View Program History Through 2021
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Danc Scapes Choreographers 2015
dancE scapes Choreographers 2015 Amy Cain was born in Jacksonville, Florida and grew up in The Woodlands/Spring area of Texas. Her 30+ years of dance training include working with various instructors and choreographers nationwide and abroad. She has also been coached privately and been inspired for most of her dance career by Ken McCulloch, co-owner of NHPA™. Amy is in her 22nd year of partnership in directing NHPA™, named one of the “Top 50 Studios On the Move” by Dance Teacher Magazine in 2006, and has also been co-director of Revolve Dance Company for 10 years. She also shares her teaching experience as a jazz instructor for the upper level students at Houston Ballet Academy. Amy has danced professionally with Ad Deum, DWDT, and Amy Ell’s Vault, and her choreographic works have been presented in Italy, Mexico, and at many Houston area events. In June 2014 Amy’s piece “Angsters”, performed by Revolve Dance Company, was presented as a short film produced by Gothic South Productions at the Dance Camera estW Festival in L.A. where it received the “Audience Favorite” award. This fall “Angsters” will be screened on Opening Night at the San Francisco Dance Film Festival in California, and on the first screening weekend at the Sans Souci Festival of Dance Cinema in Boulder, Colorado. Dawn Dippel (co-owner) has been dancing most of her life and is now co-owner of NHPA™, co-Director and founding member of Revolve Dance Company, and a former member of the Dominic Walsh Dance Theatre. She grew up in the Houston area, graduated from Houston’s High School for the Performing & Visual Arts Dance Department, and since then has been training in and outside of Houston. -
Rapport Annuel 18/19
RAPPORT ANNUEL 2018-2019 SOMMAIRE TABLE OF CONTENTS LES GRANDS BALLETS 4 LES GRANDS BALLETS MOT DU PRÉSIDENT 6 MESSAGE FROM THE PRESIDENT HISTORIQUE DES GRANDS BALLETS 8 HISTORY OF LES GRANDS BALLETS LES GRANDS BALLETS EN CHIFFRES 12 LES GRANDS BALLETS AT A GLANCE SAISON 2018-2019 16 2018-2019 SEASON MUSIQUE ET CHANT 18 MUSIC AND SONG LE BALLET NATIONAL DE POLOGNE 21 THE POLISH NATIONAL BALLET RAYONNEMENT INTERNATIONAL 23 INTERNATIONAL CELEBRITY LA FAMILLE CASSE-NOISETTE 26 THE NUTCRACKER FAMILY CENTRE NATIONAL DE DANSE-THÉRAPIE 28 NATIONAL CENTRE FOR DANCE THERAPY LES STUDIOS 30 GALA-BÉNÉFICE 2018 35 2018 ANNUAL BENEFIT GALA LES JEUNES GOUVERNEURS 36 THE JEUNES GOUVERNEURS COMMANDITAIRES ET PARTENAIRES 38 SPONSORS AND PARTNERS REMERCIEMENTS 39 SPECIAL THANKS Photo: Sasha Onyshchenko • Danseuse / Dancer: Maude Sabourin DANSEURS 45 DANCERS 3 LES GRANDS BALLETS FAIRE BOUGER LE MONDE. AUTREMENT. Depuis plus de 60 ans, Les Grands Ballets Canadiens de Montréal sont une compagnie de création, de production et de diffusion internationale qui se consacre au développement de la danse sous toutes ses formes, en s’appuyant sur la discipline du ballet classique. Les danseuses et danseurs des Grands Ballets, sous la direction artistique d’Ivan Cavallari, interprètent des chorégraphies de créateurs de référence et d’avant-garde. Les Grands Ballets, reconnus pour leur excellence, leur créativité et leur audace, sont pleinement engagés au sein de la collectivité et rayonnent sur toutes les scènes du monde. MOVING THE WORLD. DIFFERENTLY. For over 60 years, Les Grands Ballets Canadiens de Montréal has been a creation, production and international performance company devoted to the development of dance in all its forms, while always staying faithful to the spirit of classical ballet. -
Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R. -
Coa-Program-For-Web.Pdf
