) took part in this production. Renato Cesari and Ricardo Catena also sang.
The European premiere took place in 1970 in Kiel. In the same year Ferdinand Leitner also conducted a production in Zurich in a production by Imo Moszkowicz with the singers Sven Olof Eliasson, Roland Hermann , Erika Wien, Carol Smith, Renate Lenhart and Howard Nelson. These were performances in German in a translation by Ernst Roth .
In 1969 the opera was played in Los Angeles. In 1976 there was an English version (translation: Lionel Salter) at the London Coliseum as a co-production of the New Opera Company and the English National Opera under the musical direction of Leon Lovett and the direction of Anthony Besch. Graham Clark , Geoffrey William Chard, Sarah sang Walker, Katherine Pring, Barbara Walker and Niall Murray. Also in 1976 it was played in French (translation: Carlos Tuxen Bang) in Strasbourg.
In 2003 the Teatro Colón showed a new production of the opera under the musical direction of Stefan Lano and the direction of Alfredo Arias with sets by Roberto Plate.
Jerry Birgnone created an experimental documentary in 2007 with a free adaptation of the opera based on the recording of the world premiere.
In 2017, Bomarzo was played in a production by Pierre Audi at the Teatro Real in Madrid. The conductor was David Afkham and the choreography was by Jonathan Lunn . John Daszak sang the leading role of Pier Francesco Orsini . A video recording of the production was shown on the Internet as part of the Opera Platform .
In 1967 Ginastera extracted an instrumental suite with replaced vocal parts, which was premiered in 1970 in a revised form.
Recordings
- May 05, 1967 - Julius Rudel (Conductor), Orchestra and Choir of the Washington Opera Society.
Salvador Novoa (Pier Francesco Orsini), Richard Torigi (Silvio de Narni), Michael Devlin (Gian Corrado Orsini), Robert Gregori (Girolamo), Brent Ellis (Maerbale), Joaquin Romaguera (Nicolás Orsini), Isabel Penagos (Julia Farnese), Joanna Simon (Pantasilea), Claramae Turner (Diana Orsini), Nico Castel (messenger), David Prather (shepherd boy).
Cast of the premiere.
CBS 32 31 0006 (3 LPs). - April 24, 2017 - David Afkham (conductor), orchestra and choir of the Teatro Real , Pierre Audi (production), Urs Schönebaum (stage and lighting), Wojciech Dziedzic (costumes), Amir Hosseinpour and Jonathan Lunn (choreography).
John Daszak (Pier Francesco Orsini), Thomas Oliemans (Silvio de Narni), James Creswell (Gian Corrado Orsini), Germán Olvera (Girolamo), Damián del Castillo (Maerbale), Albert Casals (Nicolás Orsini), Nicola Beller Carbone (Julia Farnese ), Milijana Nikolic (Pantasilea), Hilary Summers (Diana Orsini), Francis Tójar (messenger).
Video; live from the Teatro Real in Madrid.
Video stream on The Opera Platform .
Web links
- Libretto as full text (Spanish) at Kareol
Individual evidence
- ↑ a b c d e f g h i j k l m n o Malena Kuss: Bomarzo. In: Piper's Encyclopedia of Musical Theater . Volume 2: Works. Donizetti - Henze. Piper, Munich / Zurich 1987, ISBN 3-492-02412-2 , pp. 382-386.
- ↑ a b c d e f g Ulrich Schreiber : Opera guide for advanced learners. The 20th century III. Eastern and Northern Europe, branch lines on the main route, intercontinental distribution. Bärenreiter, Kassel 2006, ISBN 3-7618-1859-9 , pp. 593-595.
- ↑ a b c d e f Malena Kuss, Lionel Salter: Bomarzo. In: Grove Music Online (English; subscription required).
- ↑ Hans-Klaus Jungheinrich: Klingende Fantastik. Review of the Madrid performance in 2017. In: Opernwelt from June 2017.
- ↑ Work information from Boosey & Hawkes , accessed on September 19, 2017.
- ↑ a b c Amanda Holden (Ed.): The Viking Opera Guide. Viking, London / New York 1993, ISBN 0-670-81292-7 , pp. 355-356.
- ↑ Klaus Langrock: Bomarzo. In: Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 1: A - Byzantine chant. Updated special edition. Herder, Freiburg im Breisgau a. a. 1987, ISBN 3-451-20948-9 , p. 322.
- ↑ a b Alberto Ginastera. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005, p. 5134.
- ↑ a b c d Bomarzo 2007. Chronology of the Opera (Spanish) , accessed on September 26, 2017.
- ↑ Bomarzo 2007 (English) accessed on September 26, 2017.
- ↑ a b Ginastera - Bomarzo on The Opera Platform ( Memento from September 26, 2017 in the Internet Archive ).