HOUSTON GRAND OPERA AND SID MOORHEAD, CHAIRMAN WELCOME YOU TO THE TAMARA WILSON, LIVESTREAM HOST E. LOREN MEEKER, GUEST JUDGE FRIDAY, FEBRUARY 5, 2021 AT 7 P.M. BROADCAST LIVE FROM THE WORTHAM THEATER CENTER TEXT TO VOTE TEXT TO GIVE Text to vote for the Audience Choice Award. On page Support these remarkable artists who represent 9, you will see a number associated with each finalist. the future of opera. Text the number listed next to the finalist’s name to 713-538-2304 and your vote will be recorded. One Text HGO to 61094 to invest in the next generation vote per phone number will be registered. of soul-stirring inspiration on our stage! 2 WELCOME TO CONCERT OF ARIAS 2021 SID MOORHEAD Chairman A multi-generation Texan, Sid Moorhead is the owner of in HGO’s Overture group and Laureate Society, and he serves Moorhead’s Blueberry Farm, the first commercial blueberry on the company’s Special Events committee. farm in Texas. The farm, which has been in the Moorhead family for three generations, sits on 28 acres in Conroe and Sid was a computer analyst before taking over the family boasts over 9,000 blueberry plants. It is open seasonally, from business and embracing the art of berry farming. He loves to the end of May through mid-July, when people from far and travel—especially to Europe—and has joined the HGO Patrons wide (including many fellow opera-lovers and HGO staffers) visit on trips to Italy and Vienna. to pick berries. “It’s wonderful. -
KC Dance Day Saturday, August 24Th Kansas City Ballet, Producer at the Todd Bolender Center for Dance & Creativity
FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.213.4355 [email protected] For Tickets: 816.931.8993 or www.kcballet.org KC Dance Day Saturday, August 24th Kansas City Ballet, Producer at the Todd Bolender Center for Dance & Creativity KANSAS CITY, MO (July 18, 2019) — Kansas City Ballet will kick-off its 62nd season with the 9th Annual KC Dance Day at the Todd Bolender Center for Dance & Creativity (500 W. Pershing, Kansas City, MO 64108) on Saturday, Aug. 24th from 9:00 a.m. to 6:00 p.m. The entire day will feature FREE dance performances, classes, demonstrations and FUN for the whole family. In addition, attendees may relax under a tent with food and beverages on sale from Two Guys and a Grill. “KC Dance Day is THE kick-off event of the new season,” Artistic Director Devon Carney said. “Well over a thousand Kansas Citians will join us for this open house and fun-filled day of dance featuring a multitude of Kansas City area dance organizations as well as many opportunities to join the fun. And as a bonus, our Company and Kansas City Ballet Second Company dancers will be in rehearsals so guests will get to see excerpts from the upcoming season.” KC Dance Day Schedule August 24, 2019 For more information, please visit our website at www.kcballet.org. FREE Children’s and Adult Dance Classes Doors open at 8:30 a.m. Classes start at 9:15 a.m. KC Dance Day Presented by Kansas City Ballet at the Todd Bolender Center for Dance & Creativity on Aug. -
A Capital Occasion
WP10 nationalpost.com NATIONAL POST, SatURDAY, MAY 31, 2014 nationalpost.com WP11 Jean-Philippe Fortier-Lazure, citylife tenor and 2014 protégé for Roxanna Benoit, VP of the GGPAA government and aboriginal affairs, Mentorship Program, and Jim Treliving, Enbridge, D’Arcy Levesque, VP, chairman and enterprise communications, brand & mentor and renowned bass founder of Boston Sheila McCarthy community partners, Enbridge, and Pizza Restaurants, Brent Trepel, and Brent Carver, Joseph Rouleau. Guillaume Côté, principal Sonya Savage, manager, public and and Sandi president & GGPAA dancer with the National government affairs, Enbridge. Treliving (both CEO, Ben Moss recipient for life- Ballet of Canada, Anik GGPAA National Jewellers, time achievement Bissonnette, GGPAA recipi- Committee and Brenlee in theatre. A CAPITAL Carrington Trepel. ent for lifetime achievement members). in dance, and Karen Kain, C.C., artistic director of the National Ballet of Canada. OCCASION Governor General’s Performing Arts Awards draw a talented crowd to Ottawa AMORYN ENG E L t was a sight to behold as captains of industry from across the country and some of Canada’s finest artists I made their way to the National Arts Centre in Ottawa for Ann McCaig, Alison Jackson the Governor General’s Performing Arts Awards. As always, C.M., A.O.E., and Tom Jackson, the evening would exceed expectation with all of the pomp LL.D. and Jian daughter Jane Rick Mercer, 2004 NAC GGPAA recipi- W. Galen Weston, The Hon. Hilary M. Weston, and circumstance that our capital city has to offer. Created Award recipient, Jim Cuddy ent for lifetime in 1992, the Governor General’s Performing Arts Awards are Ghomeshi and McCaig. -
![[Collection Title]](https://docslib.b-cdn.net/cover/6756/collection-title-186756.webp)
[Collection Title]
1 New Orleans Opera Association Archives 99 boxes/68 linear ft Special Collections & Archives J. Edgar & Louise S. Monroe Library Loyola University New Orleans Collection 74 2 Contents Collection Summary ....................................................................................................................... 3 Series Description .......................................................................................................................... 7 Container List ................................................................................................................................. 8 Series I: Administrative Files ..................................................................................................... 8 Subseries I-A: Artist Fees ...................................................................................................... 8 Subseries I-B: Awards and Grants ......................................................................................... 8 Subseries I-C: Board of Directors 1943-1999 ........................................................................ 9 Subseries I-D: Budgets ........................................................................................................ 10 Subseries I-E: Clubs and Guilds .......................................................................................... 10 Subseries I-F: Correspondence ............................................................................................ 10 Subseries I-G: Facilities and Sets ........................................................................................ -
Beata Kornatowska Wspomnienia Głosem Pisane : O Autobiografiach Śpiewaków
Beata Kornatowska Wspomnienia głosem pisane : o autobiografiach śpiewaków Acta Universitatis Lodziensis. Folia Litteraria Polonica 16, 140-154 2012 140 | FOLIA LITTERARIA POLONICA 2 (16) 2012 Beata Kornatowska Wspomnienia głosem pisane. O autobiografiach śpiewaków W literackim eseju Güntera de Bruyna poświęconym autobiografii czytamy: Opowiadający dokonuje pewnego okiełznania tego, co zamierza opowiedzieć, wtłacza to w formę, której wcześniej nie miało; decyduje o początku i zakończeniu, układa szczegóły [...] w wybranych przez siebie związkach, tak że nie są już tylko szczegółami, ale nabierają znaczenia, i określa punkty ciężkości1. Przy lekturze wspomnień znanych śpiewaków trudno oprzeć się wrażeniu, że przyszli na świat po to, żeby śpiewać. Już dobór wspomnień z dzieciństwa ma coś z myślenia magicznego: wydarzenia, sploty okoliczności, spotkania — wszystko to prowadzi do rozwoju kariery muzycznej. Dalsze powtarzalne elementy tych wspomnień to: odkrycie predyspozycji wokalnych i woli podję- cia zawodu śpiewaka, rola nauczycieli śpiewu i mentorów (najczęściej dyrygen- tów), największe sukcesy i zdobywanie kolejnych szczytów — scen kluczowych dla świata muzycznego, pamiętne wpadki, kryzysy wokalne, podszyte rywali- zacją relacje z kolegami, ciągłe podleganie ocenie publiczności, krytyków i dy- rygentów, myśli o konieczności zakończenia kariery, refleksje na temat doboru repertuaru, wykonawstwa i — generalnie — muzyki. W tle pojawiają się rów- nież wydarzenia z historii najnowszej, losy kraju i rodziny, kondycja instytucji muzycznych, uwarunkowania personalne. Te uogólnione na podstawie sporej liczby tekstów z niemieckiego kręgu ję- zykowego2 prawidłowości w organizowaniu wspomnień „głosem pisanych” chciałabym przedstawić na przykładzie wyróżniających się w mojej ocenie ja- kością autobiografii autorstwa ikon powojennej wokalistyki niemieckiej — Christy Ludwig ...und ich wäre so gern Primadonna gewesen. Erinnerungen („...a tak chciałam być primadonną. Wspomnienia”)3 i Dietricha Fischer-Dies- kaua Zeit eines Lebens. -
November 2016
November 2016 Inside this issue From the Rector’s Desk From the Rector’s Desk....………..….....1 Vestry Corner…………………………………..2 OR 14 years now I have had the pleasure of serving God and the people of St. From the Associate Rector...……....…..3 James’s as the rector of this wonderful and faithful parish. Through the years I SJ Center for Family Ministries….....4,5 F have been humbled by the generosity of so many; a generosity of spirit, abilities, and resources. As I am sure you know, this is the time of year when we ask for Liturgy & Music…………...………..….....6,7 commitments from all of you for the upcoming calendar year in the form of a Mission…………………...………...……………8 stewardship pledge. We need to do this so that the finance committee and vestry can Around the Parish…...…..……...……...8,9 put together a budget to maintain the ministries that we undertake at St. James’s. Readings & Registry…….……….…….9,10 It is not only this parish’s generosity and faithfulness in financial giving that is inspiring, it Women of St. James’s.…..……….…….10 is your willingness in offering up your time and abilities. On a typical Sunday morning November Calendar………………..…….11 there are over 70 people involved in organizing and delivering inspiring liturgy, fellowship opportunities, and education. From our dedicated choir, healing team, readers, acolytes, lay Eucharistic ministers, and altar guild to our greeters, ushers, coffee Highlights in November hour hosts, sandwich makers, and teachers (not to mention one of the finest collection of associate and assisting clergy that can be found anywhere). It’s not only on Sundays – Friday, November 4 Dinner & any day of the week you will find the parish house abuzz with activity. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
![The [Hi]Stories of Chotto Desh](https://docslib.b-cdn.net/cover/9084/the-hi-stories-of-chotto-desh-369084.webp)
The [Hi]Stories of Chotto Desh
The [Hi]stories of Chotto Desh DESH – and Chotto Desh, its younger version adapted for family audiences – began with a promise, one made by a son to his mother. Years ago, early in his career, Akram Khan had promised Mrs. Anwara Khan he would make a piece on the country of her birth, Bangladesh. Akram intended to keep his promise, but life kept happening, other projects kept coming in the way… Then one day, it all started coming together. Akram met visual artist Tim Yip, someone he had admired for long. Tim, agreeing to collaborate with Akram on his next work, suggested it should be an exploration of his parents’ roots: Bangladesh. It was time to keep a promise. To go on a journey. And that is what we did. The entire creative team met for the first time in Bangladesh, travelling together for ten days through November 2010 to discover many of the voices, faces, places that compose the country. Now, in this strange, unprecedented moment of physical isolation and danger, when memory and emotional nearness and beauty are our magic wands for sanity, we remember them. Now, when Chotto Desh will be streamed in an attempt to share something that gave us so much joy and warmth, it seems fitting to share also our memories of those voices and faces and places, the ones that compose DESH and Chotto Desh in ways both visible and invisible. Dhaka, the unstoppable metropolis, of multi-coloured streets, hurtling traffic and intrepid pedestrians. The busy villages, the vast countryside, the carom-playing children.